While movies focusing on the genre date well back over 50 years, it is within the past 20 or so years that werewolf movies have really been prominent in popular culture.
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In the end, he is the macho man beating other muscle-bound men in a competition of full-blown testosterone she is just another girl willing her man to bring the trophy home. Khurrana, Chandigarh boy for real, is right at home in his bristly-brawny-softie Manu, Kapoor’s svelte certified physical trainer with a troubled past takes you back to the flash of promise she had shown in ‘Shuddh Desi Romance’: the film didn’t need so much overused stuffing because these two seem quite willing to go the mile.
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Kapoor himself knows how to mine a story: his ‘Kai Po Che’ is still a favourite. The film does go down a path no mainstream Bollywood film has dared to, and yet comes off oddly generic. So while it’s brave that there can be a line like ‘aadmi wali shakal ki aurat’, for a woman who was a man before the sex-change operation, a mention of ‘bi’ people, a little speech on what constitutes ‘normal’, and the presence of a clearly butch person, the whole doesn’t really add up to a film with any surprises: you know exactly what will happen at each beat. We grew up when Bollywood wasn’t looking. Will we accept it? Or walk away from it?Īlso Read | Abhishek Kapoor recaps his cinematic journey: ‘What your failure teaches you, your successes will never teach you’ These are familiar elements into which you can insert the love with trans person angle, and wait with bated breath. He has not just one BFF, but two, twins who surround him with ‘faadu Punjabbi’ lines, all hearty and coarse. He has a widowed father in love with a woman from, gasp, a minority religion: the film slips in a muttered line about Hindu-Musalmaan amity. Manu is given two nosey sisters who are so heavy-handed about his welfare that you itch to tell them to shut up. But to use ‘paagalon ka doctor’ for psychiatrists? Really? So you go ahead and insert words like ‘chakka’ (ugh) so that you can get your hero to push back against it and feel very noble. But if you are so worried about potentially alienating your viewers, you are also likely to dilute the heft of your subject. But Kapoor is also careful, one might say a little too careful, and wraps everything up in jokey stereotypy. On that score, getting in a trans person as romantic plot point is an act of courage.
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Even in 2021, Bollywood prefers playing safe and keeping all tricky subjects at bay. Maanvi has a deep, dark secret, and once that comes tumbling out, harsh words are exchanged, and there is a rift in the lute.Ībhishek Kapoor’s film, which is about how love is love, hello gender fluidity, differences be damned, is on to something. While we are busy applauding this welcome exhibition of passion between two consenting adults, there’s a sudden spike in the works.