Sumanth-19

**Ray (2021) - Netflix Anthology Review (600 Words)**

*Directed by: Srijit Mukherji, Vasan Bala, Abhishek Chaubey Starring: Manoj Bajpayee, Ali Fazal, Kay Kay Menon, Harshvardhan Kapoor Genre: Drama / Thriller / Psychological Anthology*

**"Ray"** is a four-part anthology series released on Netflix in 2021, inspired by the short stories of the legendary filmmaker and writer Satyajit Ray. Each episode reinterprets Ray's original stories through a modern lens, combining psychological depth with stylish storytelling. With directors like Srijit Mukherji, Abhishek Chaubey, and Vasan Bala at the helm, and a cast that includes some of India's finest talent, *Ray* is an ambitious project that partially succeeds in its attempt to reintroduce Ray's genius to a contemporary audience.

The four episodes-**"Forget Me Not," "Bahrupiya," "Hungama Hai Kyon Barpa,"** and **"Spotlight"**-each explore a different human flaw, such as ego, identity, guilt, and obsession. They are united by a common theme: the fragility of human nature and the duality of man. Let's break down the episodes briefly:

**1. Forget Me Not (Dir. Srijit Mukherji)** Starring Ali Fazal as Ipsit Rama Nair, a tech tycoon with a photographic memory, this psychological thriller explores how memory, arrogance, and self-perception can distort reality. As Ipsit begins to lose control of his mind and past, the narrative delves into his unraveling psyche. Fazal delivers a strong performance, and the concept is intriguing, but the episode suffers from uneven pacing and a somewhat predictable twist. Still, it sets a dark, cerebral tone for the anthology.

**2. Bahrupiya (Dir. Srijit Mukherji)** This is arguably the darkest and most unsettling episode. It follows Indrashish (Kay Kay Menon), a meek man with a passion for prosthetic makeup, who descends into madness after discovering a tool for transformation. Menon is exceptional, portraying a man consumed by power and revenge. The episode flirts with themes of god complex and identity, and while the narrative is twisted and slightly exaggerated, its impact lingers. The horror-thriller style works well here.

**3. Hungama Hai Kyon Barpa (Dir. Abhishek Chaubey)** This episode stands out for its poetic storytelling and light, whimsical tone. Manoj Bajpayee plays Musafir Ali, a celebrated ghazal singer with a kleptomaniac past, who meets a man (Gajraj Rao) from his past on a train journey. The story plays out like a fable, full of charm and subtle humor, with graceful performances from both leads. The cinematography and old-world feel make this a refreshing break from the intensity of the other segments.

**4. Spotlight (Dir. Vasan Bala)** Starring Harshvardhan Kapoor as Vik, a self-obsessed film star struggling with insecurity when a spiritual guru outshines him, this episode mixes satire with surrealism. It's a quirky take on fame, identity, and celebrity culture. While Kapoor fits the role of a narcissistic star well, the episode feels thematically scattered and underdeveloped compared to others. It's bold in style but less effective in emotional depth.

From a technical standpoint, *Ray* is beautifully shot, with each episode having a distinct visual style. The cinematography, set designs, and music complement the varied tones of the stories. The series shines brightest in its performances-Bajpayee and Menon are particularly compelling, with nuanced portrayals that elevate their episodes. The writing is sharp in parts but inconsistent across episodes, with some plots feeling stretched or oversimplified.

What *Ray* does successfully is reintroduce Satyajit Ray's themes to a new generation, though not always with the subtlety or brilliance of the original stories. It modernizes Ray's tales, sometimes at the cost of depth, but offers a unique blend of storytelling rarely seen in Indian OTT content.

**Verdict:** *Ray* is an intriguing anthology that celebrates the genius of Satyajit Ray through modern retellings. While not all stories hit the mark equally, the series is worth watching for its performances, themes, and ambition. It's a mixed bag-but a daring one.

**Rating:** 3.5/5.

**Mimi (2021) - Movie Review (600 Words)**

*Directed by: Laxman Utekar Starring: Kriti Sanon, Pankaj Tripathi, Sai Tamhankar, Manoj Pahwa, Supriya Pathak Genre: Drama / Comedy / Social*

*Mimi*, directed by Laxman Utekar, is a Hindi-language comedy-drama that explores the theme of surrogacy with a mix of humor, emotion, and social commentary. Loosely adapted from the 2011 Marathi film *Mala Aai Vhhaychy!*, the film attempts to tackle a sensitive topic in an accessible and emotionally resonant manner. With Kriti Sanon in the titular role, *Mimi* presents a story that is both heartfelt and flawed, carried primarily by strong performances and a compelling central theme.

The plot follows Mimi (Kriti Sanon), a young woman from a small town in Rajasthan who dreams of becoming a Bollywood actress. Her aspirations, however, are hindered by financial constraints-until she meets Bhanu (Pankaj Tripathi), a kind-hearted and quirky driver who introduces her to a foreign couple looking for a surrogate mother. Tempted by the generous compensation, Mimi agrees to be the surrogate, only to be abandoned by the couple midway through the pregnancy. Left alone and pregnant in a conservative society, she must face societal judgment, family backlash, and the emotional journey of motherhood.

Kriti Sanon delivers a standout performance as Mimi. She portrays a wide emotional arc-from an ambitious girl seeking fame to a mature, emotionally grounded mother. Her transformation feels sincere, especially in scenes involving her bond with the child. This film is arguably a turning point in her career, proving her capability to carry a film almost entirely on her shoulders.

Pankaj Tripathi, as always, is a scene-stealer. His character Bhanu brings much-needed levity to the narrative, using his signature deadpan humor to add layers to otherwise intense situations. Tripathi's comic timing and subtle emotional undertones balance the drama with lightheartedness. Sai Tamhankar, playing Mimi's friend Shama, is also effective, offering a strong, grounded presence in the story. Supriya Pathak and Manoj Pahwa, as Mimi's conservative but eventually supportive parents, add emotional depth and authenticity to the family dynamics.

The film does a commendable job of addressing issues like surrogacy, societal pressure on women, and the stigma surrounding single motherhood in Indian culture. It raises questions about parental responsibility, legality, and the commercialization of childbirth without becoming preachy. However, the storytelling occasionally lacks consistency. The first half of the film is breezy, humorous, and engaging. It sets the stage well, building character relationships and conflicts.

The second half, however, struggles with tonal shifts. While it dives into more emotional territory, some plot developments feel contrived and overly dramatic. The foreign couple's abrupt abandonment of the child, for instance, lacks nuance and oversimplifies a complex situation. The resolution also feels rushed and overly sentimental, wrapping up a difficult situation with convenient emotional closure rather than realistic consequences.

Technically, *Mimi* is sound. The cinematography by Akash Agarwal captures the rustic charm of Rajasthan beautifully. The music, composed by A. R. Rahman, supports the emotional beats well, although it doesn't stand out as particularly memorable. The dialogues are sharp and occasionally witty, particularly in exchanges involving Tripathi and Sanon.

Despite its flaws, *Mimi* succeeds in humanizing the emotional journey of a surrogate mother. It's a film that blends mainstream storytelling with a socially relevant theme, offering a mix of laughs, tears, and moral questions. It's not groundbreaking, but it is well-intentioned and accessible.

**Verdict:** *Mimi* is an emotional and engaging film with strong performances, especially by Kriti Sanon and Pankaj Tripathi. While the storytelling falters in parts and simplifies some complex issues, it remains a heartwarming tale about motherhood, choices, and love. It's a film worth watching for its emotional sincerity and powerful lead performance.

**Rating:** 3.5/5.

**Aaraattu (2022) - Movie Review (600 Words)**

*Directed by: B. Unnikrishnan Starring: Mohanlal, Shraddha Srinath, Siddique, Nedumudi Venu, Saikumar Genre: Action / Drama / Mass Entertainer*

"Aaraattu" is a full-blown mass entertainer designed solely around Mohanlal's larger-than-life persona. Directed by B. Unnikrishnan and scripted by Udaykrishna, the film attempts to blend action, satire, and humor while capitalizing on Mohanlal's legendary screen presence. While the film promises over-the-top entertainment and succeeds in delivering fan service, it falls short in areas of coherence and depth.

The plot centers around Neyyattinkara Gopan (Mohanlal), a mysterious man with a flamboyant style who arrives in a peaceful village in Palakkad with the intention of acquiring land. However, it becomes clear that Gopan's real motives are much more complicated. What follows is a chaotic rollercoaster of conflicts involving corrupt politicians, land mafias, and hidden agendas - all revolving around Gopan's unpredictable actions.

Mohanlal's performance is undoubtedly the highlight of "Aaraattu." He fully embraces the exaggerated swagger of Neyyattinkara Gopan, delivering witty one-liners, engaging in stylized fights, and even breaking the fourth wall at times. His character is a mix of bravado and humor, laced with cultural references and nods to his earlier films, which will definitely appeal to his fan base. However, the same traits that make Gopan entertaining also make the narrative feel repetitive and overly dependent on his star power.

The supporting cast includes Shraddha Srinath as an IAS officer, who starts strong but is eventually sidelined. Veteran actors like Siddique, Saikumar, and the late Nedumudi Venu deliver competent performances, but their characters lack meaningful development. The female characters, unfortunately, are underwritten, serving more as narrative props than active contributors to the story.

From a technical standpoint, "Aaraattu" is slick in parts. The cinematography by Vijay Ulaganath captures the lush village backdrop and the action sequences effectively. Rahul Raj's music and background score are loud and energetic, perfectly matching the film's tone, although the songs don't leave a lasting impact. The action choreography is exaggerated but entertaining in a "masala" film sense, especially for those who enjoy slow-motion stunts and larger-than-life fights.

Where "Aaraattu" struggles the most is in its screenplay. The film tries to mix too many elements-comedy, social commentary, satire, and action-resulting in a bloated narrative that loses focus. While the first half builds intrigue and sets the stage, the second half meanders with unnecessary subplots and prolonged sequences. The humor, though present, is hit or miss. Some dialogues land well, especially those referencing Mohanlal's legacy, but others feel forced or outdated.

The tone of the film is also inconsistent. At times, it feels like a spoof of typical mass action films; at other times, it seems to take itself too seriously. This confusion dilutes the impact of key moments and undermines the emotional stakes. The climax, though extravagant, lacks the emotional payoff one might expect after such a build-up.

That said, "Aaraattu" is unapologetically self-aware. It knows it's not aiming for realism or subtlety. Instead, it embraces its absurdity and delivers a film that caters almost exclusively to Mohanlal's fan base. For those looking for nuanced storytelling or grounded drama, this may not be the right pick. But for viewers seeking a nostalgic, masala-packed ride with a heavy dose of heroism, "Aaraattu" might serve as a guilty pleasure.

**Verdict:** "Aaraattu" is a celebration of Mohanlal's superstardom wrapped in a loud, exaggerated, and chaotic entertainer. While the film suffers from narrative inconsistency and an over-reliance on clichés, it offers moments of fun for fans who enjoy the actor in full mass mode. Watch it with low expectations and for the star charisma, not the story.

**Rating:** 2.5/5.