As soon as I read or hear the name “Anurag Kashyap”, many real and lively characters start dancing in my imagination. He has persuaded himself by showing the characters that open with their teeth on the screen. Although sometimes when you watch his film, you feel that slangs have been inflicted without any reason, I think that in such a culture where the background characters are chosen, Slangs are given first and then the matter goes on. So for me, this is a trivial matter. In my opinion, there is a strong connection between Anurag Kashyap and reality, which he presents very successfully.
Now, if we go beyond the real world, there is also popular Hindi cinema, in which Anil Kapoor (Mr. India) is the star who has ruled for decades. In his long career, good and bad films have been coming and as Indian cinema has changed its color, so have we seen Anil Kapoor. He did not swear not to come out of his “Raj” role like our “King Khan” but accepted the changes of every era with great cheerfulness. That is why not only his old fans in the film industry but also the reason for art Are also maintaining their reputation.
The film I am going to talk about today is a story based on the tension between the two characters, Anurag Kashyap and Anil Kapoor. “AK vs. AK” (Anil Kapoor vs. Anurag Kashyap), directed by Vikram Aditya Mutwane, and screenplay credits include director Avinash Sampath while dialogue credits include Anurag Kashyap. When it comes to cinematography, the film follows the principle of a hand-held camera from the beginning, while the pan and still techniques are used at the end. We can put it in the “Found Footage” category of movies.
If we talk about the film director, then Aditya Motwane has done successful and unsuccessful mixed films like “Udaan”, “Lootera”, “Trapped”, “Bhavish Joshi Superhero” and as a director AK Vs. AK is his fifth film. A cursory glance at these films has one thing in common and that is that they have always tried something new.
We will feel the search for experience in every film, such is the case in the film that starts in a completely unconventional way, this film binds the audience with itself. At first glance, the impression is that it is going to be a documentary film because the real names are used in it, but as soon as Anil Kapoor and Anurag Kashyap start to confuse each other dramatically during a show, it feels like it’s scripted and something exciting is going to happen, and then each scene binds us together.
I don’t want to make fun of it by telling the full story of the film, just that a director (Anurag Kashyap) kidnaps the daughter of a star (Anil Kapoor) (Sonam Kapoor) due to personal enmity, and then this Challenges anil to find his daughter before sunrise. I will continue to film you through my assistant and he forces the star in such a way that he has to find his daughter. The director sets some rules for the film that can be broken if the star’s daughter is harmed and you can see the rest of what happens in the film.
The special and interesting thing about this film is that all the characters and Bollywood references are real like Anil Kapoor’s family and star films, while the mention of Anurag Kashyap’s films etc. all belongs to reality. That is why the interest in the film the aspect remains the same.
There are a lot of one-take scenes and Anil Kapoor has performed these scenes in the best way, you can’t help but be impressed by the acting of Anurag Kashyap. Anil Kapoor’s son, Harsh Vardhan Kapoor’s role, came for a while but he has played with full energy. There are also a lot of “drag” lengths from One Tech Scenes where you get caught, which could have shortened the duration of the movie by ten to fifteen minutes by shortening it a bit. It does not burden the nerves.
At the end of the film, which we also call the Third Act, I suddenly break out of my untouchability and suddenly enter the traditional pinnacle of “Hindi cinema” and it is this conventional pinnacle that brings down the whole edifice of the film. ۔ When an art film enthusiast like me speaks
“Dhat teri ki …!”
I have always objected to the style of Hindi cinema that both the writer and the director do not trust their audience, they still think that people always want to be shocked and at the same time, they are so stupid that Don’t pick up the beginning references from the whole film and push them again. You won’t understand what happened and why. This is where Bollywood cinema is always killed and the story does not reach any intellectual level.
The film gets off to a good start, evoking contradictions in a better way, but when it comes to an end, it sinks like a pierced boat. As a fiction/scriptwriter in this movie “Facts are more bitter than fiction” was an intellectual theme, but before that the film committed suicide by diving into the flashback after “toast”.
There is no such thing as calling the whole film useless, the film is undoubtedly very engrossing and important because of its technical uniqueness, worth watching. Maybe I expect something more from Hindi cinema because now this cinema is slowly moving towards maturity, we see this maturity in the works of director, writer, photographer, and artist but somewhere in the flight of thought And there is a lack of trust in the audience and this lack is not present in every film. There are a couple of films a year that not only provide entertainment but also light a candle of thought in a dark corner of the mind.
I am hopeful that in the time to come we will see “Hindi cinema” developing new experiences as well as intellectuality.