#dimri has potential too

[theopulenthq]

+ 4 Wanted Connections Added!

ODETTE VASINA, our EMMA D'ARCY, from SPAIN ( RUSSIA ), is looking for their RIGHT HAND. This is a PLATONIC connection that looks like VIGGO MORTENSEN, ANNA SHAFFER, HENRY GOLDING, KARLA CROME, LUKE EVANS, KATIE FINDLAY or UTP . They are 35+ years old. Everything else you need to know is under the cut! Please DON’T ( BUT CAN IF NEEDED ) contact the writer @CITRINENOBLE. [ ever since becoming the royal advisor to the bonaparte queen, this person has been by odette's side. doing their dirty work, finding information they desired and now — they're a part of odette's quest to seek vengeance for their queens death. they are odette's closest confidant and all they have left after the loss of their queen, who was also their best friend. has the potential to be a romantic connection too! ]

KAI-MING QING, our ESTHER YU, from CHINA / JAPAN, is looking for their LADIES. This is a PLATONIC connection that looks like UTP. They are UTP years old. Everything else you need to know is under the cut! Please DON’T ( BUT CAN IF NEEDED ) contact the writer @RUBYNOBLE. [ one of these ladies followed kai-ming from china to japan, choosing exile with their princess in order to stay by her side, so that kai-ming would not navigate the world alone. the other is someone kai-ming met in japan, growing close to the exiled princess and forming a new bond as they helped kai-ming navigate japanese court. they are very loyal to kai-ming and are her closest friends and confidants. ] 2 out of 2 roles available 

ZELENIA ROSI, our DOVE CAMERON, from ATHENS, is looking for their EX/FLING. This is a NEGATIVE connection that looks like EWAN MITCHELL, FABIEN FRANKEL, TOBY REGBO, ZHANG CHENXIAO, SEBASTIAN AMORUSO or UTP  They are 25 - 30 years old. Everything else you need to know is under the cut! Please DON’T ( BUT CAN IF NEEDED ) contact the writer @SELENITENOBLE. [ someone zelenia was involved with before she became the priestess of the temple of athena. after she broke up with them to maintain her maiden image, they would meet in secret behind closed doors — they are one of few who know zelenia is not the cold woman she projects on the outside, but zelenia holds no desire to have a relationship with them again. she uses them for lonely nights, and it's up to you if your muse is okay with that or not! ]

ISADORA OLDENBURG, our TRIPTI DIMRI, from NORWAY, is looking for their BEST FRIEND/NEGATIVE INFLUENCE. This is a PLATONIC/NEGATIVE connection that looks like UTP. They are 25+ years old. Everything else you need to know is under the cut! Please DON’T ( BUT CAN IF NEEDED ) contact the writer @SAPPHIRENOBLE. [ someone who got isadora into the rebellious, party lifestyle that she has. maybe they’ve fed into her fears of her responsibilities and encourage her to slack of her royal duties in favor of having fun. someone who’s always steering her the wrong way! ]

[liveindiatimes]

Bulbbul movie review: Pretty but problematic, Anushka Sharma’s Netflix film is a flawed fairytale - bollywood

https://liveindiatimes.com/bulbbul-movie-review-pretty-but-problematic-anushka-sharmas-netflix-film-is-a-flawed-fairytale-bollywood/

Bulbbul Director – Anvita Dutt Cast – Tripti Dimri, Rahul Bose, Avinash Tiwary, Parambrata Chattopadhyay, Paoli Dam

Over-directed but underwritten, Bulbbul is a visually striking film that is let down by a weak script.

From debutante director Anvita Dutt (whose track record as dialogue writer includes the runaway hit Queen but also Shaandaar, Kambakkht Ishq and Housefull), Netflix’s Bulbbul is the second streaming film this month, after Amazon’s Gulabo Sitabo, that is set inside a foreboding mansion. But while the dignified ‘haveli’ in Shoojit Sircar’s movie took on a life of its own, the one in Bulbbul, like the film itself, can’t help but feel artificial.

As an industry, Bollywood has been famously incapable of producing good horror cinema, with the odd exceptions, of course. Invariably, horror in India is combined with other genres such as musical or romance — ghosts, you see, mustn’t get in the way of the films’ box office potential. So for Bulbbul to whole-heartedly embrace its Gothic horror origins — it’s Kamal Amrohi’s Mahal by way of Guillermo del Toro’s Crimson Peak — is rather refreshing.

Watch the Bulbbul trailer here 

In 1881, Bulbbul, a precocious girl with an appetite for scary stories is married into a wealthy ‘zamindar’ family. In a deft move it is revealed that her husband isn’t the boy Satya, with whom she’s struck a quick friendship, but rather Satya’s sinister-looking elder brother Indranil, the Thakur, played by Rahul Bose. The Thakur has a twin, Mahendra, who is developmentally challenged and is married to a conniving woman named Binodini. Fate has forever sentenced her to play second fiddle to Bulbbul in the household, something that Binodini, the ‘chhoti bahu’, is very bothered by.

The characters established, the films jumps 20 years into the future. Satya, on his way back to the ‘haveli’ after having studied law in London, is informed that a series of mysterious deaths have taken place in the time that he has been away. The villagers seem to believe that it is the doing of a witch that haunts the surrounding forest. Satya, in proper Jonathan Harker mode, dismisses the claims as old wives’ tales.

But a lot has changed in the years that Satya has been gone. His brother Mahendra has been killed in his sleep, and his other brother, the Thakur, has disappeared. Bulbbul, meanwhile, is no longer the spirited young girl that she used to be; she has now fully embraced her life as the ‘Thakurain’ of the house, lounging on settees all day, being fed paan and sherbet, exuding a playful yet unsettlingly self-assured energy.

It doesn’t take a genius to put two and two together, but Bulbbul certainly treats its audience as if it is the first film they’ve seen in their lives.

Avinash Tiwary and Parambrata Chattopadhyay in a still from Netflix’s Bulbbul.

Because the characters are so thinly written and the surprises so carelessly telegraphed, Dutt’s film is forced to rely more heavily on technical details. For instance, it would have been wonderful to explore the character of Binodini with more patience. She’s an interesting foil to Bulbbul; entrapped instead of empowered, scheming instead of self-reliant.

Swathed perpetually by the red glow of a blood moon, the nighttime sequences in Bulbbul are undeniably gorgeous, besides a couple of noticeable instances where cinematographer Siddharth Diwan’s camera basically breaks character, and surrenders its otherwise stately presence in favour of flashy handheld mayhem. It simply doesn’t gel. You’ll notice it, too.

Bulbbul also features a lush, orchestral score by the great Amit Trivedi, evoking memories of his terrific (but of iffy integrity) work in Vikramaditya Motwane’s Lootera. In a way, there is a strain of melancholy that runs through both movies, and Trivedi is able to capture it.

But employing a needlessly non-linear narrative turns out to be an exercise in futility, because virtually every twist can be seen coming from a mile away. And because so much of the film feels so deliberately planned, Dutt routinely finds herself drowning in style over substance, her script devoid of spontaneity.

Rahul Bose in a still from Netflix’s Bulbbul.

A couple of scenes in particular, both involving violence against women, are questionably staged. Instead of evoking anger, or even repulsion, by shooting the first scene in stylised slow-motion that would made Zack Snyder twitch in ecstasy, Dutt essentially distracts the audience’s attention from the horror that is unfolding and turns it instead towards the immaculate beauty of her frames. The second scene, involving a rape, goes on for way longer than it has any reason to. What this does is play into the (problematic) trope that in order to blossom, a woman must first be (violently) broken. There’s a reason why the rape-revenge subgenre of horror is consider outdated.

Also read: Revenge movie review: The most provocative film of 2018 invades your home, abetted by Netflix

I admire the fact that producers Anushka Sharma and her brother Karnesh are continuing to champion genre cinema, despite falling short of expectations more often than not. The disappointment is only amplified because the sibling duo’s brilliant Paatal Lok is still so fresh in our minds. But even though Bulbbul never quite takes flight, neither does it fall to its death. It’s no Mrs Serial Killer. But it isn’t Sacred Games either.

Follow @htshowbiz for more The author tweets @RohanNaahar

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