But his conflict is too big to be contained in just half a love story, and Randeep Hooda, as the forties’ version of Raghu, doesn’t get the space to locate this character’s core. (My dishonourable acts from my past are my companions today.) This is exactly who this character is, what his situation is. In Chalo ek baar, from Gumraah, Sahir Ludhianvi writes: Mere hamrah bhi rusvaaiaan hain mere mazi ki. His café is even named Mazi, which means past - and the quaint word took me back to one of Hindi cinema’s greatest outpourings of unrequited love. In the present, in his forties, he still lives in the past. I wish IA had shaped his entire film around the tortured Raghu.
#FAADU PRODUCTION SERIES#
When compared to BREAKING BAD, this one is notches, and I mean Mount Everest notches about it: And to think that this was an after-thought of a series and character development!!!! What SEINFELD was in the ’90s and what New York defined, BETTER CALL SAUL defines not criminal lawyers but lawyers who defend criminals, thanks to the great American hell-hole called ‘justice.’ One thing maybe by nostalgia for X-FILES always takes over, but BETTER CALL SAUL, is by far, IN A FREAKING DECADE, the best one to come out of American television. Vince and Gould have really put me in a dilemma as to how the hell do I list the order when I am caught - not in an island as many wanted to before– but in a pandemic!! The highlight for me was the scene where Rhea Seahorn’s KIM WEXLER explains away to Gusman Goodman’s miseries in the desert. I was blown away, again, by the fantastic writing and the performances. Maybe somebody good in searching like Sanjana can find it. I don’t know where I put a short commentary on BETTER CALL SAUL. G’s official tells John to ‘balance-off’ the terrorists with some Hindu terrorists was the boldest – and am surprised at no ‘satyagraha’ launched against the scene! Hats off to Nikhil Advani for attempting such a film in a faux-liberal environment prevailing in these times.where every-body right of center or center is a villain. The winner in this film are effective story-writing and direction. But it was a nail-biting film and the emotional turmoil of John was superbly captured: Caught between a minority-appeasing government and the duty to one’s country, it was a horrible conundrum to face and finely captured – though it could have been better captured by a better actor – still, I don’t have complaints against the AS-IS performance from Abraham. I have written about it in some comment before and am bad at search functionality. BATLA HOUSE was an extremely superior film.
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