Rammy

What every film maker should understand from #dhurandhar is that it is full of living, breathing characters who seem as real as you and me sitting and watching in the theatre, hence making it highly relatable. Satya is about gangsters, but be it Bhiku Matre, Kallu Mama or Vakil Mule, they all look as real as anyone real. Dhurandhar took this to another level. That is the only lesson worth stealing for all film makers which the one most expensive films refuse to learn. Back in the day even in a mega budget film like Titanic , James Cameron spent the money to make it look as real as possible whereas we do the exact opposite here Dhurandhar does not treat its hero as a walking poster who must be worshipped at all costs. He can be non existent in the room. He can wait tables, listen instead of speaking , miscalculate, get dirty, get smaller in front of more smaller characters . The camera does not constantly elevate . It watches. Rehman Dakait does not exist to look iconic in a still.. he exists as a man with a specific laugh, a specific fear, a specific way of holding a gun or a stare . The politician, the cop, the cousin, the juice shop friend none of them feel hired to decorate the star. They feel like people who would still be there whether the hero was there or not . You are not waiting for the next elevation shot. You are staying because the people on screen make you stay by becoming immersive The other films swagger. Have fog and slow motion that lasts longer than the characters inner lives. The women are not people.. they are functions arranged around the same gravitational centre so that the centre never has to become a living real person. You cannot tell what any of them are when he is not in the shot. Violence in Dhurandhar has a before and an after. Somebody pays. Somebody changes. Somebody is left standing feeling smaller. In the other films, violence is just a spectacle minus context . Attitude is the plot. Style arrives first and th n searches for a reason. The camera does not observe, it advertises. Editing does not cut time, it manufactures fake intensity that was never in the writing . Characters do not act because they must. They act because the poster needed a dynamic still. Satya’s gangsters could have existed on a real Mumbai street. Dhurandhar’s Lyari men feel like they have already lived for many years before the hero came there. The other films heroes feel assembled in a look test. You leave knowing the hero’s hair, the hero’s walk, the hero’s catchphrase. You do not leave knowing a single thing about him as a human being. That is the difference every filmmaker should be forced to acknowledge and learn .. Dhurandhars director trusts the audience enough to put living people on screen and let them feel as much as the protagonist . The hero feels as much pain as the villain . One is cinema that cuts into flesh. The others are cinema that pose for the camera

Diwali is the day when all the domestic animals like Dogs , cats , crows ,rats , cows , buffaloes etc realise that HUMANS are MAD #HappyDiwaliAnyway