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Re-review of Rajeev Masand’s Review of Simmba

Re-review of Rajeev Masand’s Review of Simmba

Rajeev Masand in his critique of Simmba highly objects the film for being treated as a fruit or a cake which can’t be sliced into two halves like the first half and the second half in which the director changes unlikable gears. He slights the whole film by emphatically remarking that he would not pay for either of the parts.

Masand’s penetrating eye perhaps missed the fact that the script of the film, basically tells a story and technically doesn’t make a bowl of fruit salad or brutally cuts a cake into two halves. A film, in popular sense deals with the technique of narration at a primary level that involves a series of rising action after the beginning part which generally takes the first half of the film followed by another series of falling action and finally everything leading towards the resolution of the plot. In today’s time when genres are criss-crossing and novel ones are being experimented a cocktail of comi-tragic can not be rejected outrightly.

It’s unfair how this celebrated critic reviews the film at the risk of being so verbosely harsh. As the review progresses, Masand, without criticizing, simply states a few facts but does not appreciate them. For instance, when he talks about the glorified entry of Ranveer Singh that establishes him as a mighty actor who puts aside the privileged Khans’ controlling on Bollywood.

 

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Masand also, takes a sharp notice of Ranveer Singh‘s performance, his quirky mannerism and pronounced punch lines; in totality, he unconsciously appreciates the power packed humour enveloping the first half of the film. He speaks about it all at large but then entitles it as a “lightweight inoffensive film.” with deliciously silly performance. This blabbering raises a simple question that “since when anything delicious contain high philosophical ingredients?”

On the basis of the rape case Masand speaks about the feel of the film that reminds him of the films made in 80s and 90s. The treatment of such subjects is still relevant, hence, the selection of this topic can not be called as something uncalled for.

Now, what I pasand about Masand is his analysis of the female protagonist opposite Ranveer Singh ie Sara Ali Khan whose role was not developed to contribute to the resolution. The character of the rape victim has more shades to her character than the character of Sara, who could have been given some more frames to justify her presence.

In spite of extracting storyline from the 2012 Nirbhaya Rape Case the women in the film have been shown weaker. A lot could have been done to empower their characters. It’s only the character of the antagonist’s mother that gains strength towards the end and turns the table. This is so unlike the helpless Nirupa Roy kind of portrayals of the 70s and 80s cinema, in which, instead of adding strength to the character of the hero, mothers and sisters used to put him in trouble.

Towards the end of the review, a stingy 2.5 rating out of 5 is absolutely unjustifiable. The movie rightly deserves a fair 3.5 for bringing the pathos of rapes in India on the celluloid. It will also enlighten the people of those privileged classes who live in Plato’s ideal state and think that all is right with the world. Its hoped that if the film stirs even the one percent conscience of the berserk youth of India and makes them understand the true definition of male ego a lot will be gained through this blockbuster movie.

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