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Movie Review: Queen
Star Cast: Kangana Ranaut, Rajkummar Rao; Lisa Haydon
Director: Vikas Bahl
Stop press: I have just seen an honest-to-goodness, full-fledged, full-bodied film. A FILM, hear me? Not an American sit com masquerading as one, or yet another meaningless 70s masala remake. Queen' is a significant Bollywood marker, a film that is intensely local and gloriously global, with a terrific lead performance by Kangana Ranaut, in a story that bubbles over with real feeling and meaning.
Rani (Kangana Ranaut) is dumped just a day before her wedding by her fiance Vijay (Rajkumar Rao). Devastated, she decides to flee, because staying home to lick her wounds is not an option. So, she finds herself in Paris, and the journey she embarks on makes Queen' the kind of coming- of-age, discovery-of-self tale that Bollywood usually doesn't touch with a bargepole. Because women-centric films don't do well, do they? This is where Phantom Productions, which has made this ( their first was Lootera'), has stepped in. (See Pics: Kangana's last minute promotions)
It starts with a loud Punjabi wedding, and you enter the film, mildly diverted by Rani's loud Punjabi family, doing giddha-shiddha', mehendi-shendi', but not before you've had time to register that the Rajouri Garden mithai'-shop-owning middle-class-ness of the Mehras is just right. And that Mummyji, Daddyji, the plump chota bhai', and Dadiji are all pitch perfect.
Big Punjabi weddings and Bollywood have had a long relationship, but where Queen, both the girl and the film, start coming into their own, is when Rani is left to fend for herself, first in Paris, and then Amsterdam. A lone Indian girl, a behenji' with a desi ghee tadka', would usually fumble her way across crowded streets and annoyed pedestrians and find herself in a handsome stranger's arms, sing a few songs, do a few nakhras' and gratefully accept mandap' and mangalsutra'.
But not Rani aka Queen. She does make silly touristy mistakes, nearly gets mugged but doesn't let it get to her, and discovers she has a spine after all. Lucking into a long-legged hotel maid Vijay Lakshmi (Lisa Haydon) is the first departure from standard Bollywood practice: this other Vijay takes Rani under her wing, drags her into a store with lovely Parisian clothes (these Paris maids are not just drop dead sexy, and enjoy their libido, they can afford all those designer threads?), and generally hand-holds Rani for an enjoyable spell.
Bahl's second directorial venture is a delight: his first, Chillar Party', had some spark, but nothing prepared me for this. The story, which could easily have slipped into mush, stays free of drippy sentimentality, barring one or two raised-violin scenes. Rani is given interesting companions: in Amsterdam, she is handed a multi-cultural trio, a vertically challenged Japanese, a black Frenchman, and a good looking Spaniard, as well as a dishy Italian. Again, this could have turned into a clichd international-accented soup, but despite a couple of exaggerated mis-steps, it stays grounded. And Rani is well on her way to learning the meaning of friendship and freedom in a land far away from home, where girls have to live with the word allowed' .
Kangana Ranaut revels in her solidly-written role, and delivers a first rate, heart-felt performance. There are only a couple of slips (in one, she pronounces the word fiance' perfectly, all rounded vowels: given her Rajouriness, this should have been a straight opening of mouth). I was also quite taken aback by the speed with which she junks her chataak' Lajpat Nagar kurti' look and adopts pastel, understated dresses. But no matter, I found myself watching Kangana Ranaut much more than her clothes. Her mobile face has sensibly been kept free from pancake, and more than anything else, Ranaut comes off believable: she does hurt like no other Bollywood heroine currently can.
Lisa Haydon nearly walks off with the film in her small role. She doesn't place a single foot wrong as she strides long and smooth next to the diminutive Kangana. She left me asking for more. And the bunch of foreigners' that Rani raps with in Amsterdam are all well drawn, and what is even better, nicely rounded. The one part I didn't feel as convinced about was Rao's: he is made to whine and mumble altogether too much, as he makes his way through the film in uneasy fits and starts.
But that's all right because this film isn't about him. It's about, hallelujah, her. It's probably quite deliberate that Lisa Haydon's name is also Vijay. And Ranaut is Rani, Queen of Hearts.
You go, girl.
Originally posted by: MrsMalhotra
Mihir and Raja both gave good reviews? I am afraid of the BO fate of this film now.
Good- 18
Average- 0
Bad- 0
Total- 18
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Rajkummar Rao, a convincing London educated jerk, forces a reluctant dislike, first with his ardent pursuit of Rani, and then his easy betrayal of her. His words are chameleon-like, smooth with just the right amount of self justification. Her motley friends seem exaggerated in parts, but they grow on you as an odd, ill-fitting organic crew. Their backstories seem irrelevant, and serve no purpose beyond being a foil for her own misfortunes; their trust and bond come too easy for the duration she is among them. But these are mild discordances. Body language is Kangna's most powerful tool. From the languid shoulder-dropping shuffle to the confident canter of a woman set free, a woman happy in herself, Queen is a journey of self transformation every woman, dumped at the altar or not, must take.
Queen is a simple story, simple in a good sense. Away from the ostentation and the pomposity that Bollywood productions often display, Vikas Bahl's film focuses on its characters and their experiences, especially on the evolution of Rani, from the shy and overprotected village girl to the self-confident and empowered woman she becomes by the end of the film.
It is impossible not to fall in love with Kangana's performance as this is possibly her best performance till date. You would be glued to your seats till the last credits roll out, which by the way have been done in The Hangover style. You will get to see the parts you missed in the film by means of photographs and video snippets at the very end. In simple terms, Kangana's acting prowess has proved that she is a Queen forever'!
The casting and filtering of characters is a fine-art in itself on how a movie should be made. The depiction and subtle usage of the characters, without overstaying any one character's limit is another. Moreover, having a mix of characters from Japan, Russia, France and Paris and having them blend together to give off a cosmopolitan effect and yet not overshadowing the other is, I would say, a third lesson on how to handle a film which is as complex as this.
Having said that, QUEEN isn't fool-proof either. The bloated run time -- almost 2.30 hours -- acts as a roadblock. Also, the story stagnates in the second half. Besides, there are too many songs, especially in the first hour. As a result, the film feels elongated and also indulgent at times. Thankfully, the film is back on tracks towards the closing stages, when Rani meets Vijay in Delhi. The final act is indeed brilliant!
We knew Vikas Bhal knows how to tug on the audience heartstrings his filmmaking skills were well displayed in 'Chillar Party'. With 'Queen' profound depth and maturity Vikas amazingly says what he wants many a times with silence in this exquisitely crafted coming of age, inspirational beacon on womanhood. Nothing short of a triumph. 'Queen' has the capacity to be rated as one of the best realized movies on womanhood in Bollywood. Being indie in approach and still to be windy for overall sense and sensibilities with great clarity and beauty.
Kangana Ranaut's performance is outstanding. Whether she's crestfallen or ecstatic, selling golgappas or naively buying sex-toys, hiding her infatuation for an Italian restaurateur or showing deep dejection about her wimpy beau Vijya (Rajkummar Rao), she's a class act.
Both the actress and the director use that element of gaucherie in the character to great effect, crafting a believable and adorable heroine who evokes both empathy and enchantment.
Vikas Bahl's Queen is an uplifting, bitter-sweet story that transports you into the film to become one with the author-backed character. The filmmaker doesn't work too much on the story but on the character and her experiences for that forms the backbone of the film. The way Queen simply addresses the stereotyping of women in India and chauvinistic behaviour of men and the social pressures is commendable. It's that very innocence of her character that's infectious and strikes a chord with the masses.
One can see that director Vikas Bahl has left no scope for a scene to be made better. Each scene is already perfectly scripted and shot. Amit Triveid's music constantly reminds you of Dev. D's music.All in all, a brilliant package.
Frothy and ebullient, "Queen" certainly is. But it's a lot more. At the end you are left so close to the characters and their life-defining milieu that the late Bobby Singh's camera lenses dissolve and merge into the very fabric of the narrative.
Queen' is a significant Bollywood marker, a film that is intensely local and gloriously global, with a terrific lead performance by Kangana Ranaut, in a story that bubbles over with real feeling and meaning.
Ranaut always seemed like a misfit in mainstream Hindi cinema, a stunning but strange creature who belonged to a different jigsaw, but now our movies are beginning to catch up with her. Queen is a good entertainer, sure, but, more critically, it is a showcase for an actress poised to reign. This is one of those monumental moments when you feel the movies shift, and nothing remains the same. I've seen the future, baby, and it's Kangana.
Vikas Bahl's Queen is one of those films that prove that you don't need big stars or big budgets to make good films. It's entertaining from the first scene till the last one and the best part is that it's not just a well made film, it's a hell lot of fun!
Ranaut is a fearless performer"completely uninhibited and raw. Her performance will have you thinking back to the astute comic timing of Sridevi in films such as Mr. India and Chaalbaaz. (interestingly, the film reminds you of Sridevi's English Vinglish as well.)
Vikas has brought forward the side Kangana that was lost after 'Gangster'. The story is etched out well, and it is perfect for the Women's day theme. Watch the movie to break free from whatever holds you back, and of course Kangana Ranaut.
Queen is a well-meaning, well-mannered film that's funny and packs in small, elevating, but palatable messages. It challenges nothing. It just shows an Indian girl slowly, gently renegotiating life while remaining true to who she is.
Bahl packs Rani's international trip to self-discovery with such well-crafted scenes and carefully selected characters, who seem just perfect to play their parts. The narrative is laced with laconic humour and delightfully enjoyable reflections that the lead protagonist makes about herself and her situation while honeymooning in Paris and Amsterdam. Queen is a refreshing entertainer that leaves you with a smile and with a feeling of time well-spent at the movies. That is not to say that the movie is perfect but the few incongruous elements that show up can easily be overlooked for the larger, relishing picture.
| Movie: |
| Queen |
| Director: |
| Vikas Bahl |
| Cast: |
| Kangna Ranaut, Rajkumar Rao, Lisa Haydon |
It's so apt that she's wearing an Alice in Wonderland T-shirt. After all, this Delhi girl has led such a protected, inhibited existence that even a small decision needed her fianc's permission.
Rani (Kangna Ranaut) is the quintessential "good girl" studying Home Science (naturally), saying things like "mummy-daddy ki kasam", and thrilled about going to a foreign country for her honeymoon.
So when her fianc (Rajkummar Rao) cancels the wedding last-minute, she coops herself in a room, sobbing. The next morning, having partially recovered from the trauma and thanks to some kick-ass advice by her grandmother, she decides to go on the honeymoon herself.
And that's when we see her in that Alice...' T-shirt!
Used to taking her little brother along everywhere as chaperone, Rani now has to navigate her way through a new country. And it's ironic that she's heartbroken and has chosen to travel alone to one of the most romantic cities - Paris.
Now she has to lug up the heavy suitcases, live in the hotel room and have dinner by herself, and handle everything on her own. The scene where she's trying to cross the road, and is habitually looking for someone's hand to hold her, is heartfelt. The viewer understands what Rani hasn't yet" that she is meant to take this journey alone; that it'll be good for her. Indeed, the film is more philosophical than it seems.
The first few days in Paris make her want to run back home, but then something happens. She finally begins to have some fun, and starts the journey of re-discovering herself.
The film makes several important statements. It's a progressive film that humanizes everyone breaking race, gender and geographical limitations. It's incredible how director Vikas Bahl (Chillar Party
The only place where it falters is its flitting between extremes. So the only two lives offered are a typical life where you join your mother-in-law's kitty party after marriage, or get drunk and dance on the road. Then, we're shown the disparity between being a hesitant woman from an over-protective background to a wild child who believes in free sex, doing drugs and living it up. Surely there are people that fall in the middle ground"but the film believes in shocking black and white portrayals. And you really don't mind because the film makes it so much fun.
The central character has more grey shades thankfully. She's one of those innately wise, non-judgmental people who just didn't get a chance to flourish. And then they do, the transformation is quick and sure-footed.
Ranaut is a fearless performer"completely uninhibited and raw. Her performance will have you thinking back to the astute comic timing of Sridevi in films such as Mr. Indiaand Chaalbaaz. (interestingly, the film reminds you of Sridevi's English Vinglish as well.)
From the scenes where she's hopelessly in love, to her wide-eyed transition, and the finale" Kangana's priceless!
And then there's Rajkummar Rao who plays the Delhi brat superbly. Lisa Haydon as the wild child deserves mention for understanding her character, and therefore giving a very thorough performance (even if the accent keeps shifting). Performances by the rest of the cast particularly those playing Rani's family and new-found friends are superb!
One thanks Bahl for giving us this richly textured, endearing character and for Ranauat (also the co-dialogue writer) for bringing it alive with humour and heart.
A true coming-of-age-story...no cop-out. Now that's a rare Bollywood gem. Do Not Miss!
Rating: Four stars
https://x.com/UmairSandu/status/1972624019976515864
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https://x.com/filmibeat/status/1968397140549345682
Movie has released worldwide 12th September and will release in India too...
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