A Espiã

Well .. Alia Bhatt knows how to cry in the reel world and boy she does it really well, like really well .. amongst all other 'acting' things .. And Meghna Gulzar surely knows how to direct a movie .. to be honest, there was no question after talvar but yeah raazi did put a stamp once again .. The dialogues have been really thought and worked upon when you could hear the "kh" from the epiglottis :D

Also, I am loving this age of cinema where not just the star kids or the prodigies are coming to play hero or, let us say, act .. but people have started taking it as a profession and they are getting breaks too .. Vicky Kaushal is one such example ..

Movie brings life to a book titled 'Calling Sehmat' by Harinder S Sikka and never through the entire length would you find a need to go back and read it .. you know what I mean .. it is stitched quite beautifully. I did not notice any gaps in there.

Would not want to add any more details as they tend to become spoilers more often than not .. but Raazi should be certainly given some of your time, in a theater. This is the best way to appreciate a good movie.

And yeah .. we have got a new independence day song .. badly needed and is a good one after a long long time :)

Until the interval, the film was slowly boiling but felt like something was missing. But a powerful scene just before the interval explained the whole film in a go. Sehmat undresses herself after a killing, stands under the shower and cries - the cries crack up the heart. One surrenders to the nation irrespective of the in-depth emotions, until Raazi came up the films relied more on nation. But, Meghna Gulzar proves, Emotion is greater than Nation.

The complex nature of the film might come across as a defect, beneath the surface the heart is rapidly beating and the conflicts underline every character. The borders cease to exist, writers Bhavani Iyer and Meghna Gulzar team up to built a strong sense of emotional play. And this is just what I always expected from a war-torn film. The dynamics of "Ae Watan" play in context to both the countries, there's no hero or villain - humanity is. Bollywood has often patronised the term "patriotism", Raazi steps beyond it by taking up the humanistic approach brilliantly. And then, the following dialogue works as a paradox- "Watan Ke Aage Kuch Bhi Nahi, Mohabbat Bhi Nahi (there's nothing beyond a nation, not even love)", says Iqbal Syed.

Sehmat played by Alia Bhatt carves into emotion during the shower scene, often her anxiety comes across childish which just stands as a mould. Watching the film with a peaceful mind might help to digest the thought properly, and I guess, our nation needs such a thought owing to the present "nationalist" agenda.

This is how Indian movies shud be made without the usual bollywood nonsense. Set during the Indo-Pakistani War of 1971, the film concerns an Indian female spy Sehmat married to a Pakistani military man. I haven't read the book but I still thoroughly enjoyed this film. The director did a masterful technique of placing the audience in Sehmat's shoes, the audience is privy to the information as she receives n passes on to the Intelligence bureau. Alia Bhatt as Sehmat did a terrific job n Vicky Kaushal as her husband was an icing on the cake. The scene of the marriage consummation is aptly placed. I am really surprised n happy that for the first time Bollywood hasn't demonized enemy soldiers. It is a slow burner, this is neither an Akshay/Salman/Sunny Deol movie. There are no action sequences or intense shootouts. Most of the film is shot in the house. This is entirely unglamorous, but the film does have an underlying tension n relies on the impending sense of dread which hangs over Sehmat's entire investigation. Ther r two scenes wher Sehmat is almost exposed n the reaction n facial expression of Alia during those two scenes were amazing. My only cribbing is why on earth the servant has to run or keep on running rather than alarm other people. Nevertheless a very solid n different Indian spy thriller. Happy Ramadan. Fasting is anti cancer.

Raazi is one-of-a-kind spy thriller! What is more surprising is that it is based on a true story (although in a dramatized form)! This true story itself is something that, I am sure, NO ONE could ever imagine in their wildest dreams!

But here's something that I am sure you will agree with!

Probably, we all would've enjoyed the movie more had we not been aware of the true story, beforehand! The Trailers and Reviews acted as complete spoilsports!

There are 3 main highlights of the film:

1. The story itself which is thriller - with a surprise event towards the end

2. Alia Bhat's acting - which was both, moving & convincing

3. The normal treatment of Pakistani characters (a first-of-its-kind in Hindi cinema)

Is this film worth seeing even a second time? Yes, it is!

Raazi does what very few Bollywood movies do right. It pulls off a tight script with good acting, and a realistic believable storyline that leaves you on the edge of your seat for two hours. The film also manages to maintain a tight pace while building up towards an impactful climax. In particular, I think three things made it unforgettable:

Firstly, the acting was on point, and made the movie what it turned out to be. Alia Bhatt is turning out to be an absolute genius, and has come a long way from her 'student of the year' days. There are very few in her peer-group that can do justice to these kinds of roles. Vicky Kaushal was good as the beguiled husband, and his restrained yet emotional male character (supporting a powerful female lead) is a Bollywood rarity, and was thoroughly enjoyable. The others are on point too, with minor actors like Jaideep Ahlawat and Rajit Kapoor delivering strong performances.

Secondly, the movie turned out to be tight and on point, with no melodramatic displays of emotion or sappy songs. The good old premises of a bride departing to her husband's household for (presumably) good, the arranged marriage with a virtually unknown man, and eventual marriage consummation were all present, in theory. These are all typically perfect opportunities to inject unnecessary bridal parting songs, lengthy wedding song and dance sequences (boy's side, girl's side, etc.) and the worst of all - a song balancing sleaze with "Indian culture" (read: censor board mandated restraint) that plays when the marriage is consummated (this is typically a couple kissing and rolling around in a bed, carefully clothing their privates with velvet or satin sheets). But Raazi eliminates all of this fluff and more, leaving you wishing more movies would do away with the crap in favor of keeping the pace of the plot.

Lastly, and most importantly, Raazi does justice to the complexity of the India-Pakistan conflict. The countries have a shared history which makes the war painfully more unique (e.g. Abdul, the oldest and most faithful caretaker in the Pakistani household is of Indian origin). The movie takes no sides, and shows you that humanity and ruthlessness exist on both sides. This is a significant departure from the patriotic films of yesteryear - we are habituated to seeing a good vs evil theme, and having Pakistanis depicted as soulless warmongers. And so, you are simply not prepared to empathize with Iqbal's (Vicky Kaushal's) gentle persona, and when you do, it his vulnerable humanity hits you like a truck. Conversely, the hardened Indian intelligence agent Mir is many things during the movie, but 'human' he is not.

I walked away from the theater understanding better the nature of such wars, and that the real conflict is not over Kashmir, or between two sides, or between ideologies. The real conflict is always fought within the human heart: between the ruthless imperatives of duty, and the very human urges of gentleness, mercy and love.