Yeh Saali Zindagi

Cast: Irrfan Khan, Arunoday Singh, Chitrangda Singh, Aditi Rao Hydari, Saurabh Shukla, Sushant Singh, Yashpal Sharma, Prashant Narayan, Vipin Sharma, Vipul Gupta

Director: Sudhir Mishra

'Yeh Saali Zindagi' is the kind of outing that makes you believe that Bollywood indeed has some folks out there who are trying to do things differently when it comes to making films and yet ensuring that commercial elements are well integrated into the storytelling. Also, it is the kind of film that deserves a watch in a theatre because of the sheer experience of enjoying it with a crowd rather than in isolation. For Irrfan Khan, it was a one sided love story that made him give his all for Chitrangda Singh. At her end though she was unsure about what she actually wanted in her love. And between the two of them there is a small time gangster (Arunoday Singh), a money launderer (Saurabh Shukla), a cop (Sushant Singh), a businessman's son (Vipul Gupta), and a couple of gangster brothers (Yashpal Sharma, Prashant Narayanan). A kidnapping takes place, a deal happens, loyalties change, money exchanges hands, bullets are fired while only one thing remains constant Irrfan's love for Chitrangda.

One has to be awake, actually wide awake, while watching 'Yeh Saali Zindagi'. There is not a single instance where one can bat an eyelid, check an SMS or take a break of even a single minute. Also, despite clear elements of 'love', 'sex' and 'dhokha' here, the film retains it's humour and this is where it's strength lies. Not to mention some terrific music by Nishat Khan that not just merely plays in the background but also aids the narrative in a big way, hence resulting in number of situations that turn out to be euphoric. Any weaknesses? Well, in the middle portion of the second half, there is some slackness that sets in. The entire kidnapping episode becomes a tad too long and one starts getting impatient to know more about what would unfold next. Nevertheless, the moment Irrfan returns on scene, things start moving again and that too on a frantic pace.

A word of cautiuon here The language and dialogues here have the entire flowery vocabulary that one associates with the North of India. While this obviously brings in humour, it isn't there just for the sake of it. Instead it does sound natural to the core which further justifies the conviction that Sudhir Mishra had during his story telling. Resultantly, there are number of moments in the film where there are not just claps but mighty roars in auditorium as well. The initial scene where Irrfan is hanging down his balcony, Arunoday's reunion with his wife and the kiss that follows in an auto rickshaw, Saurabh Shukla's constant ridiculing of Irrfan for his love, the interval point where Irrfan tracks Chitranga, the first interaction between Irrfan and Arunoday and then of course the bullet sequence when Irrfan is hit all of this and more are hugely entertaining scenes that bring the house down.

Irrfan carries the film on his shoulders and is severely missed whenever he is away from scene. In fact Saurabh Shukla comes up with an ace performance as well in each of the scenes he is with Irrfan. Arunoday gets a meaty role for himself and does quite well. Chitrangda has a pivotal role and proves yet again that why she should be working more often. Sushant Singh, who has always delivered, doesn't fail either and is a riot, especially in his last scene. Aditi Rao Hydari, as Arunoday's wife, looks very beautiful and acts ably too while Vipin Sharma shows a different facet of his acting skills by playing a gangster. For the audience which has been cheering for Guy Ritchie cinema for so many years now, this is the time for them to acknowledge in unison that Sudhir Mishra has it in him to make cinema that matches international standards and tells a story in a similar narrative. He keeps 'Yeh Saali Zindagi' entertaining and original, hence making it join the must list of those who love to watch adult massy entertainers. In a year where anyways films across multiple genres are releasing and succeeding, 'Yeh Saali Zindagi' is all set to be a definite addition. To describe the roller-coaster ride that is ‘Yeh Saali Zindagi’ is to attempt to draw the picture of the Red Fort at the seaside. Every attempt to define the plot will be washed away by forces beyond our control. So let’s just say, it is an edgy and raw take on what it takes to make love, loyalty and other related illusions jell in a rapidly-mutating consumerist society like ours.

The film is set in and around Delhi’s underbelly. Mishra explores the capital’s get-rich sub-culture, revealing a flair for satire even at the most deplorable moments of reckoning. Yup, Guy Ritchie and Quentin Tarantino would approve of Mishra’s humour in the most sanguinary circumstances. Almost every character in this foul-tongued treatise on love, lust and longing during times of gangwars, is stricken by a get-rich-quick itch, which eats into the very core of their existence, corroding their sense of propriety. ‘Yeh Saali Zindagi’ has some terribly funny moments of violence where you shock yourself by laughing at the senseless callousness of the killings. We have ruffians from in and around Delhi with thick Haryanvi accents who just gun down a man and then wonder why they killed him. In another funny sequence, a goon is asked to kill his own brother-in-law. The goon acts scandalized but instantly pulls the trigger when the price is right. To be or not to be bad is no more the question. Being evil is fashionably acceptable.

There are hardly any reposeful moments in the narration. The breakneck storytelling replicates the restlessness of the characters. With a maestro’s adeptness, Mishra weaves two love stories into the panoramic view of crime and corruption. While Irrfan Khan plays a man taken by surprise by the eruption of unconditional passion for a crooner who gives a damn about him, Chitrangda’s gold-digger act is a sophisticated variation of Vidya Balan’s conniving seductress in ‘Ishqiya’. Her character has been created with a sensuous vigour that very few actresses in Hindi cinema can boast of. But ‘Yeh Saali Zindagi’ is not a film that invites you to watch the characters’ perform. It instead spreads the characters out in a wide, unmanageable net of indeterminate purpose but definite motivations. Get rich, fast, is the magic mantra.

Arunodoy Singh, as the tough Delhi jail-bird Kuldeep, exudes the scent of self-destructive aspirations. Not surprisingly Arunodoy’s character is constantly running through crowded marketplaces and congested roads of Old Delhi, pursuing his angry and defiant wife (Aditi Rao Hydari). Arunodoy furnishes this love story with a perspirational passion, a far cry from his uncomfortable presence in the ‘Aisha’. Chitrangda plays the part-time crooner, full-time wealth-chaser with a robust but feminine cunning. She is a temptress, a fighter and packs a punch into her oomph. And when she finally surrenders to the overpowering devotion of Irrfan’s character, she transforms into a woman with a conscience.

The conscience is a scarce commodity in Mishra’s films. The characters are wild, boorish misfits who probably bathe once every week and go to the temple only to steal the deity’s jewellery. Indeed gangsterism acquires an extended sense of humour in ‘Yeh Saali Zindagi’. But one wishes the film had gone easy on the expletives and profanities. Garnished with innovative music by Nishat Khan and Abhishek Ray and Sachin Kumar Krishnan’s camera work that captures Delhi in all its eccentric quirky askew glory. ‘Yeh Saali Zindagi’ has stand-out performances by Arunodoy, Chitrangda, Aditi, Saurabh Shukla, Sushant Singh and Yashpal Sharma. But it’s Irrfan Khan who leaves the deepest wound on the bloodied face of this savagely funny film. He is able to put across all the turmoil and confusions of an otherwise-hard-headed man who can’t understand his burst of passion for a woman of dubious means and even more dubious morals.

Yes, the narrative meanders. We often don’t know what it’s looking for. Just like the characters who are lost in a labyrinth of kidnapping, embezzlement and sex. The people in Mishra’s movie are forever seeking self-gratification through means that are quite outrageous from the outside though perfectly explicable from the perspective of the perpetrators. ‘Yeh Saali Zindagi’ is like of those nightmares that you have probably seen on a feverish night. The acts of injustice perpetrated by the characters nowhere suggests that they are compelled by circumstances to act as criminals. These people just can’t help being bad.Brutal, savage, funny and violent, ‘Yeh Saali Zindagi’ is not for the weak-hearted. New Delhi, Jan 31 (IANS) Known for making realistic and thrilling cinema with romance as an integral part, director Sudhir Mishra returns with "Yeh Saali Zindagi", about the unpredictability of life and complexity in relationships. What happens when you are screwed in love? Irrfan Khan, Arunoday Singh, Chitrangada Singh and Aditi Rao Hydari will show you the quirky, romantic coincidences and commotions through their characters Arun, Kuldeep, Priti and Shanti respectively in "Yeh Saali Zindagi", which is releasing Friday.

In the film, Arun (Irrfan) has to save Priti (Chitrangada) the woman he loves, but before that he has to save the man Priti loves Shyam who is the future son-in-law of a powerful minister. On the other hand, time is running out for Kuldeep (Arunoday), a gangster, who is on his last job as his wife threatens to walk out on him. But he believes that she is cheating on him and wants to leave him for another man. Kuldeep can handle dreaded gangsters, but when it comes to his wife, he is weak and soft. He is screwed when the minister's daughter calls off her engagement with Shyam whom Kuldeep has held captive. She doesn't care about Shyam any more; neither does the minister who Kuldeep hoped would pay the ransom.

The film shows how far these two men would go to get the women they love and how sometimes what they believe to be a goof-up can also help put things on the right track. While Irrfan and Arunoday are working for the first time with Mishra, this is Chitrangada's second film with the filmmaker after "Hazaaron Khwaishein Aisi" in 2005. "She gives lots of grace to rather complicated stories. There is a lot of depth in her performance. Whenever I would have a part like that, I would go for her," the filmmaker said. Made at a budget of about Rs.10 crore, the film is produced by Prakash Jha and was shot in Delhi. The director canned the scenes in areas like Chandni Chowk and Karol Bagh and even in a village on the outskirts of the capital.

Sitarist Nishat Khan has composed the music, while Swanand Kirkire penned lyrics. As a director Mishra has made his mark with "Dharavi " and "Chameli", but his last outing "Raat Gayi Baat Gayi" was not so successful and another directorial ventureof his, "Tere Kya Hoga Johnny", has yet to see the light of the day. Hence "Yeh Saali Zindagi" is an important film for him and he is leaving no stones unturned to promote it. The critically acclaimed director even launched online game Love Rescue Mission on the official Facebook fan page of the movie and got overwhelming response. Hopefully, the movie gets same kind of response at the box office when it opens.

"It's a relief that the film is releasing. It's releasing well, Prakash Jha is behind the film, actors are good, people are liking the film, the promos are creating a good buzz, music is very good finally it seems things are on track," Mishra told IANS. So far movies released this year enjoyed a good run at the box office. "Yeh Saali Zindagi" is the first release of the second month of the year and hopefully it continues the success story. Known for making realistic and thrilling cinema with romance as an integral part, director Sudhir Mishra returns with ‘Yeh Saali Zindagi’, about the unpredictability of life and complexity in relationships.

What happens when you are screwed in love? Irrfan Khan, Arunoday Singh, Chitrangada Singh and Aditi Rao Hydari will show you the quirky, romantic coincidences and commotions through their characters Arun, Kuldeep, Priti and Shanti respectively in ‘Yeh Saali Zindagi’, which is releasing Friday. In the film, Arun (Irrfan) has to save Priti (Chitrangada) the woman he loves, but before that he has to save the man Priti loves – Shyam who is the future son-in-law of a powerful minister. On the other hand, time is running out for Kuldeep (Arunoday), a gangster, who is on his last job as his wife threatens to walk out on him. But he believes that she is cheating on him and wants to leave him for another man.

Kuldeep can handle dreaded gangsters, but when it comes to his wife, he is weak and soft. He is screwed when the minister’s daughter calls off her engagement with Shyam whom Kuldeep has held captive. She doesn’t care about Shyam any more; neither does the minister who Kuldeep hoped would pay the ransom. The film shows how far these two men would go to get the women they love and how sometimes what they believe to be a goof-up can also help put things on the right track. While Irrfan and Arunoday are working for the first time with Mishra, this is Chitrangada’s second film with the filmmaker after ‘Hazaaron Khwaishein Aisi’ in 2005.

‘She gives lots of grace to rather complicated stories. There is a lot of depth in her performance. Whenever I would have a part like that, I would go for her,’ the filmmaker said. Made at a budget of about Rs.10 crore, the film is produced by Prakash Jha and was shot in Delhi. The director canned the scenes in areas like Chandni Chowk and Karol Bagh and even in a village on the outskirts of the capital.

Sitarist Nishat Khan has composed the music, while Swanand Kirkire penned lyrics. As a director Mishra has made his mark with ‘Dharavi ‘ and ‘Chameli’, but his last outing ‘Raat Gayi Baat Gayi’ was not so successful and another directorial ventureof his, ‘Tere Kya Hoga Johnny’, has yet to see the light of the day. Hence ‘Yeh Saali Zindagi’ is an important film for him and he is leaving no stones unturned to promote it. The critically acclaimed director even launched online game – Love Rescue Mission on the official Facebook fan page of the movie and got overwhelming response. Hopefully, the movie gets same kind of response at the box office when it opens.

‘It’s a relief that the film is releasing. It’s releasing well, Prakash Jha is behind the film, actors are good, people are liking the film, the promos are creating a good buzz, music is very good…finally it seems things are on track,’ Mishra told IANS. So far movies released this year enjoyed a good run at the box office. ‘Yeh Saali Zindagi’ is the first release of the second month of the year and hopefully it continues the success story. Irrfan plays a chartered accountant (CA) in New Delhi. His expertise, I suppose, should hold serious value in one of the most corrupt capitals of the world. It does.

He’s essentially a hustler; works in a shady financial front that manages arms deal, drug deal, chit fund, benaami, hawala sort of wealth. The accounts he services would trail up to some politician or the other if you doggedly followed the money. But nobody follows this sort of money (Radia, Rajas of the world were plain unlucky). This CA is no whistleblower either. He’s a willing conduit to various frauds that fund Delhi’s new aristocracy. The reason you see this man hung upside down from his own balcony by his boss, or shot at in the first scene, is because, he unfortunately fell for a girl. She brought him down. He took on a top cabinet minister to rescue her. She's abducted. He's risked everything: his job, his sleep, his security, his life. She’s not even quite in love with him. The girl's in fact holed up in the kidnapper's den with another guy, a rich dude, she prefers to be with! “Aage se, peeche se, dono taraf se lagne ka matlab kya hota hai, aaj mujhe pata chala (What it feels like to be had from both ends, I know now),” the CA admits, and moves his wheels further into the muck. You don’t question obsessions.

The dilemma is sweetly ironic all right. It doesn’t quite emotionally suck you in, because too many other dramas in the movie compete for the same kind of attention. Various tensions are teasingly played down, sometimes with testosterone alone. Humour is instantly self-aware, goofy. Guns go off easily. Nuts crack. Narrative’s knotted up. There’s lightness in death, coolness in the dialogue. This might please the Tarantino-Rodriguez fan (Vishal Bhardwaj’s Kaminey comes to mind as this movie’s more recent, local approximation). It may not equally excite lovers of Mishra’s more matured Hazaaron Khwaishein Aisi (2003), or its sleepy sequel in spirit, Yeh Woh Manzil To Nahin (1987). Which is fair. Mishra’s also the director of Iss Raat Ki Subah Nahin (1996), the rare, pre-Satya Mumbai underworld caper. He uses (and some could suggest, loses) the plot here to captivatingly map the urban, semi-urban landscape, life of the city-village of Delhi. The mafia and their “launde” (boys for hire) seem rustic imports from the capital’s various rural neighbourhoods (around Rohtak, Ghaziabad etc). It’s great to hear gangsta twangs besides the tiring Bambaiya. The camera breathlessly pans across Lutyens’s Aurangzeb Road to Mehra saab’s Gurgoan, struts off Sohna Road, down Pitampura and Mehrauli, into plush Chhatarpur farms, right up to the minarets of Jama Masjid…. It becomes a fine of ‘tale of two cities’, as Dickensian for its grotesque comedy as for the number of characters that help develop it. Each role is designed to be sweetly campy in its own way. Signage on screen spell out places, and the parts the actors play. The sweep is super-wide, the speed hard to match up with.

Let me slow down here, since this film won’t. Irrfan’s is not the only character caught in crossfire. There’s a tough gangster (Arunoday Singh) who must choose between guns, and the girl he insanely loves (his wife: “once a Sri Devi, now a Phoolan Devi!”). There’s also an old don in a prison, who could become victim to a bullet fired by either his own younger brother. Or the said gangster and a cop. They want a minister to free him from Tihar jail. This is how Irrfan’s character gets involved. His love-interest (Chitrangada Singh) gets mistakenly abducted. The boy with her is engaged to the minister’s daughter! Sudhir Mishra returns. And he does that it style! Yeh Saali Zindagi is a complex plot told with the maturity that is expected out of a seasoned director like him. The film has quite a two clear parallel stories. One story is about Arun (Irrfan Khan) and love of his life Priti (Chitrangda). However while he is away for a month his friend Shyam (Vipul Gupta) sweeps Priti off her feet. The other story is about Kuldeep (Arunoday Singh) and his wife Shanti (Aditi Rao). Kuldeep is assigned the job to kidnap Shyam who is supposed to get married to the daughter of the Home Minister. And he kidnaps Priti along with Shyam as they believe she is his fiancee. Arun decides to get Priti out of the trouble but realizes that he will have to help Shyam too to see her happy! Political leaders and underworld dons are also pulled into the story taking it into a chaotic zone. But never for once does the film move away from the actual plot.

What works for the film is Mishra's grip on every department of filmmaking. While he comes up with a super tight and well paced script, he converts it into an equally impressive film. Each character stands out beautifully, up to the smallest goon. Yeh Saali Zindagi is shot very effectively and the director shows great understanding of cinematic language in the effects he uses. The narration goes back and forth into the past and also the characters doing the voiceover change quite a few times. But it never gets confusing for the audience. The music too is used very well as a part of the narrative. One of the strongest points of the film is its dialogues. While they are very fitting of the characters they also keep the humour alive. The high frequency of profanity might be an issue for many though. The performances are top grade. Irrfan Khan scores above all with his impeccable timing - something he is known for. Chitrangda Singh does her bit but for some reasons has quite an anglicized Hindi accent. Arunoday Singh fits into his character very well and so does Aditi Rao. The chemistry between the two is expressed well and the 22 kisses (that made a lot of news) they shared on screen never seem out of place or forced. The supporting cast has its own impact on the story.

Yeh Saali Zindagi is elementarily a love story but the chaos adds the element of thrill in it. And then the characters and dialogues complete it. In essence it is similar to Mishra's cult Iss Raat Ki Subah Nahi as it most of the story happens within a day while flashbacks collate to give a backgrounder to the situation. Overall, this is one crazy ride that entertains to the fullest and will leave you with a smile. Just a reminder YSZ is an 'A' rated flick.