Everything about her is reactionary – her independence is a reaction to older cousin Dolly’s sanctimonious middle-classness, and her romance is a reaction to her profession’s playground of lust. In Alankrita Shrivastava’s busy and bare-knuckled portrait of female desire, Bhumi Pednekar plays a rare character who is unable to distinguish between her two identities: the Bihari immigrant in Noida (Kajal Yadav) and the coy adult call-center executive (Kitty) are inextricably linked to each other. The “double life” narrative is overused and gimmicky, especially if one of them features a husky voice on a phone-sex app. Adding to this performance is the overriding feeling that Shiv doesn’t know – or doesn’t want to know – what he’s looking for.Ĩ) Bhumi Pednekar (Dolly Kitty Aur Woh Chamakte Sitare) At no point does Khedekar overstate the meaning of loss, as a result of which the viewer is offered the privilege of locating emotion – grief, closure, coping, denial – in the urgent body language of his journey. He bypasses the bureaucratic stranglehold with a relatable lack of elegance there are times we grin at his clumsiness and feel sorry for his nobility all at once. Khedekar manages to physicalize the everyman-running-from-pillar-to-post template. Halahal is set in Ghaziabad against the backdrop of the 2013 Vyapam Scam, so Shiv’s arrival from Rohtak is a culture shock: an atmosphere of silent complicity and duplicity pushes the righteous doctor to the brink. A common man unsoiled by the art of hustling, Shiv enlists the help of a corrupt local cop (Barun Sobti) to navigate the system. Shiv Shankar Sharma, a bereaved father desperate to find the truth behind his daughter’s mysterious death. In one of the year’s most overlooked Hindi films, veteran Sachin Khedekar plays Dr. Between Kumud Mishra in Thappad and Tripathi here, perhaps the screen dad is being rewritten as its own beast: a thinking individual rather than a reductive theme. The tone of his voice is measured and tender, revealing a man whose parenthood put him at odds with the alpha-military notion of Indian masculinity. Tripathi never makes it seem like he’s speaking for the writers even his two film-defining “speeches” to Gunjan – about patriotism and womanhood – evoke the sort of understated rationalism that can only come from decades of adult experience. Without hijacking the spotlight, ex-colonel Anup Saxena remains the silent fulcrum of the female protagonist’s rousing journey.
In Gunjan Saxena, Pankaj Tripathi has it three times as subversive – a girl’s gentle father, a dignified family patriarch and a non-sexist armyman – and yet delivers a performance that reframes progressiveness as natural wisdom. Most roles tend to reflect the revisionist gaze of makers who use their characters as token mouthpieces for the sociocultural discourse of 2020. It’s tricky to play a progressive person in new-age Hindi cinema. 1 ) 10) Pankaj Tripathi (Gunjan Saxena: The Kargil Girl) (Note: This list has been compiled before the release of Vikramaditya Motwane’s AK vs AK and David Dhawan’s Coolie No.
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