CITYLIGHTS

Nikita Lakhe

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Posted: 11 years ago

#1

Citylights

By Taran Adarsh, 30 May 2014, 07:04 hrs IST

Rating: 3.5 |

Tales highlighting the innocent who arrive from the countryside to a metropolis, falling prey to the scheming and calculating ways of smooth talkers and getting corrupted and tarnished in the process have been a staple diet of cinema for eons. Hansal Mehta presents the immoral and dark side of Mumbai in his newest outing CITYLIGHTS, an adaptation of the 2013 British-Filipino crime drama METRO MANILA, directed by Sean Ellis. For those not conversant about METRO MANILA, the well-made film won tremendous critical acclaim and awards, besides getting selected as the British entry for the Best Foreign Language Film at the 86th Academy Awards.

Indeed, it's a herculean task to recreate a movie that has won laurels across the globe. And what makes matters arduous is that a majority of remakes tend to look inferior and mediocre when compared to the original source. Not CITYLIGHTS. Hansal borrows from METRO MANILA, but the talented storyteller makes sure CITYLIGHTS is not a xerox or replica. Much like the original source, CITYLIGHTS leaves you troubled, disturbed and distressed. That's one of the key reasons why the film works!

Let's enlighten you about the premise of the film. CITYLIGHTS narrates the story of a family comprising of Deepak [Rajkummar Rao], his wife Rakhi [Patralekhaa] and their daughter Mahi, residing in a village in Rajasthan. All's well for the family till the debtors come knocking and take charge of Deepak's shop due to his inability to pay off the loan. Armed with a mobile number of a friend, the crestfallen family leaves for Mumbai, the city of dreams, hoping to make a living there.

Once in Mumbai, they not only fail to trace their friend, but also get conned by a property agent. While in police station to file a complaint, Rakhi meets a bar dancer, who subsequently helps them find a roof over their head, besides getting a job for Rakhi in the bar. Meanwhile, Deepak too gets a job in a security bureau, an agency that undertakes the transportation of cash and expensive commodities in specialized armored cases.

During one such delivery, Deepak's collaborator [Manav Kaul] divulges a master plan that could make them rich overnight. Does Deepak succumb to the temptation?

Let's clear one misconception at the very outset. This one is *not* art house cinema or a 'festival film', as being understood by few. CITYLIGHTS reflects the times we live in. And Hansal encapsulates the rural migration, penury, exploitation and adversities in an overcrowded metropolis with utmost realism. The transformation from a social drama to a disturbing thriller is gradual, evoking myriad emotions, leaving you troubled and distressed at the plight of the couple. The shocking finale is disheartening, while the gut-wrenching images of a once-happy family leave you distraught as you step out of the auditorium.

Fresh from the laurels of SHAHID, Hansal maintains the grip for most parts. A few sequences do appear stretched, while the pace at which the story unfolds tends to get sluggish at times, which makes you fidgety and impatient. Even though you may have watched the original, you are eager to how Hansal would conclude the film. Will he fall prey to the diktats of the market and opt for an all's-well-that-ends-well finale or leave you feeling uneasy and perturbed? Fortunately, Hansal makes you empathize at the emotionally-shattered family, which remains true to the essence of the film.

In a film like CITYLIGHTS, there's zilch scope for music, but the good news is, the movie has two haunting tracks [music: Jeet Gannguli] that stay with you and have become popular with cineastes too -- 'Muskurane' and 'Soney Do'. The background score [Raju Singh] accentuates the goings-on wonderfully. The DoP [Dev Agarwal] captures the tone perfectly.

After winning plaudits in LOVE SEX AUR DHOKHA, RAGINI MMS, KAI PO CHE!, SHAHID and QUEEN, Rajkumar Rao delivers a stunningly raw and absolutely believable performance as Deepak. The supremely talented actor seems to be raising the bar with every film and you've got to hand it to him for stepping into the character and emerging trumps. Although Patralekhaa doesn't get as much footage as Rajkummar, it must be noted that she achieves in her very first film what many do not, even after being part of multiple films. She's first-rate! Both Rajkummar and Patralekhaa also deserve kudos for getting the dialect spot-on. The child artist portraying their daughter wins you over with her innocence. Manav Kaul is in terrific form. It's a pity that the actor hasn't got the due that he deserves in Hindi films. Sadia Siddique, as Manav's wife, is super, especially during the sequence when she breaks down.

On the whole, CITYLIGHTS is one of the most captivating movie experiences of late. An expertly-crafted heartbreaker, this tragic tale has a riveting plot, power-packed narrative, soulful music and arresting performances to haunt you much after the screening has concluded. A must watch!

Edited by nikitagmc - 11 years ago

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Nikita Lakhe

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Posted: 11 years ago

#2

Rajeev Masand:

Bright lights, big pity!

Rating: 2.5

May 30, 2014

Cast: Rajkummar Rao, Patralekha, Manav Kaul, Sadia Siddiqui

Director: Hansal Mehta

Deepak Singh, the character Rajkummar Rao plays in Hansal Mehta's Citylights is one you recognize immediately. The small-town poverty-stricken Indian, desperate to make a better life for his family. The hopeful migrant who shows up in the big city, determined to change his fate. It's a narrative only too familiar, and yet Mehta infuses genuine feeling into this shopworn premise.

It's hard not to be overcome with empathy as Deepak and his wife Rakhi (newcomer Patralekha) spend their first night in Mumbai crouched by a dumpster, duped out of their only savings. Hope dies quickly for the young couple, who discovers it's going to be a struggle to put a roof over their little daughter's head, and food on the table. Subsequently Rakhi takes a job as a bar dancer at a shady establishment, and Deepak flits between odd jobs until he's hired as a guard at a security firm.

Deepak and Rakhi are a portrait of quiet desperation in a film that is anything but quiet. Every poignant moment is emphasized by a manipulative background score, and songs that insist on telling' you how you should feel. It's a shame because the story itself is inherently moving, and the actors' committed performances touch all the right chords.

Rao, who recently won the National Award for his work in Mehta's excellent film Shahid, is a chameleon who doesn't just "play" characters, he "becomes" them. Patralekha shows promise too. But if neither actor commands the screen, it's because of the limited scope of the story, and the fact that there's little room to eschew the scenery. Manav Kaul fares better as Deepak's supervisor Vishnu, whose generosity towards the new hire hides a selfish plan.

The film chugs along slowly to reveal its thriller leanings, but by then, the relentlessly grating music and the absence of an urgent dramatic conflict have worn you out. There are also unforgivable lapses of logic that are startling. Who'd have thought you could walk in for a job interview at a company plying armored vehicles carrying safe deposit boxes and be hired without so much as a thorough background check? Or that bullets fly freely on the streets in Mumbai, with never a cop in sight, or even after?

Citylights, an official remake of the British-Filipino hit Metro Manila, isn't a bad film by any measure, but it does feel repetitive and long, even at a running time of less than two hours. Technically too, the film offers no surprises. In the original film, because the protagonist was a fish out of water, the audience discovered the city of Manila and its seedy side along with him and through his eyes. But Mehta shoots Mumbai through the same jaundiced lens as dozens of films in the past.

Where Citylights succeeds is in telling the story of ordinary people living below the poverty line...people we seldom cast a second glance at...people who sometimes have to resort to desperate measures just so they can keep their children alive. It's a good film, but not without its flaws. I'm going with two-and-a-half out of five.

(This review first aired at CNN-IBN)

Edited by nikitagmc - 11 years ago

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Nikita Lakhe

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Posted: 11 years ago

#3

CityLights Movie Review

(hindidrama)
Saibal Chatterjee
Friday, May 30, 2014

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Cast:rajkummar rao, patralekha
Director: Hansal Mehta

SPOILER'S AHEAD

An intense human drama delivered in the form of a riveting thriller, CityLights deals with the oft-repeated theme of rural migration.

Director Hansal Mehta imparts both weight and style to the film. He does so with impressive precision and lightness of touch.

CityLights is the story of a couple whose rustic innocence is suffocated by the soul-crushing challenges of living and surviving in a big city.

CityLights may not be exceptionally unusual in terms of its storyline, but Mehta's modulated, deeply felt treatment of the grim narrative material informs the film with a sense of urgency and unfailing relevance.

He gives us characters that are tangible and believable. In articulating the aspirations and disappointments of the two protagonists, Mehta does not resort to gratuitous melodrama.

CityLights is an official Hindi remake of the BAFTA-nominated British-Filipino crime drama Metro Manila, a fact that is acknowledged upfront.

But Mehta makes the film his very own by converting the basic plot details into a deftly indigenized story of an ex-Army driver (Rajkummar Rao) and his wife (Patralekhaa), who are sucked into a morally dodgy world that they can barely understand, let alone tame.

The couple migrates with their little daughter from a village in Rajasthan to the metropolitan sprawl of Mumbai in search of what they hope will be a better life.

The hapless man - he answers to the name of Deepak - is fleeing a debt trap and a small business venture gone kaput.

All that Deepak manages to achieve is swap a life of privation and uncertainty in the rural boondocks for a surefire recipe for disaster for himself and his young spouse, Rakhi.

Hope dies quickly in the city as the harsh daily grind to make ends meet hits the young family hard, compelling the couple to resort to desperate measures.

The wife ends up in a dance bar; the husband joins a security agency whose line of work is life-threatening. Their lot only worsens with every move that they make.

CityLights is a disturbingly dark and melancholic film. However, its strong humanist core makes it an incisive chronicle of our beleaguered times in just the profoundly moving way that Mehta's previous film, the resolutely pugnacious Shahid, was.

The director extracts sustained emotional traction from the small scenes of strife that erupt between and around the couple as the shadows of emotional distress quickly creep in upon them and threaten to push them over the precipice.

But, like the teeming millions who fight a daily battle to keep their heads above the water in countless Indian cities big and small, Deepak and his wife dig deep into themselves in search of the courage and inspiration that can keep them going against the inimical forces that surround them.

There is an occasional flash of light at the end of the tunnel. Yet, in the unequal universe that Mehta creates with an understanding of and empathy for the plight of the dispossessed, the rainbow is a distant chimera for the likes of Deepak and Rakhi.

CityLights is made all the more effective by the quality of the lead performances.

The always unassuming Rajkummar Rao, fresh from his well deserved National Award triumph, is as unblemished and understated here as he has ever been before.

He is ably supported by debutante Patralekhaa, who does not allow her lack of experience in this league to get in the way at any point.

Steady, affecting and heart-wrenching, hers is a performance that merits unstinted applause.

Among the supporting actors, Manav Kaul stands tall as the male protagonist's wily and smooth-talking supervisor at the murky security agency.

If all the praise conveys the impression that CityLights is a flawless piece of cinema, every bit of the commendation is intended. Yet, some riders are necessary.

In a film of such relentless intensity, the songs (although they aren't of the lip-synched variety) and the background score seem a tad excessive, if not entirely out of place.

But CityLights is a Vishesh Films production, and hence the soundscape is anything but run of the mill. Jeet Ganguli's musical score is first-rate, but the lilt and the lyricism of the numbers appear to somewhat soften the blow that the film seeks to deliver.

In the end, what lends CityLights the power to offset its rare weaker moments is its unwavering commitment to a realistic mode of storytelling.

CityLights has its heart in the right place, and it is a heart that is backed by a ticking mind that is able to grasp the subtler shades of human behaviour without tripping on over-sentimentalism.

CityLights isn't a feel-good entertainer. It is a film that shocks, provokes and seeks to prick our collective complacency and apathy. That obviously adds up to infinitely more value than the price of a multiplex ticket.

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Nikita Lakhe

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Posted: 11 years ago

#4

Movie Review CityLights': Fine performance from Rajkummar Rao

Written by Shubhra Gupta | New Delhi | May 30, 2014 3:18 pm

Summary

Movie Review Citylight: The songs nearly ruined the film for me, but Citylights' gives us pause. And an actor who makes us believe, all the way.

Cast: Rajkummar Rao, Patralekha, Manav Kaul
Director: Hansal Mehta

Soul-destroying poverty can drive people into deep cesspits, and the struggle to stay alive can be heart-rending. Citylights' sets out to tell us the story of a young couple and their little daughter forced into migrating from their village to the big, bad city.

Deepak Singh (Rajkummar Rao) and his wife Rakhi (Patralekha) soon discover that Mumbai,' jisme koi bhookha nahin sota' (no one sleeps hungry), isn't exactly paved with gold. They are pushed to the brink, and find themselves trying to find a spot to sleep, to work, to eke a living. The going is hard, the city unforgiving and unrelenting.

For Vishesh Films to officially' remake a film ( Citylights' is remade from the 2013 UK-Phillipines Metro Manila' ) is new. Seeing the Bhatts come back to grit and realism, after their string of sex-horror schlock, is nice. And teaming up with Hansal Mehta and Rajkummar Rao, who gave us Shahid', one of the best films of last year, is nicer still.

The result is a grim yarn which moves you intermittently, but whose patchiness is papered over by a fine performance from Rao. It could have been more impactful if the songs, and some amount of improbability, had been kept at bay. The lyrics keep intruding into the narrative, trying to wring sympathy. This takes away from the film, and injects drippiness in a film which needed none : the story, despite its occasional bumps, is enough to make us feel.

Deepak's naivete is frightening. We know that something bad is about to happen, and we want to reach out to him, and tell him to watch out. Rao makes us care, and that out of his completely inhabiting his role, his hands wrapped around his knees, his eyes reflecting desolation and despair, and in the way he finds the resolve for what he needs to.

Newcomer Patralekha has promise, even if she can't hide her innate urban-ness, the way Rao does : her descent into dance-bar seediness adds to the grind of the big city which swallows millions of hopefuls and spits them out, husk and all.

A sharper act comes from Manav Kaul, who plays Vishnu, a disgruntled employee of a security firm, who lures the reluctant Deepak into a maze which promises dodgy profit. There are nice cameos through the film : the owner of the security outfit is a well-judged blend of crassness and viciousness, and a drug boss lords over his empire with brutal ease. This is the world the village innocents have to navigate, and we see how lost they are, and how the city is geared towards demeaning the very poor.

That poverty is powerlessness and helplessness is brought out well. The best parts of the film feature Deepak and Vishnu talking

their way around a plan which will lead them into an abyss ; Kaul, with roiling intent, pushing, and Rao, with innate honesty, pulling. Kaul's essaying of the part lifts the film, which tries to balance its crime-thriller elements with soft-core sentimentality.

Mehta does well with generating dread and creating a couple of surprising curves, which almost overcomes some of the plot's uneven arcs. The songs nearly ruined the film for me, but Citylights' gives us pause. And an actor who makes us believe, all the way.

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Nikita Lakhe

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Posted: 11 years ago

#5

Mihir Fadnavis

City Lights review: As bad as a mediocre afternoon TV soap

Metro Manila is a neat little drama-thriller that brings a quietly artistic taste of poverty, sacrifice and desperation to a sub-genre that is disinterested in pandering to movie clichs. Hansal Mehta, the director of the terrific and understated Shahid and his star Rajkumar Rao were the perfect choices to remake Metro Manila. Oh boy, what a disappointment. Metro Manila vaulted between sensitivity, action, pacing, character development and social commentary, and thanks to solid direction it all just clicked perfectly. In City Lights all of those elements are placed haphazardly, and the film becomes a mediocre afternoon soap. This time the Bhatts bought the rights to the movie instead of shamelessly lifting it - the original film and its director are credited no less than six times. The story remains the same - after losing his job in his village, the destitute Rajasthani Deepak (Rao) moves with his family to Mumbai to look for work. Mumbai isn't very kind to him, and after a string of setbacks he has a chance encounter with a man (Kaul) who helps him land a job as a guard in an armored truck company. Deepak soon realizes that his chance encounter may be more than meets the eye.

Before I tell you anything else about the movie, I need to tell you about Rajkummar Rao. He latches on to his character like a goblin shark. Like he always does, he gives it his one hundred percent in City Lights, and is still absolutely effortless. Even when he's facing the talented Manav Kaul, he holds his ground with a ton of confidence. If you want to watch a really good actor at his best in a pedestrian film, you should watch City Lights at the earliest. Now in the original director Sean Ellis reduced the dramatic quotient to a minimum. It had subtle electronic music and minimalist photography. The film also showcased a side of the world we aren't very familiar with. In City Lights we're offered images of Mumbai we've seen a billion times before. And in City Lights the music by Jeet Ganguly and Raju Singh reaches 1000 decibels of awfulness. You get helpful musical cues to guide you through the emotions. This is a sad scene, here's some blaring sad music so you know what to feel. This is a happy scene, here is some generic happy music and let me punch you in the face while I'm at it. At times it's not just dreadful but painful. A somber scene is suddenly followed by a chase scene with City Lights Yo Yo playing in the backdrop. Every time Rao does some acting magic, the horrendous music keeps undoing all his goodwill and dragging the movie to the gutter. It's a very Bhatt film that way, and it's unfortunate that Mehta chose to make a Bhatt product instead of his film.

For a film called City Lights, the film is quite ugly to look at. There's not a single memorable set piece, the camerawork is deathly dull, and the film made me feel as if it didn't spend enough time in postproduction. Worse, there's some unintentional hilarity as well, especially in a ridiculously overstretched scene where Deepak and his wife sit on either side of the frame and bawl endlessly. That scene doesn't make any narrative sense either - it's one of the many times where you spot the story's flaws because the filmmaking isn't very good. In the original Ellis had managed to hide those flaws due to his effort on craft. Patralekha does show some promise, but she never even once comes across as a small town girl thanks to her ham fisted faux-poor makeup. When there are so many factors going against a movie, you expect the story to compensate things. Sadly it's paper thin, and crumbles under the weight of the film's mediocrity. You might argue that it's unfair to compare City Lights to Metro Manila, and that this film was made only for those who aren't familiar with the original film, but those people do deserve better, more polished material.

Read more at: http://www.firstpost.com/bollywood/city-lights-review-as-bad-as-a-mediocre-afternoon-television-soap-1549537.html?utm_source=ref_article

Edited by nikitagmc - 11 years ago

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Nikita Lakhe

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Posted: 11 years ago

#6

Citylights: simple & topical

Rajkummar makes this simple, honest and topical film a must-watch

Citylights (UA)
Director: Hansal Mehta
Cast: Rajkummar Rao, Patralekhaa, Manav Kaul
Running time: 127 minutes

Call it coincidence or superstition, Citylights, Hansal Mehta's follow-up to Shahid, opens with a scene similar to what was last year's best Hindi language film. Just like Shahid was shot at in the opening scene to play out again later in the movie, Deepak, also played by Rajkummar Rao, is shot at in the first few shots of Citylights. Or so it seems.

But Citylights is an altogether different experience at the cinemas. Based on Sean Ellis's 2013 film Metro Manila, credited more than half-a-dozen times at the start and in the end, it is a morality tale of village innocents struggling to survive the unscrupulous ways of the big city.

In its humanity and core subject, of a man who loves his family and wants to support them, it's an instant throwback to Vittorio De Sica's Italian Neorealist classic The Bicycle Thief. While that was a social commentary of impoverished post-World War Italy, Citylights draws your attention to the millions of Indians from villages and small towns who just board a bus or a train and land up in the metro cities with empty pockets and eyes full of dreams.

Mehta and his writer (Ritesh Shah) stay true to the original scenes from Metro Manila " from cracking jokes at the job interview to foreboding building names, everything's intact " even as they adapt it to the ways of the Maximum City.

The first half is largely devoted to Deepak and Rakhi's (Patralekhaa) fight for survival in Mumbai. They land up from Rajasthan with their kid daughter after his garment shop is closed down. But the Mumbai friend's phone is switched off and the little money they had is soon dutifully nicked.

Staying at an under-construction building for Rs 100 a day, she starts dancing at a bar and he gets a job at a private security firm, where he has to carry loaded boxes " drugs, diamonds, cash, et al " from one place to another. His partner in protection is Vishnu (Manav Kaul), who becomes a friend and gets the Rajasthani family a place to stay.

Trouble ensues when the innocent migrants face humiliation at their workplaces and the slide towards desperation reaches new lows. When the fate of Deepak and Rakhi's future is locked in one stray box, the social drama plunges into a crime thriller. But only just.

Like in Shahid, it is again Rajkummar Rao's sparkling turn that makes Citylights a must-watch. Playing a hopeful and gullible schmuck, a "dheemi gati ki film", he creates the emotional core of the movie, the person you want to see happy. The anguish, the agony, the angst, the rare moments of joy... everything streams so naturally on Rajkummar's face that he takes you with him on this dark and doomed journey.

Patralekhaa doesn't show any first-film jitters. As the helpless wife trying to do her bit, she is excellent in a few scenes and adequate in others. Manav Kaul is top notch as the senior colleague who has more than a secret up his security sleeve. Bollywood needs to cast this man in more movies.

What stops Citylights from being more compelling and hard-hitting " and producer Mahesh Bhatt might have had a role to play in this " is the sweeping and sentimental background score. And while there's nothing wrong with Jeet Gannguli's melodious songs, they pop up too often for comfort.

Citylights is simple, honest and topical and although there is many a scene you've seen before on screen, the tragedy at its heart is timeless. Ironically, it shares its title with one of Charlie Chaplin's iconic films. And The Bicycle Thief was considered Chaplinesque because of its pathos and universality. Yes, somehow all good cinema is born out of the same pain, the same hope, the same dreams.

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Nikita Lakhe

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Posted: 11 years ago

#7

Movie Review: CityLights

Superlative performances in an underwhelming story.

Written By Rachit Gupta

Features Editor, Filmfare

Posted Fri, May 30, 2014

Leave your comment below 0 Reviews

Movie Review: CityLights

Superlative performances in an underwhelming story. (Rated: 3 stars)

More on: Movie Review, Citylights, Rajkummar Rao, Hansal Mehta

Director: Hansal Mehta

Cast: Rajkummar Rao, Patralekha and Manav Kaul

City Lights is a subtle metaphor for the lure of that bright and incandescent life that a metro like Mumbai can offer to an average rural Indian citizen. Under the hypnotic effect of these lights people can be reduced to inconsequential subjects at the mercy of cause and effect. It's a fate moth and other vermin suffer at the luminescence of a bug zapper. So these bright city lights draw you in. They allow you to dream. They make you step into an electric world. And then reality strikes you like voltage does to an ill-fated fly. It's the perfect setting for tragedy. If you're familiar with Charlie Chaplin, you'd know he mastered this subject in a 1931 film called City Lights. But that's just an appetizing fact in the current scheme of things. Hansal Mehta's CityLights is based on a mixed genre Philippine film called Metro Manila by Indie director Sean Ellis. Pity then that Mehta confuses his stylized action cum drama source for a genteel human drama. He had to make Ellis' film but he tried to make Chaplin's. Best things are always lost in translation.

Mehta's film starts off beautifully. It satires the state of poverty in our country and the need for people to migrate to mega cities like Mumbai. Yes we're all in a meat grinder and only those who have the stomach for the grind will survive. Rajkummar Rao's character is just a simple village man. He's so naive that he chose to relinquish a good army job in favour of managing the family. And the honest man is fleeced of all his money and spirit in a few hours on the streets of Mumbai. He, his wife and their cute little daughter are left fending off hunger and confusion. These are tailor made settings to break a person. To instil some weighty drama. To show you that nobody cares for you in a big bad city. That the pressures of merely earning a living could break your will in two. It all builds up wonderfully till half way. You really feel as if something visceral will knock your teeth out.

But then, rather predictably it nose dives in to undercooked action thrills. Suddenly, the helpless and clueless protagonist turns into a confident gun toting hostage maker. Of course you could say under pressure and on the brink of desperation, ordinary people are capable of heroic feats. But that's cinematic liberty. And you don't sell cinematic liberty in a gritty satire. If you do, you tread the realms of middle-of-the-road cinema.

CityLights loses the proverbial plot. Rajkummar Rao continues to give his character heart and soul. But the story meanders out of his control. Even Patralekha, playing the spirited wife, shows great promise as an actor. It's a pity then that she's made to look so porcelain. You'd expect a woman who hails from rural Rajasthan and who's living in an under construction building and working in a dance bar to not look like an NRI. Put together Rajkummar and Patralekha are the driving forces of this film. Their honest performances redeem a somewhat jerky film. Special mention must be made of actor Manav Kaul, who has a career waiting to happen in Hindi action films.

The film though has no such promise. It's a barren canvas of Mumbai's underbelly and poverty and corruption. Things we've seen a thousand times before. Only this time they're show in softer focus, more artful lighting. That's the thing about lights. They can create a wonderful optical illusion. But it only lasts till you get up close and realise there's nothing there.

Edited by nikitagmc - 11 years ago

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