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Pink Villa
an hour ago
- Pink Villa
Detective Ujjwalan Review: Dhyan Sreenivasan starrer is a wannabe mystery that couldn't solve itself
Detective Ujjwalan, starring Dhyan Sreenivasan in the lead role, released in theaters on May 23, 2025. Following its theatrical run, the film is now available for streaming on Netflix. If you haven't watched the Malayalam-language mystery comedy yet, here's the Pinkvilla review for you to check out. The Plot Detective Ujjwalan features the story of Ujjwalan, a library owner who lives off his family's generational wealth. Apart from managing the library, he is an avid reader of mystery novels and crime movies. His interest in solving crimes leaves the locals of his village, Plaachikkaavu, to rely on him for figuring out petty thefts. However, his life faces a drastic change when a murder takes place in the village. Will Ujjwalan capture the culprit and who is responsible for the crime forms the rest of the story. The Good Detective Ujjwalan first works on the charm of the lead actors, not just Dhyan, but performers like Siju Wilson and Rony David Raj who hold the film together with their skills. The film, despite its poor screenplay and lack of execution in directing, features some colorful characters, sadly, they are severely underutilized. The interesting characterization leaves a mark with its quirkiness, making it watchable. From the technical aspects, Detective Ujjwalan is visually sound, with a special mention to Premkrishna Akkattu and Sraiyanti Harichandran. The Bad Detective Ujjwalan suffers severely from writing and direction. For most murder mysteries, the important factor is to have a sound screenplay with attention to detail, but the film is nowhere near being considered 'good writing'. Starting the story with a good concept, the movie remains inconsistent and fails to tie in the elements. The lack of conviction in making this murder mystery plausible is annoying at various points. What truly turns this film into a cinematic debacle is its forced attempt to establish a shared universe with Tovino Thomas' Minnal Murali, a move that feels completely out of place. In the contemporary situation of cinema, shared cinematic universes have reached a saturation point, and honestly, everyone is feeling fatigued. Coming to the technicalities, the musical aspects by Rzee and Sibi Mathew Alex are passable in the film. However, the lazy writing, coupled with Chaman Chakko's editing, makes the audience yawn. The Performances Detective Ujjwalan is surely a good concept on paper. But the directing is not up to par. The actors, however, made it a watchable venture. While Dhyan Sreenivasan and Siju Wilson were good, others like Kottayam Nazeer and Rony David Raj stood out with their comic timing. Furthermore, social media content creators like Ameen, Nihal Nizam, Nibraz Noushad, and Shahubas offer some great moments, but are nerfed by cutting their characters short, leaving out the possibility for more humor. Watch the trailer of Detective Ujjwalan here: The Verdict Detective Ujjwalan isn't exactly a murder mystery that makes you question the truth, but it feels more like a comical venture with shallow humor. Some elements and characters make the movie watchable and it could be checked out at least once.
India.com
an hour ago
- India.com
You won't believe what Kangana Ranaut said about politics, calls it...
Bollywood actress and MP from Mandi Lok Sabha seat of Himachal Pradesh, Kangana Ranaut, is in the news these days for her strange statements. Recently, the actress forced people to think by saying that people are coming to her with problems of drains and roads. Kangana was severely criticized after this statement. Now Kangana has dropped a new bomb with her statement. The actress has now called politics an 'expensive hobby'. She has also said that it costs lakhs and there is little savings. It has been just a year since the actress became an MP for the first time. This statement of Kangana has also sparked controversy. What Has Been Said By Kangana Ranaut? In her recent interview, Kangana said, 'I have always said that politics is an expensive hobby. ' When the actress was questioned about the word 'hobby', she said, 'Obviously, because when you are an MP, you cannot take it as a profession, because it requires a job. You are an honest person, I understand. After the salary, you get to keep the cook and the driver, you are left with only 50 to 60 thousand rupees and this is the salary of an MP. The monthly salary of an MP in the country is Rs 1 lakh 24 thousand. If you have to go with an employee or officer, then it costs lakhs to go by car, because the distance of the journey is 300 to 400 km, so it is an expensive hobby, you also need a job in it'. 'Many MPs Have Their Own Business' She further said, 'There are many MPs who have their own businesses. They are also working as lawyers. Those who came before me, like Javed Akhtar sahab, are also still working in the film industry'. Let us tell you, in her personal details, while contesting the general elections in the year 2024, the actress said that her assets are worth Rs 91.5 crore, which includes movable assets worth Rs 28.7 crore and immovable assets worth Rs 62.9 crore. More About Kangana Ranaut On the work front, Kangana recently graced the screen in the historical biographical drama 'Emergency', which she directed and co-produced herself. The film is based on a screenplay crafted by Ritesh Shah and a narrative penned by Ranaut. In this cinematic piece, Kangana Ranaut portrayed the character of Indira Gandhi, the former Prime Minister of India, alongside a talented cast that includes Anupam Kher, Shreyas Talpade, Mahima Chaudhry, Milind Soman, and Vishak Nair. Additionally, Satish Kaushik, Richard Bhakti Klein, Scott Alexander Young, Christophe Guybet, and Adhir Bhat play significant roles in the film, which is currently streaming on Netflix.
India Today
2 hours ago
- India Today
What is the formula for bringing middle-class audience back to theatres?
For many years, India's middle-class audience has been the true backbone of the film industry. Whether it was packed single-screen cinemas in small towns or multiplexes in cities, it was the middle class that filled the seats, clapped at emotional scenes, and turned simple films into big hits. Even low-budget or small films became popular because they connected with this set of slowly, Bollywood started focusing more on urban stories, films that show a rich lifestyle, fancy locations, and problems that only a small section of people relate to. In doing so, they moved away from the real issues and emotions that matter to most Indians. This created a gap between cinema and the common the same time, OTT platforms like Netflix, Prime Video, and others made it easy to watch films at home, whenever and however people wanted. With so many choices now available at the click of a button, the big challenge for filmmakers is not just making a good film, it's making one that feels worth watching in a theatre. To bring the middle-class audience back, the stories need to be relatable, emotional, and full of value, something that makes them feel, 'Yes, this was worth my time and money.' Cinema as community and emotional catharsis For the middle-class audience, cinema is an emotional escape and something they enjoy together with others. In today's world, where everyone watches content alone on phones and TVs, going to the theatre gives a special feeling of being part of a group. When the story connects with real-life emotions, struggles, and hopes, it gives both relief from stress and a sense of hope. For middle-class viewers, who look for both value and meaning, this shared theatre experience is a big reason to come back and watch films on the big to actor Pankaj Tripathi, cinema offers a unique community experience where strangers come together and feel the movie. "Why do we go to the cinema? To witness storytelling, to hear a story, to see a new world, to experience something, because while watching a film, our two senses, eyes and ears, are fully activated. What's unfolding on screen creates a magical atmosphere, where 250–300 people are sitting together and laughing together, feeling joy together, or getting emotional together. That shared experience forms a sense of community. And that community weaving is an experience in itself. The place is chosen by someone else, the time is set by someone else - and yet, if you still choose to go, it's because you're going in search of a good experience," he explains how films like his own, 'Metro... In Dino', strike a chord with viewers going through personal or emotional challenges. He recounts a review that called the film "healing" - something that can help mend broken relationships or offer guidance during rough phases. "That experience is primarily entertainment, and an emotional catharsis that comes through the story unfolding on screen. Like with 'Metro In Dino' - a viewer might watch it, relate to it, and think, 'Yes, this has happened in my life too,' or 'This moment is happening to me right now.' Someone even wrote in a review that this film is like healing - it will heal the sourness in your relationships. If someone is going through a rough patch in life or with their loved ones, this film might offer them a way forward," he power of the term 'paisa vasool' for middle class audience For the Indian middle class, every visit to the theatre is a considered investment of time and money, and the ultimate expectation is simple: the film should feel 'paisa vasool'- worth every rupee spent. This phrase has become a powerful benchmark, especially for families and individuals who don't go to the movies casually but selectively. They seek stories that are engaging, relatable, and emotionally rewarding - films that make them laugh, think, or feel deeply, all in one sitting. If a movie checks these boxes, it earns not just applause but repeat viewership and strong word-of-mouth among this crucial segment. In essence, 'paisa vasool' is a validation that the film has truly to the actor Deepak Dobriyal, it's not enough to have a good film, it has to be marketed aggressively to even attract the attention of the middle-class audience who largely consumes content via social media and OTT platforms. What can filmmakers do to attract this section of the audience to theatres? The answer may lie in an aggressive marketing strategy. advertisement"Initially it's all about the hype that pulls the public in. There are many great performances and good stories out there that just don't manage to attract viewers. That's why films need a big, aggressive budget and heavy promotion to bring people in. Because today, there are so many distractions - OTT platforms, social media, and a lot more - so people often don't even know what they should or shouldn't watch. Everyone is watching what they like on social media, which is why aggressive promotion becomes necessary if your film is good," Dobriyal said."As for 'word of mouth'- by the time people sitting at home hear good things about a film, another one has already been released. So relying on word of mouth has become an excessive myth now. If you look at word of mouth, maybe one film in two to three years benefits from it. Otherwise, it's all about the star system, aggressive promotions, and songs. Many different elements come into play. The middle-class audience only goes to the theatre when they feel a film is 'paisa vasool'. This has become a term that indicates that the audience, especially the middle class, truly enjoyed the film," the actor supporting roles connect well with the middle-class audience?Supporting characters often make a film more real and relatable, especially for the middle-class audience. These are not larger-than-life heroes, but people who feel like someone you know - maybe a neighbour, a friend, or even yourself. They bring humour, emotion, and unexpected moments that stay with the audience. For middle-class viewers, these characters add heart to the story and make the film more enjoyable. They help the audience connect with the film on a deeper who has played many such roles, says that strong supporting actors can actually carry a big part of the film. He also highlighted the unexpected hype of strong supporting characters as a winning formula. He took the example of 'Stree', a blockbuster which resonated with the middle-class audience like a suit tailor-made to fit the most unconventionally beautiful physique. "If you notice, films with strong supporting actors tend to be hits. Take 'Stree' as an example. The better your supporting cast, the stronger the backbone of your film. They hold up half an hour or more of the movie. They bring something unique and unexpected, and that surprise element often becomes the film's strength," he said."I myself have played many such characters that I never imagined would become so popular among audiences - like Pappi in 'Tanu Weds Manu', Shyam Prakash in 'Hindi Medium', or my role as the tracker in 'Laal Kaptaan' - that one has a cult following. 'Sector 36' has completely changed the game. Characters like these tend to attract middle-class audiences more strongly," he middle- class audiences being forgotten in mainstream cinema?In recent years, mainstream Hindi cinema has largely shifted its focus to glossy, urban-centric stories that appeal to multiplex audiences, often leaving the middle-class viewer feeling left films reflected the everyday lives, struggles, and emotions of common people. Today, that relatability is missing. Middle-class families are no longer rushing to theatres as they once did. They don't see their stories on screen as often, and when they do, it's usually in smaller, offbeat expert Taran Adarsh points out that this crucial segment - once the backbone of box office success - is being ignored in favour of niche content. He pointed out how Bollywood has alienated its largest audience base by focusing too much on multiplex-friendly, urban storytelling. "I think we have completely sidelined the middle-class audience, because I feel that we have been making multiplex films. We've been making urban-centric films which cater to a very niche audience. And that's the reason why the majority of middle-class audiences, or people who don't belong to the upper class, are feeling neglected in our movies. We used to make so many entertainers in the past, but now, somewhere down the line, we've forgotten to make those kinds of films which are all-round entertainers," he said."Many films, in South, from 'Baahubali' to 'Pushpa'... even last year, we had 'Stree 2', which caters to common men who can identify with this kind of subject. And if the common men can identify with the subject, that film is bound to work. I think any film that caters has emotions, which is rich in drama, which has good music – a combination of all these factors will definitely work," he ticket pricing a key factor for middle-class audiences?Ticket pricing plays a major role in whether middle-class families decide to go to the theatre or not. With rising costs of living and entertainment becoming more expensive, a trip to the cinema is no longer a casual outing for many, it's a planned expense. Discounts, affordable rates, or special pricing for smaller towns and weekdays can make a big difference in attracting this audience. When ticket rates feel reasonable, families are more likely to consider a movie outing as 'value for money'. To bring the middle class back to theatres in large numbers, making cinema more accessible and affordable is just as important as making good further highlighted that high ticket prices, especially in multiplexes, often discourage middle-class viewers from watching films on the big screen."The pricing of tickets, rates and discounts are important, and especially going beyond metros, they are very important to appeal to a middle-class family because you need to get them to the theatres. Because the cinema experiences have become very expensive today," he said. "Hamari mitti ki kahaniya, hamari kahaniya, our stories should be narrated; that's very important. I feel it's very important to make basic films. There was a film called 'Bhool Chuk Maaf'. It was about a commoner living in a small town. I think that really worked. The middle-class audience constitutes a major chunk of the movie-going audience. But unfortunately, we are neglecting them, and that's why our films are failing at the box office. They are not collecting the kind of money that we need to collect," he cinema for the real audience againIf we want to bring back the magic of theatres, filmmakers must start making movies for the middle-class audience again. They are not looking for just big stars or glamour, they want real stories that feel personal and relatable. With strong characters, meaningful emotions, or full-on 'paisa vasool' entertainment, the film needs to offer value. Making cinema for the middle class is not just about box office success, it's about telling the stories of real people across India.- Ends IN THIS STORY#Pankaj Tripathi
