Anuja Chauhan is my favourite contemporary Indian writer in English. She has made ‘Hinglish’ cool, her novels are witty with strong female characters in the lead till date she has gifted us male protagonists worth crushing over, in every single novel. From Nikhil in ‘The Zoya Factor’ to Dylan is ‘The House that BJ Built’ or Sammar in ‘Those Pricey Thakur Girls’ – one would find it difficult not to fall in love with the hot and uber-cool men of desire in Chauhan’s novels. Ishaan “Baaz” Faujdaar is no exception.
Baaz is a romance set in the turbulent period of 1971 when India was securing her borders with Pakistan, while helping Mukti Vahini in then East Pakistan fight for their freedom. We are taken for a ride to the enigmatic world of Indian Air Force. Ishaan’s love interest Tehmina Dadyseth is an antithesis. Born in an army family, and having lost a family member to war, Tehnima is opposed to it. Like opposite poles, they too are attracted to each other despite the clash of ideologies.
Written in a true Anuja Chauhan style, the book brings out the horrors of war poignantly. There are massacres, savage butchery, brutal murders. Ishaan himself is designed to kill and has no qualms about it; he would do anything for the motherland. On the other hand we have Tehnima who gives dance lessons to the children of refugees. Kudos to Anuja Chauhan for dealing with a grave subject in the best possible manner.
In fact, calling ‘Baaz’ a romance set in the times of war would be a disservice to the amazing work by Anuja. It dwells on several emotional flashpoints – from strained family ties to elements of nationalism. Written in the most uncomplicated language, the dialogues are the winner in this war novel. It is an absolute page-turner like Chauhan’s earlier works and would keep you glued till the end. And that surprise (no spoilers) in the climax was too much to ask for.
I would surely love to see this being made into a film one day.
My Rating: 4/5 stars
P.S. – This review is part of the Flipkart Bloggers’ Affiliate Programme
I had rated Rajkahini on my blog 4/5 stars – the film had moved me, left me in tears as the end credits rolled. So, when I walked into the theatre today to watch Begum Jaan, there was trepidation in my heart. It was almost like I’d be tested as an audience to what extent I can separate the Rajkahini experience from Begum Jaan. Might I say, Srijit Mukherjee made it very easy because the first sequence itself was starkly different from the theatrical adaptation of Manto’s work that Rajkahini began with. I was at ease and for the next 130 odd minutes became a part of the kotha on Indo-Pak border that fought independence for freedom.
While Rajkahini was set in Bengal, Begum Jaan is based in Punjab. Abanindranath Thakur’s Rajkahini played a significant role in the film, specially in the end; here Ila Arun’s character tells stories of feisty daughters of India (which were cleverly depicted by Vidya in the film). While the basic premise of the film remained the same as Rajkahini, there were many changes to the script – some good, some bad. The Connaught Place sequence was a fitting addition to the film. The additional scene between Gulabo-Rubina was emotive. Several characters have been given a closure in the end, another creative input.
Vidya Balan – my favourite actress for the last decade and a half – was originally approached for Rajkahini. I always wondered how different the film would’ve been with her (Rituparna Sengupta gave her career best performance as Begum Jaan, so no comparisons). She steals the show with her bold, gritted, fiery portrayal of the brothel owner who would go to any extent to save her vatan, her kotha.
Rubina (wonderfully portrayed by Joya Ehsan) was my favourite character from Rajkahini who had the most beautiful scene ever written in Bengali cinema in recent times. Gauhar Khan has done justice to the part. Also, the great Naseeruddin Shah gave gravity to a role which was oft not remembered from Rajkahini.
I wish I could say the same for the rest of the supporting cast. The sense of loss and vengeance was missing from Ilias and Srivastava. Even some scenes where half their faces were shown did not aesthetically look as good as they did with Saswata-Kaushik. Their chemistry was somehow lacking. Gulabo was expressionless when confronted with the ultimate betrayal. Chunkey Pandey as Kabir was menacing enough but did not evoke the same horror and hate as Jishu Sengupta did in Rajkahini.
I felt the narrative moved a bit fast, so we could not connect to these characters in totality. The Holi song was completely out of place and the background score did not do justice to several great scenes – like the manhunt in the butchers’ market. However, the climax choked me as usual. ‘Woh subah hum hee se ayegi’ was a great substitute for ‘Bharat Bhagyo Bidhata’ and the visuals would simply stupefy you into a state of forbearance.
And above all, the last visual you take home with you as you walk out after Begum Jaan – that look on Vidya’s face when she closes the door of the kotha, that look of victory but the sense of loss, juxtaposed with the fluttering of the tricolour, will even make a heart of stone let the tears flow.
I had always wondered how would a sequel of Rajkahini be with Buchki (Laadli) in the lead. Begum Jaan has given us a glimpse of it. Begum Jaan and Rajkahini are two different films, for two different audiences. Comparisons would not be fair. Both shine in their own right.
My Rating: 3.5/5 stars
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