Monday, July 2, 2018

Sanju (Movie Review)

Sanju and His Galti Se Mistakes
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Reviewer’s Thumb Mark

Rajkumar Hirani’s film 'Sanju’ appears to be the outcome of a well thought, brainstormed and conveniently selected pieces of Sanjay Dutt's life’s incidents. After watching Sanju, one can sum up the film in one line - “Subah Ka Bhula Agar Shaam Ko Ghar Lout Aaye Tho Usse Bhula Nahi Kehte”.

While watching the film, I remembered what Alexander Pope wrote in his ‘Essay on Criticism’ - “To Err is Human; to Forgive, Divine”. But what makes me wonder is that, is it an error by the filmmaker and the man in question to completely ignore the existence of his Ex-wives Richa Sharma and Rhea Pillai? It was Rhea Pillai who stood with Sanjay Dutt when he was languishing in a prison cell during the Mumbai blasts trial. What followed next is his marriage with her in 1998 and in one of his interview he said - “Love is what Rhea did when I was in jail”.
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Hirani makes Sanju mouth about his 308 girlfriends and rounds up the figure to 350 and he also shows Manyata's sacrifices, understanding and maturity as a wife. The film also repeatedly focuses on the innocent faces of his two children from Manyata. All these are really touching but why his first daughter Trishala from Richa Sharma is missing from the frames?; his sisters Priya and Namrata are mute spectators in the whole film while the father-son duo is engaged in an ocean of emotions that displays the ups and downs the family has gone through? The question is what was the compulsion that made the Sanju team remain silent on many aspects of his life that is on public domain but didn't dare to bring on screen?

In the film, there is an instance when his father Sunil Dutt, played well by Paresh Rawal, visits a newspaper office and strikes a conversation with the editor on the authenticity of the news on Sanju. The editor in response to him plays an audio tape in which Sanju is heard talking to some underworld don. Sunil Dutt without battering his eyelids asks the editor why then there is a 'question’ mark at the end of the sensational headline and not a ‘period’ when he is so sure about the veracity of the tape. Here, I would like to ask the filmmaker and his team why they didn’t address in the film so many questions the audience have in their mind.

The film Sanju is good but as a biopic, it is really disappointing and biased. It is unfortunate to say that Rajkumar Hirani fails to be independent, unbiased and objective in making this film as a filmmaker. I am sure whenever Sanjay Dutt would meet Rajkumar Hirani, Vidhu Vinod Chopra and the team he would happily hum the yesteryears popular song (which is also used in the film) ‘Yaara Teri Yaari Ko Main Tho Khuda Mana, Yaad Karengi Duniya Tera Mera Afsana’.
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Ranbir Kapoor as Sanjay Dutt is noteworthy and excellent. He is undoubtedly an actor with an enormous amount of talent. Paresh Rawal as Sunil Dutt brings in the required amount of agony, sadness, concern and care as a father in the film. The father-son scenes are moving and inspiring too.

Vicky Kaushal as Kamlesh aka 'Kamli’ Kanhaiya Lal Kapasi steals the show. His role as a friend in Sanju wins many hearts and minds. Vicky Kaushal after Raazi has Sanju in his profile which he can for sure be proud of.  Jim Sarbh as a drug peddler and friend plays his part well.

Dia Mirza as Manyata, Manisha Koirala as Nargis, Sonam Kapoor as Ruby and Anushka Sharma as Winnie Diaz, Karishma Tanna as Pinky and Aditi Gautam as Priya Dutt have nothing significant to say and emote. It is so unjustified and cruel to mute these women who have played significant roles in Sanjay Dutt's life.
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I recently heard a known trade analyst in an interview trying to justify the film Sanju by saying that the Rajkumar Hirani was only focusing on two aspects of Sanjay Dutt's life - (a) Drugs and (b) The Mumbai blast trial. If that is the case don't you think that these women (his mother, ex-wives, daughter Trishala and the rest) were part of these two aspects too?

The music by AR Rahman, Rohan-Rohan and Vikram Montrose are good. Of all the songs in the film the song 'Kar Har Maidaan Fateh’ sung by Sukhwinder Singh and Shreya Ghoshal stays in your mind for long.

In short, Sanju can be watched but it is biased and not a biopic as it is claimed to be. Go and watch Sanju this week and ‘Forgive’ Sanju, Rajkumar Hirani and Vidhu Vinod Chopra’s Galti Se Mistakes and stay ‘Divine’ as an audience.

Life Connoisseur Movie Rating: 3/5

Cast: Ranbir Kapoor (Sanju), Vicky Kaushal (Kamlesh ‘Kamli’ Kanhaiyalal Kapasi), Paresh Rawal (Sunil Dutt), Manisha Koirala (Nargis Dutt), Anushka Sharma (Winnie Diaz), Sonam Kapoor (Ruby), Karishma Tanna (Pinky), Boman Irani (Ruby’s Father), Dia Mirza (Manyata Dutt), Sayaji Shinde (Bandu Dada), Jim Sarbh (Zubin Mistry), Sanjay Dutt as himself (Cameo in the end credit song), Aditi Gautam (Priya Dutt)

Genre: Biopic

Director: Rajkumar Hirani

Producers: Vidhu Vinod Chopra, Rajkumar Hirani

Written by: Rajkumar Hirani, Abhijat Joshi

Music by: Sanjay Wandrekar, Atul Raninga

Cinematography: Ravi Varman

Edited by: Rajkumar Hirani

Production Company: Rajkumar Hirani Films, Vinod Chopra Films

Distributor: Fox Star Studios, 20th Century Fox

Release Date: 29 June 2018

Duration: 161 Minutes

Language: Hindi

Sunday, June 10, 2018

Kaala Karikaalan (Movie Review)

Kaala Mirrors the Simmering Anger of the Underprivileged in Our Country!
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Reviewer’s Thumb Mark

“There May be Times When We are Powerless to Prevent Injustice, But There Must Never be a Time When We Fail to Protest.”

The strongest antidote to anger is a democratic political system that allows open dialogues and dissent to be expressed that is followed by prompt solutions to genuine issues. If not, men and women may be killed but not a movement. PA Ranjith's film Kaala reminds us about the hundreds of common man’s struggle going on in our country against the dubious welfare schemes of people in power that are packaged as pro-poor; whereas, it is in real sense pro-corporate and pro-rich. Though an out and out Rajni’s usual commercial outing, Kaala portrays the fight of the have-nots for their basic survival and how the mighty leaves no stone unturned to crush people's struggle by calling it as anti-nationalist movement and anti-development. The Pure and Clean India slogan in the film is apparently a cue to people to revisit and check the real intentions and credibility behind similar slogans that have taken our country like a storm since last few years.
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The Bhangarh movement in West Bengal, the Anti-Sterlite Movement in Tuticorin, Tamil Nadu, the Anti-Posco movement in Odisha and many others are tagged as anti-development and anti-national. The debate is on whether it is anti-national and anti-development or not. Let's Leave it open.

Here, the film Kaala takes Dharavi, Asia’s and the world’s largest slum as it's center of the action. It seems PA Ranjith takes a cue from the flagship project the 1990s Shiv Sena-BJP government mooted in the name of ‘Slum Redevelopment Scheme’ for his film’s plot, however, this project never took off due to policy and vested interests flip flops. Union Minister Haridev Abhyankar alias Hari Dada (Nana Patekar) has dubious plans to take over the control of Dharavi in the name of development. He ropes in corporate-backed NGOs and private builders to come up with a redevelopment plan where the slum dwellers will be given houses, toilets, and schools.  The plan also features commercial spaces and a sprawling golf club. Hari Dada’s only obstacle to getting the plan through is Karikaalan aka Kaala (Rajnikanth) the local messiah of the slum dwellers who like his father a migrant from Tirunelveli, Tamil Nadu safeguards the interests of his people selflessly. Hari has a two-pronged plan to either win over or annihilate Kaala.
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Kaala (means Black in Hindi) is in general terms considered unclean, dirty, and symbol of bad. Whereas, Safed (means White in Hindi) is pure, pristine and is good. But here, PA Ranjith reverses this general notion about Kaala and Safed. He without much ado reiterate that Kaala is the color of Yum ( The Hindu God of Death). And Kaala is the death knell for all that is evil. Kaala is the color of labor, grit, and courage. Kaala is the symbol of revolution, resistance, and protest against everything that is anti-people.

Rajnikanth and Nana Patekar are the perfect choices for playing the hero and villain and their performance keeps the audience enthralled. What is more important to mention is the casting of Easwari Rao as Selvi, Kaala’s wife. She with great ease and comfort slips into her role so well that there are moments you leave the rest on the screen to watch her perform as a doting mother, nagging Mom-in-law and a loving yet loud better-half of Kaala. We have Anjali Patil as Charumati aka toofani the firebrand among the women folks in Dharavi. She as the lover of Lenin the youngest son of Kaala makes her mark the way she made as a tribal block volunteer in the much-acclaimed film ‘Newton’. As rightly nicknamed as Toofaani she is the voice of the women in the film. She is humiliated and disrobed but resists bravely not succumbing to the tactics and strategies of the power to disarm the grit and courage of a woman and to weaken her self-esteem and moral. Something similar that happened with many women activists who took up the cudgel against tormentors for social causes. For instance, the lady counsel of Kathua rape victim's family was threatened with dire consequences and she feared that she may be outraged, killed or even might be raped.
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What is commendable about PA Ranjith's latest venture Kaala is its style of raising relevant contemporary issues marinated with the so-called commercial masalas and often seen Rajni style of actions without making it boring and tiring to watch.  

Huma Qureshi is a mismatch and disappointing in the department of acting, whereas there are many scenes where she could have excelled but unfortunately she is poor in emoting the character on screen. Kaala’s huge family with sons, daughter in law's and grandchildren seems to be a huge crowd. Pankaj Tripathi’s acting skills are underutilized and could have been given some more space and relevant dialogues to perform.  
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The climax scene of Kaala is spectacular and artistic when various hues splashes on screen conveying a strong socio-political message that irrespective of our beliefs, religion, caste and creed, political inclinations people should join hands against the fight against oppressive forces in our country, Kaala reminds the media to be courageous like the reporter in the film played by Ramesh Thilak who captured the riots and its perpetrators.  Very interestingly black is required for all other colors to have depth and variation of hue. Cinematographer Murali has done a good job.

In short, PA Ranjith's film can be summarised in the famous Mexican Proverb – “They Tried to Bury Us. They Didn’t Know We Were Seeds”. Go and watch Kaala and take home a compelling message that the oppressors have a shelf life, sooner or later a Kaala will channelize the mass anger into a social movement.

Life Connoisseur Rating: 3/5

Cast: Rajnikanth (Karikaalan aka Kaala), Nana Patekar (Haridev Abhayankar), Easwari Rao (Selvi), Huma Qureshi ( Zarina), Samuthirakani (Vaaliappan), Anjali Patil (Charumathi aka Toofani), Dileepan (Selvam), Manikandan (Lenin), Aruldoss (MLA), Sayaji Shinde (Minister), Pankaj Tripathi (Superintendent of Police Pankaj Patil), Ramesh Thilak (Reporter)

Genre: Social Drama

Director: PA Ranjith

Producer: Dhanush

Written by: PA Ranjith, Aadhavan Dheetchanya, K Makizhnan

Music by: Santhosh Narayanan

Cinematography: Murali G

Edited by: A Sreekar Prasad

Production Company: Wunderbar Films

Distributor: Lyca Productions

Duration: 159 Minutes

Language Tamil, Telugu, Hindi

Saturday, May 12, 2018

Raazi (Movie Review)

Raazi: Patriotism sans Jingoism!
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Reviewer’s Thumb Mark

Meghna Gulzar and Bhavani Iyer crafted this film ‘Raazi’ so deftly that its commendable and worth mentioning that the film stands apart from all those commercial Bollywood spy thrillers that had been made with a lot of noise, venom and jingoism. Raazi is least interested to portray any country as an enemy, rather it is all about the importance of safeguarding one’s own country’s security in situations of crisis and war. Raazi, rightly depicts at the end in its credit lines that it is dedicated to all those unsung heroes who are unknown in the history written.

 The film is based on the book ‘Calling Sehmat” written by Harinder Sikka. His debut novel is about an Indian Kashmiri Muslim undercover agent operating in Pakistan during the 1971 Indo-Pak War. To keep the main character in anonymity he named her Sehmat Khan in his novel. She married a Pakistani Army officer to provide India with classified information during the 1971 war.
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Sometimes what we have planned for ourselves may not be what we are destined to do. Every person has a purpose to fulfil and when one chooses and realizes the purpose of his/ her own will, then the consequences are also owned by the person for a greater cause. Sehmat Khan, played by Alia Bhatt, may not have ever dreamt in her wildest dream that she will end up as a spy, wife, and daughter-in-law in one of the most influential family who holds key positions in Pakistan’s Military. Called back from her college in Delhi suddenly by her father Hidayat, a businessman with strong connections with the who’s who in Pakistan, she is told that he has a tumour in his lungs and his days are numbered. Saddened by her father’s illness she gets another jolt from him when he says that he is a spy for the Indian intelligence bureau and he is worried about the current state of affairs of his country’s security. Hidayat is a double agent and has gained the confidence of the elite in Pakistan. Hidayat wants his only daughter to take up his role as he did what his father asked him to do. Inspired and proud of her father and grandfather for serving the country’s interest always, she agrees (Raazi) to take up the challenge of becoming a spy and cross the border legally as the wife of Iqbal Syed (Vicky Kaushal) a military officer in Pakistan.
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Alia Bhatt as Sehmat Khan needs to be applauded for her constant attempt to try different and challenging roles, be it in Highway, Udta Punjab, and now Raazi. From the sassy stylish teenager, Shahnaya Singhania in ‘Student of the Year’ to Sehmat Khan in ‘Raazi’ she has stated boldly that she is a promising actor and has much in store for the audience.  She very well portrays the challenge of being a daughter in law fitting into the daily domestic chores as well as handling the challenges of transferring the classified information to her handlers in India living amidst a family of high army officials. She believes that "No one comes before the country. Not even yourself”.

Vicky Kaushal as Iqbal Syed is fantastic as a self-restrained, understanding husband yet a staunch Pakistani Military officer. His Deepak in Massan and Iqbal Syed in Raazi shows his mettle as an actor. Unfortunately, his Zubaan and Raman Raghav didn’t fetch him the required attention of the audience but Vicky seems to have a host of films coming up for him that can reiterate that he is indeed a  powerful performer.
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Rajit Kapur, Soni Razdan, Shishir Sharma, Asif Zakaria, Ashwath Bhatt are well etched in their roles and leave a lingering impact on the viewers. It is a treat to see both Soni Razdaan and Alia Bhatt together as mother-daughter on reel too. Jaideep Ahlawat is the talk of the town for his role of Khalid Mir, the intelligence trainer for Sehmat Khan. He caught the audience attention for his role in Gangs of Wasseypur and he got noted as Nawab in Raes.

Raazi, as a film is watchable though there are some instances where one feels that the life of a spy has been portrayed too smoothly to execute her plans in a high profile military officer’s family as a wife and daughter-in-law.  Meghana Gulzar’s attempt to portray the human side on either side of the border is commendable. What makes Raazi a delight to watch is the temporary relief it delivers you to escape from the jingoism flooding on social media these days. So go for it.

Life Connoisseur Movie Rating: 3.25/5

Cast: Alia Bhat (Sehmat Khan), Vicky Kaushal (Iqbal Syed), Rajit Kapur (Hidayat Khan), Soni Razdan (Teji Khan), Shishir Sharma (Brigadier Syed), Jaideep Ahlawat (Khalid Mir), Ashwath Bhatt (Mehboob Syed), Amruta Khanvilkar (Munira),Sanjay Suri (Guest appearance), Kanwaljit Singh (Guest Appearance)

Genre: Spy Thriller

Director: Meghna Gulzar

Producers: Vineet Jain, Karan Johar, Hiroo Yash Johar, Apoorva Mehta

Based on the novel: ‘Calling Sehmat’ by Harinder Sikka

Screenplay: Bhavani Iyer, Meghna Gulzar

Music by: Shankar-Ehsaan-Loy

Cinematography: Jay I Patel

Edited by: Nitin Baid

Production Company: Junglee Pictures, Dharma Productions

Distributor: AA Films

Release Date: 11 May 2018

Duration: 140 Minutes

Language: Hindi

Friday, April 13, 2018

October (Movie Review)

October Takes You Through Seasons of Life!
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Reviewer’s Thumb Mark

As there are different seasons of nature, so are there different seasons of life and love. The film October attempts to take you through these seasons leaving you disturbed and moist-eyed on many occasions. Shoojit Sircar’s film ‘October’ tries to tell an unconventional love story. He dares to take the risk of telling a story which plays with your innate feelings towards unexpected tragedies in life without much melodrama and heroism.

The first half of the film is lighthearted and feverishly slow and the second half all of a sudden keeps you watch the vitals’ status updates on the hospital room’s monitor. The characters played by Banita Sandhu and Varun Dhawan as Shiuli Iyer and Danish Walia aka Dan respectively don’t hold you or move you. You watch them as a third person and feel bad and when you are out of the cinema hall, you leave their story behind like any other sad incident. The pre-interval part of the film keeps you puzzled in figuring out what the filmmaker wants to convey and the post-interval part keeps you feel bad for what has happened.
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It is not the story but the situation and the uncertainties of life that make you relate to what Shoojit is trying to tell you. The rest of the characters are just caricatures to make the unpleasant happening in the protagonist’s life look realistic. Dan, a hotel management trainee is employed with a five-star hotel in Delhi and he is undergoing the in-house job training with a bunch of other young boys and girls. It’s quite evident from the very first shot that Dan is different from the rest of his batch members. He is talkative, opinionated, and impulsive, uses his brain more than anyone else and therefore, finds himself in trouble often with his seniors and manager.  On the contrary, Shiuli Iyer is more adaptive, ready to learn and calm.

A freak accident on the eve of New Year turns the life of Shiuli and the people in her life upside down. And what Shiuli said before she slipped into a comatose draws him closer to her. What follows is the unfolding of a subtle and a melancholic feeling of love between them that keeps you feeling good as well as uncertain of its outcome. Geetanjali Rao as the grief-stricken mother plays her part convincingly and makes her presence felt but the siblings of Shiuli are less convincing. Shiuli’s sister keeps calling her ‘Akka’ and her brother barely emotes and utter anything.
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Juhi Chaturvedi and Shoojit Sircar’s collaboration this time emits a soothing fragrance of love through ‘Shiuli’ the night Jasmine which is used symbolically to convey the blossoming and withering away of life. October reminds us gently that ‘Impermanence’ is the basic nature of life. What you have will leave you one day but remember what leaves you physically doesn’t actually leave you because it stays within you; you just need to close your eyes and see it, feel it and smell the ‘Shiuli’ within you.

Go and watch ‘October’ because we need to appreciate such attempts that infuses a kind of freshness in storytelling and its depiction.

Life Connoisseur Movie Rating: 3/5

Cast: Varun Dhawan (Danish Walia), Banita Sandhu (Shiuli Iyer), Getanjali Rao (Prof. Vidhya Iyer)

Genre: Drama/Romance

Director: Shoojit Sircar

Producers: Ronnie Lahiri, Sheel Kumar

Written by: Juhi Chaturvedi

Dialogues/Screenplay/Story: Juhi Chaturvedi

Music by: Shantanu Moitra

Cinematography: Avik Mukhopadhayay

Edited by: Chandrasheker Prajapati

Production Company: Rising Sun Films

Distributors: Rising Sun Films, Kino Works

Release Date: 13 April 2018

Duration: 115 Minutes

Language: Hindi

Monday, February 12, 2018

PadMan (Movie Review)

Madman to PadMan
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Reviewer’s Thumb Mark

“We must accept finite disappointment, but never lose infinite hope” – Martin Luther King Jr.

R Balki’s film PadMan is about Arunachalam Muraganantham, a man from Coimbatore who out of sheer love for his wife and to deal with her period problems, used his creative bend of mind to produce affordable sanitary pads. This initiative of his, made him a social crusader for menstrual hygiene and a reason for many to be part of community businesses which produce pads by his patented machines. Muraganantham’s path breaking initiative in making affordable sanitary napkins for a larger section in the society who are poor resonates the old adage – ‘Necessity is the mother of invention”.

Films like PadMan, which creates social awareness plays a pivotal role in influencing the minds of people on taboo topics positively to bring in the necessary change in life and their life styles. Such creative ventures are hard to ignore and even challenging to doubt its intentions.
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Lakshmikant Chauhan (Akshay Kumar), the film’s main protagonist is a mechanic by profession who got recently married and brings his wife Gayatri (Radhika Apte) home, where his family comprises of his aging mother and two young sisters who are still in school. Lakshmikant, fondly called as Lakshmi, is disturbed to find his newly wed wife leave the family dinner half done in a jiffy because she sensed that her menstrual cycle has begun for the month. He was more horrified to find a repeatedly used, washed and not so clean stained cloth being dried discretely on a cloth line under her sari. What disturbs him further is that his wife Gayatri segregates herself for the next five days from him and the rest of the family.
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What follows is a curious and emotionally disturbed Lakshmi venturing into activities that shall help him address the menstrual related problems of his wife. His efforts in this regard leads him to come up with different kind of hand-made pads after his visits to medical store to buy expensive pads that cost a bomb for a person like him. His repeated failures make him visit a clinic which leads to some instant gyan on menstrual hygiene and its health hazards if not followed along with a wholly of data to vouch what the doctor lectured to him.
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 Radhika Apte as Lakshmi’s wife and Sonam Kapoor as Pari Walia who plays the role of a benefactor to the not so educated Lakshmi make their presence felt in the film. Rakesh Chaturvedi in his short role as a professor makes a commendable impact; it would have been great to see him perform if he could have got some more screen space.
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R Balki’s film PadMan does a ‘Toilet Ek Prem Katha’ again for Akshay Kumar who by now has mastered to sustain his nationalist hero image by copying and not acknowledging creative projects and films done on the same theme and topic in the past by other fellow industry people who unfortunately didn’t have big names to back them like Balki or Viacom. Akshay Kumar then, during his Toilet Ek Prem Katha outing claimed that his was the first one to talk about sanitation in India whereas the topic was dealt by a documentary filmmaker first and later by a filmmaker Pratik Sharma and Producer-Actor Asmita Sharma who made the first feature film in Bollywood titled as “Gutrun Gutargun’ on the same topic.
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And now once again, as being claimed, PadMan is not the first film made on the subject in the country. Before R Balki and Mrs Funnybones, three films have been already made on the same taboo subject – 1. Menstrual Man in 2013 a one-hour long documentary directed by Amit Virmani; 2. Phullu a feature film made in 2017 directed by Abhishek Saxena starring Sharib Hashmi; and 3. I-Pad an unreleased feature film actually the first made on the importance of sanitary pads written and directed by Amit Rai. Abhishek Saxena in one of his recent press statement cried foul against the CBFC because his film Phullu which dealt with the same topic of menstrual hygiene like PadMan was issued an ‘A’ certificate and PadMan a U/A certificate.
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A film like PadMan that claims to be a biopic on Arunachalam Muruganantham we find more of Akshay Kumar the hero and less of what Arunchalam Muruganantham was and is in real life. Murugunantham’s humility, mission and struggle to become what he is for the society today is missing in real sense and is superimposed with scenes and dialogues which appears to be too superficial and made up to suit the hero in Akshay Kumar. The film before interval is more situational and therefore one can relate with what is happening but unfortunately the film post interval turns out to be more heroic. The way PadMan procures raw materials from abroad by just a phone call is too childish and the long UN speech doesn’t appear real at all. PadMan from the start to the end is prescriptive and therefore loses its charm of a biopic.

In short, PadMan is a onetime watch. Go and watch Balki’s PadMan if you haven’t seen the other movies made on the same topic before; if you are not keen to know how different and real is Arunachalam Murugunantham than it is shown in this film; and if you give a damn to the growing trend in the industry of claiming to be the first/pioneers and not having the courtesy to acknowledge fellow filmmakers and artist if they have made something similar in terms of theme and concept.

Life Connoisseur Movie Rating: 3.25/5

Cast: Akshay Kumar (Lakshmikant Chauhan), Radhika Apte (Gayatri), Sonam Kapoor (Pari Walia), Rakesh Chaturvedi (Professor), Amitabh Bachchan (Cameo)

Genre: Biopic Drama

Directed: R Balki

Producers: Twinkle Khanna, SPE films India, KriArj Entertainment, Cape of Good Films, Hope Productions

Written by: R Balki, Swanand Kirkire (Co-writer)

Based on: The legend of Lakshmi Prasad by Twinkle Khanna

Narrated by: Amitabh Bachchan

Music by: Amit Trivedi

Cinematography: PC Sreeram

Edited by: Chandan Arora

Production Company: Columbia Pictures, Hope Productions, KriArj Entertainment, Mrs. Funnybones Movies

Distributor: Sony Pictures

Release Date: 9th February 2018

Duration: 140 Minutes

Language: Hindi