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Trial and error: Shor Se Shuruaat review by Anupama Chopra

This omnibus of seven films is a wonderful idea, but more a film lab than a film, so I prefer not to rate it. I’m eager to see what these directors do next.

movie reviews Updated: Dec 16, 2016 17:29 IST
Anupama Chopra
Seven short films

Satish Raj Kasireddi’s Mia I’m is about a young girl who becomes a viral rap sensation.

SHOR SE SHURUAAT

(An omnibus of seven films)

Directors: Rahul V Chittella, Arunima Sharma, Amira Bhargava, Supriya Sharma, Pratik Rajen Kothari, Satish Raj Kasireddi and Annie Zaidi

Shor Se Shuruaat is an omnibus of seven short films. These films have been made by budding directors, each one of whom was handpicked and mentored by some of India’s leading filmmakers. The latter include Shyam Benegal, Mira Nair, Imtiaz Ali, Zoya Akhtar and Homi Adajania.

Each film is based on the theme of noise or shor. The interpretations, of course, are vastly different.

So Rahul V Chittella’s striking Azaad is about the silencing of dissenting voices. It features a terrific performance by Atul Kulkarni.

In Supriya Sharma’s Dhvani, Sanjai Mishra plays a death-row inmate who is living out his last days in solitary confinement and desperately wants to hear the sounds of life. (Credit)

Arunima Sharma’s Yellow Tin Cup Telephone is a stylised, whimsical take on the sweet romance between a girl oversensitive to sound and a boy oversensitive to colour. This is the most visually inventive film in the collection and it’s not a surprise to discover that the mentor was Homi Adajania.

Amira Bhargava, mentored by Zoya Akhtar, tells a lovely story of a young boy on the streets of Mumbai. Aamer is hearing-impaired. We see what happens when his mother is finally able to cobble together enough money to buy him a hearing aid. The story culminates predictably but the telling is skillful and the little boy playing Aamer is luminous.

In Supriya Sharma’s Dhvani, Sanjai Mishra plays a death-row inmate who is living out his last days in solitary confinement and desperately wants to hear the sounds of life. Mishra’s creased, devastated face gives the film emotional heft.

Amira Bhargava by Zoya Akhtar tells a lovely story of a young, hearing-impaired boy on the streets on Mumbai (Credit)

But some of the others don’t work as well. Hell O Hello, directed by Pratik Rajen Kothari, who was mentored by Shyam Benegal, is a repetitive take on consumerism and telemarketing. Imtiaz Ali’s protégée, Satish Raj Kasireddi, gives us Mia I’m, about a young girl who becomes a viral rap sensation. It’s predictable and pretentious. Annie Zaidi’s Decibel, the only sci-fi story here, is about a dystopian future in which we need assistance to sleep. The film, mentored by Sriram Raghavan, falters in execution.

Shor Se Shuruaat is uneven, as omnibuses tend to be. It’s also unsatisfying. The less successful films weigh heavily on the better ones because they wear you out. But this is a wonderful idea, one that nurtures new talent and gives viewers an opportunity to discover emerging voices. While this edition might not soar, we need many more like it.

Shor Se Shuruaat is more a film lab than a film, so I prefer not to rate it.

I’m eager to see what these directors do next.

Watch the trailer for Shor se Shuruaat here