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No Time to Die (2021)
Requiem for Mr Bond
Ah well.. So Bond is dead. Well.. he actually died long ago, when horrendous deviations were injected in the films portraying Fleming's charismatic creation. Before that, with the ending of the Cold War, Bond had actually become redundant. No amount of contrived villainy of the Russians, Chinese, Japanese, Germans etc. Could bring back that good ol' feeling of British stiff upper-lip supremacy. When Connery was replaced, a little of Bond had died again. Various actors gave their interpretations, but Craig was no Bond. Enough has been written and discussed about the pros and cons of casting Craig - no point in repetition. With political correctness seeping in, the hype to include more female characters, and nonwhites became imperative. So M was portrayed by a cranky old lady. Miss Moneypenny and the present lady 007 also became nonwhites, as also Felix Leiter. No racism intended, but why not portray the Queen herself as a nonwhite? That would be the ultimate, is it not?
The present film is all senseless action, with a paper thin plot of world annihilation by nanobots (why does it always have to be world domination / world annihilation??), family revenge drama, Blofeld, Spectre, car chases, helicopters , explosions, bionic eyes and blah blah, in a desperate attempt to inject some creativity and excitement into a character who had actually died long ago. The attempt just doesn't work. Leiter deserves pity. The female 007 (Ms Lynch) is downright irritating and abrasive. It's odd to see Moneypenny leave her secretarial desk and engage in field action. Eddie Mercury, sorry, Rami Malek, is obsessed with poisonous plants (and little girls) and has set up a gigantic facility for bio-warfare. Why? What is his problem? From where did he get the money? There are no answers, only questions. Farewell, Mr Bond. It's a pity that you had to commit suicide. But at least the audience was prevented from following you likewise. Hoping there are no more re-boots of Fleming's suave spy. RIP. Amen.
Parchhayee: Ghost Stories by Ruskin Bond: The Wind On The Haunted Hill (2019)
Elements from Bond's story
This episode has elements from Bond's story, well played (the children acted really well), together with a lot of extra baggage like a supposed Kashmiri terrorist, heavily armed security forces, a ghostly red Volkswagen, a dead British couple flitting about.. All these just don't add up - they merely extend the running time and increase the irritability of the viewer
Parchhayee: Ghost Stories by Ruskin Bond (2019)
Trashy interpretation of Bond's classics
I bought Zee 5 subscription for a month (with it's associated issues), just to see Ruskin Bond's stories come alive onscreen. To say I was disappointed would be an understatement. I was angry, disgusted and irritated. No doubt Bond's stories are too short to suffice 45 minute episodes, so they have to be padded up. But here we are not talking about padding, we are talking about interpretation. The series makers have totally failed to grasp the ethos of the published work, and have depended on B-film type jump sequences, props, prolonged, senseless dialogue delivery, glaring loopholes and sub-plots which never come to any fruitful conclusion. Some of the episodes have no connection at all with Bond's stories, other than the title or perhaps names of lead characters.
Cinematography is excellent, and it is obvious that a lot of money might have been spent on making the series. The selection of the actors / actresses is also commendable. Most of the locales are fine. But it all seems such a big waste.
Parchhayee: Ghost Stories by Ruskin Bond: Living With The Dead (2019)
View and forget
To be honest, I am unable to identify Bond's story on which this episode is based. No matter, since even if identified, it is sure to be 90 - 100% different from the original, like the other episodes. Anywaz, the proceedings start nicely enough but start going haywire shortly afterwards. Some eerie locations, a corpse which can relocate itself and some jump-scares from B grade horror movies constitute these 45 minutes. View the episode and forget it.
Parchhayee: Ghost Stories by Ruskin Bond: Night of the Millennium (2019)
Utter trash - Avoid
Bond might be well within his rights to sue the producers of this series, simply on the basis of this trashy episode, which has Bond's name, but no semblance to his story. The original plot had a self-opinionated protagonist who encounters a ghoul in a cemetery, during his search for cheap sex. Instead of developing on this premise, the TV episode goes off on a tangent of its own. Avoid for the trash that it is.
Parchhayee: Ghost Stories by Ruskin Bond: Qatl-E-Aam (2019)
Night of The Demons?
Bond's short story, "The Prize" is itself rather stupid and pointless, sorry to say. After being given the TV treatment, we see a mish-mash of demons, living dead, zombies, vampires and whatnot, gallivanting in a hotel and it's surroundings. The only similarity with Bond's story is a scene in which the male protagonist is made to lie on a dining table and carved like a roast pig. Apparently, that is. Rest of the TV episode is pure hogwash (pun intended).
Parchhayee: Ghost Stories by Ruskin Bond: The Overcoat (2019)
Watchable, if one can ignore the inherent stupidity of the TV treatment
In the good ol' days, it was very gallant for a dashing male to offer his coat to a glamorous lady, sheltering her from the cold. Bond's tender and tragic love story is based on this very premise. But modern gender equality trashes this eloquent moment. And TV adaptation screws up the sensitivity of this act and its consequences.
Pros: Appreciable cinematography which effectively captures the beautiful landscape of Shimla and its environs, especially the distinctive colonial touch - ignoring the modern mayhem of this beautiful town; gorgeous Raima Sen, glamorous Saloni Batra, subdued, controlled histrionics by Sajjad Delafrooz
Cons: Offering one's coat to a lady in distress may be passé in modern times, but can still be acceptable. However, offering one's coat DAILY to a ghost who is rather substantial, appears regularly and roams around with the male protagonist in full day light, discussing life and it's foibles? Bond's story comes apart with this ridiculous interpretation by the screenplay writer. Beautiful and extremely talented actress, Saloni Batra is totally neglected and has no role to play. What a waste.
Parchhayee: Ghost Stories by Ruskin Bond: Ganpat's Story (2019)
Perhaps the best episode in the series
There is nothing from Bond's story here, except the name, Ganpat. Rest, it is very well dramatized, with Tannishtha Chatterjee really rocking as a sexually starved, murderous vampiress. In fact, all the key characters really play their parts really well. The locale (possibly Pune, but I am guessing), is bleak and scary. Highly recommended.
Parchhayee: Ghost Stories by Ruskin Bond: Topaz (2019)
Far away from Bond, but worth a look
Other than the title "TOPAZ" and the name "HAMIDA", there is nothing in this episode which is from Bond's story. But if one wants to see stunning aerial filmography, coupled with gorgeous female ghosts in full make-up, wearing ethnic designer wear and adorned with junk jewelry, having permed, streaked hair, roaming around in scary forests, a male protagonist who looks quite lost and a stone, which is not a topaz, this is the episode for you. Enjoy.
Parchhayee: Ghost Stories by Ruskin Bond: Whispering in the Dark (2019)
Worth a watch
Bond's original story is about a traveler who gets lost in the forest, comes across a deserted old cottage, and takes shelter in it, without knowing that the house has a "past." As is usual, not much detail is provided about the 'past." by Bond, which adds to the charm of the story. The TV episode extends this premise by a mile, brings the past alive by showing two blood-thirsty sisters waylaying male travelers, seducing and murdering them, and then burying their bodies in the woods. Quite macabre, huh. The treatment is not bad, even though the TV episode has its usual quirks, which have become the hallmark of this series on Zee 5 network.
Parchhayee: Ghost Stories by Ruskin Bond: Face in the Dark (2019)
Horrible TV interpretation
Bond's story is perhaps a page and a half long, and cannot sustain a TV episode of 45 minutes. The original story describes a short horrific incident in the life of a Mr Oliver, a local school teacher. Now this had been padded up with several layers, many of them quite meaningless, to create this episode. The horror experienced by Mr Oliver is gone. Instead we see, ad infinitum, long panning shots of a lonely but huge boarding school, which seems to have just one sadist teacher and a chowkidar (guard-cum-cook). We see prolonged scenes of sadistic behavior of the teacher, a cemetery with graves, a school dormitory which has possibly only one student - the protagonist, and vague imagery of another (dead?) schoolboy who appears to be wearing a sort of leather mask, which hides his face. In short, the TV treatment is horrible, irritating, and a waste of time.
Parchhayee: Ghost Stories by Ruskin Bond: Astley Ka Intezaar (2019)
Ah, the TV treatment!!
Bond's innocent story of a caretaker tirelessly looking after the cottage of a British officer in Mussoorie, while awaiting the return of his master, turns into a "castle" or more likely, a sprawling estate in Kerala, being looked after by ageing Bollywood actor, Shakti Kapoor, playing the part quite well. The innocence is gone, as the caretaker's scheming family tries to grab a slice of the property, and so do the local mafia and assorted hoodlums. A refreshing addition is the young grandson of the caretaker, who realizes the greed of his own parents and manages to thwart their designs. Worth a watch, simply to see where Bond's story ends and the elaborate TV series additions begin.
Parchhayee: Ghost Stories by Ruskin Bond: Wilson's Bridge (2019)
Worth seeing
The TV series' unnecessary treatment is again obvious, but not so bad. Ruskin Bond's original story, of course, was sentimental, with a scary aspect of a ghost rider cantering down a ghostly bridge. This aspect is avoided and the emphasis is on the village wife of Wilson, who re-enacts her own suicide on dark nights. The plot wraps itself around 2 modern couples, and the tragedy that occurs is indeed sad. Loose ends appear, as to the purpose of a photograph of the dead lady... one of the female protagonists appearing in a bra, for no good reason... the old house of Wilson uninhabited for a hundred years, yet containing household knick-knacks in pretty good condition.. but let us not quibble.
Parchhayee: Ghost Stories by Ruskin Bond: The Ghost in the Garden (2019)
Screwed up big time
Ruskin Bond's ghost stories are not horrifying. They are sentimental, often childish, very well written, without unnecessary detail, and they manage to thrill, not scare. So is this one, a beautiful, tender story screwed up big time by the producer / director of the series. Senseless additions to the main plot, repetitive scenes and dialogues, glaring plot holes and loose ends. The TV treatment is more horrifying than any horror story, believe me. Or should I say disgusting?
Shehnai (1964)
A wonky, senseless film of the '60s era
This wonky film has two redeeming features: (1) The Rafi song, "Kya ajab saaz hai yeh shehnai", which is a complete essay on this soulful music instrument. Needless to say, neither this poignant song nor the film title itself, is suited to the film, which is more of a senseless romp across Kashmir's landscape. (2) The second redeeming feature is a starlet called Praveen Chaudary, who looks stunningly beautiful and sexy, completely overshadowing the lead female protagonist, Rajshree, who looks weary, if not old.
Nirupa's travails seem far-fetched.. she is almost a pauper, as if she neither got the widow's pension or death benefits of her husband, who was an air force officer martyred in a war. Not clear, which war though. Neither Biswajeet nor Johnny Walker look like students.. the inference is hilarious, as we watch these two pot bellied actors romp around with their respective love interests. A wholly avoidable film.
Thappad (2020)
Predictable Male Bashing Garbage
Before we review this over-hyped piece of garbage, let us put certain "perspectives" in place, especially in the Indian context:
1. Being a housewife is a "sacrifice" and a "torture" as compared to being a working wife.
2. Devoting time to one's family is a "challenge" and an excuse to weep / grumble
/ scowl.
3. All men are boors.
4. Men have all the good things in life. They do not sacrifice their hobbies, personal interests etc, for the sake of a career and earning money in this cut-throat world. Their struggles in the professional world mean nothing.
5. If a woman reacts, physically or otherwise, it's her right, since she is the "victim."
6. If a man reacts, physically or otherwise, it's because he is the villain of the piece.
7. The Indian housewife's story is the eternal sob story, although her contribution to the family (leave aside earning) is much lower than the comparable western woman's, who does everything imaginable, because her conditioning is like that.
Now coming to the film itself, we see sub-stories of couples, all of which have "sacrificing" women and insensitive men. However, one sub-story spins out of control, as during the hurly-burly of a party, a husband slaps his wife. No doubt it is bad. But we have to see the context of the moment. The husband means no harm, he has no issues either way - he actually loves and depends on his wife, but he gets into an argument with a colleague which turns ugly and the wife drops into the middle of the brawl. Now, in such a situation, anybody could have got hurt. Unfortunately, in this case, it is the wife. And therein starts the rigmarole of domestic violence, legal separation, divorce, hidden skeletons in cupboards, grim faces, sad looks, martyrdom feelings. In another sub story, a senior lady lawyer apparently has a fling with a restaurant chef, because her husband, who is a Judge, btw, is not that.. uh .. good. It is not clear, why he is bad. But the fling is justifiable, nevertheless.
In another sub-story, we see an aged couple, with the mother complaining how she left singing and dancing to be an ideal housewife. Heck, most boys leave their sports interests, singing, dancing and guitar playing, once they get out of college and get busy in earning a livelihood and associated family pressures. But no matter. If a girl leaves these, it is another supreme sacrifice.
This film is so skewed that one can write an essay on its loopholes, and yet be incomplete. Such films play important roles in sexual stereo-typing and become a rallying point for social media affectionados and Twitterati. They have no substance whatsoever. No message to give. No entertainment worth the name. Only an endless 2 hour journey of moralizing, sermonizing and glum faces of characters suffering from matyrdom syndrome.
Saansein: The Last Breath (2016)
Want to see some garbage? If yes, go ahead!!
Two jokers hunt for a flat package in a cave? Why? Who are they? No answers.
Fast forward few years.. we have a rather expressionless girl as a club singer, who sings tuneless songs. Male customers are besotted by her and meet a bad end. Enter our hero, but his pointless persistence pays, and he comes to know of her secret. The plot is interspersed with more tuneless songs and landscapes of Mauritius. We have a police inspector with an attitude, but basically incompetent. We have a gorgeous owner of the the club itself. She is the only redeeming feature of this film. A pity that she meets a bad end (who would own this beautiful club and stay in her beautiful house now? Me! Me! Me!). An ineffectual exorcist appears who is beaten up.. the demon here is pretty vicious (Is it Pazuzu from The Exorcist? No? Then who the hell is he? No answers). We have Lord Shiva's lost conch shell being retrieved within minutes from the ocean floor at night, by the hero, who does not have scuba gear. We have amulets and holy books and mumbo jumbo. All are pretty useless. The demon ultimately re-enters his favorite mirror. Story ends. I don't know what happens to the demonized mirror. Neither do the producer or the director of this garbage film.
XX (2017)
An insult to female creativity
"All segments helmed by female directors and staring female leads" so goes the tag line. The unfortunate female leads get caught up with female directors who know neither head or tail of film direction. All 4 stories are total crap. The first starts interestingly enough, but has no conclusion or plot. The rest are rubbish.
Baadshaho (2017)
Straight lift from James Hadley Chase
So JHC is passe' and people won't know if a plot, characters and even dialogues are plagiarized from the King of Thrillers' novels? Not quite, sir. Because this film is a straight lift from JHC's novel, "The World in My Pocket."
Now this plot is given the make-over, with a strange mish-mash of 1970s flavor, Rajasthani locales and some pretty good action sequences. But since there is no central plot, the film is disjointed and the actors / actresses are wasted. A fleeting reference is made to the (late) maniacal politician, Sanjay Gandhi. For some strange reason, to grab a local (female) ruler's gold hoard, the army is called in, who are present from the first to the last frame with their incompetent presence. I thought it would be the job of the Enforcement Directorate, Income Tax Department, or at least the local police? The latter are there, bumbling along, without any purpose.
The armored invincible van bearing the loot is of course, from JHC's masterpiece. I could not exactly understand Ajai Devgun's character in the film. Was he a personal body guard, or lover, or villager full of angst? We have Vidyut playing an OTP army major. One almost feels like slapping the character played by him. In real life, majors do not strut about in civvies, direct civil operations or argue with their COs. Or carry on clandestine affairs with royalty. Or maybe few do.. I can't say.
The indeterminate ending is good, because the film itself in indeterminate. The sandstorms have been portrayed nicely. Ileana looks good as usual. Not much is expected from her anywaz. The rest come and go without any purpose.
Certainly worth a watch. But a watch without expectations.
Lust Stories (2018)
Ah.. women's emancipation and sexuality.. but?
4 short stories. The first has a lady college teacher who is possibly undergoing counseling, because of her sexual predilections. She is neurotic, a stalker and a cougar to boot. Well played by Radhika Apte. The second short is the best of the lot, with Bhumi Pednekar excelling in her role. Almost no dialogues, yet one can empathize with the lead characters. The third is perhaps the worst. Slurred dialogues ad infinitum, No plot and a very unpleasant looking Manisha Koirala, who is full of attitude. The fourth: Confused fare, from who else but Karan Johar, who seems permanently divorced from reality in his films. So it is a story based in Lucknow (one fleeting shot of the city's skyline is enough), where there is a rather fancy school, which only has 2 lady teachers (the rest are nowhere to be seen), a slow-witted Principal and few students. These two teachers are always dressed most inappropriately (but then it is Karan Johar!!), with sex on their minds. While one takes the help of a vibrator to relieve herself, the other takes the path of matrimony. So what happens when the second one also feels that a vibrator can be better than her imbecile husband? That is what the story is all about.
The idea of film anthologies, minus song and dance routines is always welcome. It takes away the tedium of watching boring films. But this one disappoints as it takes a desultory look at a very serious and interesting subject. See the second story and walk out.
Naam Shabana (2017)
Tremendous buildup to nothing
Prequel or sequel matters not. What does matter is the tremendous build-up - the endless tracking of the heroine, the endless instructions, cameras, training, blah blah blah. One would naturally assume that this was an elite outfit of the government of India, where all the field agents were identified and trained in a similar way, so that they became ruthless killing machines. Unfortunately, no. It was clear that the other agents not that good, and were no match for the villain in question (who dominated without any training or tracking). In the very first scene, the villain dispatched several Indian agents to kingdom come. In a later scene, 3 agents (one of them distinctly out of shape, played by Zakir Husain) track the villain to his lair, but all are massacred. Not one could even put up a decent fight or fire a gun shot. WTF.
So it is left to our newly recruited female agent to kill the villain. That she does. Considering that the mission was so important that several countries were on the look-out for this dude, it is surprising that a rookie agent, undergoing training, is deputed for the job. In the meantime, we have Akshay Kumar who comes and goes. Why was a senior, more experienced agent not given the target? Simple. Because this movie was based on Shabana (the Muslim connection was pointless) and the villain had to be tackled by her, isn't it?
A load of local policemen storm the hospital at the end. Who called them and why? It seems that the Indian agent played by Kher called them. But why? No answers to this one.
Stay clear of this boring, pointless film.
Saheb Biwi Aur Gangster 3 (2018)
Entertainment - Yes; Logic - No.
This "episode" in the series is perhaps the weakest of the trilogy. Firstly, it will be gibberish for those viewers who have not seen the previous 2 films and are not familiar with the SBAG "universe." For those who are familiar, like me, I notice a lack of continuity and quite a few bloopers.
Firstly, this series was supposedly based on the badlands of the state of UP, where royalty (or ex-royalty), as well as gunmen, fleece the general rural populace, aided by a corrupt political system. This male dominated society also gives rise to frustration among the females living within the confines of the ruined palaces. Fair enough. It is another matter that the badlands of UP were not depicted too well - right from the language of the protagonists to the general landscape in SBAG I and II. I understand that the shooting of the first 2 films was done in a ruined mansion somewhere in Gujarat. OK, fine.
For some inexplicable reason, SBAG III has shifted to Rajasthan. The language, culture, the forts, palaces and landscape are now all Rajasthani. WTF. Poor editing ensures that few number plates of vehicles show UP... few also show RAJ... Once Rajasthan comes in, then the issue of turbaned ex-princes running hotels and acting as major domos to their guests comes up. The home of the Sahib and Biwi has also shifted to Rajasthan. Everything is different. The spectator is confused.
We all know that Sanjay Dutt is a label - simply to draw viewers. That he does, even though he has no role to speak of. He is incongruous in the film. And of course, he is no gangster in the first place. Plus the fact that he looks really aged now. Soha also looks aged and heavy.. she is the comatose second wife of the Sahib. Her father (Bunny) is no longer Raj Babbar but Zakir Hussain. Her end is not quite explained. Perhaps she will rise like a phoenix in SBAG IV.
As in the previous films, it is Mahi all the way. She is a bundle of contradictions. She is haggard. But remove her, and the series will collapse. Jimmy is handsome with a cruel charm, but gets dominated by Mahi, which is expected. Kabir Bedi (what is he doing here in the first place?) looks like an Egyptian mummy devoid of his bandage strips. He delivers his lines with a slur. He is unpleasant to watch. We also see a bloated Deepak Tijori, a senseless, confused Nafisa Ali and also, Chitrangada Singh, with a strangely stiff upper lip. Has she taken the help of prosthetic surgery also? Can't say for sure. The murderous Kanhaiya is a shadow of his former self. We now have Pamela Bhutoria as Deepal, Kanhaiya's daughter, who is full of attitude, but what exactly is her purpose and role? We see a random sex scene of the Sahib with a lover, played by Rishina Kandhari. But who was she, and where the hell did she appear from? There is talk of guests in the palace-turned-hotel should not be disturbed. At the climax scene, there is a massacre with loud gun shots. Not a single guest appears.
All these plot-holes, bloopers, not-so-good looking people masquerading in Rajasthan left a sour taste in my mouth. I expected a story line. I got a masquerade. But it was entertainment, no doubt. If one leaves continuity and logic behind.
Aiyaary (2018)
A confused, confused spy thriller
The 2 stars are for Manoj Bajpai. The rest ham it up. Can't blame them. Excuse me, but what was the plot all about? Army housing scam in Mumbai.. a so called witness holed up in Paharganj, Delhi. So to expose the scam, he could have been made to blurt everything out in front of the TV cameras? So from where did Czech arms come in, as also an arms dealer from London, an elite assassin commando Unit of the Indian army (with a James Bond license to kill), a member of the Unit who goes rogue.. what was all this? And was Nasiruddin's blabber so vital that the scam fell through?
What a waste of time and what a waste of good actors, especially Manoj, Siddharth, Anupam Kher and Nasiruddin. Could not understand the London connection at all ... also could not understand why Siddharth was hobnobbing with the British MI6. The latter were pretty tame... LOL. Few of them got shot in the head.. there was no follow-up action. Jesuz!!
View this film at your own risk. It is a porridge of confused ideas.
Ekti Bangali Bhooter Goppo (2015)
Confusing whodunnit
Starts off well enough, and then the meandering commences, without purpose. A woman leaves her hubby and sets up an independent establishment. She also has a platonic relationship with a young colleague. The boorish husband gets killed by the platonic friend, and the lady in question comes back to her original household (what happened to the newly furnished apartment?). In the meantime, the boorish husband starts making supernatural appearances in the oddest of places; the woman has a mental breakdown and tries to commit suicide.
Side by side, we see a lot of screen time given to a frail old man, a sort of family retainer. It is obvious that the dude will have some significant role during the course of events. Sadly, his character stops appearing at the end; he had no role at all, other than to prolong the film with his antics.
The leading lady, with a bit of a puffy visage is suitably cast; the boorish husband dominates the proceedings as usual. The platonic friend turns out to be a nasty dude. Some attempts at faking supernatural appearances fall flat. For example the lady sees her dead hubby in the backseat of her car, and subsequently vanish. The spooking was being faked all along, so how the hell did he enter the car, and how the hell did he vanish? The husband's dead body is found later by the police, with a stab wound. But since the murder was being faked all along, whose body was that? Such bloopers abound.
A boring film, plodding along without direction. Better to give a miss.
In Which Annie Gives It Those Ones (1989)
A forgotten classic - worth reviving
Doordarshan has always had a bad name, when decades ago, it was the only TV channel in India, and now, when it has been overshadowed by myriads of satellite channels from across the world. But that doesn't mean it was essentially bad - despite its shortcomings and multiple issues, it managed to entertain the public with superb TV serials, entertainment programs and commissioned TV films. IWAGITO is one such late night Doordarshan film, shown in the '80s - seen by few, and remembered by even fewer.
I would urge movie buffs to search out this movie - a digitally re-mastered version is available online, but since the original print was no great shakes, the re-mastered one too has technical issues. But that doesn't take away the film's merits. It is a telling commentary on student life, of several decades ago, when students, even those studying in prestigious institutions, were a deprived lot, due to low levels of income (I, myself, was a student at IIT, Delhi, in the early '80s, surviving on a princely fellowship of Rs 600/- pm. Rs 150/- pm would be deducted as hostel and mess charges, and I would be left with Rs 450/- pm, for my sundry expenses, clothes, and even traveling to my home city). When the internet and cell phone had not made inroads into their lives. In short, when life was much simpler and slower, with its own set of dilemmas, problems, ambitions and tragedies.
Without second thought, I can state that Arundhati shines throughout the film, as a quirky rebel. Others give her character ample support. Roshan Seth is the apt teacher (Dean?), who effectively tries to keep things under control. Amazingly Sharukh Khan, in a very minor side role, appears to be sporting a wig, even then. The razor thin plot line cannot be divulged here. Do see the film for its merits, bold approach and the gung-ho performance of actors / actresses, some who became stars over a period of time.