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Review of the movie Bajre Da Sitta: In a world filled with noise, the movie is like a beautifully composed soulful sound

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Review of the movie Bajre Da Sitta: In a world filled with noise, the movie is like a beautifully composed soulful sound

STORY
The story of two sisters Roop (Tania) and Basant is told in “Bajre Da Sitta,” a film from the late 1960s or early 1970s (Noor Chahal). These young women have remarkable singing ability, which is a blessing. Despite not receiving any formal singing instruction, their voices were compared to nightingale melodies. A recording studio contacts them because of their potential and asks to use them as one of their performers. However, as members of a traditional old-school Punjabi family, their dads forbid them from engaging in any singing or musical activity. Fortunately for the girls, after persistent pleading, the dads change their minds and permit the sister to sing, although with a lot of restrictions.

According to their parents’ wishes, the girls’ names are first kept a secret; however, when the record label’s new edition releases their names, things change. On the one hand, it makes Roop and Basant happy, but on the other, it brings shame to the name of their family. The yet-to-be-painted visions are washed away, and the girls are instructed not to sing ever again.

Review
Writer-director Jass Grewal has brought musical drama to the big screen in the world of masala entertainment. Given that it was a risk as well as a huge stride because it was the less-traveled path, Nevertheless, we are happy that Jass took the chance and made the film since such a lovely idea is like a breath of fresh air.

The movie’s musical undertone was established early on. It demonstrated how music has appeal and power that extends beyond simple instruments to the very fabric of the cosmos.

Additionally, Tania, Noor, Roop, and Basant left us in awe. Both of them are portraying straightforward, innocent girls who enjoy singing, playing, smiling, and spreading joy. They enjoy themselves when they sing even though they are unaware of the skill they have been given. Additionally, their sisterly relationship is a heartwarming aspect of them. It is something that guarantees that the smile never fades from your face since it is simple, relatable, and plain effortless.

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When it comes to their individual performances, Tania has once again proven her mettle. The girl began her career by playing supporting roles, and now she shines as the film’s heroine. Her character is so brilliantly written in and of itself, but Tania gives it incredible life. Everything about her—simplicity, innocence, grace—makes an impression. In other words, Tania will make you laugh with her smile while simultaneously making you cry with her tears.
Regarding Noor Chahal’s career, it is clear that she will remain active. She made her acting debut with a part that was exquisitely written. Although her part lacked glamour, it was charming. She performed flawlessly in her role.

Ammy Virk also plays a crucial part in the movie. He appeared more frequently in the second half of the film, and this time he didn’t originally portray the ideal man. His character’s shortcomings, however, effectively captured the mentality of the populace at the time.
In actuality, every actor in the movie claimed the screen as their own. Guggu Gill’s portrayal of the stereotypically harsh Punjabi father is beyond description. He is the type of person whose facial expressions alone may convey a character’s emotions without the use of words. Other celebrities, including B.N. Sharma, Nirmal Rishi, Seema Kaushal, Rupinder Rupi, and others, have also demonstrated this.

Let’s talk about the movie’s ethereal and unseen hero, the music. The music, which is the true core of the movie, flourishes and penetrates hearts thanks to live instruments, heartfelt voices, and the folk touch. Bravo to Jaidev Kumar, Avvy Sra, and Ustad Hansraj Behl for their superb melody arrangements.

The film’s editor and cinematographer deserve special recognition as well, without whom many sequences would not have had the same impact. They took care of everything, from the flush of appropriately toned sepia to the addition of dramatic visual effects to making sure the length of the movie doesn’t look stretched.

Briefly said, “Bajre Da Sitta” is a masterfully woven drama with a predictably mild yet thought-provoking ending that has been enhanced by the work of a talented cast and crew.

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Cricket

KL Rahul dangerously close to Laxman territory; to be perished for Sarfaraz Khan and Shubman Gill

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KL Rahul dangerously close to Laxman territory; to be perished for Sarfaraz Khan and Shubman Gill

To accommodate both Sarfaraz and Gill and stick with their five-bowler formula, a batter from the Bengaluru Test must make way. Ergo Rahul and the predicted axe

VVS Laxman went through the first half of his illustrious 15-and-a-half-year international career with the proverbial axe hanging over him. Despite his magical stroke-play and a well-founded reputation for rallying the lower order to bat above itself, he was forever the first name that sprang to the decision-makers’ minds when they had to drop someone to accommodate someone else. It wasn’t until the second half of his stint with the national team that he had ‘job security’, which automatically manifested itself in an array of glorious, match-turning knocks and earmarked him as one for a crisis.

KL Rahul is now dangerously close to approaching the Laxman territory, though at least in this instance, a case can be made out, perhaps, for why he often seems to be playing for his place. Almost a decade after his Test debut in Australia in December 2014, he has yet to nail down a permanent spot, a result of glaring inconsistency and repeated dalliances with injuries that have left him with a modest average of 33.87 from 53 Test appearances.

Unlike Laxman, who was thrust to the opener’s position for three years from 1997, successive team managements have worked overtime to create space for Rahul. He started off in the middle order in Melbourne against Australia, opened in the next Test in Sydney when he made a sparkling century, continued in that position for a good nine years – around the large pockets when either injuries or lack of form relegated him to the sidelines – and now seems to have found his calling in the middle order, where he was tried out in an almost last throw of the dice in South Africa last December.

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In his limited time at the No. 6 position, Rahul has been a revelation. On a spiteful surface in Centurion in his first innings back in the middle order, the classy right-hander made a marvellous 101 – Virat Kohli’s 38 was the next highest score – in India’s 245 all out. Two Tests later, against England in Hyderabad, he waltzed to 86 of the best until a hamstring strain kept him out of the last four Tests.

On his comeback last month against Bangladesh, Rahul showed why he is rated so highly, and therefore why he so frustrates when he chooses to shackle himself mentally, with uninhibited shot-making when India were pressing for a declaration (Chennai) and looking to make up for lost time with a frenetic batting approach (Kanpur) in the two Tests. Kanpur was especially mesmeric, 68 flowing off his bat in a mere 43 deliveries. It was the best of Rahul.

Axe hangs over Rahul’s head for India vs New Zealand 2nd Test

And yet here we are, two innings later, wondering whether he will, or should, feature in the playing XI in Pune, where India take on New Zealand in a must-win second Test from Thursday.

Shubman Gill, him of three centuries in his last six Tests, missed the Bengaluru defeat to the Kiwis with a stiff neck. Replacement batter Sarfaraz Khan made the most of own good fortune with a delectable 150, which makes it near impossible to drop him now that Gill is fully fit. To accommodate both Sarfaraz and Gill and stick with their five-bowler formula which has worked beautifully in the last few years, a batter from the Bengaluru Test must make way. Ergo Rahul and the predicted axe.

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One of the few men to have led India in all three formats internationally, Rahul didn’t help his cause with scores of 0 and 12 at his home ground, the M Chinnaswamy Stadium. In the first innings, he was strangled down leg-side by William O’Rourke while in the second, he received a peach from the same paceman operating with the second new ball and was again caught behind. Rahul was one of 11 failures in India’s first-innings 46 and one of seven wickets to fall in 93 deliveries to the second new cherry, but failures past and the logjam created by Gill’s availability have combined to identify him as the most susceptible to the axe.

It’s a cross impossible to bear, but also impossible to ignore just because it is so heavy, so overarching. Rahul is beyond gifted and makes batting appear oh-so-simple, but his struggles to embrace sustained run-making can’t be wished away. He is the eternal team man, much like his celebrated namesake also from Karnataka – both kept wickets admirably in 50-over World Cups 21 years apart, both made attractive and impactful runs during the tournament and both tasted bitter defeat at the hands of Australia in the final – but ‘eternal team man’ can sometimes be an euphemism for the ‘most dispensable’ and Rahul can be excused for thinking that those two lines have blurred beyond repair. Of course, if he is brutally honest to himself, he will acknowledge at least to himself that he too must bear culpability for the blurring of the lines.

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