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Kabir Singh Has Excellent Opening
Friday 21 June 2019 11.30 IST
Box Office India Trade Network
Kabir Singh took an excellent opening of around 50% on its first morning and is the second biggest opening of the year in terms of occupancy. The film is that big lift that the industry needed and reassurance that there is an audience out there for films and its not just about holidays.
The collections outside the metros are simply huge, the metros are also good but the likes of Surat, Indore, Bhopal, Jaipur, Ajmer, Latur are excellent and they could even be called bumper. For a Shahid Kapoor film the collections are simply insane as you need big stars to open in these areas while Shahid Kapoor is more like a mini star.
The craze for the film with the mass crowd and youth outside big urban centres was huge and it has reflected in the initial collections. The single screens that have opened have shown a good response and when they open at large at noon they should be have good numbers even though face value may not be huge.
The potential of the film is huge with this sort of start in mass pockets as the metro multiplexes which may be lacking will come up on Saturday. Due to the craze in mass pockets the footfalls of this film on the opening day will be far higher than most films and on top there is no holiday ticket pricing which has been the case with most big films this year.
Well, well, well this came outta nowhere! Looks like another Aashiqui 2 where the music tremendously enhanced the buzz of a movie.👍🏼
Sumit kadelVerified account @SumitkadeIFollowingFollowing @SumitkadeI
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#KabirSingh is a ASTOUNDING. Extraordinary saga of Love & Heartbreak. @shahidkapoor best film, delivered a national award winning performance. Fantastic screenplay & dialogues. Brilliant direction, @Advani_Kiara looks & act lovely. Rating- 
#KabirSinghReview
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Film duration is the plus point of #KabirSingh , film would have been incomplete if it had been trim, 3 hrs duration was necessary to keep the soul of the film intact. Special mention to the actor who portrayed shahid’s friend. Its a story of Love & Friendship. SUPER HIT
Kabir Singh movie review: Shahid Kapoor's intensity is mined for a horrific, harrowing ode to misogynyFirstpost • Jun 21, 2019 10:28 IST
Language: Hindi and English with (unsubtitled) Punjabi
Rating: 1 (out of 5 stars)
It takes almost 50 minutes for the heroine of Kabir Singh to utter her first sentence. "Kabir, what do you like in me?" says this fragile-looking child-woman who was a mute puppet in his hands until then. "I like the way you breathe," he replies. Ooh, keh diya na dil ko touch kar jaane waali baat!
Shahid Kapoor in and as Kabir Singh
Okay, my apologies for the flippant tone, but please excuse it as a defence mechanism against one of the most horrific, harrowing, horrendous odes to misogyny and patriarchy ever created by Indian cinema in any language - humourised and romanticised for our viewing pleasure.
Kabir Singh is the Bollywood remake of the 2017 Tollywood blockbuster Arjun Reddystarring Vijay Sai Deverakonda and Shalini Pandey in the roles played in this Hindi version by Shahid Kapoor and Kiara Advani. To call both problematic is an understatement. As I watched Kabir Singh, I could already hear in my head the tired clichés that are rolled out as rebuttals to criticism of such films and are likely to be regurgitated for this one.
"C'mon ya, men like that do exist."
"Are you saying films should not depict reality?"
"If negative characters could influence people to become bad then how come positive characters do not immediately reform soceity?"
Or, as Kapoor himself pre-emptively said earlier this week in a newspaper interview: "If we start judging characters, we can't make movies that are real."
Oh brother, stop. Please stop. This is exhausting, but for the zillionth time: it is not the depiction of reality that is objectionable here, it is precisely because violent, destructive misogynists do exist and women for centuries have suffered at their hands that it is deeply troubling when a film portrays such a person as cool, funny, and, as Kapoor puts it, a man with "a good heart" who "loves purely" and "wears his emotions on his sleeve".
Again brother, stop. Stop with the euphemisms, please. Call the Kabir Singhs of the world what they are and show them up for what they are: obnoxious, ugly sociopaths.
Kapoor plays Kabir Rajdhir Singh, an ill-tempered, aggressive albeit academically brilliant medical college student who one day sees a pretty girl on campus and decides she is his. Her name is Preeti Sikka (Kiara Advani) but he does not know that then. They have yet to even have a conversation, but like a dog urinating to mark his territory, Kabir goes to an all-men junior class, announces to the students that they can have their pick of the other women in the college but this one is his woman, and demands that they spread the word on his behalf.
Mind you, all this and everything that comes thereafter (he is a chain-smoking alcoholic and drug taker who loses himself further in a spiral of substance abuse and sex addiction when he is forcefully separated from Preeti) is depicted in a comical tone and projected as intensity, passion and profound emotion. Every one of the despicable Kabir's actions is portrayed as the handiwork of a loveable, mad genius. Besides, the heroine who seems initially intimidated by him soon falls in love with him, he treats another woman like meat and she too promptly tells him she loves him, his friends - male and female - adore him, he is popular with the nurses in his hospital on whom he threatens to vent his horniness... I mean, c'mon ya, if so many people are smitten by him he must be having "a good heart", no?
Judge for yourself the heart so good that Kabir kisses Preeti for the first time while she stands statue-like, having not expressed any interest in him till then, he physically imposes himself on her subsequently too, he orders her around like one might a pet animal that one is fond of, after they have sex for the first time he instructs her in a proprietorial manner to cover up in public, after she falls for him he roughs her up, treats her like shit, repeatedly hits her and tells her she was a nobody in college whose identity rested entirely on her being known as his girl, and worse.
As if none of this was enough, a song titled Tera Ban Jaunga has lyrics that go thus:
Meri raahein tere tak hain
Tujhpe hi toh mera haq hai
Ishq mera tu beshaq hai
Tujhpe hi toh mera haq hai
(Translation: my path, every path I take, leads to you / I have a right over just you / without question you are my love / I have a right over just you.)
The point about his "right" over her is re-asserted in the song Tujhe Kitna Chahne Lage, in which the words go, "Tere ishq pe haan haq mera hi toh hai" (I alone have a right over your love).
Kiara Advani and Shahid Kapoor in Kabir Singh. Image via Twitter
From the 1990s, Hindi cinema gradually bade goodbye to the portrayal of violence, molestation and stalking as legitimate forms of courtship. It never went away entirely, but for the most part, if a leading man was a stalker, he was categorically slotted as the villain of the piece as he was in Yash Chopra's Darr. The romanticisation of stalking and the mistreatment of women while wooing them has made a big comeback this decade, epitomised by Raanjhanaa (2013) and various Salman Khan, Akshay Kumar starrers. Kabir Singh is in the same league: dangerous to the core because it is such a slick production.
For one, it is well-acted, especially by Kapoor, Advani (known so far for M.S. Dhoni: The Untold Story, Lust Stories, Bharat Ane Nenu), Arjan Bajwa playing Kabir's brother and Soham Majumdar in the role of the hero's best buddy Shiva. Kapoor, in fact, is so good here that it is heart-breaking to see him use his gift thus, to see the spectacular star of Vishal Bhardwaj's spectacular Haider (2014) descend to this cinematic abomination.
The cast is one of Kabir Singh's many pluses. The cinematography by Santhana Krishnan Ravichandran is plush, the editing by Aarif Sheikh and Vanga himself is truly slick, and the songs are attractive. That said, those numbers are ruined by the manner in which they are used in the narrative along with the overbearing, ear-splitting background score. The songs are pleasant when heard separately, but they slammed into the film's soundscape like whiplashes akin to the screechy effects used in bad Bollywood thrillers to startle the audience.
Most insidious is the writing of Kabir Singh, which uses humour to lull us into an acceptance of its terrible, terrifying hero's obnoxiousness. As offensive as his patriarchal, misogynistic attitude towards the heroine and other women is the fact that towards the end writer-director-editor Sandeep Vanga seems to be trying to evoke sympathy for him by getting him to tearfully confess that he is an alcoholic. Clearly with this goal in mind, a few bars from the nursery rhyme Twinkle Twinkle Little Star are also woven into the background score - in a silly and tacky fashion, it must be said - when Kabir is dealing with the death of a loved one.
Towards the end, Vanga even seems to be attempting a statement about the limits that supposed democracy places on us when a lawyer says of Kabir that such free-spiritedness in a democracy is not okay. Ah, so being a creep is "free-spiritedness". Got it.
That line is one of many dialogues in Kabir Singh that are written to sound deep and intellectual, but mean little to nothing especially considering the context in which they are spoken.
The naming of the hero in Vanga's Hindi remake seems to be a bow to poet-saint Kabir, and to underline the point, in a voiceover in the opening scene the fellow's grandmother (Kamini Kaushal) recites one of Kabir's dohas. I do not know whether to laugh or cry at this desecration of the great man's writing. Kabir Singh and its Telugu forebear Arjun Reddy must rank among the most disturbing examples of the obsessive stalker hero being glamourised by Indian cinema.
Watching a sicko get away just rankles
June 21, 2019
'Scenes of self-destruction are exhausting after a point. At nearly three hours, Kabir Singh's belligerence is too much to bear,' says Sukanya Verma.
Is it important to like a character to like a film?
Morality is not an issue. I can accept vile mad men and perverse bigots at the centre of a story or sensationalism. I'll happily root for evil if it's clever and compelling. But I find it difficult to wrap my head around toxic machismo. Least of all reel in its romanticism.
Attributing bad behaviour randomly to anger issues and a drinking problem sans any context or consequences only makes it all the more rash and ridiculous.
My mind was at complete odds while watching Kabir Singh. Sure, it is slickly packaged. Only one, that constantly challenges your good judgement to ever fully surrender to or accept for what it is. The feeling is way stronger from the conflict I experienced on seeing its original Arjun Reddy not too long ago.
Save for the North Indian flavours and few edited-out bits, Kabir Singh is a frame-to-frame reproduction of the Telugu superhit whose excessive insolence is somewhat minimised in the marvellous magnetism of leading man Vijay Deverakonda.
Though Arjun Reddy troubled me no end, Deverakonda is the reason I couldn't look away. He is fascinating like nobody's business doing more than what is on paper.
I didn't take to the movie -- written and directed by Sandeep Reddy Vanga -- yet was fascinated by the actor-character incongruity it gave rise to. There is no way you can go into Kabir Singhand not dwell on Deverakonda's influence if familiar with the original.
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Shahid Kapoor's eminence in edgy characters (Kaminey, Haider, Udta Punjab) is a good fit for Kabir Singh. But the raw passion and dark desperation that drive his quick-tempered character's impulses do not go the whole hog.
The tone is more irritable than obnoxious. Dare I say it; he's water to Deverakonda's soda.
That's no good when you are playing a problematic protagonist. Kabir Singh is as unlikeable as they come. Middle fingers are blurred and expletives are bleeped. He may insist he is not a rebel without a cause, but the alcoholic surgeon's flashback as medical student reveals him to be a classic bully eating his words time to time.
He says he'll rather leave college than apologise and then ends up doing just that.
He says he'll stay put on his resolve of lodging his girlfriend in a men's hostel only to promptly move out.
All the groovy rock music, lilting ballads and sympathetic background score cannot camouflage Kabir's douche ways. At the peak of his misogyny, he'll point sharp objects and threaten a fling to undress, chase his house help with the intention of thwacking her for breaking his crockery, force a 'healthy' girl to be his lady's best friend cum roomie, strong-arm his way into a relationship with the girl to catch his fancy and slap her in the film's most unsettling confrontation scene.
Between treating her like property and dismissing her as hanger-on, Kabir amply demonstrates his chauvinistic mind-set in casual remarks to fix her chunni or naming his bitch after his beloved.
Kiara Advani is called Preeti. But Putty would have been just fine. She's certainly one around Kabir. Preeti is a wimp, puppet and minion willingly allowing her subjugation as Kabir's 'bandi.'
She has no agency. She desires no agency. You'll find more spunk in a robot.
She is so blah even she can't help ask the hero, 'What do you like in me?' Maybe her conservative upbringing and lack of social interaction has made Kabir's forceful assertions attractive to her and playing pushover is her way of life.
To her credit, Advani is adequately coy and cries well. A romance between a cad and a cow, no matter how good-looking they seem smiling in harmony around yellow fields to lilting songs is still a romance between a cad and a cow.
It doesn't help that the chemistry between Kapoor and Advani doesn't sizzle at all. Lip locks galore and zero abandon.
When the inevitable estrangement happens, there's only this much whining, pining, drinking, doping, smoking, stuffing ice in sex-thirsty crotch one can depict and Vanga gets busy highlighting Kabir as the resident lothario.
The nurses lust over his sculpted torso and patients, including an actress, see him a potential for one-night stands. Around such a turbulent scenario, can medical negligence be far behind?
High on ugly entitlement and random rage even before his drinking problem has kick-started, there's no sense to his waywardness. There's no reason for him to snap all the time. His family dotes on him. He's an A-one student.
In films like Rockstar and Raanjhnaa, aggression stemmed out of quashed dreams and daddy issues. In Gully Boy, Alia Bhatt's volatile outbursts had something to do with all her pent-up emotions in a regressive household.
Even Shrek's ogre front is more of a defence mechanism and not simply because it is in his nature to be one. Kabir Singh can neither justify his agitation nor persuade us of his clout.
But Kabir Singh's dadi (Kamini Kaushal is elegance, intelligence personified) and director Vanga just wont give up on him.
His cocky gyaan, wholehearted violence and remorseless antics are not just condoned by his close ones but rewarded too. If his brother (Arjun Bajwa) informs him about a high-end bike he has ordered from abroad, his best friend (a scene-stealing Soham Majumdar) offers his sister's hand as a means to heal his heartbreak whereas his dad (Suresh Oberoi, looking every bit the lenient dad of a lame son) does what all wealthy dads of entitled brats do. 'Go for a vacation. You need it. You deserve it.'
The differences leading to the stalemate between Kabir and Preeti itself are daft. Her father's objections to their match owing to caste (she is Sikh), are brought about in a heavy-handed manner. He seems as antagonistic as Kabir and unwittingly reveals Preeti's pattern in men -- obviously a thing for controlling, raging daddy figures.
Scenes of self-destruction are exhausting after a point. At nearly three hours, Kabir Singh's belligerence is too much to bear.
From treating women like toys, trampling all over their feelings and then acting like a wounded martyr and misunderstood genius wronged by the world, Kabir Singh rounds up every foolish male's ultimate fantasy.
Lack of rules can be refreshing, but to watch a sicko getting away after ticking every wrong in the book just rankles.
Rediff Rating:
Kabir Singh movie review: Shahid Kapoor plays the fool in this toxic, troubling film
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Kabir Singh movie review: Shahid Kapoor plays the perpetually furious hero.
Updated: Jun 21, 2019 10:32 IST
By Raja Sen, Hindustan Times
Kabir Singh
Director: Sandeep Vanga
Cast: Shahid Kapoor, Kiara Advani
Rating: 1.5/5
There are so many shots of cigarette smoking in Kabir Singh I’m surprised they didn’t rope in Akshay Kumar for a supporting role, to keep reminding the film’s leading man to replace cigarettes with sanitary napkins. Substance abuse is the least toxic thing about this sickening film, the most misogynistic Indian film in a long time. This is a film about a bully, an abuser of women, an alcoholic surgeon, an insensitive lout, and a foulmouthed hothead — and that’s just the so-called hero.
Watch Kabir Singh trailer
Director Sandeep Reddy Vanga, remaking his Telugu hit Arjun Reddy, gives us a character who nearly rapes a woman at knife-point, and later pees his pants. This is not traditionally heroic behaviour, which is why I assumed Vanga was making a cautionary tale. Instead, Kabir Singh actually applauds its pathetic protagonist, and ends up an obnoxious celebration of toxic masculinity.
Shahid Kapoor plays the perpetually furious Kabir like a hand-grenade who lost his pin hours ago. He’s always seething, even on the football field, and I hoped this film may dissect the performative aggression popularised in children by sporting icons like Virat Kohli, (complete with repeated use of that unimaginative swearword that makes the curser appear like he’s invoking Ben Stokes), but no such luck. He mouths off to the dean, proprietorially stakes his claim on a girl he has only stared at, and bullies anyone in his path as he moves her into the boys’ hostel.
It’s a shame, because there’s some sharpness here. Kabir’s riposte to the dean is scathing but smart — “You’re the dean of the college, just an employee doing his job. I’m a student of this college, and this is my college” — a fine line showing the character’s need to wear entitlement with pride. The film looks slick, and is smartly shot by Santhana Krishnan Ravichandran, who captures obvious places in intriguing ways, like stairways and, in one memorable shot, a two-man fight on a single mattress. These good bits are overlooked, however, when Kabir slaps the heroine, saying “Who knows you in college? Your identity is that you’re my girl.” Ugh.
At some point, Kabir loses ‘his’ girl — played simperingly by Keira Advani, who it’s hard not to feel sorry for — but Vanga continues to project him as hero, turning him into a ‘genius’ surgeon who operates only when drunk. Later, when confessing to this unforgivable behaviour during a medical negligence hearing, he does so with wounded nobility, like a man who thinks the Oath doctors take means they must act Hypocritical.
Kapoor is solid even as Kabir acts more repilsive by the scene, but other characters thinking he’s wrong doesn’t help when the creators don’t agree. A cautionary tale can’t end with the villain getting what he wants, while Kabir Singh rewards his sins with a happy freeze-frame. The best lines come from the boy’s grandmother, played by Kamini Kaushal, who wisely says, “Suffering is very personal. Let him suffer.” If only
Mona Singh praises Aamir Khan on Laal Singh Chaddha failure party https://www.instagram.com/reel/DIlJjgTzoBt/?igsh=MXFsMHZ2OXY5YjliaA==
https://x.com/filmibeat/status/1968397140549345682
https://x.com/varindersingh24/status/1955662282345808161 https://x.com/aavishhkar/status/1967618349535518917
Movie has released worldwide 12th September and will release in India too...
https://x.com/vivekagnihotri/status/1946940660067803443...
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