February 28, 2025 • 19 mins
In Superboys of Malegaon, director Reema Kagti unites three talented male actors in an inspiring story about ambition and friendship. But was she the ideal person for the job?
We discuss the film’s sanitised storytelling, its formulaic narrative, and writer Varun Grover seemingly playing it safe.
We also talk about the abundance of characters and the visible difficulty that Kagti has in fleshing them out.
Along the way, we also discuss the broader points that the movie is trying to make about the business of films and how success impacts fragile human beings.
—
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:16):
Hi. I'm not here and I'm the one
over. Welcome to the Log Tech this
week discussing the new Amazon movie, which is in theaters, not
in Amazon right now. It's called Supervisor Maligam,
treasured by Reema Cockpy and written by Warren Dover, and
stars a bunch of faces you mighthave seen before to take on real
life story. And I don't know how close to
the real life story because I haven't seen a docu it's based
on. But yeah.
What do you make of the movie atall, I thought.
(00:37):
It was OK. I wasn't the loan away and I
kind of struggled to get throughit.
Yeah, but I can't really point my finger at what exactly is the
issue. Yeah, I felt there was
potential, like going into it, like the 1st 20 minutes, I felt
like promise of a movie that, you know, could use this
situation to not just comment onthe art of filmmaking and the
(01:00):
struggles, you know, of like artversus like commerce and stuff
like that. But also that comment on the
outside or nature of like, just like, you know, dealing with
Bollywood tends to be the very inside.
But, yeah, I think. But at least what I felt, and I
guess that's what we're going todiscuss, is that for me, what's
missing was it just felt too neat at times, you know, that
(01:21):
they knew what beats they wantedto hit at which point of the
film and not enough of organic discovery of where this was
going, like, because they know the story, but you're telling it
to me. I wanted to feel a little more
organic, Yeah. Which is very surprising.
It's written by Varun Grover, who wrote Masan, which is still
all these years later, like maybe new or the pinnacle of
(01:43):
what is possible in our country.Yeah, but this one feels like my
screen writing professor who's read so much theory and knows
exactly her Dasminut Kebagh. We need to do this, and then
this conflict happens. But then we also have to develop
this relationship and it feels very mechanical.
Yeah, like, it's just things would just happen, you know,
(02:03):
like, like, one thing is like when he makes that big gamble,
like we're not even even told that he's putting a lot of money
on that movie he's making based on a play.
And the movie flops. Like this one dramatic shot of,
like, Nasser standing outside, like random artificial rain is
pouring down and that's it. Like everything just kept comes
crashing down. It just feels abrupt.
(02:25):
Like it doesn't feel momentous going into it, but coming out of
the scene, you're like, oh, wait, that was that momentous.
Like, there, there. Everything is gone.
Yeah, because you're anticipating the set back,
right? Because he's been riding on such
a high for so long, he's bound to have a set back.
And and because the movie kind of telegraphs everything, you're
(02:46):
like, of course it's the whole night.
So I mean, there's very little surprise.
I think the movie gets too kind away by the whatever allusions
to real life film industry stuffthat it wants to kind of make,
which is too on the nose. Like, oh, this guy makes a
movie. He becomes he forgets his
(03:06):
friends, whatever, whatever. I don't know if you're going to
make a movie about like human relationships and this have the
scrappy filmmaking in the background, then focus on the
human relationships beyond superficial.
You know, here is this type of character.
This guy is has two traits. I need those characters to be a
little more complex than what wewere shown.
(03:27):
Yeah, it's to not just be about,you know, what they're going
through on the set and like, thestruggles and making these films
and, like, get the fame or whatever.
And then one guy just off like the moment, like Vineet Kumar
Singh's character, like, gets upset and like, leaves the
story. Like, there's nothing for his
character. And he comes back right in the
final act. It's just like in stasis, his
(03:49):
character goes off to Mumbai andhe gets like, sure, he gets very
little screen time, but like, even the screen time he gets, I
just like, there's nothing meatyhappening in those scenes,
right? I'm just like, why are we even
like, what are we going towards?Are we just like passing time
until his character becomes embroiled again?
I'm kind of so confused by the timeline.
So we there's a time jump, right?
(04:09):
Yeah. So I missed the first title
card. Is it 90s or 80s?
It's 97 and then we jump to 2004.
Yeah. And then 2010.
So what is that guy doing exactly?
Like it is also 13. Years he spent in Bombay,
roughly. Doing what?
Yeah, like even the, you know, if it's if he's going through
struggles, if he's like steady setbacks, like, how is he like
(04:30):
getting by like. Surviving, yeah.
Yeah, and if it doesn't matter, then why even show a single
scene Bombay? Just I mean show show us like
he's working at some dhaba or something.
Like give me like 5 seconds. Of Yeah.
And think people just come randomly into it because that in
97, that other guy who's going to become a Urdu teacher, he
leaves. Yeah.
After filming the first movie. And then he appears randomly in
(04:52):
one scene in Bombay. I'm like, oh, yeah, this guy.
But like, it doesn't matter. Like why he'd put him in the
scene if you're telling me it doesn't matter.
Like you've forgotten about him.The thing is, I haven't seen the
documentary either, or at least I don't remember because I
remember when the documentary came out and everyone spoke
about it, but I'd have no memoryof actually watching it.
So I don't know if every one of these people is based on a real
(05:14):
character or if some of them. Well, going by the.
End credit composite. They do claim that everyone's
based on legal that. Which is the mistake then,
right? Because then you're kind of
creating a hodgepodge of things because all of them are pretty
thin. And because all of them are thin
and many of them go missing for large chunks of the movie.
(05:35):
Like, exactly. Like, why do I care about this
dude now? Certainly.
Just make them into composite characters like the kavi.
And the writer can just be one dude.
They're both missing. Yeah.
And I don't know, it's a little,I think the antiseptic kind of
nature of this movie, which is very annoying because the movie
wants to be the exact opposite of that, is also because of just
(05:59):
the visual style of it. I was quite bothered by just
the. It feels like one set they made,
like one, like town Square. Yeah.
And the rest of it is just like like, like green screen or
something. And and for a movie that wants
to be so rustic and like connected to the roots, it takes
you away, right? You're immediately like here to
(06:19):
culp paint here, not them there.Yeah, there you.
Go. And I I'm surprised because like
when it opens, like you get The MGM logo and you're like, OK,
like Hollywood studios, like, you know, producing horror
Movies Now. Then you have the XLL logo and
you have a tiger baby logo. Like you would expect they have
money to throw at this thing, but for some reason they're
reserved about it. Like it's almost like they're
scared of putting money in this movie.
(06:41):
Very strange because normally they kind of you can you can
tell that they spent money righton their projects.
If anything, like Agar MATLAB, even if they're like crappy
projects, at least you can tell that it's a load there.
It doesn't look cheap. Even that like small sitcom show
with the talking wizard cartoon,whatever it was, a lot of it was
short like on location, which isanywhere there.
(07:04):
But it will be like this where you have like a good bunch of
actors. You don't need to dilute it with
all these things, right? You don't need to get
distracted. You just focus on essentially 3
characters, right? Adarsh characters, Shashank's
character, Neet Kumar Singh's character chart, their
friendship. I don't honestly care about the
film making and all of that. That's like secondary just chart
(07:27):
how their friendship evolves which random movie is kind of
confused about. Yeah, it comes in bits and
parts, right? Like the first 30 minutes
probably, like, charts the friendship for at least Nasser
and Farouq. You like, you know, the writer
budding like you know, yeah, let's do some crazy thing and
fall out because the director decides like he's going
direction. By the numbers.
Yeah, by the numbers, but at least they chart for that
(07:48):
period. But the Shafiq like fully loyal
and then he gets like annoyed because he's seeing his card.
Like, that comes so late into the movie, right?
And he's just hanging about for possibly 8090 minutes without
really doing anything except being the loyal guy in the
corner. So you're right.
It's just you need to spend moretime here to give us more scenes
(08:09):
with these guys which like make us feel like we're with them and
not just with them when something is happening in their
lives in terms of like in a movie, when I have success, who
are failure. Yeah, the movie making is or or
should have been secondary. I'm going to make a weird
comparison, but because I watched it recently, the first
act of Anora, it's when when shekind of meets that real dude and
(08:32):
they go on this worldwind kind of Las Vegas Strip, which ends
with them getting married. All of it basically plays like
an extended montage, right? It has all jump carts rushing
through and gives you that exhilarating feeling of here's
what this feels like. My thing is in this movie, do
that with all the barely picturebanana.
Yeah, I don't need to go through.
And I kept thinking it's a Lagan.
(08:53):
Yeah. But are you going to, like,
introduce each and every character as if they're the most
important person in the world? And here is the, you know, duty
that they're going to perform inthis?
And then it goes on and on and on.
I'm like, nay, but just. I know they're going to make the
movie. Yeah, let's take me to because
it's not like you're really showing me the scrappiness,
(09:13):
right? Yeah.
Yeah, there's only like 1 only show, only one struggle of one
day of like having to do 1 scenelike 7 times because people
can't do the dialogues and then they cut to like movie pack up.
No, it was more promising when the main guy in NASA kind of
discovers by mistake Lt. Art of like, yeah, exactly.
That was fun. That's.
(09:34):
Next one, yeah. Because there is like an element
of discovery, right? Or the actual like shooting and
all that's like whatever. Like they're not like they're no
happy accidents. There's no magic.
There's no like Babylon type car, butterfly lands or on Brad
Pitt's shoulder, you know, stufflike that.
Which I feel like maybe it couldhave been a little more
(09:55):
ambitious. It's weird.
You either make this more ambitious or you strip it
completely down, right? The movie is currently in the
middle, which is not a great place to be.
Yeah, I mean, I get it's episodeX, so it will feel like you're
jumping from 1:00 to the other, but even in the episodes, even
in amidst the three episodes, itjust feels like there are
crucial bits missing that would add to the emotions.
(10:18):
You know, like you just get like1 scene of people going into
doing something and you get the scene of them coming out of it
and like the beach May what are the feelings in the middle?
It needs. Basically, it needs the entirety
of Achal Mishra's doing to be like, sandwiched in.
Yeah. Like if you take that movie and
put it in this, this is a bettermovie because we need people to
(10:40):
sit and talk about ambition and moving out of this hole, looking
at the looking at the aeroplanesand wondering if we'll ever get
to sit on them. Yeah, like what you get like one
tiny scene of like 15 second scene of them on a like a
scooter doing that, but you needlike 15 more things like those.
We need them to talk. We need to talk about like who
they are. We have to see them in their
(11:02):
disgusting like Chota Sakamara or whatever alone.
I don't know, but I guess this movie doesn't want to be that
right. It it wants to be like very
sanitized version of yeah. That's my issue with it's almost
like either this movie should belike, you know, half an hour
somehow or less and just go run through it, or it needs to be
like 3 hours more. Like Once Upon a Time in
(11:23):
America, Lent and you take me through everything.
Exactly. It needs to be more ambitious or
it needs to be stripped down. Not this.
It can't be. In this middle ground, yeah,
it's just like it's a insane compromise and it's suffering
for it. Yeah, I don't know if you watch
Harish Tandrauti factory. I haven't.
It's been a few years. Yeah.
It was about the making of the first Indian film.
(11:45):
And it's like a brilliant romp. Like, that movie doesn't care
about characters. It's just like, it's almost like
an adventure movie, and that's how it works.
So I'm thinking possible to headecho like, making a movie with
10 characters, especially doing exactly what these guys are
doing. But once again, it's because
they want to also do like the shoddy stuff.
(12:08):
Why? Why is that all there?
Like why are Nasus 2 love interest there?
One love interest and one of nationalism?
It's not. Like a heartbreak influences him
to. Make a movie or something about
it. Right?
Like he doesn't even make write anything about it.
It just exists and and the wife exists for like no reason except
to give like ₹30,000 at some point.
(12:29):
Possibly. Yeah, actually.
What does she contribute? What is the point of her like
law and all things she keeps saying because at one point she
has a meeting with like the the actress, the Sholay actress
who's being abused. But I don't like there's no like
where's the result of it? Like what happened here in They
don't tell us this leave is hanging.
No, you're right. I think Oscar function is
(12:49):
literally limited to these two and no three beats.
There's also a suhagrat beat right where they're like ballet.
Those be. Friends.
Yeah, OK. So yeah, so these 3 beats, she's
supposed to it, otherwise she's not a character.
Why just put her like, it's like, it's almost like, you
know, like they've once they've come to know the people who
(13:10):
exist in this universe, it's almost like they feel sad of
they need someone out. It's like they're feeling like
NASA level guilt of cutting traffic out of this first movie.
Like, yeah, yeah. Yeah, some contract dispute
contract it's. Almost like you know they will
invite them to premium like oh. It still happened, I suppose,
(13:36):
considering how chopped up this movie feels.
Feel heck why? Why do you put me?
It just feels like I love him like unconditionally.
And I am studying law for 15 years.
Oh, that's another like Mr. and Misses Mahi thing.
Like, if you are essentially a like lawyer, why are you pining
for this dude? Yeah, for the entirety of your
(13:58):
life, but that's a different argument.
Exactly like. The word this practice is this
thing we're bought a movies withSuper Malegaon where something
you're thinking like what is up to this moment.
Yeah, what is she doing? Hey, either you explain to me
and ask like what is so special about this guy that this movie
needs? 300 minutes more or it needs 30
(14:21):
minutes less. So watching a movie like this,
which is like a shrug, you know,I automatically I'm like what is
the point? And what I've come to the
conclusion too is basically K, this movie is about piracy and
theatrical, how both things go hand in hand, how 1 cannot exist
without the other, and how piracy is basically a necessary
(14:45):
evil in ensuring that the theatrical marketplace exists.
Now that is a lot of it is very literal in the text of the movie
because they are basically doingchori and it's sustaining their
whatever exhibition market. But then that could possibly
also be like a comment on of thereal world because more than a
(15:07):
few people have admitted that economically to benefit Hota Hi
Hai. You know, the more people kind
of steal stuff on the Internet, the more they tend to kind of
check things out in theaters. And that's the extent to which I
can intellectualize this movie. But like I can understand that
like sentiment for the first actof the movie, but then what
(15:29):
about the other two? That's like Hamarshia.
I don't know. It's basic, I don't know.
It's not like ambitious or anything.
It's on the face, basically they.
Yeah, because at the one point of the second act like you know
this follow guys like I will notadmit defeat.
I will not go back no matter what happens, I'll not be able
(15:52):
to failure cut to two method. Dad dies and he's back in while
ago. I'm like, like, I don't be the
gravitas of it anymore. You're back.
You're holding your like your. Butt everyone.
'S around you. This is like the equivalent of
my favorite Rocky Rani he Prem Kahani joke where like Aamir
(16:14):
Bashi's character had like his first kind of brush with
character development and his dad had to die for it.
Only in extreme circumstances where dudes in Hindi movies kind
of but I don't know. Oddly enough, Varun Grover Karl
last film All India Act which healso directed similarly mid.
(16:38):
Yeah, I think we're discussing on the podcast.
I don't know. Meanwhile, Rohit Shetty has made
5 movies in the last five years.Yeah, exactly right.
It's been. Is the industry not rewarding?
Like, is that the thing that's happening with both Varun and or
is it just like they didn't havethe great idea?
I don't. Know when was Rima Kagti's last
(16:59):
feature? But she's been busy.
But still, yeah. Just like yeah, it's because I
guarantee money order because ofmade in heaven they keep like us
now, so keep saying yes. Meanwhile, Vineet Kumar Singh is
like 50 years old and he's stillapparently playing a college kid
or what? Like 20s he looks also everyone.
In the same like 13 years pass in this movie and do our Nokia
(17:21):
banging segment. I have no idea people.
This is I'm. Betting this movie gets ignored.
Possibly it's so low key theaters with nobody I can like
if you like Chapo, like Amazon Prime call logo and every bit of
marketing nobody even. Automatically people like, oh,
OK, are you? You know, it's your biggest
mistake that I've been telling myself, mostly because who else
am I going to tell, but I'm not.Why are you posting Netflix
(17:44):
called tap on your posters for theatrical movies?
Like I'm never going to go to watch anything which tells me
that pleases wait two weeks. Yeah.
Only will you convince me is if you put the IMAX logo above your
steaming partner logo then I might be flying, but otherwise
there's no way. She'll go watch Pushpa, too.
Yeah, and I'm saying give it a if you say like you know, eco
(18:05):
presents, we care, but you writeIMAX over it, I'll be like, OK,
maybe. But yeah, this one, they have
shot themselves in the foot only.
Yeah. What Prime Video you have not
going to watch Prime Video. Yeah.
Theater, you're not even gettinglike, you know.
But I have no idea, like this feels so like uninspired, even
(18:29):
like speculate how people will react.
They are they'll be just shocked.
Like people, sure, they have reactions which are so
outlandish sometimes, but it's because most of our movies are
so terrible, right? So they kind of provoke you into
having strong reactions. This one is so like how
whatever, like how people will be flummox like how we supposed
(18:52):
to react to this? There's no like rule book.
There's no gyrating heroes, there's no item the mask.
What are we supposed to do with this one?
There's no Ranbir Singh that we can praise and there's no like.
So middle ground movie, middle ground deception.
Yeah, right. OK.
I think that covers it. Yeah.
(19:14):
That's all for this episode of The Wrong Take.
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review by episode and we will see you next week.
Thanks for listening.
Hi. I'm not here and I'm the one
over. Welcome to the Log Tech this
week discussing the new Amazon movie, which is in theaters, not
in Amazon right now. It's called Supervisor Maligam,
treasured by Reema Cockpy and written by Warren Dover, and
stars a bunch of faces you mighthave seen before to take on real
life story. And I don't know how close to
the real life story because I haven't seen a docu it's based
on. But yeah.
What do you make of the movie atall, I thought.
(00:37):
It was OK. I wasn't the loan away and I
kind of struggled to get throughit.
Yeah, but I can't really point my finger at what exactly is the
issue. Yeah, I felt there was
potential, like going into it, like the 1st 20 minutes, I felt
like promise of a movie that, you know, could use this
situation to not just comment onthe art of filmmaking and the
(01:00):
struggles, you know, of like artversus like commerce and stuff
like that. But also that comment on the
outside or nature of like, just like, you know, dealing with
Bollywood tends to be the very inside.
But, yeah, I think. But at least what I felt, and I
guess that's what we're going todiscuss, is that for me, what's
missing was it just felt too neat at times, you know, that
(01:21):
they knew what beats they wantedto hit at which point of the
film and not enough of organic discovery of where this was
going, like, because they know the story, but you're telling it
to me. I wanted to feel a little more
organic, Yeah. Which is very surprising.
It's written by Varun Grover, who wrote Masan, which is still
all these years later, like maybe new or the pinnacle of
(01:43):
what is possible in our country.Yeah, but this one feels like my
screen writing professor who's read so much theory and knows
exactly her Dasminut Kebagh. We need to do this, and then
this conflict happens. But then we also have to develop
this relationship and it feels very mechanical.
Yeah, like, it's just things would just happen, you know,
(02:03):
like, like, one thing is like when he makes that big gamble,
like we're not even even told that he's putting a lot of money
on that movie he's making based on a play.
And the movie flops. Like this one dramatic shot of,
like, Nasser standing outside, like random artificial rain is
pouring down and that's it. Like everything just kept comes
crashing down. It just feels abrupt.
(02:25):
Like it doesn't feel momentous going into it, but coming out of
the scene, you're like, oh, wait, that was that momentous.
Like, there, there. Everything is gone.
Yeah, because you're anticipating the set back,
right? Because he's been riding on such
a high for so long, he's bound to have a set back.
And and because the movie kind of telegraphs everything, you're
(02:46):
like, of course it's the whole night.
So I mean, there's very little surprise.
I think the movie gets too kind away by the whatever allusions
to real life film industry stuffthat it wants to kind of make,
which is too on the nose. Like, oh, this guy makes a
movie. He becomes he forgets his
(03:06):
friends, whatever, whatever. I don't know if you're going to
make a movie about like human relationships and this have the
scrappy filmmaking in the background, then focus on the
human relationships beyond superficial.
You know, here is this type of character.
This guy is has two traits. I need those characters to be a
little more complex than what wewere shown.
(03:27):
Yeah, it's to not just be about,you know, what they're going
through on the set and like, thestruggles and making these films
and, like, get the fame or whatever.
And then one guy just off like the moment, like Vineet Kumar
Singh's character, like, gets upset and like, leaves the
story. Like, there's nothing for his
character. And he comes back right in the
final act. It's just like in stasis, his
(03:49):
character goes off to Mumbai andhe gets like, sure, he gets very
little screen time, but like, even the screen time he gets, I
just like, there's nothing meatyhappening in those scenes,
right? I'm just like, why are we even
like, what are we going towards?Are we just like passing time
until his character becomes embroiled again?
I'm kind of so confused by the timeline.
So we there's a time jump, right?
(04:09):
Yeah. So I missed the first title
card. Is it 90s or 80s?
It's 97 and then we jump to 2004.
Yeah. And then 2010.
So what is that guy doing exactly?
Like it is also 13. Years he spent in Bombay,
roughly. Doing what?
Yeah, like even the, you know, if it's if he's going through
struggles, if he's like steady setbacks, like, how is he like
(04:30):
getting by like. Surviving, yeah.
Yeah, and if it doesn't matter, then why even show a single
scene Bombay? Just I mean show show us like
he's working at some dhaba or something.
Like give me like 5 seconds. Of Yeah.
And think people just come randomly into it because that in
97, that other guy who's going to become a Urdu teacher, he
leaves. Yeah.
After filming the first movie. And then he appears randomly in
(04:52):
one scene in Bombay. I'm like, oh, yeah, this guy.
But like, it doesn't matter. Like why he'd put him in the
scene if you're telling me it doesn't matter.
Like you've forgotten about him.The thing is, I haven't seen the
documentary either, or at least I don't remember because I
remember when the documentary came out and everyone spoke
about it, but I'd have no memoryof actually watching it.
So I don't know if every one of these people is based on a real
(05:14):
character or if some of them. Well, going by the.
End credit composite. They do claim that everyone's
based on legal that. Which is the mistake then,
right? Because then you're kind of
creating a hodgepodge of things because all of them are pretty
thin. And because all of them are thin
and many of them go missing for large chunks of the movie.
(05:35):
Like, exactly. Like, why do I care about this
dude now? Certainly.
Just make them into composite characters like the kavi.
And the writer can just be one dude.
They're both missing. Yeah.
And I don't know, it's a little,I think the antiseptic kind of
nature of this movie, which is very annoying because the movie
wants to be the exact opposite of that, is also because of just
(05:59):
the visual style of it. I was quite bothered by just
the. It feels like one set they made,
like one, like town Square. Yeah.
And the rest of it is just like like, like green screen or
something. And and for a movie that wants
to be so rustic and like connected to the roots, it takes
you away, right? You're immediately like here to
(06:19):
culp paint here, not them there.Yeah, there you.
Go. And I I'm surprised because like
when it opens, like you get The MGM logo and you're like, OK,
like Hollywood studios, like, you know, producing horror
Movies Now. Then you have the XLL logo and
you have a tiger baby logo. Like you would expect they have
money to throw at this thing, but for some reason they're
reserved about it. Like it's almost like they're
scared of putting money in this movie.
(06:41):
Very strange because normally they kind of you can you can
tell that they spent money righton their projects.
If anything, like Agar MATLAB, even if they're like crappy
projects, at least you can tell that it's a load there.
It doesn't look cheap. Even that like small sitcom show
with the talking wizard cartoon,whatever it was, a lot of it was
short like on location, which isanywhere there.
(07:04):
But it will be like this where you have like a good bunch of
actors. You don't need to dilute it with
all these things, right? You don't need to get
distracted. You just focus on essentially 3
characters, right? Adarsh characters, Shashank's
character, Neet Kumar Singh's character chart, their
friendship. I don't honestly care about the
film making and all of that. That's like secondary just chart
(07:27):
how their friendship evolves which random movie is kind of
confused about. Yeah, it comes in bits and
parts, right? Like the first 30 minutes
probably, like, charts the friendship for at least Nasser
and Farouq. You like, you know, the writer
budding like you know, yeah, let's do some crazy thing and
fall out because the director decides like he's going
direction. By the numbers.
Yeah, by the numbers, but at least they chart for that
(07:48):
period. But the Shafiq like fully loyal
and then he gets like annoyed because he's seeing his card.
Like, that comes so late into the movie, right?
And he's just hanging about for possibly 8090 minutes without
really doing anything except being the loyal guy in the
corner. So you're right.
It's just you need to spend moretime here to give us more scenes
(08:09):
with these guys which like make us feel like we're with them and
not just with them when something is happening in their
lives in terms of like in a movie, when I have success, who
are failure. Yeah, the movie making is or or
should have been secondary. I'm going to make a weird
comparison, but because I watched it recently, the first
act of Anora, it's when when shekind of meets that real dude and
(08:32):
they go on this worldwind kind of Las Vegas Strip, which ends
with them getting married. All of it basically plays like
an extended montage, right? It has all jump carts rushing
through and gives you that exhilarating feeling of here's
what this feels like. My thing is in this movie, do
that with all the barely picturebanana.
Yeah, I don't need to go through.
And I kept thinking it's a Lagan.
(08:53):
Yeah. But are you going to, like,
introduce each and every character as if they're the most
important person in the world? And here is the, you know, duty
that they're going to perform inthis?
And then it goes on and on and on.
I'm like, nay, but just. I know they're going to make the
movie. Yeah, let's take me to because
it's not like you're really showing me the scrappiness,
(09:13):
right? Yeah.
Yeah, there's only like 1 only show, only one struggle of one
day of like having to do 1 scenelike 7 times because people
can't do the dialogues and then they cut to like movie pack up.
No, it was more promising when the main guy in NASA kind of
discovers by mistake Lt. Art of like, yeah, exactly.
That was fun. That's.
(09:34):
Next one, yeah. Because there is like an element
of discovery, right? Or the actual like shooting and
all that's like whatever. Like they're not like they're no
happy accidents. There's no magic.
There's no like Babylon type car, butterfly lands or on Brad
Pitt's shoulder, you know, stufflike that.
Which I feel like maybe it couldhave been a little more
(09:55):
ambitious. It's weird.
You either make this more ambitious or you strip it
completely down, right? The movie is currently in the
middle, which is not a great place to be.
Yeah, I mean, I get it's episodeX, so it will feel like you're
jumping from 1:00 to the other, but even in the episodes, even
in amidst the three episodes, itjust feels like there are
crucial bits missing that would add to the emotions.
(10:18):
You know, like you just get like1 scene of people going into
doing something and you get the scene of them coming out of it
and like the beach May what are the feelings in the middle?
It needs. Basically, it needs the entirety
of Achal Mishra's doing to be like, sandwiched in.
Yeah. Like if you take that movie and
put it in this, this is a bettermovie because we need people to
(10:40):
sit and talk about ambition and moving out of this hole, looking
at the looking at the aeroplanesand wondering if we'll ever get
to sit on them. Yeah, like what you get like one
tiny scene of like 15 second scene of them on a like a
scooter doing that, but you needlike 15 more things like those.
We need them to talk. We need to talk about like who
they are. We have to see them in their
(11:02):
disgusting like Chota Sakamara or whatever alone.
I don't know, but I guess this movie doesn't want to be that
right. It it wants to be like very
sanitized version of yeah. That's my issue with it's almost
like either this movie should belike, you know, half an hour
somehow or less and just go run through it, or it needs to be
like 3 hours more. Like Once Upon a Time in
(11:23):
America, Lent and you take me through everything.
Exactly. It needs to be more ambitious or
it needs to be stripped down. Not this.
It can't be. In this middle ground, yeah,
it's just like it's a insane compromise and it's suffering
for it. Yeah, I don't know if you watch
Harish Tandrauti factory. I haven't.
It's been a few years. Yeah.
It was about the making of the first Indian film.
(11:45):
And it's like a brilliant romp. Like, that movie doesn't care
about characters. It's just like, it's almost like
an adventure movie, and that's how it works.
So I'm thinking possible to headecho like, making a movie with
10 characters, especially doing exactly what these guys are
doing. But once again, it's because
they want to also do like the shoddy stuff.
(12:08):
Why? Why is that all there?
Like why are Nasus 2 love interest there?
One love interest and one of nationalism?
It's not. Like a heartbreak influences him
to. Make a movie or something about
it. Right?
Like he doesn't even make write anything about it.
It just exists and and the wife exists for like no reason except
to give like ₹30,000 at some point.
(12:29):
Possibly. Yeah, actually.
What does she contribute? What is the point of her like
law and all things she keeps saying because at one point she
has a meeting with like the the actress, the Sholay actress
who's being abused. But I don't like there's no like
where's the result of it? Like what happened here in They
don't tell us this leave is hanging.
No, you're right. I think Oscar function is
(12:49):
literally limited to these two and no three beats.
There's also a suhagrat beat right where they're like ballet.
Those be. Friends.
Yeah, OK. So yeah, so these 3 beats, she's
supposed to it, otherwise she's not a character.
Why just put her like, it's like, it's almost like, you
know, like they've once they've come to know the people who
(13:10):
exist in this universe, it's almost like they feel sad of
they need someone out. It's like they're feeling like
NASA level guilt of cutting traffic out of this first movie.
Like, yeah, yeah. Yeah, some contract dispute
contract it's. Almost like you know they will
invite them to premium like oh. It still happened, I suppose,
(13:36):
considering how chopped up this movie feels.
Feel heck why? Why do you put me?
It just feels like I love him like unconditionally.
And I am studying law for 15 years.
Oh, that's another like Mr. and Misses Mahi thing.
Like, if you are essentially a like lawyer, why are you pining
for this dude? Yeah, for the entirety of your
(13:58):
life, but that's a different argument.
Exactly like. The word this practice is this
thing we're bought a movies withSuper Malegaon where something
you're thinking like what is up to this moment.
Yeah, what is she doing? Hey, either you explain to me
and ask like what is so special about this guy that this movie
needs? 300 minutes more or it needs 30
(14:21):
minutes less. So watching a movie like this,
which is like a shrug, you know,I automatically I'm like what is
the point? And what I've come to the
conclusion too is basically K, this movie is about piracy and
theatrical, how both things go hand in hand, how 1 cannot exist
without the other, and how piracy is basically a necessary
(14:45):
evil in ensuring that the theatrical marketplace exists.
Now that is a lot of it is very literal in the text of the movie
because they are basically doingchori and it's sustaining their
whatever exhibition market. But then that could possibly
also be like a comment on of thereal world because more than a
(15:07):
few people have admitted that economically to benefit Hota Hi
Hai. You know, the more people kind
of steal stuff on the Internet, the more they tend to kind of
check things out in theaters. And that's the extent to which I
can intellectualize this movie. But like I can understand that
like sentiment for the first actof the movie, but then what
(15:29):
about the other two? That's like Hamarshia.
I don't know. It's basic, I don't know.
It's not like ambitious or anything.
It's on the face, basically they.
Yeah, because at the one point of the second act like you know
this follow guys like I will notadmit defeat.
I will not go back no matter what happens, I'll not be able
(15:52):
to failure cut to two method. Dad dies and he's back in while
ago. I'm like, like, I don't be the
gravitas of it anymore. You're back.
You're holding your like your. Butt everyone.
'S around you. This is like the equivalent of
my favorite Rocky Rani he Prem Kahani joke where like Aamir
(16:14):
Bashi's character had like his first kind of brush with
character development and his dad had to die for it.
Only in extreme circumstances where dudes in Hindi movies kind
of but I don't know. Oddly enough, Varun Grover Karl
last film All India Act which healso directed similarly mid.
(16:38):
Yeah, I think we're discussing on the podcast.
I don't know. Meanwhile, Rohit Shetty has made
5 movies in the last five years.Yeah, exactly right.
It's been. Is the industry not rewarding?
Like, is that the thing that's happening with both Varun and or
is it just like they didn't havethe great idea?
I don't. Know when was Rima Kagti's last
(16:59):
feature? But she's been busy.
But still, yeah. Just like yeah, it's because I
guarantee money order because ofmade in heaven they keep like us
now, so keep saying yes. Meanwhile, Vineet Kumar Singh is
like 50 years old and he's stillapparently playing a college kid
or what? Like 20s he looks also everyone.
In the same like 13 years pass in this movie and do our Nokia
(17:21):
banging segment. I have no idea people.
This is I'm. Betting this movie gets ignored.
Possibly it's so low key theaters with nobody I can like
if you like Chapo, like Amazon Prime call logo and every bit of
marketing nobody even. Automatically people like, oh,
OK, are you? You know, it's your biggest
mistake that I've been telling myself, mostly because who else
am I going to tell, but I'm not.Why are you posting Netflix
(17:44):
called tap on your posters for theatrical movies?
Like I'm never going to go to watch anything which tells me
that pleases wait two weeks. Yeah.
Only will you convince me is if you put the IMAX logo above your
steaming partner logo then I might be flying, but otherwise
there's no way. She'll go watch Pushpa, too.
Yeah, and I'm saying give it a if you say like you know, eco
(18:05):
presents, we care, but you writeIMAX over it, I'll be like, OK,
maybe. But yeah, this one, they have
shot themselves in the foot only.
Yeah. What Prime Video you have not
going to watch Prime Video. Yeah.
Theater, you're not even gettinglike, you know.
But I have no idea, like this feels so like uninspired, even
(18:29):
like speculate how people will react.
They are they'll be just shocked.
Like people, sure, they have reactions which are so
outlandish sometimes, but it's because most of our movies are
so terrible, right? So they kind of provoke you into
having strong reactions. This one is so like how
whatever, like how people will be flummox like how we supposed
(18:52):
to react to this? There's no like rule book.
There's no gyrating heroes, there's no item the mask.
What are we supposed to do with this one?
There's no Ranbir Singh that we can praise and there's no like.
So middle ground movie, middle ground deception.
Yeah, right. OK.
I think that covers it. Yeah.
(19:14):
That's all for this episode of The Wrong Take.
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