If film reviews would be as absolutely as judicial judgments, Metro … would invite a shared jury in Dino. For every indictment that it is guilty, it can be explained as easily as innocent. On the one hand, the film cannot claim to describe itself as a feminist narrative of the new age, not if the Bechdel test is the choice of choice. But do the confused and unshakable wishes of all female protagonists become the driving force of the narrative? This is a Velcro. Similarly, the metro … in Dino is wide and wide from the prescribed three-act structure of a typical script and exactly this chaotic, meandering stories, which makes the film so convincing in the first place. And above all, the film fits what is advertised as its “spiritual predecessor”, Anurag Basus own cult classic in a … u -train? Many used their soap box to cry Dissens. But Metro … becomes a larger lesson in Dino during this time of nostalgia filmmaking, how to stimulate homage, right? Fantastic.
Dear Aajkal, Desi style!
This is just a summary of the questions that most critics have to do in their reviews of U -Bahn in Dino. Fortunately, for us, however, we are not allowed to take over the heavy burden of a jury with a consensus. After all, somewhere, somewhere, a long time ago, we prescribed quite comfortably for us that everything is fair in love and war. Anurag Basu was released after a five-year break and marks his own government return on the screen, not only to the rain-spoiled and Kaali-peeli-ed-Straßen from Y2K Bombay, but with a return to the genre of love history. a rabbit hole slid down from action sequences And whodunit narrative, metro… according to a loud war against the accusation that the contemporary Hindi film industry has forgotten its roots in the classic trope of the Rome Com musical. Basu, which increases a level, seems to have accepted both the peculiarities of its paths and a legacy that is gone but has not been forgotten.
Metro … in the Dino film poster
Metro from six, perhaps seven interconnected action lines, metro … in Dino asks the ancient question of the search for love in the middle of urban loneliness and blossoms into contemporary dimensions. Think, A Whole Season of Modern Love Condensed Into A Two-and-Half Hour Runtime, Basu’s Newest Seems to have all: An aging housewife who rediscovers at old Passion Courtesy of an Old Beau, A Cheating Husband and an Ingenious Who Conjures Far More Interesting Plots of Reven The Generic Old Murder Sequence, A Young Girl in Her Mid-Twenties Who, Like Most of the Genz Audience, is Forever Sick of a Surfeit of Choice (word game intends) and a teenager who is in love with her best friend and swarm of her best friend. Metro… In Dino, like his eighteen -year -old forerunner, is a trip into all things that love and all his chaotic, sticky, honeyed affairs.
Echos of Life in a … metro
At first glance, the connections between life in a … U -Bahn and the U -Bahn in Dino are split far and wide. We see some known faces in different roles, with Konkana sen Sharma being the main example. The figure named “Monty”, played by the late false Khan in the first, makes a return with Pankaj Tripathi’s slapstick humor, albeit without the charm of the old school. “Shruti” appears as the name of the character played by Fatima Sana Sheik, and a large subplot in the first is repeated by the Topsy Turvy romance between Sara Ali Khan and Aditya Roy Kapur. A specially indelible scene from the original, in which Irrfan Khan Konkana sen Sen Sharma has been one of the many high -rise roofs that have endured the Skyline of Mumbai to arrange for them to shout all of their trouble into the damp city air, is only shortly before the loyalty, this time in Delhis Agras Ki Baoli. Mumbai is no longer a central character in this repetition. True to his word, Metro … in Dino extends over the many high -quality cities in India, including Pune, Bangalore and even Kolkata.
Metro … in Dino is not only a parable of Gen Z Love Lives Lives, but an allegory for the contemporary film industry as a whole. Just as online dating apps and filtered profiles have picked up the idea of the desire for patterns of algorithmic predictability and ultimately boredom, the film industry has increasingly turned to content that sells stories rather than stories that remain despite the recitrant and possibly repeats because of the frequently repeated stories than tropes.
Despite the list of differences and similarities, the two films vibrate with each other by finding a synchronicity in the pulse of their stories. Conditional to a crispy monologue that a combined sentence of “Aha!” Demands that moments for our ensemble have been declared the importance of the first parable of the audience of Dharmendra when he mourned the death of the recently reunited love of his life: “In my search for something new, somewhat better, I lost sight of what was right in front of me. were used to in a Trifold Railway Chase sequence.
Metro, Metro … in Dino inspires directly from the character of Neena Gupa in the spotlight, and offers it to take a similar step this time with a contemporary turn. “Most of us never know what we want,” she says, “and overwhelmed by the election, we have reconciled with the safer, safer option. But deep inside the heart usually knows what it really wants.” The sermon is not lost in any of us. Since most of us were cultivated as children of the Internet, the idea that more options offer more comfort than an illusion increasingly revealed. Too many options, each with an inevitable variation of the other, only brings us where Sara Ali Khan’s character fluctuates in a state of constant but volatile confusion throughout the film. So spoiled for the choice, we choose the comfortable option that we believe that you guarantee future happiness. When trying to extend this state of supposed satisfaction, we often forget that comfort is just a different word for predictability.
U -Bahn … in Dino and Bollywood landscape
In many ways, Metro is … in Dino not only a parable of gen z Love Lives, but an allegory for the contemporary film industry as a whole. Just as online dating apps and filtered profiles have picked up the idea of the desire for patterns of algorithmic predictability and ultimately boredom, the film industry has increasingly turned to content that sells stories rather than stories that remain despite the recitrant and possibly repeats because of the frequently repeated stories than tropes.
A quiet from the film (T-series)
Anurag Basu, an author in the worst case and at best a veteran, is not a newcomer to the rules of this game. Since its foundation, Bollywood has been defined by its consistent use of tropics and symbols that exceed generation to generation. The chiffon saris in exotic hills, the typical love triangle and even the endless parade of musical love numbers have defined Bollywood as a genre, but they are slowly and safe instead of a commercial. Hyper-globalized form of cinema This is increasingly examining its own peculiarities in favor of the Mass International Appeal. Today we live in another era in the industry, in which films are routinely criticized because of the lack of a “realistic” presentation of your topic or the faulty “logic” of your script. Little by little we forgot the fantastic attraction of the canvas, and exactly why Bombay became known as Sapnon Ka Sheher: The Hindi film industry always had the production of dreams. An obsession with realism and waterproof scripts was always only one episode of Hollywood’s hegemony about global forms of cinema.
Metro… In Dino, the ancient question of finding love in the middle of urban loneliness and to inflate them into contemporary dimensions.
Anurag Basus Metro … In Dino not only revives his own older production, but also the days of Bollywood, in which a script was more than just the structure of its history. Despite his chaotic and overcrowded script, Metro … in Dino, it is possible to describe a very ambitious attempt at the resurrection. However, this does not mean that the film returns to the retro era. If the “in Dino” or the “today’s” of the title is to be taken seriously, the film uses the shape of the nostalgia to shape the contemporary of its love stories, and if such a topic demands a mess of the rays of action, then it, then. This is not Basus first rodeo. The ensemble letter of this kind has long been associated with it, as in Ludo (2020) and obviously life in a … Metro itself.
In the form of the Hollywood musical together with the more classic Bollywood-and-Dance variety, attempts were made beforehand, Ranbir Kapoor and Katrina Kaif in the Wacky Slapstick Jagga Jasoos (2017). In this sense, the fracture of the act structure, the disorder of the convergent stories and, above all, the nostalgic return to the era of Rome Com seem like deliberate decisions that dive far from playing it.
Performances and pitfalls
Of course there are several pitfalls, some more obvious than others. Fatima Sana Shiek, for example, is less than optimal in her performance and also seems to prevent the experienced Ali Fazal from delivering its normally strong performance. Between this inconspicuous couple, their subplot, who already protrudes from a certain redundancy, seems to be more and more a thought -after thought. While Aditya Roy Kapur is the charm, such a feast always bears the risk of doing an action a little too sweet, where the Fade Sara Ali Khan almost becomes a welcome respect. Almost. But if there are potholes for navigating, there is also the promise of a rich raingas. Konkana sen Sharma is astonishing as always, and Pankaj Tripathi serves its usual mix of pitiful charm.
Despite the breakdowns, although it apparently plays as nostalgia marketing, is what enchants all of us about Metro. It is no longer a predictable step for an increasingly moral audience to play a fraudulent husband for laughter, and not either that the trope of the Womanizer became loyal to the one girl who seems to want to do nothing with him. Bringing Pritam back after the days of his long-lasting internet hatred is proof of the subway … in Dinos determined loyalty. The film even manages to struggle for sexual identity in teenage by a fifteen -year -old who has more kiss scenes than all of her adult colleagues.
Metro … in Dino is brave and works. Despite the chaotic cross, the characters come from subplots and the overcrowded details. Perhaps because they are bound so many different characters in its longer than usual term. Perhaps because of the sheer surge of choice there is someone in there for everyone. Or maybe because we seem to know somewhere that love is similar to this hot chaos.
Ananya is a 20-year-old student at Ashoka University, who is in love with literature in all things. She makes great decisions when it comes to film nights, but with life? Not so much.