Everything about the new movie “Rato Tika Nidhar Ma” reminds us of the 90s. It is written and directed by an actor who was active in the Nepali movie industry in the 90s—Ashok Sharma. The story is a typical 90s movie-stuff and the screenplay has plenty of skits, scenes and sequences that have been lifted off 90s Kollywood and packaged anew. Even the film’s name takes inspiration from the Rajesh Hamal-Karishma Manandhar starrer “Allare” (1998) with the iconic “Rato Tika Nidhar Ma” song, which probably is one of the most recognized and widely played songs in the history of Nepali cinema.

Now as audiences, a little nostalgia is never bad but, unfortunately, Rato Tika Nidhar Ma represents the 90s in a grim light. For one, the film continues the nepotistic practices of the past with director Sharma’s son Ankit Sharma debuting in the lead role as Akash. Sharma Jr is a terrible misfit for the film, but we’ll come to that later.

Now Sharma Sr—who played a negative character in Allare—was never an impactful actor and his directorial venture doesn’t seem to have evolved from the formulaic screenplay, comedy skits, and melodramatic sequences of the 90s. Seniority and experience get way too much respect in Nepal and it feels like Sharma Sr is trying to exploit his past villainous appearances and cameos to make the audience believe he can write and direct a full-length feature film. Alas, he doesn’t succeed.

The film revolves around two friends—Akash and Drishti (Samragyee RL Shah). Akash who wants to migrate to Australia, and works as an agent to send Nepali migrant workers to the Middle East to collect money for his foreign adventure. Drishti is a young widow who wants to start agricultural entrepreneurship to stop local villagers from migrating abroad. The story revolves around their struggles in the village, and in trying to show gambling and labor migration as social evils.

Like most Nepali filmmakers who want to give a message and spread social awareness through their films, Sharma Sr is too focused on lecturing to be able to make a coherent and bearable movie. The film is ridiculously lengthy for its trite story (1hrs 54mins), the screenplay is lethargic, editing flawed at various points, and continuity breaks apart frequently. (Very 90s Nepali cinema, when the whole industry was primitive and struggling.)

For today’s audiences who are well informed and have been exposed to some of the most creative works in Nepali cinema, this movie is nothing sort of a punishment for their failure to foresee the disaster in the trailer itself. While actress Shah, despite doing almost half a dozen Nepali films, has still not been able to speak our language properly, Sharma Jr makes her look better as he struggles every second the camera points at him. His dialogue delivery is weaker than Shah’s and she outshines him even when it comes to connecting with the audience emotionally—imagine that! Sharma Jr is amateur, unconfident and is evidently a victim of his own name—he gets too much screen time although he could clearly do without it.

The film marketed as “social comedy” does have talented actors like Buddhi Tamang, Rabindra Jha, Neeta Dhungana, Jaya Nanda Lama, and Shiva Hari Poudel for comic relief but again, you can’t invite someone for dinner in a latrine and expect them to enjoy your food.

Who should watch Raato Tika Nidhar Ma?

Seems like Nepali filmmakers are adamant on making the year 2019 memorable as a ‘year of disasters’. Rato Tika Nidhar Ma destroys all fond associations of the audience with the song. Even the cover version of the song in the film is not as melodious as the original. We thought we’d be in for a treat this Dashain, but we just got handed a Rs 5 note as dakshina in an expensive envelope. If you got some money to spare, better spend it on onions for your favorite delicacies this festive season.

Rating: 1 star
Actors: Samragyee RL Shah, Ankit Sharma
Director: Ashok Sharma
Run time: 1hr 54mins

Review: Movie Kabaddi Kabaddi Kabaddi

The Nepali movie industry finally gets out of its ‘financial emergency’, thanks to director Ram Babu Gurung’s “Kabaddi Kabaddi Kabaddi”—which has crossed Rs 50 million in collections at the time this report is being written, and the amount is expected to double shortly.

“Kabaddi Kabaddi Kabaddi” is the third installment of a film series based on the life and times of Bir Kaji (Dayahang Rai), a village simpleton in Mustang who knows how to love but is never loved back. Bir Kaji is besotted with his cousin Maiya and wants to marry her, but she has other plans. He fails to woo her over tough competition from other men and remains a bachelor without any interest in marrying anyone besides Maiya. The tragedy starts for Bir Kaji from the very first instalment of ‘Kabaddi’ (2013), and is the base of the latest installment in the series as well.

From the very first ‘Kabaddi’ to ‘Kabaddi Kabaddi’ (2015) and now to ‘Kabaddi Kabaddi Kabaddi’, there is nothing drastically new in the plot, besides Bir Kaji trying to find a bride and Birkhe (Bijay Baral), a longtime friend and henchman, going to great extent to help him.

In KKK, our ageing hero Bir Kaji has only gotten more arrogant and bitter with time. Love is no more on his agenda but he still doesn’t seem to have a good aim in life. He just wants to live out the rest of his life with Maiya’s memories. But then a much younger cousin Kashi (Upasna Singh Thakuri) enters the scene, raising the hope for the desolate heart of Bir Kaji. As fate would have it, and as in other Kabaddi movies, love is not his cup of chhyang. He has fierce competition here too and a dangerously strict girl’s mother to win over.

Again, the movie’s strength is not its story or plot. KKK is based in a semi-rural Mustang village and then travels to Ghandruk at some point. Its biggest asset is rather how organically filmmakers are able to place characters in their natural settings. It is a proven forte of director Gurung to showcase the Gandaki region as one of the most beautiful, habitable, and hospitable places in Nepal.

When most Nepali films choose the hills and mountains of the country as just another ‘location’, the setting of this film in the hills makes it unique as it takes us into the villages of the Gandaki region cinematographically. Not just that. We are also invited into the humble homes and the simple lives of the people of the area. So much effort has gone into representational costumes and dialect of the area that they all feels natural. As if we’ve lived in rural hills all our lives, we immediately identify with the people there.

Another commendable fact about KKK is that it is a wholehearted comedy that doesn’t rely on gimmicks like insult and sexualization to elicit humor. The characters are not loud, nor overbearing, and they don’t stoop low to make you laugh. They’re just being themselves and easily dissolve into plots and sequences to create clean humor that families can enjoy together.

Despite a heavy cast, including some of the most talented actors in the industry, Rai and Baral steal the show. As an inseparable pair of friends, the pair is funny, yet philosophical too. Their comic timing is impeccable, individually and as a duo. For someone who’s watched the entire Kabaddi series, you can’t help but fall in love with them.

There’s absolutely no message you can take away from KKK. Nor do the filmmakers want to impart any social lesson. The intent of making an organic, believable film is enough to keep the audience entertained, it seems. Despite some flaws, KKK is an all-out entertainer and also offers a great lesson to Nepali filmmakers—you don’t need to bar foreign films in order for the Nepali films to be successful. Just make good cinema.

Who should watch it?

If you’ve liked the previous editions of ‘Kabaddi’, you’ll love this movie too. No worries if you haven’t either. The film is just as good on its own.

Rating: 3 stars
Director: Ram Babu Gurung
Actors: Dayahang Rai, Upasana Singh Thakuri, Bijay Baral
Genre: Comedy/Drama
Run time: 1hr 55mins

Nepal Drives

Mahindra have a certain degree of quirkiness to their designs, and they have had both hits and misses in their lineup. We’d say they hit the nail right on the head with the Mahindra XUV 500 and the Scorpio. The Thar has amassed a cult following and even the Scorpio Pik Up looks absolutely amazing. However, there are models like the Mahindra KUV 100 and the Quanto that are difficult to love.

Regardless, Mahindra have always had a certain air of nonconformity to their products. And now there is the new XUV 300: Mahindra’s newest representative for the compact SUV segment. We thus have in front of us a completely non-quirky premium crossover.

Exterior

The XUV 300 adopts a conventional design language that looks classy and sporty, but still has a robust feel to it thanks to the boxy design. The car is solidly built with 68-percent high-strength steel. Thumb down on the door metal and there is very little flex.

Mahindra have had to keep the length of the XUV300 to under-four meters for tax savings, but they have not compromised on the profile design. The floating roofline with the blackened pillars improves the dynamism of the vehicle. The larger wheels give it a robust look and the side cladding and roof rails enhance its crossover appearance.

Much like the grilles seen on the XUV 500, the XUV 300 gets a piano black grille featuring a large Mahindra badge, a chrome strip on the top, and multiple small chrome inserts. Sleek DRLs are integrated in the projector headlight cluster and in a very unique way extend into the bumper, merging with the fog lights. Maybe they haven’t lost their quirkiness completely.

The rear haunches are one of our favorite things about how the XUV 300 looks. They add character to the appeal of the compact XUV 300. The rear has a neat little spoiler with integrated LED HMSL (High Mounted Stop Lamp). The taillights are beautifully styled and sit on either side of the well-sculpted tailgate. A large silver skid plate adds a sporty character to the rear.

Interior

On the inside you do see that a lot of hard plastic is used, but it is of high quality. The dashboard’s styling is functional. It has a ‘beige & black’ theme with silver inserts, while piano black has been used on the center fascia (climate control panel) and air-con vents. While the lower part of the dashboard is beige, the carpets and floor mats are black. Ergonomically, the cabin is well laid out and all controls are easy to find and reach. 

If you and your passenger usually have trouble with the cabin temperature, you are in luck with the XUV 300 because you get a first-in-segment dual zone fully automatic climate control. You also get an option of a sunroof.

On the center console you get a 17.78cm touchscreen infotainment system (not available on the base variant) equipped with Bluetooth, AUX & USB connectivity, and it is compatible with Apple and Android Auto. It also doubles as a reversing camera display. On the instrument console display you get all the information you need. A useful one that comes to mind is the tyre position display for when you park and start out. The instrument console (with speedo and odometer) gets multicolor illumination, which is great.

Although the functionality is limited, you also get a Blue Sense App with Smart watch connectivity.

The leatherette (artificial leather) seats are comfortable and provide adequate support to the thighs and back. All three passengers get adjustable headrest and three-point seat belts, which are cool to have. You can comfortably seat three people in the rear, even with taller individuals out on the front. These rear seats can be split 60:40 for flexible boot space. The boot space, however, is only 257 liters, the smallest in the segment, and the loading lip is also pretty high.

Fun to drive

On our hands we had the 1.5-liter diesel variant, one that claims to have the best in segment torque of 300Nm produced at 1500-2500rpm. These impressive numbers translate well when you’re driving. The unknowing heavy right foot of an unsuspecting driver will catapult you forwards with surprising menace. The engine properly wakes up at around 2,000 rpm and you instantly fall in love with it. And because of the strong torque reserve at the bottom end you will notice that you are not shifting gears too often.

You will also notice that the XUV 300 is geared more towards tarmac driving. Although it isn’t too fazed by unexpected road undulations, the suspension is definitely on the firmer side. Luckily, this makes it a peach for driving on pitched roads and on corners.

Speaking of corners, the XUV 300 gets the segment-first smart steering system that gives you the option of choosing between Comfort, Normal, and Sport modes. Although there isn’t a huge world of differences between the modes, we definitely noticed that the steering firms up and gives better feedback when put on sport mode. For open stretches and corners we stuck to the sport mode as well. In the city, we chose to try out the other two modes, which worked well, but we ultimately went back to sport mode again.

With a kerb weight of 1,360 kg, the diesel has a power-to-weight ratio of 85 BHP/ ton, is class-leading, and the power is handled well. Till date, all offerings from Mahindra in this segment have been old-school SUVs with body-on-frame constructions. This worked against them because most urban buyers today prefer more modern monocoque-based crossovers.

The XUV300 is the first with a monocoque construction, making it more car-like to drive. The top variant gets a segment-first seven airbags. It is equipped with all-around disc brakes which come as standard, another segment-first. Other segment-firsts include heated ORVMs, smart steering system, and front parking sensors.

Verdict

The XUV 300 is a great car. Although it appears to be a Sangyong Tivoli with its rear end chopped to squeeze into the 4-meter mark, the Mahindra XUV 300 is a completely new car. It uses Mahindra’s own engine and suspension, and all the body panels are new as well.

The performance is tremendously satisfying, and it makes up for the fact that it likes sticking to the tarmac. Further, as Mahindra already have the TUV 300 for more rugged driving, it seems the XUV 300 has purposefully been made for smoother driving.

The little sibling to the XUV 500 does have one factor that will make buyers think twice: the price. Maybe it’s because of the driving fun it offers, or the long list of segment firsts offered; Mahindra have made the XUV 300 a decidedly premium offer.

Elizabeth Is Missing

Emma Healey

Language: English

Published: 2014

Publisher: Penguin Random House

Pages: 293, Paperback

Maud, 82, is slowly losing her memory. She makes tea and forgets to drink it. In her liv­ing room there is a long row of cold cups of tea on a shelf. She keeps find­ing little notes tucked in her pockets that remind her “not to have more toast”, “not to cook”, and definitely “not to buy tins of peach slices”. But the one note that keeps reappearing says, “Elizabeth is missing”.Despite being assured that her best friend is fine, Maud is convinced that something has happened to Elizabeth. She makes rounds to her friend’s home (only to find it desert­ed), calls Elizabeth’s son Peter at night to ask about her whereabouts, and even places a missing person’s advertisement in the paper. She is determined to find out what’s hap­pened to her friend but it’s tricky when she can’t differentiate between the past and the present, or even remember what she did a day before for that matter.

Many years ago, Maud’s elder sis­ter Susan or Sukey had also disap­peared and her family never found out what had happened to her. Maud keeps confusing events relating to her sister’s disappearance with those of Elizabeth’s current unaccountable absence. However, even when her mind fails her and no one believes a thing she says, Maud keeps look­ing for her friend and tries to recall what exactly happened to her sis­ter. In the end, Maud manages to dig up old facts hidden within the recesses of her memory to solve a long-buried crime.

Maud’s thought processes are, by the nature of her illness, repetitive. She constantly does and says the same things over and over again. Though that could have made the story slow and dull, Healey’s nar­rative is gripping enough to keep it from being bleak at any point. Healey writes about old age and aging with such finesse that you can sort of see yourself in Maud’s place someday.

Maud, with her fractured memory, also seems like a highly unreliable narrator at times. You can’t be sure if what she’s telling you is actually the truth (or just her version of it) and this makes it hard for you to guess where the story is headed. But that’s the charm of Healey’s debut nov­el—she lets you be the detective and shift through the clues from Maud’s memories.

Elizabeth Is Missing is many things: a crime novel, a story about mental illness and dealing with mental illness, and a meditation on the complexities of aging. It’s also a powerful and affecting portrait of a woman’s slide into dementia and the frustrations that come with it. It doesn’t fit into any particular genre but it’s a deeply satisfying read and that really should be a whole other genre in itself.