“The true strength of the country lies with its women.”
This statement from the new teaser for Salman Khan’s Sultan is an absolute fact, made undeniable by the first look at the film’s heroine: Aarfa.
The teasers and photos we’ve seen so far of Sultan have singularly shown Khan in the titular role as a champion wrestler, but Yash Raj films finally released Khan’s leading lady, Anushka Sharma. And boy, is she fierce.
Not much more is revealed in this teaser about the film as a whole — it seems Aarfa is a successful wrestler in Haryana herself and Sultan’s lady love — but it’s nice to see that while the focus will be pretty squarely on Khan, there will be an equally strong woman standing next to him.
What is the most striking moment in the teaser is not just how quickly and skillfully Aarfa takes down her male opponent in one of the teaser’s two wrestling impressive wrestling match snippets. It’s also that opening line. The fact that a major Bollywood film (and studio like Yash Raj Films) is making this statement about powerful women is a great sign.
Casting Anushka Sharma in this role is an equally positive sign as the actress has been a champion for better, stronger and more well-rounded roles for women in Indian cinema. She has taken on that responsibility herself as well by producing her own films that have strong female leads like her work on last year’s NH10.
Some press sites have stated that the Sultan teaser intro for Aarfa copies the style of a promo video for wrestler Geeta Phogat, and the similarities are obvious. But who cares? If a major Bollywood film like Sultan is actually willing to take inspiration from an incredible woman like Phogat, that should be celebrated as a step in the right direction for the industry, especially since Aamir Khan’s film Dangal, to be released later this year, focuses on Phogat’s career and her father/coach.
The teaser also doesn’t do the greatest job elaborating why women are the true strength of the country, instead stating that women are soft and strong all at the same time. It’s a rudimentary explanation, but viewers will hopefully gain some faith that the film will prove its words.
With all of this being said, perhaps Bollywood is slowly learning the very truth in “Sultan’s” statement: The country’s true strength does lie with its women. How about giving those very women their moments to shine?
Born in Texas, went to college in Missouri and now living in New York City, Keertana Sastry has a unique perspective on being Indian in different parts of America. Keertana has been working as both an entertainment, culture and lifestyle reporter, as well as a casting assistant for the film and TV industry. She loves to infuse her Indian heritage into her work and life.
“Ghoomer,” R. Balki’s latest directorial venture, had its world premiere at the Indian Film Festival of Melbourne 2023 (IFFM), earlier this month, and the moment was nothing short of memorable. Lead actors Abhishek Bachchan, Saiyami Kher, and Angad Bedi, were present to unveil their labor of love to the world, and all three were left speechless at the reaction of the global audience; the film received a standing ovation on opening night, leaving the team extremely emotional — a feeling that Bachchan tells Brown Girl is one he cannot put into words.
“Ghoomer,” tells the story of Anina (played by Kher), an exceptional cricket player who loses her right hand in an accident. Downtrodden and with no will to live, Anina finds a mentor and coach in Padam Singh Sodhi (played by Bachchan), an insensitive and brash failed cricketer who helps her turn her life and career around; Anina also has the unwavering support of her husband, Jeet (played by Bedi). Sodhi teaches Anina unorthodox techniques to make her mark on the cricket ground once again. Enter, ghoomer, a new style of bowling.
Balki checks all the boxes with this feature — his protagonist is a female athlete, the film is his way of giving back to cricket (a new form of delivery), and he highlights the idea that nothing is impossible for paraplegic athletes. The heart of Balki’s film is in the right place — Kher mentions that the film is meant to be more of an inspirational movie and less of a sports-based movie. One can only imagine the impact that a film like this would have on an audience that’s hungry for meaningful cinema.
And, to chat more about “Ghoomer,” Brown Girl Magazine sat down with the stars of the show. Bachchan, Bedi, and Kher came together to talk about their inspiring characters, the filming journey, and how their film aspires to change the landscape of cricket and paraplegic athletes in the country. It was all that, with a side of samosas.
Take a look!
The featured image is courtesy of Sterling Global.
For any of us who have siblings, the relationship with them can be one of the most fulfilling ones. And also one of the most bloody frustrating. No one can quite stroke the fire like someone who knows you extremely well, or sometimes not, but have a familial bond with that neither one of you chose. In “Polite Society,“directed by Nida Manzoor, sisters Ria Khan and Lena Khan’s loving, sweet, and sometimes tumultuous relationship takes center stage.
Played delightfully by Priya Kansara and Ritu Arya, respectively, the evolution of their relationship is one of the film’s greatest and simultaneously weakest points. It’s also pretty cool to see two South Asian actresses in an action-comedy movie — how refreshing it is to mention the art of choreography and praise it in regards to fight sequences vs. dance sequences for a film centered on two South Asian women — that itself shows progress.
Set in London, Ria is an aspiring stunt woman who already shows massive talent in martial arts. She looks up to her older sister Lena, who is enrolled in art school and, also holds remarkable potential in a somewhat less traditionally acceptable field. Their relationship starts off as supportive and sweet with no inclinations of jealousy or resentment that sometimes plagues sisterly bonds. But this also means that they are quite protective of one another, almost to the detriment of their well wishes for each other.
This all happens when Lena gets engaged after dropping out of art school. Ria feels betrayed. They were supposed to be on this journey together in fighting for their dreams. Ria decides that she knows what’s best for her sister and enlists the help of her friends to rescue the damsel in distress from her own wedding. Her deep animosity towards the prospect of Lena getting married is also fueled by Lena’s fiancé and his mother acting extremely suspiciously. The twist that ultimately brings the two sisters back together is both shocking and weirdly somewhat progressive in the motive behind the villain’s origin story. But the twist, unfortunately, is too ambitious for the movie as it tacks on another genre and theme earnestly, but still clunkily.
“Polite Society” tackles not only what it means to fight for one’s dreams but also what it means to have just one ardent supporter. As Lady Gaga famously said, “There can be 100 people in a room and 99 of them don’t believe in you but all it takes is one and it just changes your whole life.” Well, Ria’s Bradley Cooper was her very own sister who seemed to abandon her, and her faith in her, when she chose a different path. For Lena, the film opened up the question of marriage and the weight it bears in the life of a South Asian woman. Ria’s lack of understanding of the pressure it places on Lena is the start of the change in their relationship — the start of Ria’s coming of age and the start of Lena settling firmly into her adulthood.
Standouts from the cast include Ria’s best friends, played by Seraphina Beh and Ella Bruccoleri, who commit to the story and characters with such hilarity and conviction. They add the lightheartedness and playfulness the film needs, and it is refreshing that never once do they use Ria’s cultural background as a way to make fun of her or dismiss her.
It is also heartening to see Lena and Ria’s parents being some of the most supportive South Asian parents seen on screen. At the end of the day, it is not the external family pressure that impacts the decisions made by the sisters but rather their own satisfaction, or lack thereof, with their own lives that become the driving force of their actions.
“Polite Society” is written and directed by a South Asian woman for South Asian women, and is definitely worth a watch when it releases in theaters this April.
September 19, 2023September 19, 2023 3min readBy Nida Hasan
There’s often an element of dysfunctionality that exists within South Asian families. Especially immigrant families, who are carrying with them the burden of intergenerational trauma, shame and guilt; holding onto the last straw of cultural traditions that they have forever known to be the convention, in order to avoid the obliteration of these said values to “Western” ideologies. But what the older generation tends to forget is that they, too, may have been the rebels of their time; misplaced, misfits for the standards of their predecessors. They, too, with their big, ‘American’ dreams (Canadian, in this case) quite possibly left their elders grappling with the loss of their legacy to the unknown. Fawzia Mirza’s “The Queen of My Dreams,” which premiered at the 48th annual Toronto International Film Festival, probes into this disparity, drawing on the complexities of a strained mother-daughter relationship in what is an endearing and emotional tale of loss, love, and nostalgia.
Azra (Amrit Kaur) — a Muslim Canadian teenager — is met with the sudden news of her father’s untimely demise. Her father (Hamza Haq) was the only mediator and one of the two shared loves (the other being the ’60s iconic Bollywood song, “Mere Sapnon Ki Rani”) between Azra and her devout mother, Mariam (Nimra Bucha), who rarely see eye-to-eye otherwise. A grieving Azra hops on a plane to Pakistan to attend her father’s funeral and from here on, through fragmented images, viewers are taken on a dramatic yet poignant journey across generations, cultures, and continents, all contrasting each other, but very much in tandem in the telling of the story.
For those who’ve seen Bucha’s talent unfold on Pakistani television can probably vouch for her versatility as an actor. She may have “not fit into the industry” that loves itself a damsel in distress, but seldom has she failed to prove her acting prowess. She is now living this title of a ‘Rising International Star’ to watch out for and deservingly so. She adds a welcome eccentricity and flamboyance to the role of an aspirational, immigrant wife trying to add to the household income by selling Tupperware to white folks. And, at the same time, lends this relatable humanism, fragility, and desperation to her character of an immigrant mother reconnecting with her faith at the sight of losing control over her life and her daughter’s. She allows viewers to recognize what her character cannot see in herself.
Bucha is matched, if not completely outshone, by Kaur, who seamlessly switches between the roles of an adventurous and ambitious young Mariam and a grieving Azra. The latter is frustrated with the cultural and religious norms set out to restrict women around her; she’s also a queer Muslim teen struggling to gain her mother’s acceptance after she abandoned their once-thriving bond at the time of her coming-of-age awakening. Kaur portrays the many layers of her character with sheer nuance, depth, and sincerity. Her dexterity as an actor is evident in how tightly she grips onto the idiosyncracies of each character as if it’s not the same, but two different individuals enacting them.
It is delightful to see Gul-e-Rana play something other than a loud, overbearing, or vengeful matriarch, while still very much being in the same category. The particular scene where Rana whispers to her daughter Mariam on her wedding stage, commending her for truly being the great actor she hopes to become by hiding her groom’s plans of migration all the while, almost makes you sympathize with her character. Unfortunately, there isn’t much to do for the talented Haq who plays the father and the husband, but he sure exudes the perfect charm of a romantic Bollywood hero if he ever chooses to pursue that path.
Mirza weaves and explores a multitude of challenging social issues such as immigration, identity, and sexuality around the intricacies of an intense mother-daughter relationship, without leaving any loose threads. What you are left with is the possibility of Mariam and Azra showing each other some grace, having dived into their past that boils down to the fact that even though they stand at odds with each other — estranged and unforgiving — they have more in common than they’d admit. Queer or not, “The Queen of My Dreams” will offer some relatability to every immigrant mother and her multi-hyphenated daughter. It is like gazing at a self-portrait that persuades you to reflect on the past and its impact on your present, and to rethink the trajectory of your future. It also reminds you that all battles — be they of epic proportions or marked by petty grievances — should and must come to an end because life is just too short.