August 8, 2022
Maska review: Netflix’s coming-of-age comedy is a lazy, frivolous joke of a movie

MaskaNetflix’s India’s latest film – Written and directed by feature debutante Neeraj Udhwani, known for directing over a hundred episodes of the anthology series Yeh Hai Aashiqui – is thrilled with the Irani cafe bread-and-butter staple that bears its name. Placed on: bun mask, It appears in several musical montages, pushing the film into food porn territory. This is a dying character’s last wish. And it is shared by the lead pair at the very end. Surprisingly, it has no great relevance. It is just a help. there is no reason that bun mask Is part of Maska Apart from the fact that Udhwani clearly loves it. (We wondered if this would deal with other uses of the word MaskaWhich means buttering someone, but it doesn’t happen either.)

look, maybe it would be nice if Maska Would have said something else. But if your movie title doesn’t have any thematic basis, that’s no good. On top of that, it doesn’t even come close to the biggest mistake a Netflix movie made. Maska Follows a highly privileged male teenager (Preet Kamani from Hum Chaar), who is completely unaware of the said privilege. It’s okay to have a character, but it’s never okay for a movie to call it quits. To make matters worse, its all-female characters – played by Manisha Koirala (Dil Se..), singer Shirley Setia and Nikita Dutta (Ek Duje Ke Vaaste) – only exist as assistants to the male lead’s journey, With the little ones who are throwing themselves at men. In doing the latter, it not only defies his characterization, but feels like wish-fulfillment.

Maska The aforementioned opens on the nineteenth birthday of privileged teen Rumi Irani (Kamani), who is gifted a hand-me-down by her mother Diana (Koirala) to her father Rustam (Javed Jaffrey from Dhamaal). The Irani family – who live in an upscale neighborhood in south Mumbai – own an Irani cafe called Cafe Rustom. Diana wants Rumi to follow in her father’s footsteps and take over the operations, but those plans go awry after the acting bug bites her. Rumi literally dreams of winning an award, regularly rehearsing her acceptance speech in front of a mirror with a bottle of deodorant or something else in hand. At the insistence of his acting schoolmate and small-town divorcee Mallika Chopra (Datta), the uncle’s boy leaves the house and moves out.

As someone who has everything too easy — the Netflix film deliberately plays to create that impression — Rumi isn’t ready for rejection-heavy Bollywood. Even more so he has trouble leaving his mother, makes up all about her, and doesn’t see the importance of real-life stories. The last of them takes place in a conversation with blogger Persis Mistry (Setia), who lives in the same high sobo neighborhood as Rumi and runs the Bombay People Project, which is essentially a fictionalized version. people of Bombay, Sorry for not introducing Persis earlier, but it’s not like the Netflix movie even cares, considering he’s brought up and forgotten when and where. Maska Happy. Although he is in the lead role, Persis is nowhere in the film for an hour.

More importantly, neither Mallika nor Persia have any agency or arc of their own. Udhwani wants to give advice to people like Rumi, both of whom deserve advice. At one point out of the blue, one of them claims that he is not prudent, but Maska Is. Its scenes can’t commit to the words of its characters. It drowns out the logic in an attempt to be poetic and ends up looking ridiculous instead. The Netflix film is also a great example of a writer-director failing to heed the principle of “show, not tell.” Maska expects the audience to believe something because he said it, not because he gave us any proof of it. (Sometimes, it even says things we can see for ourselves.) As a result, its themes and revelations suddenly expand rather than be woven into conversation.

Elsewhere, instead of relying on actors and editing, Maska Allows the background score to set the pace of the scenes. It also leads to the tonal imbalance on the Netflix film, with the score unable to carry or justify the characters switching between two contrasting emotions in the span of a few seconds. Its heavy use of background music also enhances his love of montages, the frequency of which eventually reads like silliness, instead of writing soulful scenes that would deepen the characters and story. But according to the proposal, it may be a task beyond Udhwani’s capabilities. The scenes are so loosely written and laid out that it seems the makers can’t wait to work with it. Maska There’s a frivolous and ridiculous joke of a movie, and with Netflix’s this habit, the joke is on the people who hit up.

Maska Out Friday, March 27 on Netflix worldwide.


Can Netflix force Bollywood to reinvent itself? We discussed this on Orbital, our weekly technology podcast, which you can subscribe to via Apple Podcasts either RSS, You can also download the episode or hit the play button below.

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