Khosla Ka Ghosla : Hrishi Daian cinema fried with a heist
We love to watch the cheating designed by Robert Redford and Paul Newman against Robert Shaw in The Sting, where they establish a false set up where Robert Shaw could be and would be conned. This is intriguing, interesting and thrilling to watch it and it remains interesting even during the repetitive watch also when we know in no uncertain terms what is going to happen and no mystery is involved anymore for us in the plot. Knowing the plot does not reduce our joy and after first watching we enjoy the feeling that this is the plot and how convincingly it is shown visually.
We love to watch Carl Reiner going into the casino as a rich man to establish the background to steal the money of Andy Garcia in Ocean’s Eleven .
Khosla Ka Ghosla tries to combine the Hrishikesh Mukharjee kind of film making with the flavour of heist plots which we have been watching in good films like “The Sting” and “Ocean’s Eleven”.
Like The Sting, in KKG also a false set up has been prepared to hypnotise Khurana (Boman Irani) and Vinay Pathak’s character plans this scheme and Naveen Nishchol’s disguised Sethi does what Saul Bloom had done in the Ocean’s Eleven.
Someone is cheated by someone in a heist and we enjoy to see such an act on screen and its not always for the sake of sadistic pleasure.
Bad people are cheating bad people and it is an interesting and challenging competition between two people or gangs to prove their superiority and intelligence over each other.
Bad people are cheating good people and we feel sorry for the loss of good people as they are conned by cunning and clever people. It’s a villainous act.
Now good people, who are cheated by bad people, decide to turn the table and take a risk to either cover up their loss or to take a revenge from the bad people.
This desire and actual action present a courageous, thrilling, interesting and dramatic raw material to create a good cinema and if visual presentation of the plot also has got everything right, where dialogues, performances and technical inputs look convincing then its always a treat for the audience. .
We may cherish so many evils inside but we rejoice watching Ramleela every year. We feel happy when we see good winning over bad and we feel good inside when we see effigies of Ravana and his brother and son are burning. We love to see that symbolic victory of good over bad.
This is one face of Indian cinema deeply rooted in the mythology.
Its not certain that it always happen in real life when good always win over bad and that too in one’s own life time. In long term it’s a different matter because there is always a possibility that even most evil person may counter a situation where he is forced to do introspection and analyse his past works and hence a step is taken towards repenting on his wrong doings or atoning for his wrong doings.
Indian cinema has been thriving on this tendency where its shown in the end that good has won over the bad.
Every country has different understanding or philosophy about life and this tendency is quite feasible in India.
It appeals the people and Khosla ka Ghosla is follower of this trend.
KKG fulfils many criteria to be called as a film which is good in quality and which is made for all kind of audiences. It touches a chord with the masses and it may please the so called '©lite class audiences also.
Connectivity with the audience is one basic premise present in the plot of the KKG because we see these happenings all the time all around us or we hear about these happenings where a powerful person has usurped the land, house or property of ordinary and weak people.
People may recall the famous incident when workers of a political party had appropriated the house, famous as Peeli Kothi, of an army officer. This is known to all that goons do encroach the lands owned by government because they get blessings of political parties.
Many people might have seen tenants claiming an ownership on the house where they have been living for sometime and house owner has to fight a lot to get back the possession of his own house.
If not everyone then most of us will be having first hand information about such happenings. I have first hand accounts of many such cases. I have seen people paying money to get back their houses or properties.
I have been eye witness to the incident where Vijay Tendulkar’s writing “ Chhote Khuda bade Khudaon ki sunte hain (Ardhya Satya)” had become true and Chhota Khuda came and apologised. That whole incidence and that particular scene was nothing less than watching a great thriller.
There are stories which we know on personal basis as they happen with the people we know or we read about such incidences in the newspapers or we watch them on TV, but we can not turn every such incident into an interesting film.
KKG actually does that and does it rather quite beautifully.
KKG is about connecting cinema with different stories into a feasible looking plot.
Heist portion is totally filmy and bring that dramatic feelings of watching a larger than life cinema. We know its bit difficult in real life for a middle class family to do so but we like to watch some imaginative take in cinema.
And in the personal relationship based portions of KKG film tries to enter into the cinematic territories best defined by the legacy which Hrishikesh Mukharjee and similar minded directors have left behind through their films.
Family of KK Khosla has got a structure which can be seen in every 3rd or 4th house in Delhi or North India.
KKG has got connectivity with the audience because of these factors where audience can see and realise that they know the characters and happenings shown in the film and film’s merits lie in the fact that its not a boring type documentary but an interesting film to watch.
Story and characters have got the roots in Delhi and nothing looks fake and this realistic touch provides an authenticity to the film and plot has been given enough dramatic decoration where finished product brings joy to the audiences.
Director Dibakar Banerjee got a good story and screen play from Jaideep Sahni for his debut film and he made an impressive and good quality debut.
second part : Khosla Ka Ghsola is the result of minute observation
Tags: Andy Garcia, Carl Reiner, Dibakar Banerjee, Hrishikesh Mukharjee, Jaideep Sahni, Khosla Ka Ghosla, Ocean's Eleven, Paul Newman, Robert Redford, Robert Shaw, The Sting
Anurag Kashyap
Abhay Deol
Dibakar Banerjee
Hansal Mehta
Khalid Mohamed
Kundan Shah
Anish Kuruvilla
Jaideep Verma
Manish Gupta
Navdeep Singh
Bhavani Iyer
D. Santosh
Onir
Ashvin Kumar
Ramu Ramanathan
Sudhir Mishra
Pankaj Advani
Revathy
Saurabh Shukla
Shilpa Shukla
Sujoy Ghosh
Suparn Verma
Santosh Sivan
Shashank Ghosh
Shivajee
Pavan Kaul
Partho Sen-Gupta
Prroshant Naryannan
Sam Langoria
Satish Kasetty
nice article…..
KKG is also based on true story…
anyways nice film, have seen multiple time.
@Mike,
Hopefully a Quiz on KKG is born in coming days and you have best of the times in providing all the answers.:)
RK bhai, waiting for the next part.
@WB,
Brother, is it still needed?
Now Architect of the nest himself is doing the mapping and sketching on the canvas of PFC:)
Bas mauka milte hee…. will try