Open letter to DNA editor Upala K. Basu

Originally posted HERE

It is no secret I am a Madhuri Dixit fan, and I have also made no secret over how disheartening I found the failure of Dedh Ishqiya at the box office. However the following lines are not a reaction of a Madhuri fan, they are a reaction of a WOMAN I am above being everything else, and I would like those of you who read it forget about everything you know about me except for the fact I am a woman and an avid watcher of Bollywood films, old and new.

Just this morning I have been directed to THIS ARTICLE published by DNA and written by their Deputy News Editor Upala K. Basu - and to whom I would like to convey this message:

Dear Madame,

much like majority of others you too obviously believe actors and filmmakers - but above all actresses - are only as good as the box office figure of their last movie. It doesn?t matter if they have as long as 30 years of hard work, success and appreciation behind them. In fact, that is what makes them even easier to target. With your latest contribution to DNA you have made abundantly clear you believe women come with an expiration date, talent or artistic abilities nonwithstanding. You believe after reaching a certain age an actress should dilligently fall into a convenient slot and stay there if she wants to be accepted by the audience, and basically implied that any other attempt on breaking new ground is not wanted or needed.

If I am to dissect your article, right from the very first paragraph it shows how unprofessional views you hold and voice out. A failure of a film is never one person?s fault, even more so if it is a film like Dedh Ishqiya - with four main leads of equal importance. Given Madhuri Dixit is the greatest star of them all, Naseeruddin Shah is still nothing short of a living legend, Arshad Warsi is a comedy king for the masses and Huma Qureshi has been only gaining in the count of fan following ever since she made her impressive debut. And these are just actors. The makers are critically acclaimed Abhishek Chaubey and even more critically acclaimed Vishal Bhardwaj. To pin low BO collections on just one actress is highly unfair, especially since if it was the other way round people would be giving credit for the success to all people involved. Including you.

Perhaps the most outrageous part of your article is the following: "Sridevi chose to return to the big screen with a film befitting her age. She played a wife and a mother. Madhuri chose to return as the leading lady who is looking to get married and is holding a swayamvar.? There is no other possible interpretation than that a woman over 40 can only be a wife and mother. There is no other way a role could ?fit? such an actress. How very narrow minded and short-sighted such a perception is? While being  a mother and a wife is for most (definitely not all!) women what they aspire for and cherish, a WOMAN is always a WOMAN first. Everything else comes later. Given your poor observational skills and biased, sexist views, I do not suppose you have ever watched Mother India (1957). The amazing message of that movie is that a woman is a woman, and a mother is able to kill her own beloved child for the sake of protecting the dignity of womanhood. Saying Madhuri chose a a role not befitting her age is utter nonsense. Begum Para Mirzada IS a woman in her late 40s, she is a widow and she is actually an inspiration to all women by carrying on with her life, planning her future and making her own choices.If all you could think of while watching a movie with story as complex as Dedh Ishqiya, and with a character as layered and problematic as Begum Para Mirzada, was that a woman in her 40s is planning to remarry (and for whatever reason you found it wrong), then it shows you are unable to broaden your own mind and accept a concept that differs from traditional, rusted views.

It is nothing but painfully ironic that you mention Naseeruddin Shah?s seniority over Madhuri as a problem that weighted the movie down. The age difference between the two is still lesser than the age difference we see almost every Friday in other films. Shahrukh Khan?s next is opposite Deepika Padukone, Salman Khan opted for baby-faced Daisy Shah, Aamir Khan got to romance Katrina Kaif, Sunny Deol was cast oppostie a 19-years-old Urvashi and I still have nightmares over Sanjay Dutt drooling over Prachi Desai just last year. This in itself screams ?sexist?, much like the fact male stars are allowed to be in our faces 24/7 and still make films, but the moment an actress reaches out to her audience through the same means she becomes over-exposed. Yes, it kinda rules out rushing into the cinemas because of a specific actress, BUT people should be primarily interested in good cinema over somebody?s persona. It is not such case in India, which results in public being happy about mediocre to downright atrocious movies as long as their middle-aged hero looks impressive on screen. Putting a movie like Dedh Ishqiya down just because one of the leads is often seen is, again, unfair and irrelevant considering the quality of the product.

Another sexist claim of yours: ?She needs to evolve and needs to let go of playing the desireable diva.? Again, you imply that a woman who has crossed a certain age is not desirable no matter what she does. Wrong. A woman in her 40s, 50s, even 80s can be desirable and charming. And as for evolving - Madhuri Dixit has beaten all other actresses of her generation in it by choosing Dedh Ishqiya and the character of Begum Para (I am beginning to think you have not even bothered to watch the movie). Begum Para is a child-woman, crippled by past experience. Her health has deteriorated and she is possibly even mentally disturbed. Ad to it (and now I am sorry for the spoiler to all who might read this and not have seen the film) homosexual colouring of the character, her disinterest in romantic love (SPOILER END) and unapologetic actions. What you have is an absolutely new, unique character, never seen before in Indian cinema. You applaud (and rightly so) Sridevi for her meek, sweet housewife who finds self-respect, but Begum Para is no less compelling or complex. In fact she is much more fascinating. She is just not easily to relate to. Madhuri Dixit has taken up a role most actresses would turn down out of fear it would rag their image. Instead of being launded for her daring choice and stunning performance she is being told to settle on conventional mother roles and being put down because she was presented as beautiful and enchanting.

In the end I would like to point out to you that some of the most loved and celebrated gems of Indian cinema flopped badly at the time of their release. Kaagaz Ke Phool, Guide, Mera Naam Joker, Umrao Jaan, Lamhe, Andaaz Apna Apna, Dil Se and others are considered masterpieces and are remembered as cult classics. Even Pakeezah was flopping badly and was only saved at the BO because of Meena Kumari?s tragic demise. There is no denying Dedh Ishqiya did not hit the bull?s eye, while another random college romance Yaariyan scored. Now look ahead of ten years and say with conviction Dedh Ishqiya, with its poetic setting, unique story, different treatement and brilliant exectuion is not going to be remembered and loved. And look just few months ahead and tell me people will actually even remember Yaariyan.

You may defend yourself by saying you only write what people think. However that is not an excuse good enough given you expressed your own opinions. Surely you must realize how strong the sexism and ageism in the two-faced Bollywood industry is. And how wrong it is. Pointing out what is wrong in mindset of society is your job. I can just say you are extremely lousy at that, serving to support the sexist, ageist mindset instead.

Sincerely an offended woman in her twenties.

Dedh Ishqiya

Directed by: Abhishek Chaubey

Starring: Naseeruddin Shah, Madhuri Dixit, Arshad Warsi, Huma Qureshi, Vijay Raaz

Released: 2014

My rating: destroy every copy ? horrible ? bad ? whatever ? flawed but enjoyable - shitastic - good ? great ? amazing

Dedh Ishqiya is a film that gave me everything I wanted. Everything I expect from a movie, that too from a sequel of a film I already like a lot. I have been waiting for it for over two years, anticipating it with bated breath, so brace yourselves because this is going to be LONG.

Ishqiya is carried forward as a franchise by the extremely loveable characters of Khalujan and Babban, a notorious uncle-nephew duo, with eyes always on some prize and constantly trying to escape their rishtedaar from previous film. However while it is their franchise, it is not their story. Much like we witnessed Krishna?s story (albeit through their eyes) in Ishqiya, this time it is another woman whose life, struggle and plans come into focus. Neither Khalu nor Babban changed since we last saw them. Khalu is still in love with the idea of love and Babban has not lost anything from his brisque nature. Naseeruddin Shah and Arshad Warsi are both great, great actors. Arshad has the advantage over other characters in the film because he is really the only one providing fun and entertainment through one-liners, which he delivers like only he can. Naseeruddin Shah delivers one of his best perfromances, and given his amazing record that is really something. Khalu with puppy-eyes and love-struck expressions is a sheer delight. He is still a crook, but he looses himself in love (and is happy to do so), more than he intended. He has stopped dying his hair, has accepted his age, and his affections are indeed deep, not a flying romance which he shared with Krishna.

Huma Qureshi. My hope for a better Bollywood of tommorow.

But look for a woman behind everything, right? And this woman around whom everything is centered is remarkable. Now, we all know Vidya Balan seduced us one and all, men or women irrespective, with her earthy, raw sensuality. Begum Para seduces too, but through different means. Krishna from Ishqiya was real in every sense of the word. Begum Para seems to be from a different time and place altogether. As if she stepped out of an old painting, she carries herself with utter grace, refinement, class and distinct air of royalty. She seems an illusion the men are chasing wholeheartedly, and at the same time, as you wander through the haveli corridors in day time, it turns out the picture she gives to the outer world is a lying image, put up for the sake of mere survival. Unlike Krishna, Begum Para is not a deserted woman set after a revenge. And she does not need to sleep with anyone or lick their fingers to have them eating out of her lily-white hand. Her one look is enough to set hearts racing, as she possesses the aura of being above mere mortals and almost untouchable. She knows she has these qualities and is aware of the effect she has on people, and yet, at the same time..... she is a child in her soul. Crippled by past experiences, suffocated under the royal title and slowly dying on the inside, trapped in the enormous palace. Dedh Ishqiya heroine is just as exciting, and even more complex than Krishna, even though she is created from a different mould altogether. She too is unpredictable and unreadable, but that is where the whole similarity stops.

Every single interaction between Madhuri and Naseeruddin is magical.

If one expected a shrewd, scheming woman using her raw sex-appeal to get what she wants, Begum is not it. However Muniya is. She fits much more into the expectations people had if they approched the sequel with a pre-conceived notion of how the characters are going to be. Huma, arguably the most talented actress among the current new lot, plays her role of Begum?s close confidant with ease and conviction, and she is not at all lost beside other, much seasoned actors. Huma looks gorgeous and one can feel the energy and vivacity radiating from her. Her diction is wonderful. Not even her hairstyle can compete with the one the excellent Vijay Raaz is sporting though. In a film where everybody chases their own agenda he is no less and no more ambitious and sneaky than Khalu and Babban, making Dedh Ishqiya truly a story where there are no heroes and villains, just self-loving people who work towards their aspirations.

Screw poetry. My hairstyle is the best.

Dedh Ishqiya is a cinematic triumph in many ways, and one of them is the characters. This is one of the rare Bollywood films in which all of them are multi-dimensional, needed for the progress of the story and to drive the plot. There is no place for superficial rubbish.And all the actors involved are so massively talented and click so well together it just doesn?t feel correct to dissect the scenes for the sake of bringing somebody up or down. They are all needed, they all deliver and in the end the FILM is more important than any actor. And it works.

It wouldn?t be Ishqiya though, if love did not get in a way. And there is way more love than in the first film. Between more than two people. More than three. More than four. Dedh Ishqiya is just love, in many forms, with many faces, of different motivation and springing from various roots. The chemistry is at work between all four main protagonists, but interestingly Babban/Khalu and Begum/Muniya have better chemistry together than opposite each other. Babban and Khalujaan are indeed one of the most loveable ?bromances? I can think of, up there with Munna/Circuit, Karan/Arjun, ?Shashitabh? in most of their film and Anil/Jackie in everything they ever did together. They are comfortable with each other and it shows. 

What is much more rare and actually made Dedh Ishqiya so special was the bonding between Begum and Muniya. I have not seen two female characters being so close and in such a tight-knit relationship in a movie ever. At one point Begum adresses Munnia as her ?dost, behen and jaan?. And there are more hints on what the relationship is actually about. The possibility that they MAY and MAY NOT be homosexual is enthralling. Munnia is Para?s ?jaan?? We all know this word can be interpreted in more ways than one. And perhaps it is innocent. Perhaps not. It depends on the viewer, who can freely choose what they want to believe. And if indeed they are supposed to be lovers, then it is the most subdued, tasteful portrayal of such situation on the screen in Indian cinema. Nothing about it is in your face or riding on stereotypes. Even their prospective grooms are shown to be in awe and actually turned on by what they discover, rather than be disgusted and use it against them.

One of these is as innocent as a lamb without even knowing it.  Hint: it?s not the girl.

There are flaws. Minor ones, truly. The second half is rather slow, at the same time I cannot imagine any scene missing. Jagave Sari Raina dance number happens quite all of a sudden and out of nowhere, a bit more of a build-up would have made it even better. The song is gorgeously choreographed and executed, giving us even a flashback bringing us closer to understanding the backstory of Kahlu and Bagum. I definitely felt more should have been said about it. How close they were? What happened to them really? Why was it her specifically that Khalu set his mind upon once he realized he wanted something in life for himself? Was she his first love? How did he find her? Or was he keeping eye on her throughout the years? Too many questions to be asked.

Musical score is beautiful. I love the whole soundtrack, with qawali Kya Hoga taking the cake for the best song. And lyrics... Oh the lyrics! If we forget the Horn OK Pleaj track, it has been a long long time since such gorgeous and meaningful lyrics have sounded through cinema halls. Gulzar Saab penned down some of his best efforts for this movie. The background score is hauntingly beautiful and truly underlines the atmosphere of some of the scenes ? Begum?s entry being one of them. It takes a little while before one gets used to Rekha Bhardwaj, but then the effect is wonderful.

Dedh Ishqiya can also boast of great dialogues. From Babban?s hilarious one-liners, his attempts to woo Muniya, Khalu?s elaborate poetry and all the lines Begum presents with her impeccable and unmatched dialogue delivery, the film is a language festival, Urdu in particular. Even I, though not familiar with it much, was smitten by how sweet and beautiful it sounded.

Camera work and visuals are excellent too.

To me the highlight of this fantastic film was Begum Para, brilliantly brought to life by Madhuri. Perhaps it is because I simply notice her more, then again there is reason why I consider this woman my favourite actress and she re-assured me I am justified in that opinion. And I am proud of her, because Begum Para is a role not everybody would or could do. Begum Para is not a Miss Goody-Two-Shoes. She is emotionally, possibly mentally disturbed woman. She is not interested in love, and of course there is the already mentioned homosexual colouring. Add to it you have to share screenspace with twenty years younger and fresh power-house of talent Huma Qureshi in most of the scenes. In her 30 years long film career Madhuri has given us some truly inspiring, strong characters. Independent and fierce women. Begum Para has something I don?t believe I have seen in any other of Madhuri?s roles ? she is extremely frail and fragile. She is vulnerable. For all the plotting and mystery she has gentle innocence in her eyes. She projects such a feeling of helplessness and desperation one just wants to cuddle her up and comfort her, protect her from the realities of the world ? and that we love Muniya for doing just that. 

Be it Para who is furiously scratching her own face out of old pictures or Para who in matter of seconds transforms into a seductive temptress, Madhuri plays the role to perfection. Her skin almost changes colour with the mood she portrays, she radiates warmth one moment and it is completely lost in the next, her expressions are lucid and clear and beautiful. And her dialogue delivery yet again flawless. Finally, this is a woman in her 40s, shown as extremely desirable, a central piece of the story, and both she and Muniya make for some of the best feminist characters in recent times. The world of Ishqiya is unique because it shows that WOMEN ARE PEOPLE without need to call anything female-centric and flaunting any such ?progressive? tag.

And so a complaint of mine would be we did not seen nearly enough of her in the film. The screentime is distributed amongst all the actors pretty evenly, which gives them all their chance to shine, but ultimately takes away from the most interesting person of the story. I desperately wanted to know more.

All the bias of mine aside, Dedh Ishqiya is not a flawlessly sculpted film, but that doesn?t take away from the charm it possesses and the story stands pretty strong. Dedh Ishqiya is a celebration of acting, of chemistry and camaraderie, of language and classical dancing. A strange, captivating atmosphere breathes through the film, showing a world where time had stopped, and while some want to rule it, others wants to be free of it. Dedh Ishqiya is witty, entertaining, clever, sensitive, original, better than in predecessor and for me as a woman extremely satisfying. Dedh Ishqiya is important.

Hope to meet these guys again, really.

Open letter to DNA editor Upala K. Basu

Originally posted HERE

It is no secret I am a Madhuri Dixit fan, and I have also made no secret over how disheartening I found the failure of Dedh Ishqiya at the box office. However the following lines are not a reaction of a Madhuri fan, they are a reaction of a WOMAN I am above being everything else, and I would like those of you who read it forget about everything you know about me except for the fact I am a woman and an avid watcher of Bollywood films, old and new.

Just this morning I have been directed to THIS ARTICLE published by DNA and written by their Deputy News Editor Upala K. Basu - and to whom I would like to convey this message:

Dear Madame,

much like majority of others you too obviously believe actors and filmmakers - but above all actresses - are only as good as the box office figure of their last movie. It doesn?t matter if they have as long as 30 years of hard work, success and appreciation behind them. In fact, that is what makes them even easier to target. With your latest contribution to DNA you have made abundantly clear you believe women come with an expiration date, talent or artistic abilities nonwithstanding. You believe after reaching a certain age an actress should dilligently fall into a convenient slot and stay there if she wants to be accepted by the audience, and basically implied that any other attempt on breaking new ground is not wanted or needed.

If I am to dissect your article, right from the very first paragraph it shows how unprofessional views you hold and voice out. A failure of a film is never one person?s fault, even more so if it is a film like Dedh Ishqiya - with four main leads of equal importance. Given Madhuri Dixit is the greatest star of them all, Naseeruddin Shah is still nothing short of a living legend, Arshad Warsi is a comedy king for the masses and Huma Qureshi has been only gaining in the count of fan following ever since she made her impressive debut. And these are just actors. The makers are critically acclaimed Abhishek Chaubey and even more critically acclaimed Vishal Bhardwaj. To pin low BO collections on just one actress is highly unfair, especially since if it was the other way round people would be giving credit for the success to all people involved. Including you.

Perhaps the most outrageous part of your article is the following: "Sridevi chose to return to the big screen with a film befitting her age. She played a wife and a mother. Madhuri chose to return as the leading lady who is looking to get married and is holding a swayamvar.? There is no other possible interpretation than that a woman over 40 can only be a wife and mother. There is no other way a role could ?fit? such an actress. How very narrow minded and short-sighted such a perception is? While being  a mother and a wife is for most (definitely not all!) women what they aspire for and cherish, a WOMAN is always a WOMAN first. Everything else comes later. Given your poor observational skills and biased, sexist views, I do not suppose you have ever watched Mother India (1957). The amazing message of that movie is that a woman is a woman, and a mother is able to kill her own beloved child for the sake of protecting the dignity of womanhood. Saying Madhuri chose a a role not befitting her age is utter nonsense. Begum Para Mirzada IS a woman in her late 40s, she is a widow and she is actually an inspiration to all women by carrying on with her life, planning her future and making her own choices.If all you could think of while watching a movie with story as complex as Dedh Ishqiya, and with a character as layered and problematic as Begum Para Mirzada, was that a woman in her 40s is planning to remarry (and for whatever reason you found it wrong), then it shows you are unable to broaden your own mind and accept a concept that differs from traditional, rusted views.

It is nothing but painfully ironic that you mention Naseeruddin Shah?s seniority over Madhuri as a problem that weighted the movie down. The age difference between the two is still lesser than the age difference we see almost every Friday in other films. Shahrukh Khan?s next is opposite Deepika Padukone, Salman Khan opted for baby-faced Daisy Shah, Aamir Khan got to romance Katrina Kaif, Sunny Deol was cast oppostie a 19-years-old Urvashi and I still have nightmares over Sanjay Dutt drooling over Prachi Desai just last year. This in itself screams ?sexist?, much like the fact male stars are allowed to be in our faces 24/7 and still make films, but the moment an actress reaches out to her audience through the same means she becomes over-exposed. Yes, it kinda rules out rushing into the cinemas because of a specific actress, BUT people should be primarily interested in good cinema over somebody?s persona. It is not such case in India, which results in public being happy about mediocre to downright atrocious movies as long as their middle-aged hero looks impressive on screen. Putting a movie like Dedh Ishqiya down just because one of the leads is often seen is, again, unfair and irrelevant considering the quality of the product.

Another sexist claim of yours: ?She needs to evolve and needs to let go of playing the desireable diva.? Again, you imply that a woman who has crossed a certain age is not desirable no matter what she does. Wrong. A woman in her 40s, 50s, even 80s can be desirable and charming. And as for evolving - Madhuri Dixit has beaten all other actresses of her generation in it by choosing Dedh Ishqiya and the character of Begum Para (I am beginning to think you have not even bothered to watch the movie). Begum Para is a child-woman, crippled by past experience. Her health has deteriorated and she is possibly even mentally disturbed. Ad to it (and now I am sorry for the spoiler to all who might read this and not have seen the film) homosexual colouring of the character, her disinterest in romantic love (SPOILER END) and unapologetic actions. What you have is an absolutely new, unique character, never seen before in Indian cinema. You applaud (and rightly so) Sridevi for her meek, sweet housewife who finds self-respect, but Begum Para is no less compelling or complex. In fact she is much more fascinating. She is just not easily to relate to. Madhuri Dixit has taken up a role most actresses would turn down out of fear it would rag their image. Instead of being launded for her daring choice and stunning performance she is being told to settle on conventional mother roles and being put down because she was presented as beautiful and enchanting.

In the end I would like to point out to you that some of the most loved and celebrated gems of Indian cinema flopped badly at the time of their release. Kaagaz Ke Phool, Guide, Mera Naam Joker, Umrao Jaan, Lamhe, Andaaz Apna Apna, Dil Se and others are considered masterpieces and are remembered as cult classics. Even Pakeezah was flopping badly and was only saved at the BO because of Meena Kumari?s tragic demise. There is no denying Dedh Ishqiya did not hit the bull?s eye, while another random college romance Yaariyan scored. Now look ahead of ten years and say with conviction Dedh Ishqiya, with its poetic setting, unique story, different treatement and brilliant exectuion is not going to be remembered and loved. And look just few months ahead and tell me people will actually even remember Yaariyan.

You may defend yourself by saying you only write what people think. However that is not an excuse good enough given you expressed your own opinions. Surely you must realize how strong the sexism and ageism in the two-faced Bollywood industry is. And how wrong it is. Pointing out what is wrong in mindset of society is your job. I can just say you are extremely lousy at that, serving to support the sexist, ageist mindset instead.

Sincerely an offended woman in her twenties.

Dedh Ishqiya

Directed by: Abhishek Chaubey

Starring: Naseeruddin Shah, Madhuri Dixit, Arshad Warsi, Huma Qureshi, Vijay Raaz

Released: 2014

My rating: destroy every copy ? horrible ? bad ? whatever ? flawed but enjoyable - shitastic - good ? great ? amazing

Dedh Ishqiya is a film that gave me everything I wanted. Everything I expect from a movie, that too from a sequel of a film I already like a lot. I have been waiting for it for over two years, anticipating it with bated breath, so brace yourselves because this is going to be LONG.

Ishqiya is carried forward as a franchise by the extremely loveable characters of Khalujan and Babban, a notorious uncle-nephew duo, with eyes always on some prize and constantly trying to escape their rishtedaar from previous film. However while it is their franchise, it is not their story. Much like we witnessed Krishna?s story (albeit through their eyes) in Ishqiya, this time it is another woman whose life, struggle and plans come into focus. Neither Khalu nor Babban changed since we last saw them. Khalu is still in love with the idea of love and Babban has not lost anything from his brisque nature. Naseeruddin Shah and Arshad Warsi are both great, great actors. Arshad has the advantage over other characters in the film because he is really the only one providing fun and entertainment through one-liners, which he delivers like only he can. Naseeruddin Shah delivers one of his best perfromances, and given his amazing record that is really something. Khalu with puppy-eyes and love-struck expressions is a sheer delight. He is still a crook, but he looses himself in love (and is happy to do so), more than he intended. He has stopped dying his hair, has accepted his age, and his affections are indeed deep, not a flying romance which he shared with Krishna.

Huma Qureshi. My hope for a better Bollywood of tommorow.

But look for a woman behind everything, right? And this woman around whom everything is centered is remarkable. Now, we all know Vidya Balan seduced us one and all, men or women irrespective, with her earthy, raw sensuality. Begum Para seduces too, but through different means. Krishna from Ishqiya was real in every sense of the word. Begum Para seems to be from a different time and place altogether. As if she stepped out of an old painting, she carries herself with utter grace, refinement, class and distinct air of royalty. She seems an illusion the men are chasing wholeheartedly, and at the same time, as you wander through the haveli corridors in day time, it turns out the picture she gives to the outer world is a lying image, put up for the sake of mere survival. Unlike Krishna, Begum Para is not a deserted woman set after a revenge. And she does not need to sleep with anyone or lick their fingers to have them eating out of her lily-white hand. Her one look is enough to set hearts racing, as she possesses the aura of being above mere mortals and almost untouchable. She knows she has these qualities and is aware of the effect she has on people, and yet, at the same time..... she is a child in her soul. Crippled by past experiences, suffocated under the royal title and slowly dying on the inside, trapped in the enormous palace. Dedh Ishqiya heroine is just as exciting, and even more complex than Krishna, even though she is created from a different mould altogether. She too is unpredictable and unreadable, but that is where the whole similarity stops.

Every single interaction between Madhuri and Naseeruddin is magical.

If one expected a shrewd, scheming woman using her raw sex-appeal to get what she wants, Begum is not it. However Muniya is. She fits much more into the expectations people had if they approched the sequel with a pre-conceived notion of how the characters are going to be. Huma, arguably the most talented actress among the current new lot, plays her role of Begum?s close confidant with ease and conviction, and she is not at all lost beside other, much seasoned actors. Huma looks gorgeous and one can feel the energy and vivacity radiating from her. Her diction is wonderful. Not even her hairstyle can compete with the one the excellent Vijay Raaz is sporting though. In a film where everybody chases their own agenda he is no less and no more ambitious and sneaky than Khalu and Babban, making Dedh Ishqiya truly a story where there are no heroes and villains, just self-loving people who work towards their aspirations.

Screw poetry. My hairstyle is the best.

Dedh Ishqiya is a cinematic triumph in many ways, and one of them is the characters. This is one of the rare Bollywood films in which all of them are multi-dimensional, needed for the progress of the story and to drive the plot. There is no place for superficial rubbish.And all the actors involved are so massively talented and click so well together it just doesn?t feel correct to dissect the scenes for the sake of bringing somebody up or down. They are all needed, they all deliver and in the end the FILM is more important than any actor. And it works.

It wouldn?t be Ishqiya though, if love did not get in a way. And there is way more love than in the first film. Between more than two people. More than three. More than four. Dedh Ishqiya is just love, in many forms, with many faces, of different motivation and springing from various roots. The chemistry is at work between all four main protagonists, but interestingly Babban/Khalu and Begum/Muniya have better chemistry together than opposite each other. Babban and Khalujaan are indeed one of the most loveable ?bromances? I can think of, up there with Munna/Circuit, Karan/Arjun, ?Shashitabh? in most of their film and Anil/Jackie in everything they ever did together. They are comfortable with each other and it shows. 

What is much more rare and actually made Dedh Ishqiya so special was the bonding between Begum and Muniya. I have not seen two female characters being so close and in such a tight-knit relationship in a movie ever. At one point Begum adresses Munnia as her ?dost, behen and jaan?. And there are more hints on what the relationship is actually about. The possibility that they MAY and MAY NOT be homosexual is enthralling. Munnia is Para?s ?jaan?? We all know this word can be interpreted in more ways than one. And perhaps it is innocent. Perhaps not. It depends on the viewer, who can freely choose what they want to believe. And if indeed they are supposed to be lovers, then it is the most subdued, tasteful portrayal of such situation on the screen in Indian cinema. Nothing about it is in your face or riding on stereotypes. Even their prospective grooms are shown to be in awe and actually turned on by what they discover, rather than be disgusted and use it against them.

One of these is as innocent as a lamb without even knowing it.  Hint: it?s not the girl.

There are flaws. Minor ones, truly. The second half is rather slow, at the same time I cannot imagine any scene missing. Jagave Sari Raina dance number happens quite all of a sudden and out of nowhere, a bit more of a build-up would have made it even better. The song is gorgeously choreographed and executed, giving us even a flashback bringing us closer to understanding the backstory of Kahlu and Bagum. I definitely felt more should have been said about it. How close they were? What happened to them really? Why was it her specifically that Khalu set his mind upon once he realized he wanted something in life for himself? Was she his first love? How did he find her? Or was he keeping eye on her throughout the years? Too many questions to be asked.

Musical score is beautiful. I love the whole soundtrack, with qawali Kya Hoga taking the cake for the best song. And lyrics... Oh the lyrics! If we forget the Horn OK Pleaj track, it has been a long long time since such gorgeous and meaningful lyrics have sounded through cinema halls. Gulzar Saab penned down some of his best efforts for this movie. The background score is hauntingly beautiful and truly underlines the atmosphere of some of the scenes ? Begum?s entry being one of them. It takes a little while before one gets used to Rekha Bhardwaj, but then the effect is wonderful.

Dedh Ishqiya can also boast of great dialogues. From Babban?s hilarious one-liners, his attempts to woo Muniya, Khalu?s elaborate poetry and all the lines Begum presents with her impeccable and unmatched dialogue delivery, the film is a language festival, Urdu in particular. Even I, though not familiar with it much, was smitten by how sweet and beautiful it sounded.

Camera work and visuals are excellent too.

To me the highlight of this fantastic film was Begum Para, brilliantly brought to life by Madhuri. Perhaps it is because I simply notice her more, then again there is reason why I consider this woman my favourite actress and she re-assured me I am justified in that opinion. And I am proud of her, because Begum Para is a role not everybody would or could do. Begum Para is not a Miss Goody-Two-Shoes. She is emotionally, possibly mentally disturbed woman. She is not interested in love, and of course there is the already mentioned homosexual colouring. Add to it you have to share screenspace with twenty years younger and fresh power-house of talent Huma Qureshi in most of the scenes. In her 30 years long film career Madhuri has given us some truly inspiring, strong characters. Independent and fierce women. Begum Para has something I don?t believe I have seen in any other of Madhuri?s roles ? she is extremely frail and fragile. She is vulnerable. For all the plotting and mystery she has gentle innocence in her eyes. She projects such a feeling of helplessness and desperation one just wants to cuddle her up and comfort her, protect her from the realities of the world ? and that we love Muniya for doing just that. 

Be it Para who is furiously scratching her own face out of old pictures or Para who in matter of seconds transforms into a seductive temptress, Madhuri plays the role to perfection. Her skin almost changes colour with the mood she portrays, she radiates warmth one moment and it is completely lost in the next, her expressions are lucid and clear and beautiful. And her dialogue delivery yet again flawless. Finally, this is a woman in her 40s, shown as extremely desirable, a central piece of the story, and both she and Muniya make for some of the best feminist characters in recent times. The world of Ishqiya is unique because it shows that WOMEN ARE PEOPLE without need to call anything female-centric and flaunting any such ?progressive? tag.

And so a complaint of mine would be we did not seen nearly enough of her in the film. The screentime is distributed amongst all the actors pretty evenly, which gives them all their chance to shine, but ultimately takes away from the most interesting person of the story. I desperately wanted to know more.

All the bias of mine aside, Dedh Ishqiya is not a flawlessly sculpted film, but that doesn?t take away from the charm it possesses and the story stands pretty strong. Dedh Ishqiya is a celebration of acting, of chemistry and camaraderie, of language and classical dancing. A strange, captivating atmosphere breathes through the film, showing a world where time had stopped, and while some want to rule it, others wants to be free of it. Dedh Ishqiya is witty, entertaining, clever, sensitive, original, better than in predecessor and for me as a woman extremely satisfying. Dedh Ishqiya is important.

Hope to meet these guys again, really.