With an IMDb rating of 8.2, Kabir Singh has emerged as a blockbuster and with so many articles and videos coming up against the movie, I wonder if it’ll be the next topic for the descriptive paper of the UPSC exam.
Surely, by now, most people have seen the movie or heard about it, if not, then we all know the story of Arjun Reddy, and the trailer of its Hindi version was enough for us to understand what the movie’s story would be like. If you haven’t seen the trailer for either movie, with so many debates doing the rounds, by now you must have some idea what the movie is about.
I don’t intend to debate through this piece of writing, nor am I saying that someone else’s points are wrong. I am just giving my point of view, I know I wasn’t asked to; but thanks to freedom of speech, I have the right to express my opinion without hurting anyone.
Just Another Bollywood Love Story
In my opinion, ‘Kabir Singh’ is just like any other Bollywood love story – a boy sees a girl, he falls for her, they have their moments, they get separated due to family issues and eventually, there is a happy ending. What brings it into the limelight is the fact that the male lead is an arrogant character with anger issues who takes the path of drugs and becomes obsessed with sex after a breakup. The female lead is a quiet and submissive character. I think it’s based on the concept – good girls like bad boys.
According to me, the acting is ‘A’ class, the way they brought out the story on a reel is A-rated, and the songs are superb. So where does the problem lie? It’s in the lead male character’s role. People have pointed out so many faults – the male lead is misogynist, he doesn’t know love, he will affect us, we’ll become like him, he doesn’t let his girlfriend be herself – such patriarchy; much dislike.
Initially, when I chose to disagree with these views, I was called illogical. But, I want to say, I respect everyone’s opinions. We all have different views and respecting each other is important.Also read: Kabir Singh: To Watch Or Not To Watch
Here’s My Take On The Movie And Why I Don’t Think My Views Are Illogical
As I have already mentioned, I think it’s an A-rated movie with great acting and beautiful songs. This movie, yet again, brought the acting skills of Shahid Kapoor into the limelight. I don’t believe this movie has forced us to be like Kabir Singh. If someone does get influenced by the character and forgets the difference between reel life and real life, then that’s a problem; but we need to address that with those people directly.
I really don’t believe a movie can make you do things if your moral compass is strong. We are all adults and 12 years of school education couldn’t make us believe ‘cleanliness is next to godliness’. Not even the Swacch Bharat Abhiyan could make India 100% clean and you expect a movie to be so effective that all boys will run after drugs and all girls will become this submissive when they are in love? This makes me wonder whether we are humans with the ability for critical thinking and capacity to judge between right and wrong or are we gases that can take any shape and size?
Love and breakup can sometimes actually destroy a person. I have known people who didn’t have a smooth path after a breakup, but they are happy now, in love and more matured than before.
A few scenes in the movie were unacceptable, like telling another female character to undress at knifepoint. Also, the ending could have been better, but why are we analysing only the negative aspects? Why can’t we make ourselves understand that when life throws a breakup at us, we can choose to be like the male character of Shadi Me Zaroor Aana and not Kabir Singh?
Also, who said the lead actor must always be good, and the perfect Indian boy? Long gone are the days when we wanted to see perfect love stories. Sometimes, an imperfect character can also lead to a blockbuster.
Patriarchy and misogyny – these two words were present in every point made against the movie. Maybe these views are right, but as viewers, we often see movies made by real-life misogynists and still praise them, so why do we choose to raise a voice when a character is shown in that way?
I repeat – a character.No one asked you to be a ‘Preeti’; if you face such people in real life, deal with them in your own way. Should we allow characters to influence us so strongly? I don’t remember asking for dragons from anyone after watching GOT.
There’s one more point that I need to clarify. People always question the male actors who say yes to such roles. If you consider all my arguments illogical and those that oppose me as logical; why not raise questions to the actresses who say yes to such films and songs that glorify patriarchy, misogyny, objectification of women and lead to unethical incidents in society?
A few weeks ago, Marvel Studios chief Kevin Feige had announced that Avengers: Endgame will re-release with some added footage for the fans. But the latest piece of news is bound to leave Marvel fans disappointed. Published: June 27, 2019 03:50 pm
Avengers: Endgame re release with brand new footage to reportedly not hit cinemas in India.
The biggest film of 2019, Avengers: Endgame, broke one box office record after another when it released in April 2019. Not just in India, but internationally as well the Marvel film became one of the highest grossing films of all time. Endgame was also in the running to beat James Cameron’s Avatar but it slowed down considerably after coming close to the film’s USD 2.788 billion collection. A few weeks ago, Marvel Studios chief Kevin Feige had announced that Avengers: Endgame will re-release with some added footage for the fans.
The news obviously left lakhs of Marvel fans overjoyed and excited to watch Endgame with some brand new footage. The newly added footage is approximately around 6 minutes and includes an introduction by co-director Anthony Russo, a tribute to Stan Lee, an unfinished deleted scene and post credit scene about Spider-Man: Far From Home.
However, bad news seems to be in order for Marvel fans in India. A latest tweet shared by trade analyst Ramesh Bala suggests that Avengers: Endgame with the new additional footage won’t be releasing in India. Taking to Twitter, Bala wrote, “No..#AvengersEndgame is not re-releasing in India this Friday”
Here is the list of Upcoming Hollywood Movies 2019 release dates for India we also have latest hollywood movies which have already released in 2019 lower on the page.These movies are the ones to watch out for. This list is subject to changes as it depends on censor certification and producers. At times the release dates of various upcoming hollywood movies may get postponed due to various reasons. Below is the Upcoming Hollywood Movies 2019 List and calendar
Released: March 22 Cast: Lupita Nyong’o, Winston Duke, Elisabeth Moss, Tim Heidecker Director: Jordan Peele (Get Out) Why it’s great: The double, the doppelgänger with questionable intentions and mysterious origins, is a potent concept for both horror and comedy. Fittingly, writer and director Jordan Peele uses the device to elicit scares and laughs in Us, his sophomore feature about a family, led by intrepid parents Adelaide (Nyong’o) and Gabe (Duke), facing off against their jumpsuit-wearing, scissor-wielding counterparts in the middle of a leisurely vacation. What begins as an unsettling home invasion thriller with socio-political undertones in the vein of Michel Haneke’s Funny Gamesgives way to a more frenzied, twist-filled science-fiction brain-teaser that tunnels deep into feelings of paranoia like an episode of Lost or The Twilight Zone. Peele’s theme-park ride sense of pacing, particularly in a mid-movie sequence scored to the music of the Beach Boys and N.W.A., keeps you from questioning some of the leaps in narrative logic. (The ending, which goes to great lengths to explain certain aspects of the world and avoids others, might be a deal-breaker for some viewers.) Less elegant than the conceptually air-tight Get Out, Us explodes in a million directions and raises questions that simply can’t be answered. Untethering the ideas becomes half the fun. Where to see it: Rent on Amazon, iTunes, Vudu, and YouTube (Watch the trailer)
9. Amazing Grace
Released: April 5 Directors: Alan Elliott and Sydney Pollack Why it’s great: Aretha Franklin’s voice has the power to transport the listener through time. In Amazing Grace, a captivating concert film made of footage shot in 1972 during the live recording sessions of her beloved album of the same name, she turns Los Angeles’s New Temple Missionary Baptist Church into a musical flashback to her own childhood spent singing gospel music. As a performer and musician, she re-arranges old songs, passed down through generations of preachers and singers, into invigorating new texts. Similarly, this movie, once considered a “lost” document of her artistic prowess, now emerges in the present, reconfigured from footage shot by the filmmaker Sydney Pollack, and the act of watching it can turn your humble, local movie theater into a rollicking, sacred house of worship. While Franklin is undoubtedly the star here, commanding attention with her every move and utterance, the film itself is also an archive of other less well known faces from the past. We see the expert session musicians working to compliment her soulful vocals, the backup singers swaying in their seats as they accompany her, and the adoring fans stationed in the pews, bearing witness to her genius. There are so many layers of memory and artifice to untangle, adding poignancy and complexity to an already powerful performance. Where to see it: In theaters now (Watch the trailer)
Released: March 1 Cast: Franz Rogowski, Paula Beer, Godehard Giese, Maryam Zaree Director: Christian Petzold (Phoenix) Why it’s great: Everything is slippery in Petzold’s meticulously strange psychological thriller. Like in his last film, the transfixing Hitchcock-ian World War II era genre riff Phoenix, there’s an element of mistaken identity at play: On-the-run German refugee Georg (Rogowski) arrives in Marseille with the documents of a celebrated author and soon finds himself pretending to be the famous man in exchange for safe passage to Mexico. Meanwhile, the writer’s wife (Beer) searches the city for her husband, crossing paths with his double in bars and on the streets. The thorny, complicated story is adapted from a 1942 novel by Anna Seghers, which was set during the 1940s, but Petzold strips the set-up of most period-specific signifiers and stages the intrigue-filled drama in a slightly askew, destabilizing version of the present. (For example, no one has cell phones but the fascist troops carry large assault rifles and dress in SWAT gear.) As a conceptual gambit, the question of “when” we are creates compelling moments of discomfort and asymmetry; on an emotional level, it can make the twists and turns in the plot feel slightly removed, like a mathematical proof for an unknown (potentially unsolvable) problem. Petzold’s sure-handed direction, clean and economical in spite of the narrative knots, evokes the romance of the past and prods at the contradictions of the present. Being unstuck in time has rarely felt so uniquely pleasurable. Where to see it: In theaters now (Watch the trailer)
7. John Wick: Chapter 3 – Parabellum
Released: May 17 Cast: Keanu Reeves, Halle Berry, Laurence Fishburne, Mark Dacascos Director:Chad Stahelski (John Wick: Chapter 2) Why it’s worth checking out: Whether he’s slamming an enemy in the face with a book in a library or dodging stray bullets while galloping down a Manhattan street on horseback, John Wick remains calm. The always-on-the-run assassin, returning for the third entry in this surprisingly resilient series, shows weakness, pain, and even vulnerability, but no weapon can puncture the armor of stillness Reeves brings to the role, and his performance is what makes these movies so gripping. The story is mostly silly — Wick has been declared “excommunicado” by the order of assassins he used to belong to and must seek out old allies across the globe — but Reeves and his collaborators, including series director Stahelski and the top-notch stunt team, never lose sight of the core elements that make Wick tick. Even as the mythology grows more complicated, the cast expands to introduce comically named characters like The Adjudicator (Billions break-out Asia Kate Dillon) or The Director (Angelica Huston), and the fights become even more elaborate, Reeves floats through the film. Even if some of the original’s underworld grit has been shined away, replaced with scuff-free comic-book opulence and whiskey commercial ambiance, the series stays committed to simple pleasures. Alongside Tom Cruise’s more outwardly stressed Ethan Hunt, Wick remains the best action hero Hollywood has to offer. Where to see it: In theaters now (Watch the trailer)
6. Birds of Passage
Released: February 13 Cast: Carmiña Martínez, Natalia Reyes, José Acosta, Jhon Narváez Directors: Cristina Gallego and Ciro Guerra (Embrace of the Serpent) Why it’s great: The sprawling gangster epic, complete with harrowing gun battles and bracing double-crosses, gets a thoughtful reimagining in this chronicle of an indigenous Wayúu family in northern Colombia who get swept up in the marijuana trade of the late 60s and 70s. (It all starts with some long-haired American Peace Corps volunteers looking to get high.) As is often the case in these stories, the influx of cash and uptick in violence within the community has destabilizing effects: historic traditions, codes of honor, and familial ties get abandoned in pursuit of empire building. We follow Rafayet (Acosta) as he attempts to hold onto his soul in the midst of unchecked, unflinching free-market chaos. What sets this tale of greed and betrayal apart from every Goodfellas knock-off you’ve ever seen? The filmmakers have an expert control of pacing and style, letting the story unfold through long chapters and nail-biting sequences of suspense. By the end, you’re fully immersed in the world. Where to see it: Rent on Amazon, iTunes, Vudu, and YouTube (Watch the trailer)
5. High Flying Bird
Released: February 8 Cast: André Holland, Zazie Beetz, Bill Duke, Jeryl Prescott Director: Steven Soderbergh (Traffic) Why it’s great: The “game on top of the game” is the true subject of this dazzling, head-scratching inversion of the sports movie from the stylistically restless director Soderbergh and Moonlight writer Tarell Alvin McCraney. Instead of locker-room huddles and buzzer-beater shots, this is a story of modern athletics stripped of all the highlight footage: Ray Burke (Holland) is a sports agent representing a young basketball client in the midst of a league lockdown. A weary maverick with an eye for the bigger picture, Burke needs to save his job, serve his client, and possibly “disrupt” an organization with a history of mistreating its clients. A hybrid of Jerry MaGuire-like behind the scenes drama and Moneyball-esque wonkery, High Flying Bird will be an odd hang for some — characters trade lengthy monologues, real-life NBA players show up for documentary interludes, and, like Soderbergh’s recent health care thriller Unsane, the whole movie was shot on an iPhone — but it’s worth putting the time in and thinking your way through. Few filmmakers are playing the game at this level. Where to see it: Streaming on Netflix (Watch the trailer)
Released: April 5 Cast: Maxine Peake, Pearce Quigley, Rory Kinnear, David Moorst Director: Mike Leigh (Mr. Turner) Why it’s great:Peterloo, Mike Leigh’s politically daring and immensely moving historical drama about the Peterloo Massacre of 1819, is a film that takes the nitty-gritty process of coalition-building seriously. The amount of time Leigh devotes to lengthy speeches made in cramped kitchens, crowded taverns, and bucolic open fields might strike some as superfluous or just plain dull, but the fiery rhetoric, mostly delivered by working-class English men and women seeking reforms to Parliament and an extension of voting rights, is more varied than it might appear. Some characters call for bloody revolution, others for careful adjustments to the system, and a few are simply tired of all the talk, skeptical it can accomplish anything. (The powerful bureaucrats in charge of the oppressive system are also tied up with their own legalistic, darkly funny babble.) The effectiveness of language in the face of brutal state violence is put on display in the film’s tragic final section, which dramatizes a harrowing attack on peaceful protesters by saber-wielding soldiers in St Peter’s Fields. Equally concerned with tactics and rhetoric, Leigh’s movie is the rare cinematic portrayal of the past that refuses to focus on a single “great” individual; instead, it shows how radical change can be pursued by groups coming together in pursuit of common goals. Climbing on a soapbox, potentially exposing yourself as a blabbering fool or as a galvanizing leader, requires its own type of bravery. Peterloo’s brilliance lies in its ability to examine that courage and the quieter moments in between. Where to see it: Rent on Amazon, iTunes, and YouTube (Watch the trailer)
3. Ash Is Purest White
Released: March 15 Cast: Zhao Tao, Liao Fan, Feng Xiaogang, Xu Zheng Director: Jia Zhangke (Mountains May Depart) Why it’s great: It’s not uncommon for a grand romance to unfold over the years against a fraught, ever-evolving historical backdrop. At first glance, Ash Is Purest White, the new film from Chinese filmmaker Jia Zhangke, looks like a familiar epic, a sweeping tale of sex and violence between a gangster and his lover, grafted onto the tricky dynamics of 21st century China. When we first meet Qiao (Tao) and Bin (Fan), they are fellow travelers in a seedy, small-time criminal underworld, one where “YMCA” dances can break out at crowded clubs and thrilling fist-fights can erupt in city streets, like in a Hong Kong action movie from the ’90s. But as the two grow apart, both geographically and emotionally, Ash Is Purest White more fully becomes Qiao’s story and the movie takes on its own haunted, discursive tone. While examining matters of loyalty, sacrifice, and disillusionment, Zhangke arrives at emotional truths that aren’t always spoken by the characters. Instead, he allows his actors, particularly the incredible Tao, to embody these ideas with the smallest movements and the subtlest gestures. The tensions and complications of history weigh them down, but that never prevents the film from taking flight. Where to see it: Rent on Amazon, iTunes, and YouTube (watch the trailer)
2. The Souvenir
Cast: Honor Swinton Byrne, Tom Burke, Tilda Swinton, Jack McMullen Director: Joanna Hogg (Exhibition) Why it’s great: What do we owe to the people we love? That’s one of the many unanswerable questions driving this achingly beautiful, tenderly observed portrait of a toxic relationship between young film student Julie (Byrne) and cagey heroin addict Anthony (Burke). Against the backdrop of a specific slice of wealthy early ’80s London, the movie — which debuted at the Sundance Film Festival — follows the couple’s early awkward courtship, defined by brittle exchanges of ideas and emotions, while also keeping a watchful eye on Julie’s tentative development as an artist. She wants to make movies and has a curiosity about the larger world around her; Anthony, with his cynicism and his anger, cannot help but put himself on a path to destruction. Like in many stories of young love, ruin is inevitable. On a premise level, the movie sounds almost comically bleak, like a parody of an art film from an episode of Seinfeld, but Hogg’s scene-by-scene execution, finding moments and images that vibrate with specificity and life, is stunning. It’s a movie that breaks your heart with studied precision. Where to see it: In theaters now (Watch the trailer)
1. High Life
Released: April 5 Cast: Robert Pattinson, Juliette Binoche, André Benjamin, Mia Goth Director: Claire Denis (Let the Sunshine In) Why it’s great: French filmmaker Claire Denis makes movies that claw at the brain and activate the senses. For her latest project, the ambitious and lyrical space drama High Life starring Robert Pattinson, she’s crafted a story that’s equal parts heady prison thriller, psycho-sexual medical mystery, and bong-rip journey through the cosmos. Bouncing backwards and forwards in chronology, the story tracks quiet inmate Monte (Pattinson) as he raises a baby in a cavernous, dorm-like shuttle in one timeline and attempts to thwart the secretive plans of an oddball scientist (Binoche) in another thread. Exactly how Monte ends up alone with the baby, playing the role of single parent in the stars, would be the central question of a more conventional sci-fi narrative, and there are surprising plot twists and shocking violent acts committed here. But Denis fills the movie with curious images and wild ideas that complicate the dystopian set-up. The ship has both a Eden-like garden, where Outkast’s Benjamin waxes philosophical about his work, and a Cronenbergian machine Denis has called “the fuckbox,” where Binoche unfurls her long hair and experiences moments of erotic ecstasy. They aren’t set up as polarities or opposing ideas; instead Denis weaves all these elements together using the elliptical methods she’s developed over a long career. Like Jonathan Glazer’s equally haunting genre experiment Under The Skin, High Life resists the solutions of puzzle-box filmmaking, choosing instead to explore its own perilous terrain of desire.
Shahid Kapoor and Kiara Advani starrer Kabir Singh is having a gala time at the box office. In the first five days, the film managed to enter the Rs 100 crore club and it is still soaring at the box office.
The film earned Rs 20.21 crore on its opening day and earned Rs 70.83 crore during the opening weekend.
Trade analyst Taran Adarsh shared the latest collection of the film and tweeted, “#KabirSingh is displaying strong legs at the BO… Refuses to slow down on weekdays… Has eclipsed the biz of all films… Fri 20.21 cr, Sat 22.71 cr, Sun 27.91 cr, Mon 17.54 cr, Tue 16.53 cr, Wed 15.91 cr. Total: ₹ 120.81 cr. India biz. BLOCKBUSTER.”
A remake of the Vijay Deverakonda starrer Arjun Reddy, the film has been helmed by Sandeep Vanga, who also directed the Telugu version.
Shahid Kapoor earlier said, “Sandeep has already made it once and Arjun Reddy as a film was so loved. It was in his language and the world he has grown up in. It was his first film and had newcomers, so those people became those characters. So, of course, it was very challenging because when you are doing it with the same filmmaker the next time, it is not as if there is a massive change in the interpretation. When a new filmmaker remakes a film, he would obviously have a different take on it, but with the same guy, he obviously wants to retain many elements of the film.”