There is a subtle difference and a thin line between making someone a priority versus being obsessed with your loved one; between eccentric love and pathological love, between respectful admiration and an unhealthy escape in love and between having anger issues and anegozi geox vicino a me benetton outlet online shop outlet geox spaccio negozi geox piu vicino a me scarpe tata cains moore benetton outlet shop online tata italia scarpe saldi benetton negozi geox piu vicino a me negozi geox piu vicino a me saldi geox scarpe spaccio geox tataitalia negozi tata buse. All these subtleties are glaringly evident in this one movie. Kabir Singh is essentially a cinematic portrayal of a flawed person whose behaviour borders on misogyny with hints of narcissism and a disturbing territorial entitlement of his loved one.jbl 500bt cena tomnanclachwindfarm.co.uk truhlarstvibilek.cz uvex prilby lyziarske saralilphoto.com motorová píla na rezanie betónu stihl gs 461 teal blue yeezy 700 hummel t shirt børn udsalg markery zápalu a špec.prot aso sevilenotocekici.com tomnanclachwindfarm.co.uk sevilenotocekici.com brother 2820 video kamery skype na televizor panasonic txp50gt30e video kamery skype na televizor panasonic txp50gt30e
The opening scenes are poignant with Khusrau’s couplets, Dohas and Kabir’s grandmother’s narration of his childhood, but if based on this you are expecting some worthy cinema after, you are definitely in for a disappointment (like me!)
While Shahid Kapoor and Kiara Advani have both played their characters superbly, the film evokes dominantly only the feelings of pain, despair and disgust (in my case). This 172 minute cinefare is also a bit too long and fails to engross. Cinematography is praiseworthy, acting is convincing and the songs melodious but it fails to impress on the very crucial point of its content/script. This is simply not digestible. It is one thing to accept a flawed character and quite other to tolerate emotional abuse or doses of toxic masculinity.
Many instances in the film portray the same- for example Shahid’s Kabir has anger management issues and lashes out at his love (literally slaps her) to convince her parents of their relationship, gives her an ‘ultimatum’ of six hours and even threatens to leave. If this doesn’t qualify as emotional abuse under the garb of love, I don’t know what does.
The heroine (Preeti Sikka) seems no more than a submissive, confused, docile-to the point of being dumb, young woman, whose only job it seems is to pay the price of her mercurial boyfriend’s affection with compliance.
She has no voice (of either affirmation or rejection) as the protagonist singles her out as his mate (as some carnivore marking his territory) or even when he removes his shirt to get physically intimate with her. Neither can she so much as speak her approval or rejection or anger or..anything when he kisses her on cheek in full public view without permission or when he just barges in and sleeps on her lap, when she’s studying with her friend on a bench. It seems everything is acceptable under the garb of a magical word Love even respect for other’s needs or consent or privacy.
The principal flaw of the film lies in the glorification of this abusive, violent and patronizing character..and the portrayal of its leading lady as almost angelic, forgiving, all understanding being, thoroughly in love with a drug-addled drunkard ace surgeon who talks of ‘respecting his private space with his dad’ yet decides who the girl should be friends with, where should she sit in class and even how she would study (with his private lessons, of course).
In the day and age where we are arguing that if marital rape should be punished or not, such submissiveness and illogicality of a scatterbrain lead (who supposedly is studying to become a doctor) is truly worrying.
However true disgust dawns upon you- when Kabir boils down Preeti’s entire identity to being ‘his girl’ and the girl meekly accepts even voices this as the ubiquitous truth. As if she is suddenly not a qualified doctor anymore (who passed rigorous MBBS exams and was a rank holder) but a powerless nobody given an identity by a rowdy all-feared Senior.
The poor girl barely has any dialogues in the entire film (except the sugar coated sentences starting with Baby), and few awry instances where she does manage to exert herself (daring to speak her sex life with her parents in a bid to convince them of their union and asking Kabir to kiss her in the middle of a play ground, when he insists that his college doesn’t tolerate PDA’s) her supposed courage comes off as ill-placed and confounding. Another disturbing fact is the film normalises ragging as part of parcel of medical education in the country, and does little to make it seem bad or even serious.
While many Bollywood films in the past have seen an enraged male lead drowning and losing it all in the face of his failed love, none has glorified an ill-tempered behaviour of theprotagonist (bordering almost on pathological obsessive love) to such extent with an equally illogical, powerless submissive female lead to match.
The story had a happy ending, though after it finished, I wondered if the happy ending was really a tragic ending in reality (since such a relationship can only lead to domestic/emotional abuse law suits in the long run). Thank heavens; it’s a work of fiction.
So watch this brooding fare only if you are willing to sit through three hours of dose of illogicality with generous amounts of mansplaining and patriarchy sprinkled in between, combined with the displays of naive blank docility and an occasional melodious respite. This movie is truly for the detached bravehearts (& I for certain am not one of them).
Rating: 1.5/5 stars
There is a subtle difference and a thin line between making someone a priority versus being obsessed with your loved one; between eccentric love and pathological love, between respectful admiration and an unhealthy escape in love and between having anger issues and anegozi geox vicino a me benetton outlet online shop outlet geox spaccio negozi geox piu vicino a me scarpe tata cains moore benetton outlet shop online tata italia scarpe saldi benetton negozi geox piu vicino a me negozi geox piu vicino a me saldi geox scarpe spaccio geox tataitalia negozi tata buse. All these subtleties are glaringly evident in this one movie. Kabir Singh is essentially a cinematic portrayal of a flawed person whose behaviour borders on misogyny with hints of narcissism and a disturbing territorial entitlement of his loved one.jbl 500bt cena tomnanclachwindfarm.co.uk truhlarstvibilek.cz uvex prilby lyziarske saralilphoto.com motorová píla na rezanie betónu stihl gs 461 teal blue yeezy 700 hummel t shirt børn udsalg markery zápalu a špec.prot aso sevilenotocekici.com tomnanclachwindfarm.co.uk sevilenotocekici.com brother 2820 video kamery skype na televizor panasonic txp50gt30e video kamery skype na televizor panasonic txp50gt30e
The opening scenes are poignant with Khusrau’s couplets, Dohas and Kabir’s grandmother’s narration of his childhood, but if based on this you are expecting some worthy cinema after, you are definitely in for a disappointment (like me!)
While Shahid Kapoor and Kiara Advani have both played their characters superbly, the film evokes dominantly only the feelings of pain, despair and disgust (in my case). This 172 minute cinefare is also a bit too long and fails to engross. Cinematography is praiseworthy, acting is convincing and the songs melodious but it fails to impress on the very crucial point of its content/script. This is simply not digestible. It is one thing to accept a flawed character and quite other to tolerate emotional abuse or doses of toxic masculinity.
Many instances in the film portray the same- for example Shahid’s Kabir has anger management issues and lashes out at his love (literally slaps her) to convince her parents of their relationship, gives her an ‘ultimatum’ of six hours and even threatens to leave. If this doesn’t qualify as emotional abuse under the garb of love, I don’t know what does.
The heroine (Preeti Sikka) seems no more than a submissive, confused, docile-to the point of being dumb, young woman, whose only job it seems is to pay the price of her mercurial boyfriend’s affection with compliance.
She has no voice (of either affirmation or rejection) as the protagonist singles her out as his mate (as some carnivore marking his territory) or even when he removes his shirt to get physically intimate with her. Neither can she so much as speak her approval or rejection or anger or..anything when he kisses her on cheek in full public view without permission or when he just barges in and sleeps on her lap, when she’s studying with her friend on a bench. It seems everything is acceptable under the garb of a magical word Love even respect for other’s needs or consent or privacy.
The principal flaw of the film lies in the glorification of this abusive, violent and patronizing character..and the portrayal of its leading lady as almost angelic, forgiving, all understanding being, thoroughly in love with a drug-addled drunkard ace surgeon who talks of ‘respecting his private space with his dad’ yet decides who the girl should be friends with, where should she sit in class and even how she would study (with his private lessons, of course).
In the day and age where we are arguing that if marital rape should be punished or not, such submissiveness and illogicality of a scatterbrain lead (who supposedly is studying to become a doctor) is truly worrying.
However true disgust dawns upon you- when Kabir boils down Preeti’s entire identity to being ‘his girl’ and the girl meekly accepts even voices this as the ubiquitous truth. As if she is suddenly not a qualified doctor anymore (who passed rigorous MBBS exams and was a rank holder) but a powerless nobody given an identity by a rowdy all-feared Senior.
The poor girl barely has any dialogues in the entire film (except the sugar coated sentences starting with Baby), and few awry instances where she does manage to exert herself (daring to speak her sex life with her parents in a bid to convince them of their union and asking Kabir to kiss her in the middle of a play ground, when he insists that his college doesn’t tolerate PDA’s) her supposed courage comes off as ill-placed and confounding. Another disturbing fact is the film normalises ragging as part of parcel of medical education in the country, and does little to make it seem bad or even serious.
While many Bollywood films in the past have seen an enraged male lead drowning and losing it all in the face of his failed love, none has glorified an ill-tempered behaviour of theprotagonist (bordering almost on pathological obsessive love) to such extent with an equally illogical, powerless submissive female lead to match.
The story had a happy ending, though after it finished, I wondered if the happy ending was really a tragic ending in reality (since such a relationship can only lead to domestic/emotional abuse law suits in the long run). Thank heavens; it’s a work of fiction.
So watch this brooding fare only if you are willing to sit through three hours of dose of illogicality with generous amounts of mansplaining and patriarchy sprinkled in between, combined with the displays of naive blank docility and an occasional melodious respite. This movie is truly for the detached bravehearts (& I for certain am not one of them).
Rating: 1.5/5 stars