Top 3 New Bollywood Movies Download in September 2023
Gadar 2 (2023) Movie Download
Story: Decades after he rescued his wife Sakeena (Ameesha Patel) from Pakistan, one man army-truck driver Tara Singh (Sunny Deol) must illegally cross the border once again to save his son (Utkarsh Sharma) from the wrath of Pak General Hamid Iqbal (Manish Wadhwa). The latter holds a grudge against Tara for what he did in 1947.
Review: 22 years after Gadar: Ek Prem Katha caused a tsunami at the box office, Anil Sharma comes up with a sequel that tries to recreate the chest-thumping patriotism and familial love in times of war. It even makes a strong case for secularism. “Hindustan Musalmanon ka hai, Christians ka hai, Sikhon ka hai, Hindustaniyon ka hai.”
What the film lacks is a solid premise. The sentiment stemming from loss of lives and brutal aftermath of the partition moved the audiences in the first film. The cross border love story and a tale of survival tugged at your heartstrings as it had a solid emotional core despite the provocative dialogues. The sequel struggles to leave you emotionally charged. Gadar 2 tries to cash in on the nostalgia factor, filmy dialoguebaazi and slowmo action scenes, without a story or purpose that can hold it all together.
Sakeena’s father Ashraf Ali (Amrish Puri) is no more. Tara Singh finds a new nemesis in Hamid Iqbal, a Pakistani Army General, who ruthlessly beheads people for showing their loyalty for the Bhagavad Gita over Quran. A war is looming (1971), given India’s involvement in East Pakistan (now Bangladesh), and Iqbal seeks revenge for this situation and the past. He captures and tortures Tara’s son in Pak, who crosses the border in search of his father. This compels Tara to repeat what he did ages ago, this time around for his son. The son’s love track in Pakistan with Muskaan (Simrat Kaur) feels absolutely irrelevant and unnecessary. The sequel comes across like an overstretched remake with a meandering plot that goes on for over 2 hours and 45 minutes.
The film’s redeeming factor is its music and Sunny Deol. Sung by Udit Narayan once again, Mithoon’s reprised version of Uttam Singh’s beautiful composition ‘Udd jaa Kaale Kaava’ is the film’s highlight. It conjures more emotions and nostalgia than the entire film put together.
Sunny Deol is endearing and sincere. His powerful presence and heavy duty dialogues continue to have an impact. Tara wants his son Charanjeet (Utkarsh Sharma) to be educated so that he doesn’t end up as a truck driver, too. His concern for his child and love feels real. And of course for fans of the previous film, there is the iconic hand pump scene in this film too. Watch
Jawan (2023) Movie Download
‘Jawan’ glimpse spends a lot of time establishing Shah Rukh Khan as the good cop, a fierce fighter, a crowd charmer and what not. But it is all run of the mill till SRK debuts his bald look. Reserving the best for the last, Shah Rukh Khan pulls off a guileless performance, dancing away oblivious to the fear of the passengers in this thrill ride.
Nayanthara’s cop act left us wanting for more, while a fleeting glimpse of Vijay Sethupathi was majorly insufficient for a talent like him. Deepika Padukone throwing kicks and punches in a saree should have been reserved for the movie and not wasted in the prevue. With so much happening, the narrative gets confusing in parts but a charming SRK ensures that viewers are hooked! Finally, we have some content that borrows less from the west, relies on creativity and is set to establish its might with the biggest superstar of the country.
All in all, Atlee gets full points for presenting an engaging prevue that would blow with the winds of present times and get a non-SRK fan to rethink loyalties. Watch
Jailer (2023) Movie Download
Sometime in the second half of the film Jailer (2023), there comes a scene in which Tiger, played by Rajnikanth, sits before a film director and advises him to make wholesome commercial films that can be watched with family rather than the current garbage he (or the contemporary mainstream filmmakers) are churning. Alluding to the changing state of mainstream cinema, Nelson is seen making an obvious meta comment in the sequence with the best of his confidence.
However, given the entire film, the sequence stands out to me as a reflection of the filmmaker’s self-importance and smugness. One has to be completely delusional to make an appeal in favor of wholesome family entertainers in a film that celebrates violence. And I mention this because the violence isn’t creative and/or self-satirizing as that of John Wick or the films of Quentin Tarantino.
This violence is pretending to be creative by showing heinous ways to kill people. It is gimmicky, triggering, and highly discomforting when you are watching it, with hundreds of people cheering loudly, whistling, and shouting every time Rajnikanth waves his goggles.
I do not enjoy starting to talk about a film in a canceling tone. But I am more than concerned this time, and hence, I am not able to find appreciation in how I absorbed the film. While I have not had the same exposure to cinema culture as people from Tamil Nadu, Andhra Pradesh, Telangana, Karnataka, and Kerala, I share the passion. It had been a wish to watch a Rajnikanth film in theatres with a regional audience. When Rajnikanth entered the frame, the hall roared, and I was happy experiencing the frenzy.
The celebratory chaos was reflective of a culture shaped over decades, becoming a perpetual source of joy, an avenue for escapism, and a ray of hope for millions. From hereafter began a repetitive exercise in creating the same frame for Rajni’s entry and fooling the audience into thinking that they are participating in a festival of superstars. The repetitiveness is not the disheartening part, but it is the unoriginality of the sequences or frames being repeated. The motive is clear: to recreate every moment that defines Rajnikanth. Only this time, the cigarette being caught by his mouth is a CGI one.
Nelson has brought the three big superstars: Shivaraj Kumar from Kannada cinema, Mohanlal from Malayalam cinema, and of course, Rajnikanth from Tamil cinema. All three superstars have the charm and magnetism to pull the audience. And even though I was watching the film with a majorly Tamil-speaking audience, the thunderous noise the hall burst into upon Mohanlal and Shivaraj Kumar’s entry was a joyous marker of cultural exchange that has been facilitated by cinema.
My biggest gripe with the film remains its obsession with gore that is neither entertaining nor self-aware. The images are triggering, and the audience consists of a considerable number of children. I refuse to believe that the images do not harm a child’s developing brain and cognition. Either the filmmaker has to be conscious if they are targeting a family audience, or the certifying authorities have to be cognizant of what a film contains. Watch
