India Lockdown

The movie was covering the story of different sections of people from different stratas of Indian society during the lockdown phase. The story is really close to the very reality. Lives of those sections are also shown by the makers who are generally ignored. Madhav's scene is deeply emotional and generates a lot of sympathy for the couple. Immediate shift of emotions happens from one scene to the next. Its a good story which has shown many things in shorter span of time. The end was also very happy.

Talking about the characters, outstanding acting by all the actors and Mehrunisa has truly stolen the show with her acting skills. Want India Lockdown 2.0 as well.

Talking about the performances, Ayushmann is evergreen and moves the character arc as beautifully as ever. His efforts on the body language deserve a special mention as he retains an easy-to-miss "nerd posture" throughout the film and his comic timing during confrontational scenes is just phenomenal. Shweta basu is a gem of an actor who deserves every superlative in the dictionary. More than her acting, it's her screen presence which is so bright that sometimes it even manages to almost eclipse a fantastic actor like Prateik. Aahana is fantastic in her liberal mother role but she isn't given enough to chew in the first half. Aahana does well as the self-possessed but still figuring herself out character. Special mentions for the supporting actors who plays the teen girl and the nurse.

Following Covid-19 pandemic worldwide, life wasn't same after government imposed lockdown nationwide in India in the beginning of 2020. The lockdown had a severe effect on the livelihoods of migrant workers and life came to almost a stand still when people were confined to their homes. The effect was adverse to completely cover in a movie.

The film focuses on a smaller social strata that were effected by the lockdown, including prostitutes, a workaholic pilot, youngsters trying to lose their virginity, an elderly man awaiting to visit his pregnant daughter, and a migrant worker. The film delves much into the world of prostitutes during lockdown, and in a way it seems Bhandarkar attempts to create more of a voyeuristic movie to lure the viewers than actually depict the plight of lockdown. However, the film achieves in depicting the hardship of migrant workers left in destitute to walk days to their villages, which appears much emotional in the screen. Overall, the film has its moments but is unable to leave the voyeuristic aspect of Bhandarkar movies, making it unsuitable to be watched with your family.

Rating: 2 stars out of 4.

India Lockdown tries to depict how COVID and the lockdowns that followed affected the lives of people belonging to the various sections of Indian society. Now, this is not the first film made with the backdrop of coronavirus, and in all probability it won't be the last as well, but the thing that matters is that regardless of how important an event you select as the backdrop of your movie, it needs to be told in the form of a story, otherwise it would feel like a documentary, something that holds true for this film as well. Some things are happening in the film, but it's not quite clear as to what is the intention of the director, what exactly does he want to say through this movie. It looks like the director and his research team picked up some examples from real life and put them into this movie, but forgot to weave them into a properly structured story.

Among the four stories being told simultaneously, the story that moves you the most is the one with Prateik Babbar and Sai Tamhankar. One of the most heartbreaking consequences of the lockdown was the mass exodus of migrant workers, and we get a first-hand experience of that traumatic phase through Madhav and his wife, as they wander around helplessly on the streets. It was as it is depressing to revisit those visuals once again, but the believability with which those two actors have portrayed their roles made it even more painful to watch. Prateik Babbar and Sai Tamhankar are extremely underrated actors and both of them have given a beautiful performance in this segment of the movie.

The Mehrunissa chapter with Shweta Basu Prasad also felt like a retelling of some real life instances that may have happened during the lockdown, there was no real story there. I kept wondering as to where are we headed with this, what is the point of what we are watching, but I got nothing. It feels as if the director just wanted to show how sex workers were operating during coronavirus, that's all. The problem however with this kind of filmmaking is that your movie starts to look like a documentary. Shweta Basu Prasad is a very capable actress, but in most of the scenes of this movie, she was extremely loud and over the top. Perhaps she was trying to impersonate some real life sex worker, but she should have kept it a few notches lower. It was only towards the end that she gave a glimpse of the brilliance that she possesses as an actress.

Prakash Belawadi was extremely grounded in his portrayal of Nageshwar, but his segment too felt like a soulless piece of screenplay. Through Nageshwar's story, the director was telling us something that we are already aware of. If we wanted to see things happening around us, we would watch the news or read it; we don't watch a movie for that. Events taking place around us are supposed to be used as the setting, something that helps the director in laying down the basic groundwork of his main story; turning that particular news story into your screenplay is just lazy work. The main focus has to be there on the main characters and their journey, otherwise there is no real point of making a film.

The segment with Dev, Palak and Moon Alvez was not only dull and predictable but also the weakest in terms of acting performances. While the young actors just didn't know how to act, Aahana Kumra on the other hand was extremely loud in every single scene.

No one likes to watch a boring and poorly written film, but unfortunately that is precisely what 'India Lockdown' is.

However, the film is also marred with noticeable flaws - the most conspicuous of which is the disappointingly terrible and distracting background score by Prateik, specially in the first half. Even his quirky music in the first half is harsh on the ears and often too loud when it's in juxtaposition with dialogues for us to be able to hear what the actors are speaking. The comedy writing in the first half tries too hard and the punchline setups are often either too predictable or just don't land. Madhur Bhandarkar is in far more control of the screenplay in the second half and that includes the subtle and unobvious jokes which work really well in it. Watch out for the Zalima moment - easily the funniest sequence of the film.