All the fights had the actresses in the scene and hats off to all of them for their dedication. No wide-shots of the fight from the audience's perspective because that allows the stunt double to come in. In comparison to all those movies, here the camera just followed the fighters. The camera moved too much in order to cover up the actor/actresses' incapability to fight. I saw Mary Kom, Sultan and Saala Khadoos which had extensive fight scenes and all of the movies had extremely lack-lustre fight scenes. FIGHT CHOREOGRAPHY - This section needed a category of it's own and quite deservedly. Pay-off scenes are those scenes where the characters are shown to be doing things in extra slow-motion to have an orgasmic effect on the audience and the director cleverly used it at the end in order to give proper tribute to the art and the character. If the audience reaches a peak before the ending then the pay-off wouldn't have a solid effect, if used multiple times. The thing that many might not notice that there are no pay-off scenes except for the last scene.
Dangal 2016 movie#
The first half of the movie had a good amount of comedy and that gelled into the second half with ease. None of that brought the movie to a halt. Beginning from the sleaziness of men to child-marriage to the sacrifice parents make, everything was utilised to the advantage of the movie. Every single topic that has happened or still happens in a family was touched upon. Nitesh Tiwari toned down that preaching to a very natural level in this movie.
Dangal 2016 full#
DIRECTION - Chillar Party was a movie with some serious message but was a little preachy and Bhootnath Returns went full preachy. If it didn't happen in reality then it was really unnecessary. The only scene which felt a bit off is where Mahavir gets locked up in a room before the final fight. It was fine for the light-hearted scenes but the serious scenes required silence but I can give it a pass. I am not a fan of narration and I wasn't really liking it here either. Little nods and grunts and expressions serve more than an explanatory conversation. The dialogue in this movie is a lesson as to how dialogue should be used. I have said this that dialogue shouldn't seem like dialogue unless it is a musical or a re-imagining of a play. Even movies like Mary Kom or Bhaag Milkha Bhaag started to drag by the end but hats off to Piyush Gupta and Shreyas Jain. There was a very natural flow to the story which helped engage the audience for 2 hours and 41 minutes. None of the scenes linger on for a long period of time. The songs blend in very well with the premise. SCRIPT - Major props to bringing out a story which is inspiring and one which India needs right now. If you're going to this movie thinking Aamir will be flexing and showcasing his acting prowess then well and good but the girls are the highlight of the movie, hands down. If I would I've seen this movie in 2016, it certainly would have been in my list of best movies. Remakes are always tricky but, with Aparshakti by your side, you can be assured of one hell of a performance shouldering your story.Reviewed by MR_Heraclius 10 / 10 the best indian movie in the history
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