Bhaag Milkha Bhaag - Review

Varun: Rakeysh Mehra, one of the few successful directors in Bollywood, successful because he knows how to please the classes and masses at the same time (Other name coming to mind is Raj Kumar Hirani) masters the art of touching the nationalistic side of the audience (RDB and this), leaves no stone unturned in directing this epic biopic.

Farhan Akhtar has outdone himself, however his fluency in Punjabi was not as proficient than that of his Sikh compatriots/child character of Milkha Singh in the movie. After watching the movie, one might say that Farhan Akhtar would be in the driving seat but however, it wouldn’t have been possible without the following four wheels. Divya Dutta who makes sure the audience is connected with their emotional side. Prakash Raj providing the comic relief. And, the rear wheels Pawan Malhotra & Yograj Singh who provide that extra push and keep you uplifted and motivated through out the journey.

One might say that Farhan Akhtar would be in the driving seat but however, it wouldn’t have been possible without the following four wheels, Divya Dutta, Prakash Raj, Pawan Malhotra and Yograj Singh.

Mehra who seldom changes his behind the camera people is known to use the best people in the country:

Binod Pradhan - Cinematography

Nakul Kamte - Sound Recording

Prasoon Joshi - Writer

Shankar Ehsaan Loy - Music

It was a bit surprising not to see Rahman’s name as most of his movies are done by him however that does not change anything as the above people have done a stupendous job to say the least.  All songs were exceptional but Maston Ka Jhund and Mera Yaar are favourites.

However if there were any flaws it would be:

1. Sonam Kapoor

2. Unnecessary & prolonged scenes - Some scenes were unnecessary and the movie could have been shortened. Like the airplane scene in which Mehra makes a cameo himself was really not required as it didn’t add value to the following scenes. Also the ghee consumption scene was too prolonged

On the whole, BMB is a 189 minute gem to come out of Indian cinema filled with frequent accolades, whistles and claps. It shall give you very few reasons to blink your eye in its journey and when it does, its because its moist.

BMB is a 189 minute gem to come out of Indian cinema filled with frequent accolades, whistles and claps.

Lalit: It’s only apt to warn you now itself that my review will be massive (in terms of quantity of words). I want to start off this review by taking a step back and mentioning that even before the assistant at the steps of the entrance of Vox Cinemas at Deira City Center could tear off my ticket stub allowing me admission into the cinema hall, I knew I would walk out with a satisfied experience once the movie was over. This wasn’t based just on the track record of Rakeysh Omprakash Mehra (which, to be honest, hasn’t been stellar in my opinion), it was also based on Varun’s suggestion.

I can now safely say, I was wrong. I wasn’t just satisfied with what I had just witnessed, I was elevated - not just in terms of a truly inspirational story, but by the result of excellent filmmaking all around; a kind of film that checked all of the right boxes and made me desire a lot more.

BMB is the kind of film that checked all of the right boxes and made me desire a lot more.

Now, before I dive into my in-depth review, I want to say something which is a first (for me) in terms of a movie produced out of India - I thought the film was a perfect presentation of the art and craft of cinema, and even though I thought the theatrical cut was perfectly wrapped up in a box that should contain no more and could not contain any less, and even though the film clocks in at around a good three hours, I would love to watch the director’s cut if there is one.

Now you might be thinking I am exaggerating a little, but allow me to present the facts that led me to think the way I did. I will start off with the technicals first and what’s better than to start off with the editing. PS Bharati has the most short yet one of the most impressive resumes ever. Having only edited Rang De Basanti before, it was clear ROM saw something in Bharati and I’m so glad he did. The editing was immaculate. A huge number of “Bollywood” films fail to edit linear stories in a way that the editing doesn’t interfere with storytelling. In fact, the process of editing is supposed to alleviate the storytelling. With loose editing, you end up with a mish-mash of scenes just thrown together for the sake of churning it out so you could move on to the next scene. As a viewer, it’s like being told chunks of a story where you have to piece together the puzzle even though that’s not how it was intended. Bhaag Milkha Bhaag’s on-screen presentation was non-linear and at no point do you feel lost. The editing was so precise that you know exactly which era of the story you are being told. The editing was so smooth it uplifted the storytelling to a whole new level. Slo-mo scenes were introduced just at the right moments, and coincidentally my heart rate increased as soon as the slo-mo scenes took to the screen. That is pure brilliance, in my opinion. To be honest, I’m so smitten by this movie that I can’t even recall the last Indian movie in which the editing had such a profound effect on me.

The editing was so precise that you know exactly which era of the story you are being told.

Next, the sound mixing and score. From the moment the film begins and you hear the background score for the first time, you automatically associate it to an epic saga, which will unfold before you momentarily. And it does. The original score by SEL in association with the sound-mixing department just blended together so well. SEL’s score could have done well on its own, but I think the mixing department gave it the treatment it deserved - you can have tea without sugar to get the results, but when you mix them both together, it’s just a whole different feeling. I would gladly take three teaspoons of sugar as well.

Lets now divert the focus to Binod Pradhan (pun totally intended). This man has proven his genius before and he held no bars this time either. He knew exactly where to point the camera and at what angles. Often times I’ve noticed cinematographers simply point the camera lens to an impressive landscape to showcase their prowess as a cinematographer. Selecting the landscape and the equipment is just the start, what you do with that is a different ball game altogether. Binod Pradhan captured the subtle nuances of Farhan Akhtar with such detail, that you don’t even need verbal verification of what’s going on in the character’s mind. And ROM did an excellent job of keeping it that way rather than dumbing it down and explaining everything that was running through (yes, another pun) Milkha’s mind. Binod knew exactly what element had what importance in each scene and managed to capture them with utmost sincerity. And don’t even get me started on scene during the end when Milkha Singh crosses the finish line and cuts through the ribbon. Binod knew the importance of that scene and the importance of that tiny little 2 millimeter thick ribbon. He focussed on it and had everyone in the audience think only and only about that ribbon and Milkha cutting it to claim his victory. I usually refrain from clapping in the cinema until the very end of the film, but I couldn’t stop myself. My hands were independent of my body and it seemed like an instinct for me to clap. The effectiveness of that was proven when everyone else also applauded. Just thinking back about that scene gives me a rush.

Binod Pradhan captured the subtle nuances of Farhan Akhtar with such detail, that you don’t even need verbal verification of what’s going on in the character’s mind.

I’m going to quickly mention the work of the costume department whom I think did an outstanding job of recreating the retro fashion statement that was present during the era the film is shot in. I can’t say with certainty that it is accurate, but it did make me believe it is, which is what I think is important.

What’s even more important was the writing. As a writer, Prasoon Joshi hasn’t yet marked his territory until now. With just this one script, he has proven that he is capable of joining the big guns of the Indian film industry. I hope this isn’t his one-hit-wonder. One thing’s for sure, I will certainly be very excited for a movie which Prasoon Joshi pens.

Farhan made us care about Milkha Singh and his family. He made us care about running. He made us care about our nation.

The acting. It goes without saying that Farhan Akhtar wasn’t Farhan Akhtar in the movie. He was Milkha Singh. As was discussed in the post about the BMB trailer, we had our reservations about Farhan Akhtar, since we thought he might bring in that element into the character that would seem a little over fetched. Like his additional humor which might only prove to distract rather than entertain. But Farhan Akhtar showed such grace and resilience by overcoming his one minor (very minor) quip and embodied the character in a way that I believe no one else could. He deserves recognition for this movie far beyond what is already provided to him. He made us care about Milkha Singh and his family. He made us care about running. He made us care about our nation. What Milkha Singh actually went through in his real life was nothing short of a living and brooding hell. He not only fought his past, but he carved out a path for himself that would allow all Indians the fortune of raising their heads high. And we lived part of it through Farhan Akhtar.

Another genius of ROM comes from the fact that Sonam Kapoor had a total screen time of only around 10 minutes (maybe even less). In a three hour movie, that’s about the right amount of time I can watch Sonam on screen without complaining. I probably am being too harsh, but I haven’t seen Sonam impress me yet. So far she’s only riding on the success of her father. I’m very hopeful I will be proven wrong, but that moment hasn’t yet arrived.

From Dalip Tahil to Yograj Singh to Meesha Shafi; everyone did true justice to the roles they had to portray. None of the casting seemed out of place. I’d like to also talk a little about ROM’s cameo. That was a delight to watch. Without being too campy, he managed to sneak in the perfect little cameo for himself. Add that to the fact that he portrayed the pilot of the airplane, much like he was the pilot of this film. His dialogue seemed to fit the whole little cameo perfectly as well. That just goes to show that a lot of thought was gone into such a little cameo.

ROM successfully managed to convert the entire cinema hall into a rollercoaster that takes you through the tragic, and yet prominently successful story of Milkha Singh, one of the nation’s truest heroes.

I think that provides me the perfect segue to talk about the man behind it all - Rakeysh Omprakash Mehra. It was his job to gather everything I mentioned in my review above and present it to the viewer. He went above and beyond his duty to narrate a tale of romance, heartbreak, the will to achieve, and inspire. The storytelling was a stroke of genius. A movie that could just as well be another inspiring story about a man who led India to glory was not just that. It was an insight into the character that ROM crafted. I’m saying that because not all events depicted in the film were actual. This is exactly the reason I labelled the storytelling as genius. ROM took an already inspiring lifestory, added a little filmmaking magic and presented something that only a genius filmmaker could present. ROM doesn’t claim the story to be an exact re-telling of Milkha Singh’s life and this is what the viewer should expect when ROM mentions that it’s “inspired by a true lifestory” and not “based on true lifestory”. He knew exactly how and when to trap into the viewer’s emotional side and when to play the humour card, for instance. ROM successfully managed to convert the entire cinema hall into a rollercoaster that takes you through the tragic, and yet prominently successful story of Milkha Singh, one of the nation’s truest heroes. ROM not only used the tools he was provided to tell a story, but he contributed an offering that would raise the bar of what is expected of a good film in the future. I can only hope that ROM receives all the appreciation he so rightfully deserves for the masterpiece that is Bhaag Milkha Bhaag.

Fin

Three hours and nine minutes later, coincidently also the runtime of the film, the other two filmy foodies finish reading Lalit’s review.

Tarun: Fuck, that's long.

Lalit: Hence the warning, haha. Read it? School mein itna likhta toh aur acche grades mil jaate.

Tarun: Main school mein itna padhta to aur ache grades mil jaate.

Lalit: Haha, good one.

Tarun: Since your review is so extensive I will build on it rather than start from scratch.

Lalit: Cool.

Tarun: The direction, editing, cinematography, music, background music, sound design were all exceptional. This should be a milestone for quality for everyone working in the Indian Film Industry. Some of the shots were just mind blowing. And the way they showed the flashbacks with a split screen using original footage from that era was genius. Some of the VFX could've been better or avoided all together but no biggie.

The way they showed the flashbacks with a split screen using original footage from that era was genius.

Background music and sound design truly needs a special mention. Especially during the flashbacks.

Sonam is useless. She can't act for shit. I need to revisit Delhi 6 to see if her performance wasn't as good as I thought it was.

Lalit: Absolutely.

Tarun: There was a scene where you can see each and every scar and pore on Farhan’s face but Sonam’s face is just perfect. Absolutely flawless face of a gaon ki gori. Goes to show where all her hard work is going.

Varun: Hehehehehe

Lalit: Hahahaha

Tarun: Farhan was really good but his performance fell short in one or two scenes. But he's definitely one of the better actors of this industry. And what a story. I was totally unaware of Milkha Singh's story going into this film. And I wouldn't have believed such an impossible story. But it's based on a real person and that makes it an exceptional human story. ROM's cameo was unnecessary I felt, but it was cool that he came in front of the camera to say he was the pilot.

I wouldn't have believed such an impossible story. But it's based on a real person and that makes it an exceptional human story.

Divya Dutta, Pawan Malhotra and Prakash Raj are a delight to watch. They are always in form. No matter how small or big their roles are. Some of the other characters could have been played by better actors, like Milkha's father and his coach. The father's accent was kind of weird. And the guy who played the Pakistani coach is Farhan's favorite Pakistani. He was there in Lakshya and Don 2 also I think. Maybe Farhan had a say in the casting of that character.

But overall the film was a really good watch. The length might seem daunting to some but the three hours fly by (does this count as a pun?). ROM needs to make films more often.

Tarun’s Rating: 2 – GOOD

Lalit: By the way, my FF rating is 2.

Lalit’s Rating: 2 – GOOD

Tarun: Dude after all the epicness in your review you're rating it 2?

Lalit: Haha was joking about my rating. My FF rating is 3.

Tarun: Hahaha dude why were you joking about your rating?

Lalit: Wanted to see your reaction.

Tarun: Hahaha

Lalit’s Actual Rating: 3 – EPIC

Lalit: Yes, I'm sure Farhan had a say in a lot of other things as well. Milkha's coach was played by Yuvraj Singh's father. Whom I believe has no past acting experience. I'm curious as to why he was cast in such a prominent role.

Varun: He has, he is a Punjab superstar.

Tarun: The first shot they showed of Yograj Singh was slightly blurred and it looked like it was Rishi Kapoor and I was hoping it was a surprise cameo. But it wasn't. Every good movie in Bollywood has at least one wrong casting choice. It's not that we don't have good character artists. But directors probably want a certain look for a particular role and sacrifice on acting skills.

Varun: I do agree with Tarun’s point that Farhan Akhtar’s performance might not have been 100% but he is proving out to be one of the good actors India has. But he totally got into the role and as Lalit pointed out he wasn’t Farhan Akhtar but was Milkha Singh. I guess he should take a different path than his peers and should only concentrate on character roles, he shall excel well.

Sonam Kapoor is a waste but I guess it was important to show her role as the women in Milkha Singh’s life play a very pivotal role.

As rightly pointed out too, Sonam Kapoor is a waste but I guess it was important to show her role as the women in Milkha Singh’s life play a very pivotal role. Whether it be Stella, his elder sister played by Divya Dutta, love interest played by Sonam Kapoor or even Perizaad.

Lalit: Yes, absolutely.

Varun: I agree with Lalit’s point too that Rakeysh’s track record has not been really stellar but there is no denying that he is one of the finest technicians. He also has an absolute gift of merging music aptly with the scenes. And this is not the first time he has used the non-linear format to a great effect, Rang De Basanti was another great example (though I didn’t like RDB the way people loved it but still I thought it was a good movie).

And yes, Lalit to answer our prayers there is a director’s cut theater in Delhi which we should go and watch the movie in. I am totally game to see the Director’s cut version of this.

Tarun: Definitely. Kar dein isko publish? Ya kuch baaki hai?

Lalit: Karo publish. But Varun ki rating?

Tarun: 2 I think.

Varun’s Expected Rating: 2 – GOOD

Varun: No. THREEEE!

Varun’s Actual Rating: 3 – EPIC

Filmy Foodies Aggregate: 3 – EPIC