Ep 249- Jigra

[00:00:15] Hi, this is Asim. This is Sujoy. This is Amritha. And you're listening to Khandaan, a Bollywood

[00:00:20] Podcast about the three main Khans of the Hindi film industry. Amir, Salman, and Shahrukh.

[00:00:26] Hi, you're listening to Khandaan, a Bollywood Podcast regular feed. Thank you so much for

[00:00:31] your support over the years. We now have a Patreon channel with bonus content and exclusive

[00:00:36] merch for those of you who would like to support us. Every dollar goes towards creating more

[00:00:41] and better content. Visit us at patreon.com slash Khandaan Podcast.

[00:00:48] Hi, and welcome to a new episode of Khandaan Podcast. My name is Asim Verdi, and I'm joined

[00:00:53] with my lovely co-host Amritha and Sujoy. Hey, Amritha. Hey, Sujoy.

[00:00:56] Hey, everybody.

[00:00:57] Hello.

[00:00:59] We are talking, our main review of this episode is going to be Jigra, but there's a lot of other

[00:01:04] stuff happening. So let's get into it a little bit. I want to address this one comment on YouTube.

[00:01:11] That we got. And I'll say YouTube is probably not the best place to read the comment section on,

[00:01:19] because it's usually just toxic and negative. But, and also I think this one is too a little bit,

[00:01:25] but I just wanted to address it quickly. So this was on the Devaara episode.

[00:01:30] Right.

[00:01:31] And I made like a comment about, you know, oh, there's only film companion and us doing decent

[00:01:39] film criticism. I don't know if you guys remember it. I say so much bullshit that it probably came

[00:01:43] into your head and you guys forgot about it. But this person said, there are several other podcasts

[00:01:49] that are not rubbish, dissecting and analyzing movies, The Long Take, Love of Cinema,

[00:01:54] Cinema, IVM Pop, News Laundry, Awful and Awesome. Just saying we are it after THR India Film and we

[00:02:02] are the only good thing is so distasteful. Unsubscribed, thanks. So that was a comment.

[00:02:09] Okay.

[00:02:10] Which I'm fine. Unsubscribe, it's fine. I don't think you were subscribed to be honest,

[00:02:14] because I've never heard of you. But I do want to say, I think I went a bit too far on that comment.

[00:02:19] I was probably being frustrated about, you know, other things. And the thing is that I was thinking

[00:02:25] about a lot of our own friends are doing good things, you know, and I with my comment, I just

[00:02:29] dismissed all of our friends. And I thought that wasn't cool of me. So I just wanted to address it

[00:02:35] and apologize and say, yeah, that one was a bit far, especially because I've said, and I'm not

[00:02:40] joking when I'm clearly was joking. But again, yeah, I should have edited out. It wasn't like a cool comment

[00:02:45] to me. So I just wanted to say it, you know, I know you guys all feel I'm perfect. I'm super

[00:02:50] elegant and only say, you know, the bestest takes, but I'm not, I'm only human. I just want to

[00:02:55] apologize for that. Second thing I also want to apologize about is I made fun of the people in

[00:03:01] Manchester that who the hell would go to. So I want to apologize to the people of Manchester.

[00:03:15] I hear you are good people. Today's episode is going to be Asim apologizing for all the

[00:03:22] wrongs that he's done over 249 episodes of Fandhan Podcast.

[00:03:27] Yeah, no, this is a, this is as much apology you can get, but I didn't want to say those

[00:03:31] two things. I thought it was. Asim does a lot of nonsense.

[00:03:37] Yeah. Yeah. But having said that, like, we are, we have been doing this podcast since 2017. And

[00:03:45] it's really frustrating that we are going nowhere when it comes to revenue. That's probably where it

[00:03:51] all stems from. Yeah. Yeah. Throw us some money people. Sign up to Patreon. But no, I just, I just

[00:03:59] felt bad for our friends, you know, people that are our friends that are doing good things. They are in

[00:04:03] the same boat as us. They don't get the appreciation that, you know, we don't get. And, you know,

[00:04:09] so I just wanted to kind of say it was more an apology for my friends than that are doing content

[00:04:14] and writing and doing great work. Then actually the podcast he mentioned, I didn't even know about.

[00:04:20] I don't even listen to those podcasts. That's a beside the point. I'm really apologizing to my

[00:04:25] friends. That's the only thing I want to care about. Yeah.

[00:04:27] That is possibly the worst apology that I have. Like, I was with you up until like, oh, yeah,

[00:04:36] yeah, yeah. Like, I'm sorry to our friends. And then you were just like, you just ruined it.

[00:04:41] You were just a creature of habit.

[00:04:42] I am a man. Incapable of delivering a decent apology. However good intentions I have.

[00:04:54] I'm too alpha, guys. It's the hip ratio.

[00:05:01] Okay. Shall we start with the show?

[00:05:03] Yeah.

[00:05:06] Two trailers drop. Let's go into Singham. Singham again, right? Singham 3?

[00:05:12] Yeah.

[00:05:15] How was your show?

[00:05:16] It was great.

[00:05:18] Tomorrow we'll be in Ram Leela, Ramji, 14 years old.

[00:05:21] Do you think it's seriously how it feels?

[00:05:23] Ramji and Sitama were all the way to Lanka.

[00:05:26] 3,000 kilometers away.

[00:05:28] Of course, it's a fact.

[00:05:30] Your generation didn't understand the concept of true love.

[00:05:32] So if you ever have any type of raven character kidnapped you,

[00:05:37] Dad, you will go?

[00:05:40] Mom, save me.

[00:05:41] Type on the Google page, Bajira Singham.

[00:05:43] What's your father?

[00:05:48] Who is afraid and who is love?

[00:05:54] Who can say it for him?

[00:05:58] This is a path of India.

[00:06:00] If the mother has been hurt,

[00:06:03] then Lanka is gone.

[00:06:12] it dropped it's like a four minute 50 trailer it's like super super long one of the

[00:06:25] longest trailers i've seen almost five minutes yeah in my yeah it's and it feels like they've

[00:06:31] told us the entire story in the trailer um but yeah this does this version of the

[00:06:40] bollywood avengers excite you sujoy like you're the like this is a should be appealing to you right

[00:06:46] yes yes sujoy as the rohit shetty enthusiast on the podcast how do you feel i think i was the one

[00:06:54] no i think it was awesome i don't know if he's going to apologize for this in the next episode

[00:06:59] but he was the one who coined the phrase rohit shetty

[00:07:06] but i am like i do not claim to be the rohit shetty enthusiast sorry amrita uh but oh my god this um

[00:07:17] this trailer was like i could feel myself aging through the trailer when i was watching it you

[00:07:23] know uh i don't know what the point of this trailer is why why reveal all the cameos

[00:07:31] is it like where is the art of making trailers gone right and five minutes of trailers and like there

[00:07:39] were a lot of jokes going on after this trailer came out like oh rohit shetty in his short film

[00:07:44] and all of that you know um yeah what was the question how do i feel about it

[00:07:55] sujoy was mentally going over that trailer and he lost track of time like he's like where am i

[00:08:00] honestly like what what do i make of it like a i'm not excited about the cop universe b i'm not excited

[00:08:10] about singham as a franchise see i'm not excited about any of the people involved even deepika is

[00:08:18] not like this is deepika's first movie appearance since jawan and i'm not happy to see her on screen

[00:08:26] as a cop and giving those terrible lines she was in kalki you forgot oh yeah like thank god i forgot

[00:08:34] about kalki and then there's tiger shroff there's and the most like tragic part is that all of these

[00:08:43] cops are assembling to kill arjun kapoor and yeah that in itself is a is a joke have you not seen

[00:08:54] arjun kapoor's career he refuses to die sujoy do you not get it like he is he is uh unkillable clearly

[00:09:04] amrita this was i want to hear your thoughts like this is right up your alley yeah this is a movie

[00:09:13] that has me written all over it wasn't it um what really struck me about this movie is that

[00:09:20] ranbir kapoor is out there you know he's like i've given up eating no ranbir oh right he's like uh

[00:09:27] you know he's playing ram in the ramayana and he's like i'm uh i've given up eating meat

[00:09:33] i don't smoke i don't drink he's been saying all these things and then babo is like yes i make

[00:09:43] mutton every day in my house i'm married to this muslim i'm raising like two muslim children and uh

[00:09:50] also i am now sita mata

[00:09:56] landmily just shows up like yeah of course i'm sita like what else would i be and look at me i'm

[00:10:01] fabulous um it's such a babo move uh i adore her uh but and also this is a great plug for the

[00:10:11] koreena essay that's dropping this week so if you are listening to this episode um head over to youtube

[00:10:19] and the episode should hopefully be up by now can i can i spoil one line from your uh essay

[00:10:25] because i love it so much there's a line in the essay that you'll hear where amrita says you know

[00:10:30] uh i mean i'm paraphrasing uh is that kareena is impossible to ignore in a shot um because wherever

[00:10:39] she's standing your eye will automatically go here and there's here in this trailer there's a shot

[00:10:44] where deepika and kareena are in a car together it's like a fast and furious shot and literally

[00:10:49] the focus is on deepika right but your eye still goes to kareena and kareena is not in focus and i

[00:10:56] was just thinking of that essay because it's like such a superpower this lady has like and it's deepika

[00:11:03] like deepika is magnificent right but next to babo babo is babo is babo gonna babo you know like it's

[00:11:11] it's crazy but yeah i just wanted to kind of like because it resonated me while i was watching

[00:11:16] the trailer that shot um i just don't understand this kind of filmmaking in the year 2024 like this is

[00:11:27] this is so last decade you know like if this movie had come out in 2016 or something i think this would

[00:11:34] have been a huge hit um in 2024 it just feels very dated um maybe it'll make like you know like 500

[00:11:43] million rupees and people would be like well what do you know and maybe all of that is true but

[00:11:48] it just feels kind of desperate coming from rohit shetty whose last movie was circus and was a colossal flop

[00:11:58] um surya vanshi no it was circus with ranveer and uh surya vanshi with akshay wasn't that or maybe that was after

[00:12:07] circus came after surya vanshi right yeah it doesn't matter yeah i mean it doesn't matter because surya vanshi

[00:12:13] was also like ridiculous but this just seems like a collection of people whose careers in free fall

[00:12:20] have come together to make a movie like okay you don't like me but like what if i'm here with my

[00:12:27] other five flock friends you know um and the two women who are in this movie are obviously kareena

[00:12:35] and deepika as we said and they're obviously magnificent uh but i have a i have a sneaking

[00:12:44] feeling that like if this movie tanks they're going to blame the two of them for some reason

[00:12:48] uh it's going to eventually become like kareena and deepika's fault if this movie doesn't work

[00:12:53] um i'm just calling that out here right now because and i'll get into this later when we discuss

[00:12:59] jigger but one of the things that i was telling a friend of mine is that woman hate is eternal

[00:13:05] it's just that the target keeps changing with every movie that's released um and it's just

[00:13:14] i don't know are you gonna watch this are either of you gonna watch it because i don't think i am

[00:13:18] i think it's a diwali release i'm gonna watch it it's going to be i'm gonna watch it yeah

[00:13:26] before i get into my thoughts i want to hear also about the sri lanka angle and angle in this movie

[00:13:33] right like they're clearly going to sri lanka right to get arjun kapoor is that because i'm confused

[00:13:38] about the politics of what they're trying to say and not trying to say like are they attacking

[00:13:43] pakistan or are they attacking sri lanka because they're being very like they're attacking somebody

[00:13:47] right there's this there's this a sketch in uh in um it's always sunny in philadelphia where they're

[00:13:56] like who is this versus like what's the point of it if it's not versus somebody and roo chetti

[00:14:03] movies are like that like if it's not versus somebody what does it mean so it is versus pakistan

[00:14:09] or sri lanka right but i wasn't really 100 because i was like maybe maybe the whole ramayan angle is

[00:14:16] that he's going to sri lanka the showing that you know that bridge between india and sri lanka

[00:14:20] and he's dressed also a certain way and then she's playing shakti shetti right dipika so but then

[00:14:28] it's rohich shetti so he has to you know hit on pakistan and muslims like he can't like control

[00:14:34] himself right so i don't know what you guys thought is am i just confusing things and did i not understand

[00:14:40] his uh obaiceness really i mean i i don't expect like internal logic from a rohich shetti project so

[00:14:49] i have no idea whatsoever my my guess my guess is probably because he's got so much

[00:14:56] hate or online chatter about how deeply uh islamophobic or you know pakistan hating his

[00:15:04] previous movies have been he's going to dial that down and this is going to be just some sort of

[00:15:09] internal conflict between this villain who probably resides in sri lanka and that's where that whole

[00:15:15] ramayan angle is being played that he's a ravan and he's um kidnapped sita mata and

[00:15:23] you know that whole um monologue between the child and you know ajay devgan and everything

[00:15:30] that's probably how he it's going to play out um speaking of the ramayan angle it just feels like

[00:15:37] bait at this point like please be a nice hindu and watch our movie you know it's uh it's such a

[00:15:45] uh yeah it's bait pretty much like if you if you don't watch this you're not a good hindu kind of a

[00:15:51] movie i i don't think he listened to the online chatter i think the more thing was that uh fighter

[00:15:58] flopped or fighter didn't do as well as it did i think that's a bigger factor than anything else for

[00:16:03] anybody um i mean i'll be honest i am kind of excited to see all of these people together i think

[00:16:10] literally it's like you know the divangi divangi of shitty action movies so i want to kind of go and

[00:16:15] watch that like it's never going to happen again i was like even like oh look at look at um

[00:16:21] tiger shroff shooter machine gun like he's a ballerina you know like he's he's like doing that

[00:16:26] kind of thing he gets no dialogues um i think but it's just the obviousness of the filmmaking right

[00:16:34] like they give you every beat yeah they tell you you know who he is and he's lakshman and he's uh you

[00:16:40] know this guy and that guy and i don't even know the names but i understand who ranveer is playing and

[00:16:45] i know who tiger shroff is playing i know who bebo is playing so it's a very you know easy fix to kind

[00:16:51] of understand that the thing what i what kind of bothered me though is the repetition of it um like

[00:16:57] this shots and jokes that we've seen in surya vanshi already that are kind of getting replayed like that

[00:17:03] there's a shot where uh they're all surrounding bebo and they're shooting their guns and surya vanshi

[00:17:09] had the same shot with katrina in the middle and they were shooting their guns it was the exact same

[00:17:14] shot and then it also has the exact same joke of singham or whatever where he's ranveer is like

[00:17:20] oh helicopter pe aega but we've had that joke already this is your big joke again so i was like

[00:17:25] wait what's going on even you know okay this is beside the car flipping and that's okay that's his

[00:17:31] handle that's what he does fine but at least add a new joke in it like the akshay kumar helicopter

[00:17:37] thing is from you know khiladi o ka khiladi o whatever that's like old news you know like make him

[00:17:42] bad man or something make a update the joke you know i don't know um that thing didn't really work

[00:17:48] for me um i uh i don't know i i like arjun kapoor kind of like doing something like he's bringing kind

[00:17:57] of i you know i like arjun kapoor so i i kind of hope that something pans out for the poor fellow

[00:18:05] um serious bebo is funny i just find it hilarious when she's playing like the serious character uh

[00:18:12] you know like playing it straight she can do it but it's just funny that too in a rohi chetty movie

[00:18:17] which is yeah yeah yeah uh but yeah it's a very long trailer i do feel i've seen the entire movie so

[00:18:24] i don't know what kind of surprises the movie will actually hold for me or it will be exactly

[00:18:30] delivered what's on the box you know like it's this is it le lo nahi pasan toh rohi chetty doesn't

[00:18:35] give a shit you know i'm looking for the poster itself looks like a straight to dvd steven seagal

[00:18:41] kind of a movie to be honest it's that bad oh yeah i am looking forward to the rohi chetty interviews

[00:18:48] when he starts doing them because i do appreciate the rohi chetty interviews more than i appreciate his

[00:18:54] movies because he just doesn't give a shit you know so i appreciate that it will be like the post

[00:19:00] the release if the movie does well he will be shitting on the critics like i'm my movies critic

[00:19:05] proof and if it does not do well then he will be shitting on the critics again saying you guys don't

[00:19:10] get my work and you have made the industry lose so much money by shitting on my movie yeah yeah but

[00:19:17] he also shits on actors and things like that i i just like that part like i i enjoy his interviews like

[00:19:23] you know so asim just uh is an agent of chaos exactly i just want to know what happened between him and

[00:19:33] sharuk because you know that's a good story yeah uh dilwale happened to me it's like

[00:19:40] such a bad movie um fyi yeah just for a moment yeah no the thing is because uh i was um

[00:19:49] uh my daughter was watching a lot of like sharuk kajol movies so i was like let's give dilwale

[00:19:56] another shot you know like it's has kriti she likes kriti too but it was hard to just sit through that

[00:20:02] movie man like it's like everything that you know and like about these people i'm gonna take it away

[00:20:07] and it's like what what have we been watching you know what's the reason to watch this movie

[00:20:10] second trailer that dropped was a bhol bulayya 3

[00:20:24] i think

[00:20:26] In the

[00:20:26] Shinghasan's

[00:20:27] Lala Chhameha

[00:20:31] Sadiya

[00:20:32] Peet

[00:20:32] And

[00:20:34] Shinghasan

[00:20:35] Chulasra Hadeed

[00:20:36] Today is a life

[00:20:37] My

[00:20:38] God

[00:20:38] The world is so cruel

[00:20:46] That

[00:20:47] Is

[00:20:47] That

[00:20:48] It should be a benefit

[00:20:49] To

[00:20:51] To

[00:20:51] To

[00:20:51] To

[00:20:51] To

[00:20:52] To

[00:20:53] To

[00:20:53] To

[00:20:54] To

[00:20:55] To

[00:20:56] To

[00:20:56] To

[00:21:05] To

[00:21:06] To

[00:21:07] To

[00:21:08] Which is also creating quite a bit of chatter online right Amrita what did you think of that trailer

[00:21:12] I mean I don't care about the trailer I just care about Vidya and Madhuri together

[00:21:18] That's all I care about

[00:21:19] Yeah

[00:21:21] This movie could be trash with the fire of a thousand suns and I would still watch it because it has Vidya and Madhuri in it

[00:21:30] Sujoy

[00:21:31] Yeah I want Dola Re Dola the horror edition in the Mahal definitely looking forward to the dance of horror

[00:21:42] Like I saw a tweet saying you know comparing Vidya from Monjulikai from the first movie and then the way she shot in this and somebody tweeted name a bigger downgrade and I'm like what the f*** are you talking about like how dare you

[00:22:06] I am very very excited to see Vidya back in this universe but I'm I really want Akshay Kumar to be in this movie

[00:22:15] It should right like it's so weird that he's not in this like you know and this deserves a cameo

[00:22:21] And I'm I I cannot get over the fact that Kartik Aryan is just cosplaying through this like it doesn't feel like he's actually in a movie it just feels like yeah I'm not convinced of him as an

[00:22:38] I have no memory of Bhulbalei R2 like I cannot tell you what the plot was but was Kartik Aryan playing like a clinical psychologist like Akshay was in the first one he's just a guy right?

[00:22:51] He's a he's a he's basically a fake clairvoyant is what he's playing

[00:22:56] So he he tells people he's a scammer yeah yeah and then he and then I think shit gets real in the first one right yeah

[00:23:08] Okay okay okay okay okay okay um yeah uh there were also a lot of people you know like oh look at what they did to Madhuri and stuff like that you know

[00:23:19] I don't know if you saw those reactions on twitter and I was watching the trailer after I read the reactions and I was like

[00:23:25] You could never make Madhuri ugly for me

[00:23:27] It's just not possible

[00:23:29] It's just not possible you know

[00:23:31] You know that meme where they say hear me out you know I was like Madhuri in horror I was like hear me out you know

[00:23:38] Uh she's amazing you know like it's it's and I think she's just having fun now you know

[00:23:43] She just does whatever she wants to do and um that's fine you know like uh

[00:23:48] I I didn't like the second one necessarily so it's this one I'm not gonna watch probably like you know like I'm not gonna watch this in theater

[00:23:56] I think um

[00:23:57] What are you saying you're not excited about an Anis Basmi movie?

[00:24:01] Yeah yeah exactly I mean I've not been in a uh uh

[00:24:05] Like have you ever heard Anis Basmi's interviews by the way?

[00:24:09] No I haven't thankfully

[00:24:10] Dude he's such like a well-spoken smart man

[00:24:13] Like speaks so well and then he makes these movies I was like what's going on man?

[00:24:19] Where does all of that intelligence go?

[00:24:21] I don't know um

[00:24:22] Tripti Dimri is in this too

[00:24:24] So uh

[00:24:26] Who's the actress in the second one?

[00:24:28] Was it Kiara Advani?

[00:24:29] Tabu

[00:24:29] And Kiara

[00:24:30] And Kiara

[00:24:32] Yeah

[00:24:33] It's always interesting when they just like nix an actress like is Kiara not hot property anymore?

[00:24:40] Like we need to still upgrade to Tripti Dimri?

[00:24:42] It's just so fascinating when

[00:24:44] I think it's the other way around I think like Kiara is too um you know like she's in a on a different level from Karthikarian these days

[00:24:52] Ah you think?

[00:24:54] Is Karthikarian not hot anymore?

[00:24:56] Is he not hot shit?

[00:24:57] I mean he like his last one the Alava by Kunta Puromalo remake didn't really work really well

[00:25:07] So you know

[00:25:08] Ah yeah

[00:25:10] Yeah this one I'm not that interested in necessarily like I

[00:25:13] I yeah I probably this is gonna be like is it gonna be is it coming out soon too?

[00:25:18] Is it with Singham that it's coming out or when is it coming out?

[00:25:21] Oh it's the same weekend or something?

[00:25:23] Yeah it's a Diwali release

[00:25:26] Yeah okay if I I mean I'm probably gonna go to Singham instead of Bool Boola

[00:25:30] Yeah

[00:25:30] What sorry?

[00:25:32] Yeah it is a Diwali release as well

[00:25:34] I know before Shahzada after Shahzada he he made Satya Prem Ki Katha and Chandu Champion

[00:25:41] Both of which

[00:25:42] Yeah

[00:25:42] Did not do well

[00:25:44] No Satya Prem was a big hit

[00:25:46] Really?

[00:25:47] Satya Prem was a big hit

[00:25:48] Yeah yeah

[00:25:48] Chandu Champion did okay because they were comparing it with 83

[00:25:52] So it was kind of okay but I think the budget was too high for that one so they didn't make it maybe didn't make it back but

[00:25:59] Imagine Diwali weekend man like having to watch these two movies like

[00:26:02] Like what kind of celebration is that?

[00:26:06] But Amrita like just one question the the were there any sequels to the Malayalam originals to

[00:26:14] Bool Bool Boola yeah or that was the self-contained story and then they just were disappointed with the remakes and the sequels that happened

[00:26:24] I think I read somewhere about there being a sequel but I don't think I've ever seen it

[00:26:33] And it came out like years later because

[00:26:39] Wait I'm just looking it up

[00:26:42] Because I

[00:26:44] Don't think

[00:26:49] Yeah

[00:26:50] There was a spin-off titled Gitanjali

[00:26:54] That came out in 2013

[00:26:56] And this one was directed by Priya Darshan

[00:27:00] And it had Mohanlal reprising his role as Sunny

[00:27:04] Right

[00:27:05] And Suresh Gopi who played like Shini Ahuja's role in the Malayalam original

[00:27:12] He came as a cameo appearance as well apparently

[00:27:15] But I've never seen Gitanjali I don't know what that is

[00:27:18] Is there a sequel to Chandramuki?

[00:27:23] I don't know because I tried to forget that Chandramuki existed

[00:27:30] So what was the original one was the Mohanlal version?

[00:27:33] Yeah

[00:27:34] So also because I saw a lot of people kind of complain about this

[00:27:39] Like the first one was so amazing and now look what they've done to our franchise

[00:27:42] Like look what they did to our boy you know that kind of thing

[00:27:47] But what do you feel about that?

[00:27:49] Like how long can somebody own a property when it's been

[00:27:54] You know adapted and sold and the rights are gone you know

[00:27:57] Like do you feel people have still a right to complain about it?

[00:28:01] And people are going to complain

[00:28:03] Kuch toh log kehenge

[00:28:04] Logo ka kam hai kehene

[00:28:05] Yeah

[00:28:06] But I don't know

[00:28:08] Yeah I mean I think like Malayalis in particular get like really precious

[00:28:13] About Manjit Adara

[00:28:14] They're just like you know like we created art

[00:28:17] And then like you people defiled it

[00:28:20] It's a movie it's fine you know

[00:28:22] It's a movie

[00:28:23] And also Sujoy you're right there was a sequel to Chandramuki

[00:28:29] I can't believe I forgot it

[00:28:30] It's the one with Kangana Ranaut

[00:28:32] Do you remember?

[00:28:34] Oh yeah

[00:28:35] And that was on

[00:28:37] Right right right right

[00:28:39] Yeah I just thought that argument was like the weirdest

[00:28:42] One about look what they did to our content

[00:28:45] Like I don't even feel it was that high art

[00:28:48] Like you know it was fine

[00:28:50] Like I mean I never saw the original original one

[00:28:52] But I'm assuming the first one was a straight remake adaptation

[00:28:56] I mean it was fine you know

[00:28:57] No

[00:28:58] It wasn't?

[00:28:59] It was no

[00:29:01] Because the Malayalam original

[00:29:05] It's interesting because like for a long time

[00:29:11] Because it was such a commercial success

[00:29:13] I don't think people really sat down and like analyzed the film

[00:29:17] And like what it means

[00:29:19] And then of late more people have been like talking about it

[00:29:23] And sort of like trying to decipher

[00:29:25] Because it wasn't written the way that the remakes

[00:29:32] And the different languages have come out

[00:29:35] Like the remakes have all been very commercial movies

[00:29:38] And that is not precisely the tone that Manichita Tharaya has

[00:29:44] So it's talking about like nature versus nurture

[00:29:48] It's talking about the supernatural versus the psychological

[00:29:51] Like all those themes are there

[00:29:53] But they're much more pronounced in Malayalam

[00:29:55] And also there's this entire thing where the writer of that film

[00:30:02] Was trying to talk about sexuality as well

[00:30:07] Which is absolutely absent in all the remakes

[00:30:11] And I think a lot of people didn't particularly understand that

[00:30:15] About the original either when they saw it

[00:30:18] But in the original there's this theme about

[00:30:22] So the shiny and Vidya characters in Malayalam are called Ganga and Nakulan

[00:30:29] Nakulan

[00:30:29] And there's this whole thing about

[00:30:33] It's played very subtly

[00:30:36] But there is this hint that Ganga is basically

[00:30:42] She's trying to get

[00:30:44] Ganga and Nakulan don't have an intimate relationship as such

[00:30:49] Either emotionally or physically

[00:30:53] And Nakulan keeps pushing her away

[00:30:58] Every time she tries to initiate any kind of intimacy

[00:31:04] And Ganga feels attracted to the poet

[00:31:12] The one that's living in Nagavali's old lover's house

[00:31:17] She feels attracted to that man much before she finds out

[00:31:23] That he lives in that house

[00:31:25] Or that he is the fiancé

[00:31:27] Or that she discovers about Nagavali

[00:31:31] Or any of those things

[00:31:32] So the whole Nagavali possession thing

[00:31:37] Could also be her listening to that tale

[00:31:41] And then using that

[00:31:44] You know like latching on to that story

[00:31:48] As a reasonable explanation for her feelings for this man

[00:31:51] That she feels is wrong

[00:31:53] There's like

[00:31:54] It's this whole thing that happens

[00:31:56] It's such a layered movie

[00:31:57] And I honestly

[00:31:58] It's one of my favorite movies ever

[00:32:00] In any language

[00:32:01] Okay so worthwhile checking out then

[00:32:04] Yes

[00:32:04] I thought it was like a straight remake

[00:32:05] Okay

[00:32:06] But how's the rap song though Amrita?

[00:32:12] But also it has Shobhana

[00:32:14] And who's like a vile sanghi now

[00:32:17] And it just breaks my f***ing heart

[00:32:20] But Shobhana is so good in this movie

[00:32:24] Like she is like beyond a doubt

[00:32:29] The best like Nagavali ever

[00:32:32] Like she's so good

[00:32:34] Absolutely

[00:32:35] Like if you can see a subtitled version of this film

[00:32:37] Like you should absolutely watch it

[00:32:39] Okay cool

[00:32:39] I'll try to check it out if it's available

[00:32:41] Okay

[00:32:43] Cool

[00:32:44] One

[00:32:45] Let's get into the reviews of the movies that we watched

[00:32:49] Control came out

[00:32:50] Last week on Netflix

[00:32:53] I think Amrita you didn't get a chance to watch it yet right?

[00:32:57] I have not

[00:32:58] I've had plenty of chances

[00:33:00] I just haven't utilized them

[00:33:02] But I will

[00:33:04] I just

[00:33:04] It's just been one of those weeks where

[00:33:09] Social media has just been like so vile

[00:33:12] I just can't deal with anything heavy at this moment

[00:33:18] Right

[00:33:19] Yeah

[00:33:21] Directed by Vikramaditya Motwani

[00:33:23] It's

[00:33:24] Stars Ananya Pandey

[00:33:26] Vihant Samat

[00:33:29] And it's the story of

[00:33:31] So this is the IMDB plot summary

[00:33:33] Nela and Joy are the perfect influencer couple

[00:33:36] But when he cheats on her

[00:33:37] She turns to an AI app

[00:33:39] To erase him from her life

[00:33:41] Until it takes control

[00:33:42] It's available on Netflix

[00:33:44] So Joy what did you think of Control?

[00:33:47] So I watched this movie

[00:33:50] Quite late in the week

[00:33:52] After all the hype

[00:33:57] This is so scary

[00:33:59] And how it portrays

[00:34:01] The horrors of modern day life

[00:34:03] And how our data is being harvested

[00:34:05] And all of that

[00:34:06] And I went into this

[00:34:07] With certain expectations

[00:34:09] How it's going to turn out

[00:34:12] A. I'm disappointed

[00:34:13] That Vikramaditya Motwani

[00:34:15] Movie just drops

[00:34:17] Like this

[00:34:17] Without any sort of

[00:34:19] Hoo-ha

[00:34:20] Netflix just dropped this

[00:34:22] Like just another indie movie

[00:34:24] B. It did not necessarily

[00:34:29] Address the horrors

[00:34:31] Of what I expected

[00:34:33] This was going to be

[00:34:34] Primarily because

[00:34:36] We are already in

[00:34:37] This living hellhole

[00:34:38] B. It sort of

[00:34:41] Talks about

[00:34:42] Being terrified

[00:34:44] For these protagonists

[00:34:45] Who I don't necessarily relate with

[00:34:48] Like the influencers

[00:34:49] I'm not

[00:34:50] A prime audience

[00:34:52] Of you know

[00:34:53] Following influencers

[00:34:53] And their lives

[00:34:54] And see

[00:34:56] It takes place

[00:34:57] In a country like India

[00:35:00] Where data leaks

[00:35:01] Are dime a dozen

[00:35:02] Like it's saying

[00:35:03] Like you know

[00:35:04] Reporting data leaks

[00:35:05] To the IT cell

[00:35:06] And all of that

[00:35:07] But we live in a country

[00:35:09] Where Aadhaar data

[00:35:10] Just gets leaked

[00:35:12] Every week

[00:35:13] So

[00:35:15] Yeah

[00:35:15] Sure

[00:35:17] This is trying to

[00:35:18] Sort of

[00:35:19] Maybe make people aware

[00:35:21] Of

[00:35:22] You know

[00:35:22] Where your personal data

[00:35:24] Can be used

[00:35:24] And how

[00:35:25] And the

[00:35:26] Probably the

[00:35:27] The evils

[00:35:28] Of a monopoly

[00:35:29] Where

[00:35:30] A company

[00:35:31] It's possibly pointing

[00:35:33] Towards

[00:35:33] Someone like

[00:35:34] Jio

[00:35:35] Which has

[00:35:35] Stakes in

[00:35:37] Like

[00:35:38] You know

[00:35:38] Shopping

[00:35:39] Getting your shopping data

[00:35:40] But also your

[00:35:41] Payment data

[00:35:43] And everything

[00:35:43] And they

[00:35:44] Have

[00:35:45] All control

[00:35:46] Over your

[00:35:46] Identity

[00:35:48] Online

[00:35:48] And if you

[00:35:49] You cannot circumvent

[00:35:50] That by

[00:35:51] If there is

[00:35:53] Only one player

[00:35:53] In the market

[00:35:54] But

[00:35:55] Yeah

[00:35:56] I know

[00:35:58] What

[00:35:59] These things

[00:36:00] Are

[00:36:00] And like

[00:36:02] Yeah

[00:36:03] I'm not sure

[00:36:04] Exactly

[00:36:07] Like

[00:36:07] I don't sympathize

[00:36:08] With anything

[00:36:09] That's happening

[00:36:10] Like

[00:36:10] Yeah

[00:36:11] Yeah

[00:36:12] That's the

[00:36:13] Main problem

[00:36:13] That I had

[00:36:14] With the movie

[00:36:14] Is like

[00:36:15] What is the

[00:36:16] Larger point

[00:36:16] We're making

[00:36:17] Here

[00:36:18] And that

[00:36:19] Part I didn't

[00:36:20] Get necessarily

[00:36:21] I'm sure

[00:36:22] It's trying

[00:36:23] To say

[00:36:23] Like

[00:36:24] Technology

[00:36:24] Is all around

[00:36:25] Us

[00:36:26] And we

[00:36:26] Basically

[00:36:27] Opted in

[00:36:28] And there's

[00:36:28] No opting

[00:36:29] Out anymore

[00:36:29] And we

[00:36:30] Willingly opt in

[00:36:31] Every time

[00:36:31] Yeah

[00:36:32] So I think

[00:36:33] That's the

[00:36:34] Larger point

[00:36:35] It's trying to

[00:36:35] Make

[00:36:35] I don't know

[00:36:36] What to do

[00:36:36] With that

[00:36:37] Necessarily

[00:36:37] That's like

[00:36:38] Seems like

[00:36:38] Very

[00:36:39] Yeah

[00:36:39] Okay

[00:36:40] And then

[00:36:41] It

[00:36:42] It feels

[00:36:43] To me

[00:36:44] Like

[00:36:44] Black

[00:36:45] Mirror

[00:36:46] Season 8

[00:36:47] So not

[00:36:48] The first

[00:36:48] Good seasons

[00:36:49] But like

[00:36:49] The 8th season

[00:36:50] So it has

[00:36:51] Like some

[00:36:52] Ideas

[00:36:53] It has some

[00:36:53] Thoughts

[00:36:54] And look at

[00:36:55] How scary

[00:36:55] Technology is

[00:36:56] But I don't

[00:36:58] I'm not getting

[00:36:58] Something more

[00:36:59] Out of it

[00:36:59] Or something

[00:37:00] New

[00:37:00] Necessarily

[00:37:01] But I do

[00:37:03] Think it's a

[00:37:03] Really good

[00:37:03] Movie though

[00:37:05] It has

[00:37:06] I just like

[00:37:08] The concept

[00:37:08] Of making

[00:37:09] This

[00:37:10] You know

[00:37:10] Like kind

[00:37:12] Of having

[00:37:12] That searching

[00:37:13] You know

[00:37:13] If you've

[00:37:13] Seen searching

[00:37:14] Where it's

[00:37:15] Like through

[00:37:15] That one

[00:37:16] Point of view

[00:37:16] This movie

[00:37:17] Doesn't necessarily

[00:37:18] Adhere to

[00:37:19] Those strict

[00:37:20] I mean

[00:37:21] It's not

[00:37:22] Treating as

[00:37:22] Dogma 95

[00:37:23] Right

[00:37:24] Like it has

[00:37:24] To be this

[00:37:25] Way

[00:37:25] It breaks

[00:37:26] Out of that

[00:37:27] Format quite

[00:37:27] A few

[00:37:28] Times

[00:37:28] And I

[00:37:29] Think that's

[00:37:29] Fine

[00:37:29] It doesn't

[00:37:30] Need to be

[00:37:30] That restrictive

[00:37:31] They also

[00:37:31] Probably had a

[00:37:32] Larger budget

[00:37:33] And a bigger

[00:37:33] Thing like

[00:37:34] That

[00:37:35] I also think

[00:37:36] The performances

[00:37:37] Are really

[00:37:38] Good

[00:37:39] I

[00:37:41] Stopped

[00:37:42] Calling

[00:37:42] Ananya

[00:37:43] Panda

[00:37:45] After

[00:37:45] Gehranya

[00:37:46] On the

[00:37:47] Show

[00:37:47] And she

[00:37:48] Continues

[00:37:49] To be doing

[00:37:49] Great work

[00:37:50] Yeah

[00:37:50] I was

[00:37:51] Watching it

[00:37:52] And I

[00:37:52] Was like

[00:37:52] Man

[00:37:52] It's such

[00:37:53] A challenge

[00:37:54] For an

[00:37:55] Actress

[00:37:55] In a way

[00:37:56] Right

[00:37:56] Because

[00:37:56] I've been

[00:37:57] Watching a

[00:37:58] Lot of

[00:37:58] Older

[00:37:58] Movies

[00:37:59] Lately

[00:37:59] Like I

[00:37:59] Watch

[00:38:00] Tehzab

[00:38:00] We'll be

[00:38:01] Talking about

[00:38:01] It on

[00:38:02] The next

[00:38:02] Episode

[00:38:02] Maybe it's

[00:38:03] A Patreon

[00:38:03] Exclusive

[00:38:04] I'm not

[00:38:04] Sure

[00:38:04] Yet

[00:38:05] But

[00:38:07] It's

[00:38:07] Madhuri

[00:38:08] Is playing

[00:38:08] A character

[00:38:09] A person

[00:38:10] That is

[00:38:10] Kind of

[00:38:11] Real

[00:38:11] Right

[00:38:11] Here

[00:38:12] Ananya

[00:38:13] Is playing

[00:38:13] A person

[00:38:15] That is

[00:38:15] A fake

[00:38:16] Person

[00:38:16] Online

[00:38:17] But then

[00:38:18] She also

[00:38:18] Has to

[00:38:18] Play a

[00:38:19] Real

[00:38:19] Person

[00:38:20] Within

[00:38:20] The same

[00:38:21] Confines

[00:38:21] Because

[00:38:22] None

[00:38:22] Of us

[00:38:22] Are real

[00:38:23] When we're

[00:38:24] On social

[00:38:24] Media

[00:38:25] It's a

[00:38:25] Version of

[00:38:25] Us

[00:38:26] Right

[00:38:26] Yeah

[00:38:26] And I

[00:38:27] Think

[00:38:27] That's a

[00:38:28] Tough

[00:38:28] Challenge

[00:38:29] As an

[00:38:29] Actor

[00:38:29] To do

[00:38:30] Right

[00:38:30] Like

[00:38:30] Playing

[00:38:31] That kind

[00:38:31] Of

[00:38:31] Variables

[00:38:32] Where

[00:38:32] The hurt

[00:38:33] Is real

[00:38:33] And they

[00:38:34] Do ask

[00:38:34] That question

[00:38:35] Like

[00:38:35] When the

[00:38:36] Breakup

[00:38:36] Happens

[00:38:37] Were

[00:38:37] We in a

[00:38:38] Relationship

[00:38:39] Just for

[00:38:39] The likes

[00:38:40] And there

[00:38:41] Is something

[00:38:41] Very profound

[00:38:42] But I

[00:38:42] Also feel

[00:38:43] A lot

[00:38:43] Of those

[00:38:44] Themes

[00:38:44] Were also

[00:38:45] Addressed

[00:38:45] In

[00:38:46] Right

[00:38:46] So they

[00:38:48] Were kind

[00:38:48] Of touching

[00:38:48] On those

[00:38:49] But the

[00:38:50] Problem here

[00:38:50] Is because

[00:38:51] There's such

[00:38:51] An influencer

[00:38:52] Couple

[00:38:52] A lot

[00:38:52] Of times

[00:38:53] They're

[00:38:53] Making

[00:38:53] Vlogs

[00:38:54] They're

[00:38:54] Making

[00:38:54] Reels

[00:38:54] And the

[00:38:56] Artifice

[00:38:57] Of it

[00:38:57] Seeps

[00:38:58] Through

[00:38:58] I don't

[00:38:59] Feel the

[00:38:59] Performances

[00:39:00] At that

[00:39:00] Moment

[00:39:01] Feel 100%

[00:39:02] Genuine

[00:39:04] And it's

[00:39:05] Also because

[00:39:06] They're

[00:39:06] Recreating

[00:39:07] Moments

[00:39:07] Right

[00:39:08] Like

[00:39:08] If

[00:39:09] Something

[00:39:10] Works

[00:39:11] If you

[00:39:12] Have an

[00:39:12] Audience

[00:39:13] With

[00:39:13] Influences

[00:39:14] And again

[00:39:15] Like you

[00:39:15] Sujo

[00:39:15] I'm not

[00:39:16] An influencer

[00:39:16] Guy

[00:39:16] But I

[00:39:17] Feel

[00:39:17] Their

[00:39:17] Secret

[00:39:18] Is being

[00:39:18] Able

[00:39:18] To

[00:39:19] Genuinely

[00:39:19] Connect

[00:39:20] With

[00:39:20] Their

[00:39:20] Audience

[00:39:20] But here

[00:39:22] You're

[00:39:22] Creating

[00:39:22] That

[00:39:23] Connection

[00:39:24] Artificially

[00:39:25] And I

[00:39:26] Feel

[00:39:27] That's

[00:39:27] Where

[00:39:27] The

[00:39:27] Movies

[00:39:28] Start

[00:39:28] Stressing

[00:39:29] And

[00:39:29] Mostly

[00:39:30] Is when

[00:39:30] They have

[00:39:31] That song

[00:39:31] Mera

[00:39:32] Boyfriend

[00:39:32] Hai

[00:39:33] From

[00:39:34] Yashraj

[00:39:35] Mukhate

[00:39:35] I think

[00:39:36] Is that

[00:39:36] And he

[00:39:37] Does a

[00:39:37] Lot of

[00:39:37] These

[00:39:38] You know

[00:39:38] Like

[00:39:40] Chane

[00:39:40] Kukar

[00:39:41] Me

[00:39:41] Daal

[00:39:41] Do

[00:39:41] He

[00:39:42] Got

[00:39:42] Viral

[00:39:42] With

[00:39:42] That

[00:39:43] Like

[00:39:43] A few

[00:39:43] Of

[00:39:44] Those

[00:39:44] Other

[00:39:44] Things

[00:39:45] But here

[00:39:46] He's

[00:39:46] Clearly

[00:39:46] Being

[00:39:47] Paid

[00:39:47] To

[00:39:47] Create

[00:39:48] That

[00:39:49] Moment

[00:39:49] Right

[00:39:49] And the

[00:39:50] Song

[00:39:50] Doesn't

[00:39:50] Hit

[00:39:51] The

[00:39:51] Way

[00:39:51] Chane

[00:39:52] Kukar

[00:39:52] Me

[00:39:52] Dal

[00:39:52] Hits

[00:39:53] Right

[00:39:53] Like

[00:39:53] It

[00:39:54] Doesn't

[00:39:54] Hit

[00:39:54] The

[00:39:54] Way

[00:39:54] I

[00:39:55] Think

[00:39:55] He did

[00:39:56] Like

[00:39:56] A

[00:39:56] Wow

[00:39:57] Or

[00:39:57] He did

[00:39:57] A

[00:39:57] Party

[00:39:58] He's

[00:39:58] Done

[00:39:59] A few

[00:39:59] Of

[00:39:59] Those

[00:39:59] And

[00:40:00] Those

[00:40:00] Hit

[00:40:01] Because

[00:40:01] They're

[00:40:01] Genuine

[00:40:02] Moments

[00:40:02] Here

[00:40:03] It

[00:40:04] Feels

[00:40:04] Like

[00:40:04] A

[00:40:04] Commission

[00:40:05] Moment

[00:40:05] And

[00:40:06] I

[00:40:06] Could

[00:40:07] Feel

[00:40:07] It

[00:40:07] I

[00:40:07] Don't

[00:40:07] Know

[00:40:07] If

[00:40:08] Everybody

[00:40:08] Else

[00:40:08] Could

[00:40:08] But

[00:40:09] For

[00:40:09] Me

[00:40:09] Because

[00:40:10] I'm

[00:40:10] Slightly

[00:40:10] Older

[00:40:11] I

[00:40:11] Can

[00:40:11] See

[00:40:11] That

[00:40:12] Kind

[00:40:12] Of

[00:40:13] There

[00:40:13] The

[00:40:14] Movie

[00:40:14] Breaks

[00:40:14] A

[00:40:15] Little

[00:40:15] For

[00:40:15] Me

[00:40:17] But

[00:40:17] Yeah

[00:40:18] I

[00:40:18] Think

[00:40:18] Overall

[00:40:19] It's

[00:40:19] A

[00:40:19] Really

[00:40:19] Good

[00:40:19] Movie

[00:40:19] I

[00:40:20] Mean

[00:40:20] This

[00:40:20] Is

[00:40:20] Like

[00:40:20] Small

[00:40:21] Complaints

[00:40:22] I

[00:40:22] Might

[00:40:22] Have

[00:40:22] I

[00:40:23] Think

[00:40:23] Ananya

[00:40:23] Does

[00:40:24] A

[00:40:32] Connect

[00:40:33] With

[00:40:33] Younger

[00:40:34] People

[00:40:34] And

[00:40:34] I

[00:40:34] Think

[00:40:34] She's

[00:40:35] Doing

[00:40:35] Call

[00:40:35] Me

[00:40:35] Bae

[00:40:36] She's

[00:40:36] Doing

[00:40:36] This

[00:40:37] She's

[00:40:38] Really

[00:40:38] Doing

[00:40:39] Doing

[00:40:39] A

[00:40:40] Good

[00:40:40] Job

[00:40:40] At

[00:40:41] The

[00:40:41] Moment

[00:40:41] And

[00:40:41] I

[00:40:41] Think

[00:40:43] It's

[00:40:44] She

[00:40:45] Feels

[00:40:46] Realer

[00:40:47] Like

[00:40:48] A

[00:40:48] Real

[00:40:48] Person

[00:40:49] More

[00:40:49] Than

[00:40:50] Even

[00:40:50] Janvi

[00:40:50] Does

[00:40:51] At

[00:40:51] The

[00:40:51] Moment

[00:40:51] Like

[00:40:52] Janvi

[00:40:52] Is

[00:40:53] Doing

[00:40:53] Filmy

[00:40:54] Roles

[00:40:54] Whereas

[00:40:56] Ananya

[00:40:57] Is

[00:40:57] Doing

[00:40:57] Real

[00:40:58] Roles

[00:40:58] With

[00:40:58] Real

[00:40:59] Problems

[00:40:59] And

[00:41:00] There's

[00:41:01] Something

[00:41:02] About

[00:41:02] That

[00:41:02] To

[00:41:02] That

[00:41:03] I

[00:41:03] Find

[00:41:04] Very

[00:41:04] Fascinating

[00:41:04] To

[00:41:05] Watch

[00:41:06] But

[00:41:07] Yeah

[00:41:07] I

[00:41:08] Like

[00:41:08] Control

[00:41:08] I

[00:41:09] Think

[00:41:09] Amrita

[00:41:10] It's

[00:41:10] I

[00:41:11] Don't

[00:41:11] Think

[00:41:11] This

[00:41:11] Should

[00:41:12] Have

[00:41:12] Been

[00:41:12] A

[00:41:12] Theatrical

[00:41:13] Release

[00:41:13] To

[00:41:13] Be

[00:41:14] Honest

[00:41:14] I

[00:41:14] Think

[00:41:14] This

[00:41:14] Is

[00:41:14] Very

[00:41:15] Firmly

[00:41:16] A

[00:41:16] Streaming

[00:41:17] Movie

[00:41:17] And

[00:41:18] I

[00:41:18] Think

[00:41:18] This

[00:41:18] Is

[00:41:35] The

[00:41:35] Poster

[00:41:36] Is

[00:41:36] I

[00:41:37] Think

[00:41:38] This

[00:41:39] Is

[00:41:39] Really

[00:41:39] Good

[00:41:40] Streaming

[00:41:41] Netflix

[00:41:41] Movie

[00:41:41] To

[00:41:42] Be

[00:41:42] Honest

[00:41:42] And

[00:41:42] I

[00:41:43] Think

[00:41:43] If

[00:41:43] You

[00:41:43] Watch

[00:41:43] It

[00:41:44] You

[00:41:44] Should

[00:41:44] Go

[00:41:44] In

[00:41:45] It

[00:41:45] With

[00:41:45] Those

[00:41:45] Expectations

[00:41:46] That

[00:41:46] I'm

[00:41:46] Not

[00:41:47] Going

[00:41:47] To

[00:41:47] Watch

[00:41:47] A

[00:41:47] Theatrical

[00:41:48] Movie

[00:41:48] This

[00:41:49] Is

[00:41:49] Kind

[00:41:49] Of

[00:41:49] A

[00:41:49] Black

[00:41:50] Mirror

[00:41:50] Is

[00:41:51] Indian

[00:41:51] Take

[00:41:51] With

[00:41:52] An

[00:41:52] I

[00:41:53] Would

[00:41:53] Say

[00:41:54] One

[00:41:54] Thing

[00:41:55] It's

[00:41:55] A

[00:41:55] Double

[00:41:56] Edged

[00:41:56] Sword

[00:41:56] To

[00:41:56] Present

[00:41:56] A

[00:41:57] Movie

[00:41:57] In

[00:41:57] This

[00:41:57] Sort

[00:41:58] Of

[00:41:58] Aesthetic

[00:41:58] Which

[00:41:59] Is

[00:41:59] Obviously

[00:41:59] Through

[00:42:01] A

[00:42:01] Screen

[00:42:02] Capture

[00:42:02] Of

[00:42:02] Whatever

[00:42:03] Is

[00:42:03] Happening

[00:42:04] On

[00:42:04] The

[00:42:04] Screen

[00:42:04] On

[00:42:05] Mobiles

[00:42:05] On

[00:42:06] A

[00:42:06] Desktop

[00:42:06] On

[00:42:07] A

[00:42:07] Browser

[00:42:07] And

[00:42:08] The

[00:42:08] Webcams

[00:42:09] And

[00:42:09] Everything

[00:42:09] Like

[00:42:10] That

[00:42:10] Right

[00:42:12] Often

[00:42:14] Like

[00:42:15] I've

[00:42:15] Watched

[00:42:16] A

[00:42:16] Few

[00:42:16] TV

[00:42:18] Episodes

[00:42:18] Happened

[00:42:18] Like

[00:42:19] This

[00:42:19] I

[00:42:20] I've

[00:42:20] Watched

[00:42:21] Searching

[00:42:22] And

[00:42:22] Searching

[00:42:22] The

[00:42:23] Sequel

[00:42:24] Following

[00:42:25] I

[00:42:25] Think

[00:42:26] Both

[00:42:27] Of

[00:42:27] Them

[00:42:27] Presented

[00:42:28] In

[00:42:28] This

[00:42:28] Way

[00:42:28] And

[00:42:29] Some

[00:42:29] Only

[00:42:30] Very

[00:42:31] Few

[00:42:31] Get

[00:42:31] It

[00:42:31] Right

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[00:42:34] Very

[00:42:34] Hard

[00:42:35] To

[00:42:35] You

[00:42:36] Know

[00:42:36] Sustain

[00:42:36] Your

[00:42:37] Audience

[00:42:37] Attention

[00:42:38] When

[00:42:38] It's

[00:42:38] Presented

[00:42:39] In

[00:42:39] This

[00:42:39] Way

[00:42:39] But

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[00:42:43] Props

[00:42:43] To

[00:42:43] One

[00:42:44] Particular

[00:42:45] Scene

[00:42:45] Here

[00:42:45] Where

[00:42:47] Aninya's

[00:42:47] Character

[00:42:48] Is

[00:42:48] Trying

[00:42:48] To

[00:42:48] Get

[00:42:49] Into

[00:42:49] Her

[00:42:49] Boyfriend's

[00:42:50] Account

[00:42:50] And

[00:42:51] It

[00:42:51] Goes

[00:42:52] Through

[00:42:52] Like

[00:42:52] Multiple

[00:42:52] Layers

[00:42:53] Of

[00:42:53] You

[00:42:53] Know

[00:42:53] Forgotten

[00:42:54] Passwords

[00:42:54] And

[00:42:55] Resetting

[00:42:55] And

[00:42:55] OTPs

[00:42:56] And

[00:42:56] I

[00:42:56] Was

[00:42:56] Like

[00:42:57] I

[00:42:57] Feel

[00:42:57] You

[00:42:59] That

[00:43:00] Was

[00:43:00] Great

[00:43:01] I

[00:43:01] Would

[00:43:01] Say

[00:43:02] But

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[00:43:03] All

[00:43:03] Your

[00:43:03] Passwords

[00:43:04] Are

[00:43:04] Sujoy

[00:43:04] 69

[00:43:05] Lovers

[00:43:05] So

[00:43:06] It's

[00:43:06] Easy

[00:43:06] To

[00:43:06] Huck

[00:43:07] You

[00:43:10] In

[00:43:12] The

[00:43:13] Next

[00:43:13] Episode

[00:43:14] Asana

[00:43:15] Is

[00:43:15] Going

[00:43:15] To

[00:43:15] Apologize

[00:43:16] To

[00:43:16] All

[00:43:16] 69

[00:43:17] Lovers

[00:43:23] Amrita

[00:43:23] You

[00:43:23] Watched

[00:43:24] Her

[00:43:24] For

[00:43:24] An

[00:43:25] Episode

[00:43:25] Right

[00:43:25] What

[00:43:25] Do

[00:43:26] You

[00:43:26] Think

[00:43:26] Of

[00:43:26] My

[00:43:26] Theory

[00:43:27] Of

[00:43:27] Her

[00:43:27] Playing

[00:43:27] Kind

[00:43:28] Of

[00:43:28] Like

[00:43:28] Real

[00:43:28] Characters

[00:43:29] Yeah

[00:43:30] I

[00:43:31] Actually

[00:43:31] Was

[00:43:31] Thinking

[00:43:32] About

[00:43:32] That

[00:43:32] As

[00:43:32] You

[00:43:32] Were

[00:43:33] Talking

[00:43:33] Because

[00:43:34] I

[00:43:34] Think

[00:43:34] That's

[00:43:35] Very

[00:43:35] True

[00:43:35] I

[00:43:36] Think

[00:43:36] She's

[00:43:37] Carving

[00:43:38] Out

[00:43:38] A

[00:43:38] Niche

[00:43:39] For

[00:43:39] Herself

[00:43:40] In

[00:43:41] The

[00:43:42] Film

[00:43:42] Industry

[00:43:42] That

[00:43:43] Is

[00:43:43] Not

[00:43:44] Your

[00:43:44] Traditional

[00:43:45] Bollywood

[00:43:46] Heroine

[00:43:46] She

[00:43:47] Is

[00:43:47] Perhaps

[00:43:48] The

[00:43:48] First

[00:43:50] Gen Z

[00:43:51] Heroine

[00:43:51] That

[00:43:51] We

[00:43:52] Have

[00:43:52] You

[00:43:53] Know

[00:43:53] She's

[00:43:53] Still

[00:43:54] Like

[00:43:54] She's

[00:43:54] Very

[00:43:55] Bollywood

[00:43:55] But

[00:43:56] She's

[00:43:56] Doing

[00:43:56] It

[00:43:57] Like

[00:43:58] The

[00:43:58] Subjects

[00:43:59] That

[00:43:59] She's

[00:44:00] Choosing

[00:44:00] The

[00:44:00] Characters

[00:44:01] That

[00:44:01] She's

[00:44:02] Choosing

[00:44:02] They're

[00:44:03] A

[00:44:03] Lot

[00:44:04] More

[00:44:04] Relatable

[00:44:05] Than

[00:44:05] Anything

[00:44:06] That

[00:44:08] Sara

[00:44:08] Or

[00:44:09] Jan

[00:44:09] We

[00:44:10] Or

[00:44:10] Any

[00:44:10] Of

[00:44:10] Those

[00:44:11] People

[00:44:11] Have

[00:44:11] Done

[00:44:12] In

[00:44:12] The

[00:44:12] Past

[00:44:13] Five

[00:44:13] Years

[00:44:13] And

[00:44:14] That's

[00:44:14] Very

[00:44:14] Interesting

[00:44:15] To

[00:44:15] Me

[00:44:15] Because

[00:44:16] Jan

[00:44:16] We

[00:44:16] In

[00:44:17] Particular

[00:44:17] Has

[00:44:18] Tried

[00:44:19] Really

[00:44:19] Strongly

[00:44:21] To

[00:44:21] Create

[00:44:22] A

[00:44:23] Career

[00:44:23] For

[00:44:23] Herself

[00:44:24] That

[00:44:24] Is

[00:44:25] In

[00:44:25] That

[00:44:25] Space

[00:44:26] Where

[00:44:26] She's

[00:44:26] Playing

[00:44:27] Real

[00:44:27] Characters

[00:44:28] Quote

[00:44:28] Unquote

[00:44:30] But

[00:44:31] Because

[00:44:32] The

[00:44:32] Situations

[00:44:33] Are

[00:44:33] So

[00:44:33] Elevated

[00:44:34] Though

[00:44:34] With

[00:44:35] Jan

[00:44:36] Right

[00:44:36] Like

[00:44:36] She

[00:44:37] Wants

[00:44:37] To

[00:44:37] And

[00:44:38] The

[00:44:38] Thing

[00:44:38] With

[00:44:38] Jan

[00:44:39] We

[00:44:39] Is

[00:44:39] Sorry

[00:44:39] I'm

[00:44:39] Cutting off

[00:44:40] She

[00:44:40] Wants

[00:44:40] To

[00:44:40] Be

[00:44:41] A

[00:44:41] Heroine

[00:44:41] Like

[00:44:42] Look

[00:44:42] Look

[00:44:43] Look at

[00:44:43] Her

[00:44:43] That's

[00:44:44] Where

[00:44:44] She

[00:44:44] Shines

[00:44:45] But

[00:44:45] Those

[00:44:46] Movies

[00:44:46] Are

[00:44:46] Not

[00:44:47] Being

[00:44:47] Made

[00:44:47] The

[00:44:47] Movies

[00:44:48] That

[00:44:48] Are

[00:44:49] Kind

[00:44:49] Of

[00:44:49] Being

[00:44:49] Made

[00:44:49] Are

[00:44:50] These

[00:44:50] Ananya

[00:44:50] Pandey

[00:44:50] Movies

[00:44:51] Right

[00:44:51] Like

[00:44:51] That's

[00:44:52] What

[00:44:52] The

[00:44:52] Industry

[00:44:53] Is

[00:44:53] Kind

[00:44:53] Of

[00:45:11] Visually

[00:45:12] The

[00:45:12] Face

[00:45:12] Card

[00:45:13] The

[00:45:13] Mannerisms

[00:45:14] It's

[00:45:14] So

[00:45:15] Filmy

[00:45:15] For

[00:45:16] Me

[00:45:16] I

[00:45:17] Totally

[00:45:17] Dissociate

[00:45:18] With

[00:45:18] The

[00:45:19] Like

[00:45:20] Real

[00:45:20] Person

[00:45:20] I

[00:45:21] Can't

[00:45:21] Hang

[00:45:22] Out

[00:45:22] With

[00:45:22] Jan

[00:45:23] Is

[00:45:23] What

[00:45:24] I

[00:45:24] Feel

[00:45:24] You

[00:45:24] Know

[00:45:26] I

[00:45:26] Could

[00:45:26] Totally

[00:45:27] Hang

[00:45:27] Out

[00:45:27] With

[00:45:27] Jan

[00:45:28] You

[00:45:31] Know

[00:45:31] But

[00:45:31] I

[00:45:32] See

[00:45:32] What

[00:45:32] You're

[00:45:32] Saying

[00:45:33] Like

[00:45:33] It's

[00:45:34] Not

[00:45:34] That

[00:45:34] Ananya

[00:45:35] Is

[00:45:35] Homely

[00:45:36] But

[00:45:37] She

[00:45:38] You know

[00:45:39] Like

[00:45:39] The

[00:45:39] Minimal

[00:45:40] Makeup

[00:45:41] The

[00:45:42] Surgeries

[00:45:43] Aren't

[00:45:43] That

[00:45:44] In

[00:45:44] Your

[00:45:44] Face

[00:45:45] The

[00:45:46] Body

[00:45:47] Isn't

[00:45:47] That

[00:45:48] Spectacular

[00:45:48] Whereas

[00:45:50] Like

[00:45:50] Jan

[00:45:51] Is

[00:45:51] Very

[00:45:52] Much

[00:45:52] A

[00:45:53] You

[00:45:54] Know

[00:45:54] Like

[00:45:55] A

[00:45:55] Big

[00:45:55] Screen

[00:45:56] Sort

[00:45:56] Of

[00:45:57] Face

[00:45:58] And

[00:45:58] Body

[00:45:59] And

[00:45:59] That

[00:46:00] Physicality

[00:46:01] Is

[00:46:01] Very

[00:46:03] Much

[00:46:03] Interfering

[00:46:04] With

[00:46:05] The

[00:46:05] Gharelu

[00:46:06] Kinds

[00:46:07] Of

[00:46:07] Roles

[00:46:08] That

[00:46:08] She's

[00:46:08] Trying

[00:46:09] To

[00:46:09] Do

[00:46:09] Like

[00:46:09] We

[00:46:09] Had

[00:46:09] This

[00:46:09] Conversation

[00:46:10] When

[00:46:11] We

[00:46:11] Were

[00:46:11] Discussing

[00:46:12] That

[00:46:12] Movie

[00:46:12] That

[00:46:12] She

[00:46:13] Did

[00:46:13] With

[00:46:13] The

[00:46:14] Holocaust

[00:46:14] One

[00:46:16] And

[00:46:16] You

[00:46:17] Know

[00:46:17] He

[00:46:17] Kept

[00:46:17] Talking

[00:46:18] About

[00:46:19] How

[00:46:19] Ew

[00:46:19] She

[00:46:19] Was

[00:46:20] And

[00:46:20] All

[00:46:21] Of

[00:46:21] Us

[00:46:21] Were

[00:46:21] Just

[00:46:21] Like

[00:46:22] Excuse

[00:46:22] Me

[00:46:23] What

[00:46:24] On

[00:46:24] What

[00:46:26] Planet

[00:46:26] Do

[00:46:26] You

[00:46:27] Look

[00:46:27] At

[00:46:27] Jan

[00:46:28] Kapoor

[00:46:28] And

[00:46:28] Go

[00:46:29] Like

[00:46:29] Ew

[00:46:31] That's

[00:46:32] Just

[00:46:32] Ridiculous

[00:46:33] It's

[00:46:34] That

[00:46:34] Like

[00:46:35] You

[00:46:35] Know

[00:46:35] When

[00:46:35] Helen

[00:46:36] Mirren

[00:46:37] Stops

[00:46:38] Her

[00:46:38] Narration

[00:46:39] In

[00:46:39] Barbie

[00:46:39] And

[00:46:39] Saying

[00:46:40] This

[00:46:40] Movie

[00:46:40] Would

[00:46:41] Be

[00:46:41] More

[00:46:41] Excelled

[00:46:41] If

[00:46:42] Margot

[00:46:43] Robbie

[00:46:43] Wasn't

[00:46:44] Playing

[00:46:44] Barbie

[00:46:45] Exactly

[00:46:47] We

[00:46:47] All

[00:46:48] Were

[00:46:48] Thinking

[00:46:48] It

[00:46:49] You

[00:46:49] Know

[00:46:49] Like

[00:46:49] It

[00:46:49] Was

[00:46:50] Just

[00:46:50] Like

[00:46:50] Obviously

[00:46:51] And

[00:46:52] That's

[00:46:53] Also

[00:46:53] The

[00:46:53] The

[00:46:53] Issue

[00:46:54] With

[00:46:54] The

[00:46:55] Role

[00:46:56] That

[00:46:56] Jan

[00:46:56] We

[00:46:56] Plays

[00:46:57] You

[00:46:57] Know

[00:46:57] Like

[00:46:57] It's

[00:46:58] Always

[00:46:58] This

[00:46:58] Very

[00:46:59] It's

[00:47:00] Very

[00:47:02] Underlined

[00:47:02] That

[00:47:03] It

[00:47:03] Is

[00:47:03] Woman

[00:47:04] Centric

[00:47:05] Cinema

[00:47:05] You

[00:47:11] They

[00:47:11] Don't

[00:47:12] Really

[00:47:12] Have

[00:47:12] Like

[00:47:12] A

[00:47:13] Noble

[00:47:13] Purpose

[00:47:13] As

[00:47:14] Such

[00:47:14] Whether

[00:47:15] It's

[00:47:16] Gehen

[00:47:16] Aiyan

[00:47:16] Or

[00:47:17] Call

[00:47:18] Me

[00:47:18] Or

[00:47:20] Kho

[00:47:21] Gae

[00:47:21] Ham

[00:47:22] Kahan

[00:47:23] Is

[00:47:24] That

[00:47:24] What

[00:47:24] It's

[00:47:25] Yeah

[00:47:26] And

[00:47:27] Or

[00:47:28] Like

[00:47:28] I

[00:47:28] Haven't

[00:47:29] Watched

[00:47:29] Control

[00:47:30] But

[00:47:30] I

[00:47:30] Would

[00:47:31] Imagine

[00:47:31] Like

[00:47:31] Having

[00:47:32] Seen

[00:47:33] Other

[00:47:33] Vikrama

[00:47:34] Ditya

[00:47:34] Motwani

[00:47:35] Movies

[00:47:35] I

[00:47:36] Would

[00:47:36] Imagine

[00:47:36] That

[00:47:36] It's

[00:47:37] Not

[00:47:37] Trying

[00:47:38] To

[00:47:39] You

[00:47:39] Know

[00:47:39] Be

[00:47:40] A

[00:47:40] Message

[00:47:41] Movie

[00:47:41] And

[00:47:42] It's

[00:47:42] Not

[00:47:42] Trying

[00:47:42] To

[00:47:42] Be

[00:47:42] A

[00:47:43] Preachy

[00:47:43] Movie

[00:47:43] It's

[00:47:44] Just

[00:47:44] Talking

[00:47:45] About

[00:47:45] You

[00:47:46] Know

[00:47:46] A

[00:47:47] Sliver

[00:47:47] Of

[00:47:47] Society

[00:47:48] And

[00:47:48] You

[00:47:49] Know

[00:47:49] The

[00:47:49] Interesting

[00:47:49] Issues

[00:47:51] That

[00:47:51] Come

[00:47:51] Through

[00:47:51] And

[00:47:52] I

[00:47:53] Think

[00:47:53] That's

[00:47:54] Very

[00:47:54] Smart

[00:47:54] I

[00:47:55] Think

[00:47:55] She's

[00:47:55] Probably

[00:47:55] The

[00:47:56] Smartest

[00:47:56] Of

[00:47:57] The

[00:47:58] Young

[00:47:59] Lots

[00:47:59] Because

[00:48:00] She

[00:48:01] She

[00:48:02] Did

[00:48:02] The

[00:48:02] Traditional

[00:48:03] Thing

[00:48:03] Thing

[00:48:03] Right

[00:48:03] Like

[00:48:03] She

[00:48:04] Made

[00:48:04] Her

[00:48:04] Debut

[00:48:04] With

[00:48:05] A

[00:48:05] Karin

[00:48:05] Johan

[00:48:05] Film

[00:48:06] She

[00:48:07] Did

[00:48:07] That

[00:48:08] Movie

[00:48:08] With

[00:48:10] Tiger

[00:48:10] Shroff

[00:48:12] Tiger

[00:48:12] Shroff

[00:48:13] No

[00:48:13] Yeah

[00:48:16] And

[00:48:16] Then

[00:48:16] She

[00:48:17] Did

[00:48:17] That

[00:48:17] Movie

[00:48:17] With

[00:48:18] The

[00:48:19] Taxi

[00:48:19] Movie

[00:48:19] What

[00:48:19] Was

[00:48:20] It

[00:48:20] Kalipili

[00:48:22] Kalipili

[00:48:23] Exactly

[00:48:23] She

[00:48:24] Did

[00:48:24] All

[00:48:25] Of

[00:48:25] That

[00:48:25] And

[00:48:25] She

[00:48:26] Figured

[00:48:26] Out

[00:48:26] What

[00:48:27] Was

[00:48:27] Working

[00:48:28] For

[00:48:28] Her

[00:48:28] And

[00:48:28] What

[00:48:29] Wasn't

[00:48:29] And

[00:48:30] That

[00:48:30] There

[00:48:30] Was

[00:48:30] A

[00:48:30] Little

[00:48:31] Gap

[00:48:32] In

[00:48:32] The

[00:48:33] Kinds

[00:48:33] Of

[00:48:33] Characters

[00:48:34] That

[00:48:35] Were

[00:48:35] Being

[00:48:35] Portrayed

[00:48:36] On

[00:48:36] Screen

[00:48:36] And

[00:48:37] She

[00:48:37] Just

[00:48:38] Found

[00:48:39] That

[00:48:39] That

[00:48:40] Spot

[00:48:40] For

[00:48:40] Herself

[00:48:41] And

[00:48:41] Kudos

[00:48:42] To

[00:48:42] Her

[00:48:42] Like

[00:48:42] She's

[00:48:43] Probably

[00:48:43] One

[00:48:43] Of

[00:48:43] The

[00:48:43] Smartest

[00:48:44] Actors

[00:48:45] Working

[00:48:46] In

[00:48:46] India

[00:48:47] At

[00:48:47] This

[00:48:47] Moment

[00:48:47] I

[00:48:49] Think

[00:48:49] Liger

[00:48:49] Was

[00:48:50] The

[00:48:50] Main

[00:48:50] Switch

[00:48:50] That

[00:48:51] Was

[00:48:51] The

[00:48:51] Most

[00:48:51] Heroine

[00:48:52] Role

[00:48:52] She

[00:48:53] Had

[00:48:53] And

[00:48:56] Funny

[00:48:56] How

[00:48:57] She's

[00:48:58] Locked

[00:48:59] Into

[00:48:59] This

[00:48:59] One

[00:49:00] Theme

[00:49:00] That

[00:49:01] All

[00:49:01] Of

[00:49:01] Her

[00:49:02] Good

[00:49:02] Movies

[00:49:02] Have

[00:49:02] Been

[00:49:03] Is

[00:49:03] That

[00:49:03] She's

[00:49:03] The

[00:49:04] Dumped

[00:49:04] Girlfriend

[00:49:05] Every

[00:49:06] Time

[00:49:06] She

[00:49:07] Gets

[00:49:07] Cheated

[00:49:07] On

[00:49:08] Or

[00:49:08] Dumped

[00:49:08] And

[00:49:08] I

[00:49:08] Think

[00:49:09] That

[00:49:09] Creates

[00:49:09] A

[00:49:10] Connection

[00:49:10] With

[00:49:11] The

[00:49:11] Audience

[00:49:12] She's

[00:49:12] Speaking

[00:49:12] With

[00:49:12] Whereas

[00:49:13] Who

[00:49:14] Dumped

[00:49:14] Janvi

[00:49:15] Kapoor

[00:49:15] Right

[00:49:15] Like

[00:49:15] It's

[00:49:16] Just

[00:49:16] Not

[00:49:16] Possible

[00:49:17] Right

[00:49:17] So

[00:49:17] It

[00:49:17] Always

[00:49:18] Puts

[00:49:19] Janvi

[00:49:20] On

[00:49:20] Kind

[00:49:20] Of

[00:49:21] A

[00:49:26] Been

[00:49:26] Dumped

[00:49:27] On

[00:49:27] Screen

[00:49:27] Every

[00:49:28] Time

[00:49:28] You're

[00:49:29] Like

[00:49:29] Hey

[00:49:29] She's

[00:49:30] Like

[00:49:30] Us

[00:49:30] So

[00:49:30] I

[00:49:31] Think

[00:49:31] That's

[00:49:31] Kind

[00:49:31] Of

[00:49:31] The

[00:49:31] Smart

[00:49:32] Move

[00:49:32] It's

[00:49:32] Basically

[00:49:32] What

[00:49:33] Amita

[00:49:34] With

[00:49:34] Angry

[00:49:35] Young

[00:49:35] Man

[00:49:35] She's

[00:49:35] Doing

[00:49:36] With

[00:49:36] The

[00:49:37] Dumped

[00:49:37] Woman

[00:49:38] It's

[00:49:39] Smart

[00:49:39] There's

[00:49:40] A way

[00:49:40] To

[00:49:40] Connect

[00:49:40] With

[00:49:41] Audience

[00:49:41] So

[00:49:41] She's

[00:49:41] Founded

[00:49:43] So

[00:49:43] Yeah

[00:49:43] Is

[00:49:44] Call Me

[00:49:45] Way

[00:49:45] Any

[00:49:45] Good

[00:49:45] Amrita

[00:49:45] You

[00:49:56] Really

[00:49:57] Capitalizes

[00:49:57] On

[00:49:58] Who

[00:50:00] Not

[00:50:01] On

[00:50:01] Who

[00:50:02] Ananya

[00:50:02] Pandey

[00:50:02] Is

[00:50:03] But

[00:50:03] More

[00:50:03] Our

[00:50:04] Perception

[00:50:04] Of

[00:50:04] Who

[00:50:05] Ananya

[00:50:05] Is

[00:50:05] And

[00:50:06] She's

[00:50:07] Really

[00:50:07] Good

[00:50:07] At

[00:50:08] Making

[00:50:08] You

[00:50:09] Sympathize

[00:50:09] With

[00:50:09] Her

[00:50:10] Yeah

[00:50:10] You

[00:50:11] Know

[00:50:11] Even

[00:50:12] When

[00:50:12] She's

[00:50:12] Like

[00:50:13] In

[00:50:13] The

[00:50:13] Wrong

[00:50:13] So

[00:50:14] In

[00:50:14] This

[00:50:14] Particular

[00:50:14] One

[00:50:15] You

[00:50:15] Know

[00:50:15] Like

[00:50:15] She

[00:50:15] Screws

[00:50:16] Up

[00:50:17] But

[00:50:17] You

[00:50:18] Have

[00:50:18] So

[00:50:18] Much

[00:50:19] Sympathy

[00:50:19] For

[00:50:19] That

[00:50:19] Character

[00:50:20] Or

[00:50:20] At

[00:50:20] Least

[00:50:20] I

[00:50:20] Did

[00:50:21] Because

[00:50:22] She

[00:50:23] Does

[00:50:23] You

[00:50:24] Know

[00:50:24] Like

[00:50:24] She's

[00:50:25] Not

[00:50:25] Like

[00:50:25] A

[00:50:25] Bad

[00:50:25] Person

[00:50:26] She's

[00:50:27] Just

[00:50:27] A

[00:50:28] Person

[00:50:28] Who

[00:50:29] Has

[00:50:30] Been

[00:50:32] Molded

[00:50:32] To

[00:50:33] Be

[00:50:33] A

[00:50:34] Certain

[00:50:35] Type

[00:50:35] Of

[00:50:35] Way

[00:50:36] And

[00:50:37] I

[00:50:37] Think

[00:50:37] That

[00:50:37] Is

[00:50:38] Something

[00:50:38] That

[00:50:39] Is

[00:50:39] Very

[00:50:43] Common

[00:50:43] Or

[00:50:44] Very

[00:50:44] Universal

[00:50:45] For

[00:50:45] Desis

[00:50:46] Because

[00:50:46] We

[00:50:46] All

[00:50:47] Grew

[00:50:47] Up

[00:50:47] In

[00:50:47] An

[00:50:48] Environment

[00:50:48] Where

[00:50:48] Our

[00:50:49] Parents

[00:50:50] Had

[00:50:50] Certain

[00:50:51] Expectations

[00:50:51] Of

[00:50:51] Us

[00:50:52] And

[00:50:52] If

[00:50:53] We

[00:50:53] And

[00:50:54] We

[00:50:54] All

[00:50:54] Went

[00:50:55] Through

[00:50:55] That

[00:50:55] Period

[00:50:55] Where

[00:50:56] We

[00:50:56] Had

[00:50:56] To

[00:50:57] Decide

[00:50:57] Whether

[00:50:57] We

[00:50:58] Are

[00:50:59] Living

[00:50:59] A

[00:50:59] Life

[00:50:59] That

[00:51:00] We

[00:51:01] Have

[00:51:02] Decided

[00:51:02] Is

[00:51:03] Good

[00:51:03] For

[00:51:03] Us

[00:51:03] Or

[00:51:04] Whether

[00:51:04] It's

[00:51:04] A

[00:51:05] Life

[00:51:05] That

[00:51:05] Has

[00:51:05] Been

[00:51:05] Decided

[00:51:06] For

[00:51:06] Us

[00:51:07] And

[00:51:07] Whether

[00:51:08] We

[00:51:08] Are

[00:51:08] Willing

[00:51:09] To

[00:51:09] Rock

[00:51:10] The

[00:51:10] Boat

[00:51:10] And

[00:51:11] Deal

[00:51:11] With

[00:51:12] The

[00:51:12] Fallout

[00:51:12] That

[00:51:13] Then

[00:51:16] Is

[00:51:17] You

[00:51:17] Know

[00:51:18] And

[00:51:19] She's

[00:51:19] Funny

[00:51:20] She's

[00:51:20] Got

[00:51:20] Like

[00:51:21] A

[00:51:21] Really

[00:51:21] Great

[00:51:21] Sense

[00:51:22] Of

[00:51:23] Timing

[00:51:24] And

[00:51:25] Does

[00:51:26] She

[00:51:26] Get

[00:51:26] Cheated

[00:51:27] On

[00:51:28] No

[00:51:28] She's

[00:51:29] Actually

[00:51:29] The

[00:51:29] Cheater

[00:51:30] She's

[00:51:30] The

[00:51:30] Cheater

[00:51:31] Okay

[00:51:31] Okay

[00:51:31] Again

[00:51:32] There's

[00:51:32] A

[00:51:32] Connect

[00:51:32] There

[00:51:33] Right

[00:51:33] Yeah

[00:51:36] My

[00:51:37] Wife

[00:51:37] Watched

[00:51:38] It

[00:51:38] And

[00:51:38] She

[00:51:38] Also

[00:51:38] Really

[00:51:38] Liked

[00:51:39] It

[00:51:39] She

[00:51:39] Like

[00:51:40] That

[00:51:40] Kind

[00:51:40] Of

[00:51:46] Daily

[00:51:46] Series

[00:51:47] And

[00:51:48] Again

[00:51:48] Like

[00:51:48] That

[00:51:49] Is

[00:51:49] Something

[00:51:49] That

[00:51:50] I

[00:51:51] Really

[00:51:51] Appreciate

[00:51:52] At

[00:51:53] A

[00:51:53] Time

[00:51:53] When

[00:51:54] I

[00:51:55] Feel

[00:51:55] Like

[00:51:55] There's

[00:51:56] Very

[00:51:56] Little

[00:51:56] Content

[00:51:57] Being

[00:51:57] Made

[00:51:57] For

[00:51:58] Women

[00:51:58] In

[00:51:59] This

[00:51:59] Country

[00:52:01] And

[00:52:02] The

[00:52:02] Content

[00:52:04] That

[00:52:04] Is

[00:52:04] Made

[00:52:04] For

[00:52:04] Women

[00:52:05] Is

[00:52:05] Usually

[00:52:06] Like

[00:52:06] Super

[00:52:07] Hyper

[00:52:07] Sexualized

[00:52:08] Or

[00:52:09] It

[00:52:09] Tries

[00:52:09] To

[00:52:10] Be

[00:52:10] Very

[00:52:10] Noble

[00:52:11] Or

[00:52:12] It's

[00:52:12] Very

[00:52:13] Preachy

[00:52:13] Like

[00:52:14] It's

[00:52:14] Always

[00:52:15] The

[00:52:15] Extremes

[00:52:15] You

[00:52:16] Know

[00:52:16] It's

[00:52:16] Never

[00:52:16] Just

[00:52:16] Like

[00:52:17] Hey

[00:52:17] Here's

[00:52:18] Something

[00:52:18] Funny

[00:52:19] And

[00:52:20] It

[00:52:20] Just

[00:52:20] Exists

[00:52:22] And

[00:52:22] There's

[00:52:22] No

[00:52:23] Like

[00:52:23] Deeper

[00:52:23] Message

[00:52:25] And

[00:52:26] I

[00:52:27] Don't

[00:52:27] Know

[00:52:27] I

[00:52:27] Just

[00:52:27] Really

[00:52:27] Liked

[00:52:28] It

[00:52:28] Yeah

[00:52:30] Cool

[00:52:30] Let's

[00:52:31] Move

[00:52:31] On

[00:52:31] To

[00:52:32] Our

[00:52:32] Main

[00:52:32] Review

[00:52:34] Which

[00:52:35] Is

[00:52:35] Jigra

[00:52:35] Ma

[00:52:36] Ma

[00:52:36] Ko

[00:52:37] Bhagwan

[00:52:37] Le

[00:52:37] Gae

[00:52:39] Papa

[00:52:39] N

[00:52:40] Kud

[00:52:40] Khi

[00:52:40] Jain

[00:52:40] Leli

[00:52:40] To

[00:52:44] Rishthed

[00:52:45] Dhar

[00:52:45] Dhi

[00:52:47] And

[00:52:49] Bhaari

[00:52:50] Kirai

[00:52:51] Basul

[00:52:51] Khiya

[00:52:51] Chudha

[00:52:55] La

[00:52:55] Bhatia

[00:52:55] Saab

[00:52:57] Kani

[00:52:57] Bbot

[00:52:58] Lombi

[00:52:58] A

[00:52:58] Baha

[00:52:59] Kepas

[00:53:00] Wakt

[00:53:00] Bohut

[00:53:00] Bohut

[00:53:01] Kam

[00:53:02] Bohut

[00:53:03] Kam

[00:53:05] To

[00:53:06] Udha

[00:53:06] Dete

[00:53:06] He

[00:53:28] So that

[00:53:34] Was the

[00:53:34] Trailer

[00:53:34] For

[00:53:35] Jigra

[00:53:35] This

[00:53:36] Is

[00:53:36] A

[00:53:36] Movie

[00:53:37] In

[00:53:37] Theatres

[00:53:37] Now

[00:53:37] It

[00:53:38] Is

[00:53:38] Directed

[00:53:38] By

[00:53:39] Vassan

[00:53:39] Bala

[00:53:39] It

[00:53:40] Stars

[00:53:40] Alia

[00:53:41] Bhatt

[00:53:41] Alia

[00:53:42] Bhatt

[00:53:42] vedang raina manoj pawa and it is the imdb plot says it is a heart-wrenching tale of a sister

[00:53:51] taking on the world to avenge her brother their odyssey of reunification tests their bonds their

[00:53:56] morals and their inner strength who wouldn't set the world on fire to protect what's theirs

[00:54:02] um we we we were quite hyped for this one like we saw the trailers we were looking at the poster

[00:54:09] design uh we knew was vedang raina and alia bhat and you know wasan bhala it's like a combination we

[00:54:16] hadn't like thought of um so sujoy man did jigra live up to your expectations i had the most um

[00:54:24] cautiously optimistic expectations out of the three of us i believe um i don't know what sort of

[00:54:32] uh what i was expecting i was expecting it to be an action thriller on which it sort of scores a six

[00:54:41] out of ten i would say i think the emotional beats of this movie is what i take back from from the

[00:54:48] movie i a obviously because it's alia bhat and her performance is absolutely like stirring it really

[00:54:56] you know was heart-wrenching to see her go through all the beats in this movie um but i'm also somewhat

[00:55:05] disappointed with the way this movie you know plans out and the writing of this movie i think we've sort

[00:55:11] of briefly talked about it but we will get into that and so overall i'm um neither here nor there

[00:55:18] it's a solid three and a half or somewhere less than that for me out of five um i i wanted this

[00:55:26] movie to be a lot better because of the talent involved and um i'm just slightly disappointed

[00:55:34] with the way it is i'm not as uh positive about this movie after i've watched it i i think this is

[00:55:41] what frustrates me about this movie too i really liked it but i really wanted to love it

[00:55:46] and that's my frustration with it but i want to hear from amrita because amrita is one of our

[00:55:53] people that does not want to go viral but anything she does she goes viral says if you guys i'm out

[00:56:04] here i'm muting this follow khandan so amrita what uh very enocious thing did you say that got you the

[00:56:14] ire of all the men in india towards you it was it men or was it everybody it it's men it's absolutely

[00:56:20] men um and apologize amrita you should i feel like all men should apologize you want another apology

[00:56:30] from me yes you should also apologize let me read out my tweet everyone please go watch jigra

[00:56:38] and save us from the quote why is bollywood so mediocre discourse that was it that was it

[00:56:45] i have 96 retweets 587 likes and i can't and like i can't even see like how many like 30 replies or

[00:56:58] something and about 20 of those are just people saying that you waste your money i won't waste my

[00:57:06] money or my personal favorite is oh you liked it okay but like this other critic they don't like it

[00:57:14] and i'm like what am i supposed to do about that it's not like oh how dare they not like something

[00:57:23] that i like like you're you're free to like whatever it is that you like i like this movie um yeah i the

[00:57:30] first half i loved i thought it was it was amazing like the the emotional beats of that first half

[00:57:38] where you really get to understand who these um these characters are and what drives them and who is

[00:57:47] satya and the kinds of things that she does you know um and there are like a few things that satya does

[00:57:54] as a character that i haven't even seen like male characters do in hindi cinema like for example there

[00:58:03] are like times when she's so overwhelmed with what's happening that she can't even verbalize things and in not

[00:58:11] like a um uh like you know the over the top bollywood kind of way like you know like oh like i'm having a

[00:58:18] fit kind of a thing but in a very like i'm overwhelmed i can't make sounds that you know translate into

[00:58:26] words right now like and you see that in that very first five minutes of the film where she's so angry

[00:58:34] at one of her cousins and she tells him to cover his face because she's gonna slap the shit out of him

[00:58:42] and she just says you know like and she can't like tell him so she just like keeps like putting her hands

[00:58:49] over her over her face um and it takes him like a minute to understand what she's trying to tell him

[00:58:57] and then she just like beats him into the ground and then you see that sort of like replicated much

[00:59:07] later in the film uh when she is talking to manoj pava and they're so good together like manoj pava

[00:59:15] and alia have like amazing chemistry in this film um and they really like you know they're just like

[00:59:21] playing off each other uh there's times when they're just like their dialogue is just sort of

[00:59:26] overlapping it's such a good dynamic um and there's a point where she needs uh she wants him to

[00:59:34] give her his blessings and this is after you know like when they first meet manoj pava is obviously

[00:59:42] like oh like beta yeah beta who and she's just like don't call me don't call me beta my half

[00:59:47] yeah you don't need to be like my my my father like you know like i don't need that from you

[00:59:54] and then at this at this end part where she's asking for his ashirvath and she doesn't know how

[01:00:01] to verbalize it and she again like you know like she's just like making the motion with her head

[01:00:07] and she's like patting her head and he's just like what what are you doing and she's just like

[01:00:11] patting her head patting her head and he finally understands these like yes yes you know like i give

[01:00:16] you my ashirvath etc like it's such a good performance it is such uh the the relationships

[01:00:24] in this film both inside and outside that prison are so well etched um and there's such an economy

[01:00:32] to the storytelling when it comes to these characters and their lives i loved it and i

[01:00:38] um i also really enjoyed the fact that this is a woman and she is on a mission and there is no love

[01:00:48] interest there is no like you know like she's not forced to be anybody's girlfriend she is just a very

[01:00:56] like one note kind of person and she's allowed to be that person you know she she's on a mission

[01:01:03] and she the movie starts with her with the circumstances that lead to her going on that

[01:01:11] mission and the movie ends with her having completed that mission and that's basically

[01:01:16] that and we don't get to see women do movies like that in any language it's not even like an indian

[01:01:24] thing it's like in anything that you know whether it's hollywood whether it's british cinema

[01:01:29] we don't get to see women who have a mission to complete and no part of that is romantic or you

[01:01:39] know like a softer more feminine side and it's not about her trying to save her baby which is like the

[01:01:47] other kind of like you know when women are given mission stories is usually you know i need to save my

[01:01:52] husband i need to save my baby this is not any of those things this is her brother it's her baby

[01:01:57] brother whom she's raised and she's his avenging angel and she's gonna go and she's gonna get him

[01:02:03] out of trouble and that's basically it and it's so refreshing and i really hope that word of mouth

[01:02:11] picks up for this movie because we're recording this on a sunday and the numbers aren't looking very

[01:02:17] good for this movie right now and i am devastated for it because this is the kind of storytelling

[01:02:23] that we need um and that having been said like the second half of the movie is pretty much a mess

[01:02:32] because that's where the action kicks in and i don't think this movie does a really good job

[01:02:38] uh of that part of it um but the first part is an all-time classic yeah um i think we just need to

[01:02:47] acknowledge that it is amazing that this movie has been made like it is so um like even if you say

[01:02:56] that we have criticism and we will have criticism about this movie i i will be and i just want to

[01:03:02] say it's amazing and i was so happy for for the first time that the netflix logo appeared because i

[01:03:09] want to re-watch this movie multiple multiple times at home just having it on the background this movie is

[01:03:16] so visually lush every scene is so like a beauty in photography that i have not seen in again in any

[01:03:26] kind of context like like the way this place is presented the way the little shots are made even

[01:03:33] the way um alia bhatt's face is lit i don't know anything about skin routines but i was like she's

[01:03:40] glowing man like what is this like what is this on her face is it just her face but it she looks

[01:03:45] amazing in it um like the and the world feels so different from anything we've seen before

[01:03:52] but then it also adds a lot of these visual flourishes a lot of these references that we do

[01:03:58] really know that we can hearken back to oh hans landa is there and you know they're referencing kim

[01:04:04] ki doke and john who and we know what you're doing with the agni path you know so it kind of brings us

[01:04:10] back and brings that um bollywood masala in there too a little bit um we we were talking when we were

[01:04:18] reviewing bazi uh about how that movie so smartly plays on amir's physicality and i think this movie

[01:04:27] does the same thing she's a tiny person you know but she is taking on men fights she literally is

[01:04:36] extracting the guy he's like normally you see you know chris hemsworth do this go into a ukrainian

[01:04:42] prison and bring somebody else out doing this with alia bhatt who's like you know three feet or

[01:04:47] something like it's it just adds a layer of you know storytelling a layer of dangerousness to it that

[01:04:55] makes it so engrossing to watch it right and i think all of that is just amazing in jigra i think

[01:05:02] it's a really really good movie and i think well if people haven't seen it yet uh you will regret

[01:05:09] when it's on netflix and you will say i wish i saw this in theaters um and that's the kind of movie

[01:05:16] jigra is you know and i'm i'm surprised to hear it's not doing well uh because i don't go that much

[01:05:24] on twitter anymore at the moment because i do but the only thing i care about is freeing palestine or

[01:05:30] free palestine so i don't care about like i can't even involve myself with any other conversations

[01:05:37] going on it's literally the only thing i'm i have such a one-track mind on it so i i don't so i'm sad

[01:05:43] to hear that this movie isn't doing well um and i also wonder is it but the information that we are

[01:05:50] getting is it not doing well how much is it because of this hate campaign that divya ghosla has certainly

[01:05:57] started with uh with alia bhatt and dharma productions right because i think however you

[01:06:04] see a t-series which is kind of like the one of the biggest player in the market also have a lot of

[01:06:10] money to spend on negative campaigns and negative press and have their little coterie of journalists

[01:06:17] pushing certain which is interesting because t-series also produced animal and ranbir kapuri is the

[01:06:25] husband of alia bhatt i don't know what bridges divya ghosla does not care about burning because i

[01:06:32] think this she has more to lose from it no i don't know right it's such an odd one and it's also it's

[01:06:39] funny because i mean one of the reasons for the beef seems to be that her uh divya ghosla made a movie

[01:06:45] it's on netflix i think called savi if i'm not mistaken it's a remake of um uh russell crowe movie

[01:06:52] where he's bringing out his wife out of jail and proof of life no it's not proof of life it's three

[01:06:59] days something i'll google it in the meantime um but um and then because that's a prison make movie

[01:07:06] and jigra is a prison make movie it's like oh they stole our idea but then that goes on the presumption

[01:07:12] that somebody has watched savi and i can guarantee you nobody has watched savi you know so it's just a

[01:07:21] very odd beef to be taking uh but yeah

[01:07:25] a lot of people seem to think that this is a remake of gumra because of the drugs angle

[01:07:35] and as somebody who has seen gumra unlike you know like 90 of their children who are like tweeting

[01:07:41] about it this is not gumra like gumra is like a very different movie it was about a very different

[01:07:48] sort of dynamic um it's and that's why i asked that question about bhol balaiya earlier right like

[01:07:56] how far do you want to take this idea right like is oh the bung is a copy of zanjeer is that is this

[01:08:02] how far we're taking it you know like it doesn't make any any sense to me okay both have a prison

[01:08:07] break angle to it that's literally it you know um i don't know i don't i don't understand what the

[01:08:13] what the criticism or saying that you know these movies are similar or something like that

[01:08:18] if you say gumra is similar to ekta ekthi hasina i could still maybe find somewhere there i guess but

[01:08:25] even then you know i don't i don't know i don't know it's it just seems like a nonsense beef to me

[01:08:30] amrita what do you what do you think of the beef between divya khoslav kumar and karan johar i mean

[01:08:37] it's like uh choosing between shit and diarrhea to be honest because these are both like incredibly

[01:08:43] unlikable people but um here like i really do have to side with karan because like what is this woman's

[01:08:50] problem i don't get it uh if she is i think she is just really mad that she doesn't get

[01:08:56] the um the recognition that she feels that she deserves as what as an actress because she's

[01:09:03] terrible director i think because she she's a director yeah yeah she directed that movie i think

[01:09:10] um but also like how is she going around talking about nepotism and the only reason that her movies

[01:09:17] get made is because she's married to bush and kumar you know like there is like nobody in their

[01:09:24] right frame of mind would bankroll her projects uh except for her husband um she's a terrible actress

[01:09:33] uh she's a terrible director and like you know she i think the last project that she did was when she

[01:09:40] butchered bangalore days and i think now she's banned in kerala like people are like don't

[01:09:46] we're gonna like kill you um and she's uh but i remember like she she's always been a little bit

[01:09:54] unhinged like remember when uh sonu nigam had a beef with bush and kumar and then this woman like

[01:10:04] during the pandemic i think this was during the pandemic and she she like videoed herself

[01:10:11] threatening him or like screaming at like the butler in her house or something i i can't even

[01:10:19] remember but this is not like i've seen a lot of people try and pretend as if divya kusla kumar

[01:10:25] is for the people i can promise you this woman is not for the people this woman is for herself and

[01:10:31] she is insane yeah sujoy did you find the movie or were you googling yeah the next three days

[01:10:39] uh next three days yeah i knew something about the day that okay cool um what do you what do you guys

[01:10:44] feel of a vedang ryan in this that's another we haven't talked about him yet uh i i really liked him

[01:10:50] because a it's it's his second movie and he is again we talk about masculinity a lot right like i think

[01:11:01] there is something about taking on a role which is kind of um less alpha than he lets

[01:11:09] alia be the alpha right in this movie like she is the protector he's the one that needs to be

[01:11:14] protected and i think that's a for a young actor to take on that role it's kind of cool but on the

[01:11:21] other hand he's also playing a character that does stand up for what's right and what should be even to

[01:11:27] his own detriment in this movie so he can he has that balance where he is being a hero but he is also

[01:11:34] being kind of the one that's being cheated that's one being put in a position not only with alia but

[01:11:39] also with his cousin where we know that's going to go badly for him but he still has the faith where

[01:11:44] i think alia's character because she's the protector she knows what the family is and she says we are not

[01:11:51] family we are servants and she makes it clear at least three or four times people are saying at the

[01:11:56] wedding sequence you know oh but beta will family get ready you know wear your proper clothes and but

[01:12:02] she knows her position in the family and she makes it very clear whereas this where vedang ryanas he

[01:12:09] still believes in you know oh they will fund my idea and they will you know put me in that position

[01:12:14] to succeed when that was never going to be the case you know even if they work that pitch you know

[01:12:20] the son the the cousin would have become the ceo and he would become like a low-level employee you

[01:12:25] know that kind of thing but he doesn't he hasn't figured that out yet where alia is very clear in

[01:12:30] what's going on here you know so he's been brought up with this protective motherly figure not just a

[01:12:37] sister no so his universe is kind of he lives in that bubble of protection around him that's why he's

[01:12:44] allowed to grow up as naturally as possible as a protected human being should you know grow up

[01:12:52] with a familiar parental love that alia's character gives him and whereas alia the moment that she

[01:13:03] witnesses the death of her father she instantly grows up into this like she ages instantly to to

[01:13:12] raise her own brother and that's her own family so there's a different um maturity in the way

[01:13:20] both these characters grow into amrita vedang ryanah next superstar coming absolutely like i love him

[01:13:29] but also he's very much styled uh in the vein of ranveer in this film like there's like very much the

[01:13:39] way that he carries himself the way he's presented um all of that seems very like ranveer ish to the

[01:13:47] point there's a physical similarity also i just do think and i found this in archie too i do feel

[01:13:52] that they just have a very kind of like physical similarity to both of them yeah but yeah if they

[01:13:57] want to make a movie where the two of them are playing brothers like that would be awesome like you

[01:14:02] know like i think he actually could stand up to ranveer on screen and that's not something that a lot of

[01:14:11] actors get young actors can talk can say you know yeah i mean this movie is also like a very classic

[01:14:18] heist movie setup right so there's three elements there's uh there's uh getting the crew together um

[01:14:26] then there's the planning of the heist and then there's the heist heist itself uh so i wanted to

[01:14:31] kind of break that those parts down with you guys because i think amrita you're saying you preferred

[01:14:36] the the planning and the heist part and then the heist wasn't really working as well for you right

[01:14:42] yes so i think like when the heist part happened um this is a movie that is fundamentally uninterested

[01:14:53] in the heist part like that is not where the heart of this movie lies right this movie is much more

[01:15:00] interested in what makes these people tick uh whether it's the jailer whether it's the co-conspirators

[01:15:07] whether it's a brother and sister their friends it really wants to give each of these characters

[01:15:13] their time in the sun so when it comes to the actual like uh jailbreak thing and the way they sort of

[01:15:23] um tie in the whole political aspect of it um it was just very like i didn't i didn't really

[01:15:33] care about that part of it neither did wasambala yeah it was like very you know like yes we need to

[01:15:41] get over this hump so that we can get to the other side like it just kind of felt very perfectory

[01:15:47] um so yeah that was my problem uh sujoy i i mean i have a problem with because you said to me you

[01:15:58] like the heist like when we were watching it i it was interval and i said oh amrita's like the first

[01:16:04] part and less the second part and you were the opposite that you said i like the second part a lot

[01:16:08] so i thought you know yeah probably because the stakes were high at that point right everything was

[01:16:13] failing and that's why i felt like you know i was moved by the high stakes environment and the

[01:16:20] like uh adrenaline of that whole sequence and how it's beautifully shot you know the the whole smokes

[01:16:27] the the grenades and the whole thing but uh like going back and looking it from a zoomed out perspective

[01:16:36] you know a the crew coming together too convenient they didn't bother about you know there is a point

[01:16:43] where bhatia sab and satya they talk about we have to figure out what's uh mutu's story and bhatia

[01:16:51] sab just narrates him uh narrates mutu's story to satya it's just conveniently it's also the fact that

[01:16:56] the only three the only three indians there are those are going to be involved in the ice you know

[01:17:02] yeah that's also just all the people yeah all the chinese people need to do is just follow the indians

[01:17:08] around and they would like know exactly what's up yeah and i as much as i love manoj pawa in this

[01:17:15] and their chemistry manoj pawa's as the gangster i need to know a little bit more about him and what

[01:17:21] his resources and can get through so that i can get behind the idea that this man can pull some sort of

[01:17:27] stunts you know in this and why hasn't he acted before why is he being you know coming to to burn

[01:17:35] chinese lanterns now why is he being such as um at the sympathy of the audience when he's actually a

[01:17:42] gangster and he could go to any lengths um and then the actual you know the the two parts of the heist

[01:17:51] that they were being planned the plan a and plan b or whatever from both ends uh again like this movie

[01:17:58] picks up some subplot and tries to go with it and then just drops the ball every 10 minutes after

[01:18:04] that for example the ryan character which was supposedly the main protagonist with the prison

[01:18:10] break from the inside his story is just dropped and never to be you know uh mentioned again of what he's

[01:18:17] what role he plays um and and like there's points where uh you know we get to see so many days

[01:18:28] remaining for the prison for them to be executed for each of the characters and then there is

[01:18:34] weirdly no like rush it just this one sort of dragon fest that comes across as as the day to

[01:18:42] countdown to so uh yeah it all those things did not add up and then the actual heist happens which also

[01:18:50] feels very rushed in a way like none of the plans it when a heist scene happens in a movie like this

[01:18:57] you you get to see like a foreshadowing of the events which they're trying to imagine like this is how

[01:19:04] the heist is going to go and it doesn't work out to to plan that's the actual formula right

[01:19:10] this fails and then this happens but it's very muddled up i think when i look back at it and it's

[01:19:18] it's not as clear how how it plays out and also like the role of the jailer why is he so much invested

[01:19:27] personally in executing these people what these these four people mean to him so much

[01:19:34] i think like that was probably yeah like this movie is two and a half hours long yeah it should

[01:19:42] not have been two and a half hours long um but given that they had two and a half hours long um

[01:19:50] they should have spent a little bit more time with the jailer because that was like a very interesting

[01:19:55] performance um and it was a very interesting character um and also it's a very real character

[01:20:03] you know that part where um vedang ryanar's character keeps saying oh you're indian you're

[01:20:08] indian like you know he's trying to like make that connection and he says i am not indian you know

[01:20:15] he's like my grandfather came here and like i'm very much like you know i belong to this place

[01:20:19] um that is a conversation that i'm very familiar with not that i was going up to like random malaysians

[01:20:27] or singaporeans and being like hey are you indian but uh like that is a sentiment that i understand

[01:20:33] um and also like that that character like i know what the i know what drives that character

[01:20:42] and that character's loyalty to that land which is just his need to prove his identity and that he

[01:20:52] belongs there right like that is what keeps driving but then they basically pull all of that

[01:21:00] into his last monologue like when he's on that boat and he's just like you defiled my my prison you took

[01:21:07] away my honor like it just comes out of like nowhere they don't build it up and they don't give him that

[01:21:14] space which is especially stark because all the other characters have had that space to like grow into it

[01:21:21] and because this guy is like the big bad he's like the you know he's like the terminator when he's

[01:21:26] like fighting those three boys until like alia comes out of nowhere um but yeah and i think also

[01:21:34] that that doesn't make sense in a way when they escape out of the execution room through the roof

[01:21:40] how the hell are these three boys and why are they built bringing the jailer to the roof or is the

[01:21:47] jailer the one carrying the three he follows they he follows them they run upstairs they like go up

[01:21:55] and they escape while alia is trying to get to them through the prison um and then he follows them

[01:22:02] onto the rooftop and he's basically trying to kill them and then alia discovers them on the roof

[01:22:09] by the way i think the uh actress named vivek gomber if i'm not mistaken he's a guy from sir

[01:22:15] is dialect work also like i just want to point out the accent is so good um so good i i somebody

[01:22:23] was telling me that people were apparently making fun of it and being like oh it's so inauthentic i

[01:22:28] have no idea what the heck they're talking about so authentic yeah yeah 100 i i think a lot of points

[01:22:35] that your guys are bringing up here is the issues that i had with this movie too is that the the writing

[01:22:42] of the uh kind of the first draft or the script or the points they want to hit are very well etched

[01:22:49] out but it's that connective tissue every time that like they haven't maybe needed one more rewrite

[01:22:58] or you know it hasn't been fully cooked yet needed more marination i think every time there's there's

[01:23:04] these moments where i was like hmm i'm missing that part and clearly you can say vasan bala loves his

[01:23:11] masala movies but i don't know if he's capable of making a masala movie you know there's there's a

[01:23:17] certain skill set you need you need to be a farah khan you need to be you know that kind of and both

[01:23:22] clearly the references he's putting in and he's even saying we're not making a masala movie

[01:23:27] but clearly you also are right so and i think there's moments like i think whilst you are making

[01:23:35] a grounded in reality movie about some sort of a tragedy that could happen in person for a real

[01:23:40] person in real time it's also taking that flight of imagination right when in the climax out of

[01:23:48] nowhere in an open ocean this big malaysian ship just enters out of nowhere and shoots at these

[01:23:53] enemies that's a big leap of leap of imagination and faith that is thrust upon the audience to

[01:24:00] believe that oh this ship came out of nowhere and the villain is dead now um the ship is though like

[01:24:07] that's mutu's friend yeah yeah i know but but it's out of nowhere like in the open sea

[01:24:12] i know but also they plant in east yeah no go ahead go ahead go ahead no like the prison is on the

[01:24:22] island right sorry awesome go ahead no no you go you have a lag that's why i was talking over there's a

[01:24:29] little lag on your end so go ahead the prison the prison is on an island like uh all of a sudden

[01:24:35] these cops come out of nowhere and like when the prison break happens and all of that

[01:24:41] like physically i think there is a few loopholes that i i think take away the illusion

[01:24:48] i have less of a problem of the loopholes in the logic because i feel when you're making a kind of

[01:24:55] action movies we give grace to these kind of things to a lot of degree so the mechanics of it

[01:25:00] matters less for me it's the the writing of the kind of the etching out that i have more issues with

[01:25:07] so for example the villain you've mentioned right like there was a moment initially when vedang ryan

[01:25:12] is coming in and he's speaking to him in hindi i thought that was a moment where he that's where

[01:25:17] he was showing his allegiance to the state and then there was be a moment where he was saying no i have

[01:25:22] to be this person i have to be stricter but that moment was never there and i needed that in

[01:25:28] storytelling then also like this uh trap door this uh door of the souls that they have they mentioned

[01:25:36] it a few times but again i needed a little bit more why is that important why does it shut open why

[01:25:41] can you escape that way um they planned the seed of a mutthu's friend being motivated by money and they

[01:25:49] say oh we're not sure if he's gonna show up at the end but i don't feel that they they pay off

[01:25:55] that easter egg that they planned early on in the thing right the other thing that i also missed is

[01:26:00] that like alia is like this uh jason statum kind of fixer for this family right black suit and all

[01:26:07] handler but that family never gets its come yeah the family never gets its comeuppance and for me those

[01:26:13] were maybe the bigger villains than these people you know and those she just kind of like yeah

[01:26:20] that's it we've moved on but it feels like they've been torturing alia and embarrassing and denigrating

[01:26:28] her for like all of her life you know and this was kind of the last straw and i feel that also needed

[01:26:34] um there was also just the they add an element of these revolution um you know and i don't know if

[01:26:41] it's again supposed to be chinese revolution i think there are hints but they don't mention it

[01:26:44] but again that goes really nowhere um there were two moments where i really thought where the

[01:26:51] that idea of he he loves masala movie and uh he can't make them it was one of one simple one how

[01:26:59] underwhelming the interval was i don't know if you guys felt it but the interval suddenly happened

[01:27:05] and it suddenly started the movie started again and the interval needs to end on a high

[01:27:10] um in bollywood filmmaking yeah all on a low like it needs to be something that is very emotional you

[01:27:18] know like that's how your traditional interval happens so i kept waiting for that to happen

[01:27:24] like i was just like oh like what what is going to go wrong like something is going to go catastrophically

[01:27:30] wrong yeah or else something like amazing is going to happen um and then it didn't and i was very

[01:27:38] taken aback and the second half also doesn't start with like a pull like oh my god we're back into it

[01:27:44] something and i think that's where hindi filmmaking these are certain things that hindi filmmaking needs

[01:27:50] it needs an interval it needs like a big ending and i think there's always just this pushback where

[01:27:55] wasan bala is saying i'm not making a masala movie but you are making a masala movie right so i think

[01:28:01] that's where the push and pull lies in jigra for me and i think but i think these are just

[01:28:06] miniscule criticism in overall for a really really good movies um i i did want to point these out

[01:28:14] because they do stood out to me but i really love like the movie but i wanted to love it this could

[01:28:19] have been like a classic uh that we watch especially because of alia's performance which is just like

[01:28:25] towering i was just watching it and who is at this level right who is at this level and who is getting

[01:28:32] these chances to be on this level it has to be both things right and there's been a whole twitter

[01:28:38] thread lately about how alia has been snatching roles from everybody i don't know if you saw that

[01:28:44] amrita if you don't yeah i yeah i have like very strong feelings about that kind of shit because like

[01:28:49] i know what they're trying to say they're trying to say that you know she's an industry plant

[01:28:54] and that she um uh she's basically hate climbing all her peers but i don't think that is necessarily

[01:29:03] true like i'm not even like a giant alia stan but i think if you want to operate at that level

[01:29:12] and alia has been very clear from the beginning like you know there's something that i mentioned

[01:29:17] in the kareena essay which is that starting with kareena really we have that first generation of

[01:29:24] actresses who openly want to be successful and who are not pretending that their careers happened

[01:29:33] to them you know they they work for it and they work damn hard for it and alia is basically using

[01:29:40] all the levers that she has at her disposal to create the kind of career that she wants

[01:29:47] and obviously it is really maddening to a lot of people because she has all these connections

[01:29:56] and she has this network um she's a you know third generation um bollywood person you know her

[01:30:06] her father her grandfather her mother they were all in the industry you know um obviously she knows

[01:30:14] the people in the movies who are making the movies at a level that say a radika madan wouldn't know

[01:30:23] right um and she uses that to her advantage she uses all the things that she can to you know succeed

[01:30:31] um and i don't know i feel like it's 2024 and we really should stop hating on women for having

[01:30:40] ambition um and i think it's not helpful that alia just has a very unlikable personality like you know

[01:30:50] like and she doesn't know when to shut up you know like she can't be a girl's girl that's the problem

[01:30:55] she has right yeah and she she can't even pretend and she you know like she's just and she's the way

[01:31:02] that she says things i think she thinks she's coming off as very self-effacing and like charming

[01:31:08] and it's very funny but she just sounds like a total twat like the whole time you're just like

[01:31:15] oh you're just like this dripping with like privilege it's the same problems that sonam kapoor

[01:31:20] had you know like oh ha ha ha it's so it's so funny i poop diamonds you know like it's just like

[01:31:27] uh i just can't stand it you know um it's just that it's a different variety but it's the same

[01:31:33] sort of issues that i think sonam kapoor had which you just come from so much privilege that you can

[01:31:40] um you just can't be relatable to the people who are your audience uh the difference of course between

[01:31:47] sonam and alia is that alia is just a phenomenal actress so you can't even just like hate on her

[01:31:53] for being bad at her work because she is not she is very good at the work that she does so i think

[01:31:59] people need to be better about about separating the fact that they don't necessarily like her or

[01:32:05] they don't find her personality appealing and shitting on her because she is good at her job

[01:32:13] and she is willing to do whatever it takes to get the career that she wants you know

[01:32:21] i was going through those those threads and i was saying you know you honestly you would never level

[01:32:26] this criticism towards a man you know like exactly it's this is such a and a lot of it is fueled

[01:32:33] because she's not dipika or she's not you know and clearly these are fan wars speaking you know like

[01:32:38] there's a bit of competition going on and you know there's no bigger fan than katrina cave than me

[01:32:45] here you know but there was a thing where she snatched dare zindagi from katrina cave and i was like

[01:32:50] thank god katrina i do not want to see her in there zindagi alia did a great job right um so yeah it's

[01:33:01] i just thought i just thought it was fascinating to see like this kind of you know and this is really

[01:33:07] like internet discourse that affects nobody whatsoever but it's such a a microcosm of the

[01:33:14] conversation sometimes going on right and it does affect people because i think it doesn't affect a lot

[01:33:19] of audiences but it does affect alia i these things do reach them you know and i don't understand what

[01:33:27] the point of it is like what are you trying to you know say um it's it is not constructive in whatsoever

[01:33:33] in what and also the sense of privilege that she has and whatnot and she was mahej butts daughter right

[01:33:39] it's not like mahej butts like you know some superstar director filmmaker you know we and again we've seen

[01:33:46] the launches of sunny devos we've seen the launches of abhishek kapoor we've seen the launches of hrithik

[01:33:51] roshan these were star launches ananya pande and alia bhat were not on that level of nepotism they

[01:33:58] never were um so they have to shine through with their hard work and their graphs and their talent

[01:34:03] and nobody's just giving away these projects right they're giving them away because they think they

[01:34:09] would work and i think with alia she's a crowd puller so yeah i mean yeah i wouldn't like so what

[01:34:19] if she you know uh snatched these roles in her favor she can deliver on it like i am very much willing

[01:34:27] to see her on screen rather than divya khosla uh is what i'm saying

[01:34:32] yeah but there's also this controversy about no sorry there's also this controversy of i think

[01:34:42] written by our friend justin rao who wrote on indian express about dharma um not having any press

[01:34:50] releases anymore because they often press screenings you mean yeah uh there's often been criticism

[01:35:00] around um influencers being posed as critics and being paid to either you know say negative about

[01:35:10] a movie or really positive reactions so that audiences can get pulled and all these paid reviews

[01:35:15] things so dharma has completely opted out of it um i think we are shaj has done it before um and how

[01:35:23] it may affect the actual critics who don't have enough time now to you know work around the

[01:35:30] uh writing of review and publishing it before the audiences can make up their money whether they

[01:35:35] should invest their time into watching this movie or not i got a i got a invite to a press

[01:35:42] screening for jigra and it was the same time that it was out in actually i saw it earlier than the

[01:35:50] press screening to be honest we saw it at four o'clock and the press screening was seven or eight

[01:35:55] in town so i was like why should i even bother going into town yeah it takes hours and then i could

[01:36:01] just you know go watch it in my local theater at five minutes away so it was just like an internet

[01:36:06] and they made like a whole thing about it they made a statement where so many other studios wouldn't

[01:36:11] even bother um and there's also just the idea that dharma is under financial strain and they're

[01:36:16] probably selling a majority stake in the studio and it does make me sad because i think

[01:36:21] they are a good studio trying to do a lot of good work right and if that even can't work in our

[01:36:27] current sphere economical capitalism hellhole that we're in like then what can work you know

[01:36:33] man pramastra really did a number on them right yeah any other small moments from jigra that you want

[01:36:41] to point out that kind of stood out for you you're like oh this was so cool i i kind of screamed when

[01:36:46] the poster shot happened when the dry she's in the middle of the street and the dragon i was like

[01:36:51] oh love that shot that was such a cool one i love her running down the scare stairs after she shot

[01:36:57] the jailer in the back of her head and she's just running and smoke is billowing off of her clothes

[01:37:03] it's such a such a cool hero shot yeah the cinematography in this movie is just off the charts the

[01:37:13] the transitions the you know the the framing like everything is just poetic um and i haven't seen

[01:37:22] that in a bollywood movie in a very long time you know like it's just or if i do see it i see it in

[01:37:30] something like sanjay leela bansali who's just like sort of creating uh you know posters

[01:37:37] i was visually disgusted sorry but uh this one is just it was fresh it was new uh it was a proper

[01:37:54] movie like i yeah i whatever its shortcomings i am delighted that i spent my money to watch this

[01:38:03] i literally screamed at the rambo shot where she pushes mutu off the cliff and they freeze in the

[01:38:10] air and then she falls and she hits every tree which is clearly a reference to rambo 100 first

[01:38:16] blood but it was like i screamed when that shot i was like oh my god uh sujo you were next to me

[01:38:23] when i was screaming any shots that stood out any moments that stood out for you for i i like everything

[01:38:28] to do with bhatia saab really hit for me like i really enjoyed that character so much that i want

[01:38:33] to know like oh what bhatia saab did in his jawani and he was like you know uh karma it's karma that this

[01:38:41] is happening to my son i want to know what bhatia saab did in his youth uh but also like the whole

[01:38:47] bachan references throughout the movie you know bachan nahi banna hai bachke nikalna hai and the

[01:38:53] zanjir references with chakku churya and obviously at the end yari hai iman mera playing it's a bit on

[01:39:00] the nose but i totally get it why you would do that it's it's it's really fun and obviously you know

[01:39:06] the the final lines of bhatia saab saying you know tiger i met tiger like where where would manoj

[01:39:13] power get to play a role like this like you know other than in the wasan bala movie i'm really happy

[01:39:18] for him that he's getting this uh yeah it was fantastic and what a line up to bachan ni banna

[01:39:25] like that is such a line i was like you know i was clapping when i heard her deliver that uh yeah i uh

[01:39:32] i i really liked it um yeah i think um i think we all like jigra right like it was i think we had a

[01:39:39] we're all very quite positive on it um i'm thinking if there's anything else oh uh so we so joe you want

[01:39:48] to tell how you lost money so whilst the movie your embarrassment should continue i feel like yeah

[01:39:55] okay okay fine so we went to watch this movie with our friend papu charu um and uh she sort of uh

[01:40:05] like claimed that the cameo when the uh when they just before vedang rainer's ankur character gets

[01:40:13] arrested you know they race on the car and the the girl who's in the other car who flips them

[01:40:18] is radhika madhan and i was like that is no way that's radhika madhan and asim also was like

[01:40:24] no no that doesn't look like radhika madhan and i got really hyped up and i was like no that is

[01:40:30] definitely not radhika madhan so papu charu bet 10 pounds on it and i was like yep i'm up for it and

[01:40:37] i lost um i wish i was also there to take your money um but i haven't and i was gonna pay pal it

[01:40:48] to her and asim was like no there must be an exchange of cash and you must look her in the eyes as you

[01:40:55] bow down in shame no but you know what i want to know is i know sikandar kher and abhimanyu

[01:41:05] thisani were also here who were they i can't remember like so uh sikandar kher was the the guy

[01:41:12] who they're going to pitch to in yeah he was wearing in uh an amita bachan wig as the as the financial

[01:41:22] guru um i don't know where abhimanyu was the when alia crashes the car um he's the uh the inmate

[01:41:32] that's holding the knife against the throat where he's standing on the other side of the fence

[01:41:36] oh that was him and which is a funny callback because in monica oh my darling they were also

[01:41:44] like he were they uh both abhimanyu and radhika madhan also had a cameo in there um but the other

[01:41:51] question i had is the rich people house is that the andas apna apna house yes yes it is

[01:41:59] it's really across the bed to papoo charu

[01:42:05] because i saw them coming down i saw her coming down the stairs and i was just like oh my god

[01:42:10] like i had that visual thing i was like it's that house it's that house from mud island that every

[01:42:15] like 90s movie was shot at because it's really changed like it's really changed and i was like

[01:42:22] wow they really upgraded the interior because all throughout the 90s we've seen it in the exact

[01:42:26] same layout and papoo charu was thinking though that's that house and i was like yeah maybe then

[01:42:31] uh but i wasn't 100 sure but i was like yeah i'll throw it here if it's that house or not

[01:42:36] i i immediately like that was like one of the things that made me immediately fall in love with

[01:42:41] this movie because i was just like no he got to that house like it's been so long since we've seen

[01:42:47] that house you know i love it but those are those little uh film nerd references that he puts in

[01:42:59] like even calling the villain hans raj landa you know like it's so it is on the nose but it's so

[01:43:06] cool that he still does it you know like it's uh he loves these movies clearly and it shows in jigra

[01:43:11] um well it's gonna be i mean we saw the logo so it's gonna be available on netflix i you will regret

[01:43:18] yes at home when it comes out that you have not seen this in theater so i'm just letting you know

[01:43:23] i think when this episode drops you might still have a day or two to watch it um if you are on

[01:43:29] patreon you will get this earlier so you definitely have time to watch it subscribe to patreon for one

[01:43:35] dollar and you can get catch earlier episodes and i recorded a really cool reel i thought it was cool i did

[01:43:40] like a little bit of editing and all that uh i spent the day at the bbc playing head judge for the

[01:43:46] ultimate naughties playlist which is all of the songs from the 2000s uh the first uh decade of the 2000s

[01:43:54] and i made like a back bts kind of uh video of it and i then also made a playlist of all of the songs

[01:44:01] we picked um on youtube so it's there i'll add it to this episode too uh you can go to the sound

[01:44:08] clouds and hear my appearance but if you want to hear the whole story it's on patreon from one dollar

[01:44:13] you can join and get access to that kind of extra content um so where can people find you online you

[01:44:19] can find me on twitter instagram and tiktok at 93k and you can follow khandan podcast on all our socials

[01:44:25] at khandan podcast amrita you can find me on twitter at amrita iq and keep your eye open for the kareena

[01:44:34] essay that goes up on our youtube this week i'm at asin bernie drop us an email at you podcasting

[01:44:40] at gmail.com and thank you for listening and we'll be back

[01:44:44] and we'll be back