Matru Ki Bijlee Ka Mandola

Its a Shakespearean story set in rural India. If you know rural India have lived there, you would feel attached to the movie.This movie is not for urban people who don't know (and don't give a damn) about how things work in rural India.

PANKAJ KAPOOR should have won awards for this movie and for first time i actually liked IMRAN KHAN's work. SHABANA AZAMI too is incredible.

Script is USP of the movie and screenplay is brilliant...although ending was a bit longer than it should have been. Overall,the movie should have been supported more by viewers and critics.

I would give it 8/10.

I am pretty sure you know what the story is, so I won't strain on that! Well, it is typical and a lot of movies have been made in the same line of land acquisition and dirty politics - in all languages perhaps!

MkBkM is a musical odyssey of great performances by the whole crew except the writer. Lead actors are solid - Kapur, Khan & Sharma are great and perfectly monetize their characters. Kapur's character is like a villain that you love. Shabana Azmi portrays her stellar performance and I appreciate that!

Editing, screenplay is good; direction is the usual Vishal Bhardwaj and music is punchy yet enjoyable. I won't spill the beans about the pink cow, because you need to watch it to enjoy and take pleasure.

What works and supposedly will in the box office is it's catchy screenplay full of the Bollywood masala which was lacking in most of the 100 crore worth films of 2012. It is definitely not boring a movie to pay 300 bucks for. I am pretty sure you won't be disappointed by the performances, but the clichéd story might dull you!

After Table No. 21, I would not totally recommend to watch this but you won't complain as it is a VB movie (7KhhonM, Omkara) and not Dabangg 3!

Bottom Line: Watch it because it has and will give you a kickstart in this 3 day holiday weekend! But MkBkM is not pure filmaking. As we all are irritatingly bored by 2012's greatly depressing masala-item dance movies, 2013 is time for some enjoyment!

WATCH OUT FOR: Pankaj Kapur!

Can be watched with a typical Indian family? YES

Language: Mild | Sex: No | Nudity: Very mild | Violence: Mild | Mouth- Kiss: Yes | Foreplay: Yes | Drugs: Implied | Alcohol: Strong | Smoking: Mild

So the most crowd pleasing title Matru Ki Bijlee Ka Mandola having a distinctive casting, offbeat music and the film which grabbed most of the attention towards, Vishal Bhardwaj after his terrible 7 Khoon Maaf returns with this original story of MKBKM. Bhardwaj has always tried to be original towards his plot, think of Kaminey where the film worked with critics along with the masses too. Bhardwaj is a kind of director who gets adjusted to his surroundings vividly. Bhardwaj's music is unique having a typical title track, Matru Ki Bijlee Ka Mandola starring Imran Khan ( Matru ), Anushka Sharma ( Bijlee ) and Pankaj Kapoor ( Mandola ). Though this casting is different from anyone's point of view but worked brilliantly at this piece of cinema.

The plot displays unrefined rural locales of Haryana where a kinky, odd industrialist Harry Mandola ( Pankaj Kapoor ). The village is named after his surname Mandola. He himself, known as Mandola most oftenly, is a personality with acuteness in his thinking regarding money, serious, cunning and slick. Mandola wanted his area to be announced as an economic ward obliged to which he forces the native residents who had their farmlands, to sell and leave the village. But Politician Chaudhari Devi ( Shabana Azmi ) who appeals him into thwarting off the villagers. Mandola's MONEY while Chaudhari Devi's POWER can only unite when their offspring's get married to each other. In the midst of all, Mandola's Man Friday Matru ( Imran Khan ) who has nothing to do with these situations enters them, tends to bring some drastic change against land extortion and defends the villagers.

The scenery is captured beautifully, though it is unrefined, raw but that's the beauty of this film. Bhardwaj puts the best comical scenes between the breathtaking star Pankaj Kapoor and Imran Khan, who just sets the cinema on the right track. Imran Khan gets the mood for watching such a type of genre while Pankaj traps everyone in his histrionics. The Director then ( itself in the first half ) tries to bring a mysterious character Gulabi Bhains ( Mao ) but the balloon burst right before the interval leaving nothing to forecast in the second half. Practicality is what Vishal Bhardwaj tends to assure in 'Matri Ki Bijlee Ka Mandola' and it forces him to choose for a midway which was more apt towards deep red before pink. The abusive manner doesn't consent an impact pretty much like the odd and unusual presence of Gulabi bains (Buffalo). The song 'Jiski kheti uski zameen, hatt lootne wale' conjointly imitates the same emotions.

All in all to be a Vishal Bhardwaj's film you expect some twists in the second half but the plot is empty making everyone go predictably right and have a banausic continuity. The man who stands alone in the film is Pankaj Kapoor with his stupendous drama. He just fills the glass which was emptied by the storyline to the way it had to be. Pankaj Kapoor's drama win right from the very first shot where he is in his drunken amazement scowling some Haryanvi dialogues. Shabana Azmi gets an easy role but stills does as if she has somnambulism problem.Anushka is good, peppy and cheerful.

Pankaj Kapoor saves this film with his acclaimed acting but still Matru Ki Bijlee Ka Mandola departs you displeasedly. In all the second half is sluggish and most foreseeable without any twist and turns.

There is one thing I genuinely like about the General audience. If they don't like a movie, they would not care two hoots, unlike most of our critics and 'thinking-audience', about the film-maker who made it. If they think something is trash, Trash is what they call it. On the other hand, Critics and the 'intellectuals' are forced to think twice before rubbishing any film by a maverick film-maker.

But the bitter truth is - if we take out the name - Vishal Bhardwaj - there is very little else to savour in the whacky yet directionless 'Matru ki Bijlee Ka Mandola'.

Don't get me wrong, but its a rather disquieting experience to see the guy who made Maqbool, Omkara & Kaminey fail to realise a concept to its fullest - that had much potential for humour as well as intensity, for style as much as sincerity.

Not to say that Bhardwaj doesn't pull it off at all. Perhaps the most charming parts of MKBKM are the ones belonging to first half, where the film comfortably veers ahead with a couldn't-care-less sort of leisurely pace, never bothering to 'take the story forward' - an aura which seems even more apt considering the milieu it is set in.

The film begins with two POVs of the same scene - letting us in early enough about the stylistic brush-strokes he is going to use perhaps, further for his latest offering. Mandola - Now here is a character who acts Suicidally moral when drunk, and acts according to the world's evil ways when in his prime. The confidence comes across in the initial reels when the film charters its path sans any melodramatic dispositions - leisurely pace is an aura very few directors manage to pull off, and its not surprising when Bhardwaj does that.

Whats unsettling is how overboard Bhardwaj went and simply wrote and wrote this script until there was possibly nothing else of color that could be incorporated. As a result, the narrative looks too stuffed and sadly the film hardly ever manages to keep count of all its tone-shifts and mood-swings.

The whacky plot-devices are in abundance here, and even work to a very great extent - A boy gifting an entire Zulu tribe to his would-be is quite a thought, just because she had mentioned some odd day about her fetish for African music.There is an alarmingly incestuous angle to the relationship-mechanics as well, well treated and sans any malice. Apart from these, There is an identity-closure angle, there is a Zulu tribe, we have a very brief UFO scene, A hi-end exec asks one of our leads at least three times about "the revolution".. and then amidst all of this, Mandola (Pankaj Kapur) can't help locking eyes with a all-too- smiling pink buffalo.

Bhardwaj has a lot on his patische here, and tries his level best to make sense by bringing all of them together on one sheet. At times, he even resembles a novelist - playing with the immense possibilities of all the sub-plot that promise some thrill, some mood. One of the most set-piece is delivered when Mandola talks about his dreams as we envision them - the granduer of them all is too overwhelming, and Bhardwaj underlines the whimsical over-the-topness of it all by making the clouds appear and rain.

But when a mood-movie like this enters into a zone where the plot seems too self-important, the balance is simply lost altogether. Because as much as we dilly-dally with the crazy touches and little details, the 'story-listener' in us viewers constantly feels troubled by the ultimate direction MKBKM takes - by the pre-climax seeming like a loosely-knit 'Peepli Live', a satirical comedy about one of the most important issues plaguing our nation.

And despite exceptional performances by Pankaj Kapur (who is mindblowing throughout, actually) and Anushka Sharma in the final portions, the climax does exactly what one fears it would - fail to tie all the madcap strings together well enough, to create a concrete madcap comedy. This is a 'neither-here-nor-there' case, clearly - watchable but had lot more potential.

There are a thousand ways to approach a serious subject. Yet with MBM, Vishal Bharadwaj does an entirely different take,and an effective yet entertaining one at that. The screenplay has an aroma of theater throughout, and is backed by some stellar performances by Pankaj Kapoor, Shabana Azmi and the new pair of Imran Khan and Anushka Sharma. The humor in the film has a quirky charm about it. Pankaj Kapoor exhibits brilliance in the portrayal of a character who can be loved and hated at the same time. I would strongly recommend the movie to avid theater audiences and also to those who would like to be served the Bollywood 'masaala' in an entirely different avatar.