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Celebs at 'Ugly' Screening

Scorpio_Velvet IF-Sizzlerz
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Posted: 24 December 2014 at 8:12am | IP Logged
Shaandaar couple Alia Bhatt and Shahid Kapoor watched Anurag Kashyap's soon-to-release Ugly. Also present at the film's screening was Lisa Haydon, Heorpanti actress Kriti Sanon, Ellia Avram and others. Take a look! (Source: Varinder Chawla)Alia Bhatt looked pretty in a blue printed dress worn with shoes. We like her bag. (Source: Varinder Chawla)Meanwhile, her Shaandaar co-star Shahid Kapoor was chilled out in black jeans, jacket and white tee. (Source: Varinder Chawla)Former Bigg Boss contestant Elli Avram was red hot. (Source: Varinder Chawla)'Queen' actress Lisa Haydon is smart in orange top and black jeans worn with boots. (Source: Varinder Chawla)Heropanti actress Kriti Sanon is pretty in a green short dress. (Source: Varinder Chawla)Power couple - Preeti Jhangiani with her husband Parveen Dabbas. (Source: Varinder Chawla)Ugly director Anurag Kashyap with UTV head Siddharht Roy Kapur, acto Arjan Bajwa and director Sudhir Mishra. (Source: Varinder Chawla)Alia shows the photogs her injured finger. The actress was saddened after the wrap of Shaandaar. (Source: Varinder Chawla)Ronit, Rohit and Rahul Bhat. Ronit and Rahul play pivotal roles in Ugly. (Source: Varinder Chawla)Awesome trio - Brothers Ronit and Rohit Roy with Divya Dutta. (Source: Varinder Chawla)Siddhanth Kapoor, who plays an important role in Ugly, was also seen at the screening. (Source: Varinder Chawla)Haider director Vishal Bhardwaj came with his singer wife Rekha. (Source: Varinder Chawla)Film's lead actress Tejaswaini Kolhapure looks pretty in a pale yellow gown. (Source: Varinder Chawla)

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Bazigar Goldie
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Posted: 24 December 2014 at 8:50am | IP Logged


Ugly review: Anurag Kashyap is back, with his best film since Black Friday

There is a reason why Anurag Kashyap is considered an excellent filmmaker, why he has the cult following that he does, and that reason is that he hates formula. Few filmmakers in India have had the courage to fiddle with Bollywood's rules and Kashyap is one of them. He's been doing it consistently, having tried to bridge the gap between mainstream and offbeat with the Wasseypur films, and going lo fi with the disappointing That Girl in Yellow Boots.

Most people consider Black Friday as Kashyap's golden ticket. It wasn't. It was Paanch. Dark, blood soaked noir is his forte. With Ugly, Kashyap has returned to his roots, and the result: Ugly is Kashyap's best film in years. It's also his most mature work to date.

The plot is simple - a little girl named Kali goes missing, and her father, a struggling actor named Rahul (Rahul Bhatt) runs helter skelter looking for her. There are twists and turns, but this film is not about the whodunit. It's about the characters - they're all ugly; ugly from the inside, the outside and from every possible side. Kali's mother (Tejaswini Kolhapure) is a suicidal alcoholic, divorced from Rahul and now married to the cop (Ronit Roy) who is investigating the case. The cop is regressive, but feigns an air of dignity and righteousness. Rahul's friend and agent (Vineet Kumar) is a seedy guy involved in all the awful things you expect from a casting agent. The thanedaar taking the case (Girish Kulkarni) is an arrogant villain who finds humour in Rahul's genuine anguish.

Courtesy: Facebook

Courtesy: Facebook

Kashyap places all these scumbags in a juicer-mixer-grinder of a plot. Lies, betrayal, screaming, pummelling, whiskey-guzzling, pill-popping, mass murdering - it's your not-so-usual cocktail of depravity, served up in Mumbai's underbelly.

Ironically, Ugly looks beautiful. It's all dark, dank and disgusting, and yet impossible to look away from, courtesy of cinematographer Nikos Andretsakis, who earlier worked on Dibakar Bannerjee's films. This isn't another Dev D, but a film that is its own beast, filled with black and blue, and the color of grime. The second thing you'll notice about Ugly is the spine-chilling rock music-inspired background score by Brian McOmber. This sort of sound design hasn't been heard in Bollywood and it really is quite refreshing.

Finally, there are the supercharged powerhouse performances from nearly everyone in the film, even those with smaller parts like Vineet Kumar and Surveen Chawla. Roy repeats his tough guy shtick from Udaan, but he brings an intensity to it nonetheless. Bhat, last seen in the terrible Nayee Padosan, is wonderful as the desperate, failed actor. Apparently the actors weren't given the scripts before shooting, and the improv style of filmmaking has somehow worked. The climax might seem anticlimactic, but it certainly is quite haunting.

Add to all that grime jet black humour and Kashyap's trademark irreverence, which is arresting this time instead of seeming indulgent. There is a ten-minute scene between Kulkarni and Bhat, where the latter goes to the police station to lodge a complaint and the former takes Bhat's case instead of taking on the case. Every bickering venomous sentence coming from Kulkarni's mouth is hilarious and the scene becomes more and more fun as it goes on. It only becomes less hilarious when you realize that's how most police stations in India function.

You'll probably be confused as to whom to root for by the end of the film, but the answer really is nobody. Kashyap never tries to make you sympathise with any of the characters, thereby making them more real. Human beings are terrible by default, and they would only do more terrible things to others to have their own way. So there's no point of rendering a contrived goodness' to the central character, and Kashyap remains quite non-judgemental. The vast space between helplessness and desperation is morbidity, and Ugly lives in that world.

http://www.firstpost.com/bollywood/ugly-review-anurag-kashyap-back-best-film-since-black-friday-2013015.html




Edited by Bazigar - 24 December 2014 at 8:54am

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Posted: 24 December 2014 at 9:15am | IP Logged
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Posted: 24 December 2014 at 9:41am | IP Logged
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Posted: 24 December 2014 at 11:33am | IP Logged
The haydon girl from Queen should put on weight she looks too thin.
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Posted: 24 December 2014 at 11:47am | IP Logged
Originally posted by NailClipper

Ronit is looking like a HW hero in Ugly. 


He is such a brilliant actor..Good that he wasn't restricted to Telly..I loved his performance in Udaan <3

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Posted: 25 December 2014 at 11:22am | IP Logged

Ugly is Anurag Kashyap's finest film




Ugly -- a constantly riveting, ticking timebomb of a film -- is by far Kashyap's finest film, says Raja Sen

The cop wants to know how caller ID can display the picture of the person calling. 

It is a nightmarish situation, with your daughter kidnapped, your wife unaware, and you panicking in a police station, desperate to get things moving in... well, in some direction. Any direction. 

And the cop wants to know about smartphones and caller display pictures. It is best, you think, to just show him so he can stop picking needlessly at this minor detail, so you decide to take a picture of him. At which point this Inspector straightens his policeman peak-cap and poses for the phone camera.

This moment from Anurag Kashyap's Ugly is an absurd but pitch-perfect sequence, one of existential exasperation and harrowing helplessness. 

A little girl has been kidnapped from a car and here we are all of us -- victim, friend, audience -- standing at a police station, watching an Inspector smile into a phone. The horror is kafkaesque, and yet, because of the way the director plays it, entirely relatable, macabre to the point of being satire and yet chillingly all-too-real.

Ugly -- a constantly riveting, ticking timebomb of a film -- is by far Kashyap's finest film. 

It is a visceral, frequently surprising ride, a dark thriller (not for the faint of brain or the morally queasy) that surpasses the shadowy greatness we witnessed in Kashyap's masterful Black Friday several years ago. 

Ugly works even better perhaps because here, unencumbered by the need to stick to facts, he can give his characters and their demons free rein over the proceedings.

All we know is that a girl has been kidnapped. We think we know things around that, but Kashyap surrounds us with enough moving pieces (and their furtively shifting motives) for us not to be certain of anything else. 

The girl's father is a desperately struggling actor, her mother is a whiskeyed-out wife too jaded to lift an eyebrow, and her new father is a tough-as-nails police chief who hates the actor his wife used to be married to. And that's just the simple bit,Ugly is all about wheels within wheels.

The films could have been a gripping enough police procedural, but it is in these frisky, fickle motivations that the film finds its odd, brutal rhythm. 

Every character in the film looks to be hiding something, everybody's lying to somebody around them, and as things heat up and masks are worn and discarded, Kashyap makes all his characters supplicate in front of the deity of Opportunism. 

This is where the storytelling excels, in shifting gears and making you root for one character, then another, then another, without ever pointing in the obvious direction. 

Just like a chase sequence right before the police station sequence I mentioned earlier, nothing here turns out like you expect -- and there are things that may well make you gasp.

The performances are striking, but it'd be criminal to not single out three in particular: Tejaswini Kolhapure, who, as the mother of the kidnapped child, wears the hangdog look of surrender so hauntingly it hurts; Girish Kulkarni, playing the sharp but frustrating police inspector and grounding Ugly into a very real zone; and Vineet Kumar Singh, playing a slimy casting director who has lots to hide up both his sleeves. 

Ronit Roy is solid as ever as the cop who doesn't mind cracking a few harmless skulls if they lie in his way, and Rahul Bhat does well as the actor so convinced of his own star-quality that he's already changed his name.

Kashyap's cinematographer Nikos Andritsakis (who has previously excelled with Dibakar Banerjee films like Shanghai andLove Sex Aur Dhokha) composes frames that appear highly natural and yet are highly dramatic frames. 

The actor's blue-walled little house, for example, is shot almost as if a graphic novel was the storyboard, all blues and blacks and a disarming use of contrast to hide details that might otherwise tell too much. 

Kashyap's use of visual motifs -- bindis on a mirror, scratches on a car -- is present here but in more blank-verse style than overtly poetic. The result is a cinematic universe so teeming with possibility that, like Fargo, it could have a television show living within it.

This is, in many ways, Kashyap's least indulgent film, because, having cooked up a meaty plot, he chooses not to obscure it with style and gravy, but instead thicken his pot with intrigue. 

Then again, sculpting a film this dark and twisted, a nearly nihilistic film, may well be called a work of misanthropic indulgence in itself. 

There are a couple of moments where he goes overboard, one of which accompanied by a song and celebration, but where would the fun be in an Anurag Kashyap film without flourish?

Ugly is a tale of torment, masterfully woven around the universally urgent trigger of a disappearing minor " and yet where, in the larger scheme of things, that kidnapping itself becomes, I daresay, a minor detail. Genius.

Rating: 

Raja Sen 


Edited by Scorpio_Velvet - 25 December 2014 at 11:21am

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