Qala

Qala (2022) : Movie Review -

Netflix's latest feature film, "Qala," comes as a real break for classical music lovers in today's hip-hop, trance, and remake music era. We have come a long way from Disney's early animated musicals, Fred Astaire, Judy Garland, Gene Kelly, and Frank Sinatra's musical blockbusters, and the likes of "West Side Story" and "Sound of Music." The recent musicals aren't that worthy or exciting. An exception like "Hamilton" (2020) comes once in a decade, and that too because of live recording, but otherwise we are missing classic musicals badly. Amidst the dry spell, Marathi cinema came out with two grand classics, "Balgandharva" (2011) and "Katyaar Kaljat Ghusali" (2015). The former was a biopic of a legendary singer; the latter was a remake of a legendary stage play. Said to be an original flick, Netflix's Qala seems to be inspired by Katyaar. However, no matter how much it takes from the Marathi classic, the entire structure and theme is entitled to drop you in a two-hour boredom.

Haunted by her past, a talented singer with a rising career copes with the pressure of success, her mother's disdain, and the voices of doubt within her. That's the basic plot of Qala. Triptii Dimrii plays the titular role of Qala, who is always overlooked by her mother, Urmila, played by Swastika Mukherjee. Babil Khan plays Jagan, a highly talented singer who unknowingly becomes Qala's rival and Urmila's protege (yes, I love that word. I learned it from William Powell and Carole Lombard's "My Man Godfrey"). The film is basically about Qala's struggle, greed, success, and redemption.

Now I'll tell you how it compares with Katyaar Kaljat Ghusali. There we have Panditji, who owns the music weapon, while Khansaheb is struggling to make people notice his voice against Panditji. To conquer the prestigious degree, he tricks Panditji and takes his voice away, which ultimately means taking everything from him. Years later, one of Panditji's pupils, Sadashiv, challenges and defeats Khansaheb, leading him into self-revolt mode. You will find everything in Wala just as it is, with a different set-up, of course, except for that Sadashiv angle. Instead of Sadashiv, it's mental health that plays a villain in Qala's life, but the ultimate goal remains the same-realizing your own mistakes from the past. The screenplay is damn too dark and slow to keep the story engaging for a 2022 film. If anyone can finish Qala in one-take viewing without a single catnap, then I must salute the person. Moreover, the periodic theme keeps it away from modern appeal (the so-called OTT audiences want this only, right?). So, it's hectic and tedious.

The performances are quite promising, but the writing has made it really difficult for us to have patience for their movements. So many long, long pauses. You can go to the washroom, come back, and still not miss anything. Triptii Dimri is seen in different looks (not so different from each other, but different alright), but it's her expressions and dialogue delivery that make her look good. It could have been better, with the transformation and depression stuff, I mean. But what's done is done. You can't change it now. The second lady, Swastika Mukherjee, is terrific, despite getting less screentime than Dimri. The same low screentime hurts Babil Khan's chances of leaving a mark, and Amit Sial, Sameer Kochchar, Girija Oak, and Tasveer Kamal are no different from him.

Qala is a treat for classical lovers, but I am not sure how many people can enjoy all the songs without pressing the fast-forward button in today's "Gully Boy" era. An album like Katyaar can't be made by a modern team. It's an achievement, a book that is passed on to the next generation. Whatever ragas, melodies, and tunes are there, they are slow but really good. It's just the wrong timing - 2022, not 1921. Just like in one of the scenes, as the composer says, "Why have you written such allegorical, intricate and poetic words. Write something simple that everybody can understand". Team Qala seems to have forgotten to tell themselves that. However, the cinematography and visuals are nice, irrespective of their depressive tones. Anvita Dutt's vision and attitude both go wrong here. No matter what subject you have, you can't expect the audience to drink slow tonics like Lootera and October in today's times if the final output doesn't have any suitable conclusion or explanation. Qala derives from something that's been loved by generations, so it's not easy to deliver the same. Sometimes it's better to fail. Qala got lucky there.

RATING - 4/10*

It explores an unexpected theme bounded by metaphors and symbolisms pointing to the vulnerability of women to make a career in showbiz. Envy, guilt, trauma are some of the key motifs. Dichotomy of fame is portrayed with flashes and blinding lights. With earnest acting performances and art direction. The anatomy of Qala is enthralling. We often stage sadness rather than madness as the cornerstone of female heartache. Qala rectifies that with the freedom to lose control. With an unsettling aftertaste it left me with a story that felt familiar with a syntax of arthouse and unconventional horrors.

Qala is one of those films which makes you feel books are better than films. It is just so difficult to tune everything to the same frequency the cinematography, acting, pacing, storytelling, music(which is top-notch in this one btw.) etc. It could have been one fine mystery short story, but of course, how would we have gotten the great album then?

I don't have much problem with its slow pacing because it picks up in 2nd half, and I am used to slow-paced films. What bothered me the most was the monotonicity.

Playing the role of a child who has a disturbing childhood and is continuously deprived of her mother's attention and love despite being a single child is not easy, even for someone who has done a dozen films, let alone a new actor. And it did prove a bit too much for Tripti Dimri(Qala). She's cute, but her expressions in the film are primarily scared (that too in a weird way) or terrified. Very sorry to say, but Babil Khan(Jagan) was not up to the mark either. I absolutely loved the bits with Sunil Grover(he's an absolute gem) and his thoughtful dialogue:

". . . Par daur badlega. Daur ki ye puraani aadat hai."

Apart from music, the colour grading is very beautiful, which complements the dark aspects of the film industry. The shooting locations and photography are great too.

My god what musical numbers, what storyline,what performances by all the the actors, specifically tripti she definitely will steal your heart with her performance, her childlike innocence and struggle to seek validation from her mother really comes as genuine. This film is truly slap on haters of bollywood who think bollywood dead and doesn't have any original storyline. What an amazing story and with character depth. Every scene of this movie feels like painting .Each frame has so much meaning behind it. Amit trivedi really did sone amazing work with the music and every song feels like breath of fresh air. I can't tell you how song beautifully infused life in this movie. Please give it a watch who who thinks bollywood is dead.

The story is beautiful & so are the songs in the movie. It tugged at some mother issues I have as well, so it connected with me. How your mother labels you remains with you forever. The plot is unraveled very beautifully for the audience, Anvita Dutt is a brilliant director. And the aesthetics is just - chef's kiss.

Amit Trivedi has done a beautiful job with the music. The entire soundtrack is a banger. Hands down, best album in a Bollywood movie in 2022. Brahmastra's album is a close second, but not ALL the songs in that album are as amazing as the songs in Qala.

Tripti Dimri, Swastika Mukherjee & Babil Khan have done a fine job. Especially Tripti, showing all the emotions a mentally disturbed person might feel with her expressions, body language & tone of voice so effortlessly. I'm excited to see more of her future works.