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Jhund Movie Review : A sports film that tells you a lot about the game of life

• Times Of India

In-depth Analysis

Our overall critic’s rating is not an average of the sub scores below.

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Jhund | Song - Aaya Ye Jhund Hai

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Jhund | Song - Baadal Se Dosti

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apurvashinde 605 days ago

It's was an awesome movie ��

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Very bad movie, acting and direction.

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Jhund Movie Review: Amitabh Bachchan Stands Tall; His 'Jhund' Scores The Winning Goal In Nagraj Manjule's Film

" Zamaane ki nazar mein tu bhale hi bhangar hai, Tere bhi seene mein kahin to ek angaar hai." Amitabh Bhattacharya's lyrics perfectly captures the spirit of Nagraj Popatrao Manjule's Hindi film directorial debut Jhund. Beneath this sports drama lies an engaging social commentary on the have-nots who barely get a chance to break the shackles imposed on them by the society and fly high in the sky.

What's Yay: Performances, Cinematography

What's Nay: A little tighter grip on the editing scissors would have made the film a little more crispier

Set in Gaddigodam, Nagpur, Jhund begins with Manjule giving us an intimate look at the slum-dwellers there who live from hand to mouth. The youngsters engage in several illegal activities right from chain-snatching to selling illegal liquor. When not smoking drugs, some of them indulge in gambling and pick up nasty street fights.

On the other hand, Vijay Borade (Amitabh Bachchan), sports coach at St John's School and a social worker is on his cusp of retirement. When he comes across a group of slum kids playing football with a plastic barrell on a rainy day, it dawns upon him that he can channelize their hidden talent in the right direction so that they can escape from the dark alleys of crime and addiction.

Vijay slowly befriends them and begins to coach them in the game of football. In the process, the kids discover their life goals and try to become better human beings. But will the other side of their world welcome them with open arms?

If Nagraj Manjule's last Marathi blockbuster Sairat was a classic tale of star-crossed love in the caste cauldron of Solapur, his Bollywood directorial debut Jhund set in the underbelly of Nagpur, raises some pertinent questions on social injustice in the guise of a sports drama.

Inspired by the real-life story of Vijay Borse, social worker and founder of Slum Soccer, Manjule weaves an intriguing narrative with the right dose of emotions and humour. At the same time, he doesn't shy away from his trademark storytelling of using pathos and wit for social critique. Right from the Nagpuri lingo to the easy-flowing dialogues mouthed by the kids, the director gets it all right.

On a broader note, in times when we see how talented not-haves are often reduced to mere viral sensations on social media only to be easily forgotten, Jhund talks about breaking the societal walls and extending hands to help them leap onto the brighter side.

Speaking about the minuses, the screenplay falters a bit in the second half as the pace drops. However, Manjule realizes his folly early and makes up for it with some heart-tugging moments and a brilliantly shot scene at the airport towards the climax.

Performances

It's commendable how Nagraj Manjule, an ardent Big B fan, doesn't fall into the trap of presenting the legendary actor in a larger-than-life avatar and deviating from the narrative of his film. Jhund isn't about Amitabh Bachchan, the megastar. Barring a monologue in a crucial sequence, the veteran actor doesn't get any 'heroic' scenes. But that's where lies the victory of Sr Bachchan, to underplay and easily blend in the world of Vijay Borade.

One of the biggest strengths of Jhund is its brilliant cast. It's not easy to catch attention when you share a frame with the Shahenshah Of Bollywood, but the kids at their natural best, achieve this feat.

Ankush Gedam as Ankush Mehshram aka Don, one of the central characters in the film, delivers an impressive performance. Special mention for Kartik Uikey as Kartik who is gem of a talent and leaves you in splits with his funny liners. The rest of the cast including Babu Chhetri, Saylii Patil, Rehann Sheikh, Arbaj Sheikh, Angel Anthony and others perform with confidence. Kishor Kadam and Chhaya Kadam act their parts well. Sairat fame Akash Thosar and Rinki Rajguru are good in their respective cameos.

Technical Aspects

Besides the stellar cast and Nagraj Manjule's deft direction, Jhund deserves an applause for Sudhakar Reddy Yakkanti's top-notch camera work, that elevates the film by several notches. His excellent use of bright color-palettes adds a vibrant tone to this story about underdogs.

If the title track 'Aaye Ye Jhund' gives you an adrenaline rush with its energetic beats, 'Laat Maar' is inspiring to the ears. Ajay-Atul try to attempt another 'Zingaat' with 'Lafda Zala' but are let down by forgetable lyrics except the hookline. 'Baadal Se Dosti' grows on you slowly.

In one of the most touching scenes in Jhund when the slum kids bare their life stories to Amitabh Bachchan's Vijay Borade, the youngest of them innocently asks him, "Bharat matlab?" For a moment, Borade looks a bit shocked, but dismisses it with a slight smile. Nagraj Manjule's latest outing succeeds more when it is soaked in realism to hit you hard in the gut.

We give 3.5 stars out of 5 for Amitabh Bachchan's Jhund.

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Jhund movie review: Amitabh Bachchan scores a goal in this sports drama with a heart

Jhund movie review: amitabh bachchan plays a football coach who recruits a bunch of kids from the neighbourhood slums for his team..

Can I take the liberty to call Jhund a docu-drama? Or does it have to be labeled differently despite it having numerous elements that are so real and don't bear any resemblance of what we typically see in a Bollywood film? Nagraj Manjule's Jhund tackles and touches upon some key issues in a way that's immersive and impressive.

Sometimes, you don't need a film to impress you in entirety, and there are a couple of portions that stay with you for long, and hit you hard. Jhund has a few of these which are beautifully written, shot and narrated. And indeed heart-touching when you watch them.

Starring Amitabh Bachchan as Vijay Borade --a character based on the life of a retired sports professor Vijay Barse, who founded an NGO called Slum Soccer --Jhund is an entertainer of a different breed. A mix of sports and social drama, the film's is about how Vijay spots a bunch of youngsters in neighbouring slum, playing with a plastic barrel, and their potential to do better in life rather than stay drowned in crimes in Nagpur's underbelly. He builds a football team of underdogs from slums, and in the process, he keeps them off drugs, alcohol, and crimes like chain-snatching. Was all that an easy feat to achieve? What all challenges and struggles he had to face? Was he really able to change anyone's life? This is what the film shows in its almost a three-hour-long runtime.

Whether or not it's a safe proposition in today's time, with OTT platforms offering so much content, to make a film this long is a different discussion altogether. But Manjule, to a large extent, manages to hold audience's attention. There are moments when you feel the story has digressed a bit. And then, soon enough, another gripping scene catches your eye. It's the camera work throughout that spells magic. Full credit to Sudhakar Reddy Yakkanti's cinematography as he chooses to show close-ups of kids, evoking an unmatched emotion. Watch out for an adrenaline rush during those football match sequences.

There's a warm and beautiful scene just before the interval where kids and adults from slums narrate their life stories and not for once do you feel they're reading lines from a script. The Nagpuria dialect is right on-point and bowls you over. Perhaps that's where Jhund scores a goal for me. Another scene which stays with you is towards the climax. Manjule, very metaphorically shows how despite being a 'Don' in your area, when you go out in the world, things are never too easy.

Also read: 83 movie review: Ranveer Singh and his Devils take you time-travelling in this excellent, emotional film

However, there's inconsistency in the film's pre and post-interval narrative. While the first half is tight and keeps you intrigued for most part, the second half just falls all over the place as the social drama part takes over. Thankfully, it's not laced with multiple monologues from the protagonist. Even the humour that was quite organically peppered in first half, suddenly vanishes in the second, as focus shifts to issues like class divide, poverty, women's education, gender disparity et al.

Talking of the sports sequences in the film, there are several deja vu moments when you watch the team in action on the football field. You're reminded of highlights from Lagaan, Chak De India, Dangal, Sultan and many more and there's no novelty there. They're exciting to watch, no doubt, but you doesn't surprise you with anything different. Nonetheless, none of this would have meant anything if it was not for Amitabh Bachchan's screen presence. At 80, seeing him pull off this kind of a role is spectacular to say the least. He owns every frame he appears in onscreen and leaves you asking for more. The camaraderie and comfort he is shown to have with the kids moves you. And not for once does he try to overshadow the team he is coaching. Each kid in that team gets their moment to shine. Manjule's actors from Sairat--Aakash Thosar and Rinky Rajguru--have smaller parts in the ensemble cast but lend a noticeable support to the story.

To sum up, Jhund is not and should not be looked at as a sports biopic. It shows you real issues and what goes behind the scenes when you try to accomplish something that everyone says you can't.

Jhund Director:  Nagraj Popatrao Manjule Cast: Amitabh Bachchan, Rinku Rajguru and others

• Amitabh Bachchan
• Movie Review
• Nagraj Manjule

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‘Jhund’ review: A feel-good saga with a strong reality check

Nagraj manjule’s hindi-language debut is headlined by amitabh bachchan..

The doyen with the imposing frame and the familiar baritone is called to the mic to address a crowd. He mumbles a few words and retreats into a corner.

A tongue-tied and retiring Amitabh Bachchan as a character named Vijay? Nagraj Manjule’s Jhund is all about upending expectations. The Marathi director’s first film in Hindi takes Bachchan to the slum and treats characters from the slum like movie stars.

Bachchan has played Vijay (and even “Viju”) in over 20 productions. The Vijay of Jhund modestly enters the narrative well after other angry young men (and women) have been introduced. Vijay stays there throughout as talisman rather than superman, mortal even in his saintliness, easing matters along with understated heroics.

Jhund has been inspired by Vijay Barse, a social worker from Nagpur whose non-profit organisation Slum Soccer trains disadvantaged youngsters in football. One of Bachchan’s most celebrated films, Deewar , is a reference point for the wall that stands between the slum and an elite school.

The slum residents might strut about as though in a hip-hop music video and are always quick with one-liners and comebacks. But these gully boys and girls, who steal and pilfer to survive, are going nowhere fast except perhaps to prison. Vijay’s persistence gives the ragtag group higher purpose.

To a conventional plot about the emancipatory ability of sport, Nagraj Manjule brings his customary unvarnished realism, caste concerns and empathy for marginalised Indians. The pre-interval section has the most rousing portions, which movingly capture the pathos behind the chest-forward swagger.

Even as the feisty footballers score literal and metaphorical goals in their favour, Jhund never neglects the precariousness of their impoverished lives. Cinematographer Sudhakar Yakkanti Reddy, production designers Singdha Karmahe and Pankaj Shivdas Poal, and costume designers Priyanka Gayatri Dubey and Mahananda Sagare reveal the sheer density and cheerful anarchy of the slum setting with minimal flourish and a keen eye on the rhythms of the docudrama.

Every one of the slum residents is vividly realised, whatever the length of their role. The sheer diversity in representation and energy of the mostly non-professional cast electrify even ordinary scenes.

Jhund eventually becomes the story of Don, a ponytailed small-timer with the attitude of a marquee idol. Ankush Gedam brilliantly plays Don with head and heart, taking his place as the film’s other hero.

Among those who benefit the most from connecting feet to a football are the mullet-headed motormouth Babu (Priyanshu Kshatriya), the gender-fluid Kartik (Kartik Uikey) and mother-of-three Rajiya (Rajiya Kazi). The film is a reunion of sorts for actors from Manjule’s previous films.

The cast includes Somnath Awaghade, who headlined Manjule’s searing debut Fandry (2013), and Akash Thosar and Rinku Rajguru , the star-crossed couple from Manjule’s blockbuster Sairat (2016). Thosar is nicely cast against type as a hoodlum who crosses Don’s path.

Suresh Vishwakarma, who also appeared in Sairat , has a vital cameo in Jhund. Vishwakarma’s character provides Monika (Rajguru) with a crucial piece of paper that allows her to apply for a passport. The grimly funny sequence satirises the Kafkaesque ways of Indian bureaucracy apart from underscoring the idea that every Indian counts.

As characters and events begin to crowd the screen, Jhund gets visibly unwieldy and clunky. Manjule could have said all that he wanted to say with a shorter runtime, but he indulges himself to the film’s peril. Jhund lumbers on for 178 minutes, but it didn’t have reason to.

Several noteworthy actors are wasted in walk-on parts, including Kishor Kadam and Chhaya Kadam. The romantic tension between Don and the affluent student Bhavana (Sayli Patil) barely works in a film that’s always more convincing dishing out the dirt rather than the pixie dust.

The rainbow coalition includes Dalits, Muslims and the disabled. Bachchan salutes BR Ambedkar in a scene. Vijay’s mission fulfils at least two conditions in the Dalit icon’s clarion call to his community: to educate and organise. But the third condition, to agitate, goes missing once Jhund assumes the vanilla flavour of the feel-good film.

The subversions are always more memorable than the imperative to stick to a box office-friendly template. The theme of fair representation goes all the way down to the equal weightage given to a heavyweight lead actor and a band of unknowns.

If Vijay gently lades out the heroism, Don, Babu and the rest supply the reality check that is often missing in films of this type. When Vijay eventually makes his big speech, it’s stated rather than declaimed, a plea by a film character rather than a sermon by a screen god.

Bachchan delivers one of his most relaxed and charming performances – the grace note in a rumbustious symphony staged in a football field that turns out to be a lot like Indian democracy itself.

Nagraj Manjule: ‘My aim is to say something without forcing it on people’

• Jhund movie review
• Nagraj Manjule
• Amitabh Bachchan

Jhund Movie Review: Nagraj Manjule, Amitabh Bachchan join forces to kick the ball over the wall

Rating: ( 3.5 / 5).

Around the halfway point of Jhund , the street children narrate their stories to each other and an empathetic Vijay Borade (Amitabh Bachchan). Babu, the loudest and most boisterous of them all, kick starts the storytelling with the most compelling cold open. He says, fighting back his emotions with a forced smile, “No one has really asked me a simple ‘How are you?’ and since you are asking, I’ll tell you my story.” Then, we hear stories of the other kids and most of them have the common theme of trying to overcome being invisible among a sea of people. And then, in a masterstroke by filmmaker Nagraj Manjule, a banjo performance by one of the kids is used as a device to drown out the stories and we just look at them animatedly narrating their lives. We might not know the specifics of their stories, but we know how it starts and ends. We have always known them, but a lot of us never really paid heed to them. It is almost like we never heard past the din of our own lives to listen to the stories of the “others”. And what’s the music that is played on the banjo to drown out these stories? “ Saare jahaan se acchha… hindustan hamaara… ” Well… it is almost like Nagraj and his actors are asking out loud if it really is a Bharat that is ‘hamaara’? 

Cast: Amitabh Bachchan, Ankush Gedam, Akash Thosar, Rinku Rajguru

Director: Nagraj Manjule

Jhund is a biopic of sorts of Vijay Barse, who founded Slum Soccer at the turn of this millennium, in his attempt to rehabilitate the children of the jhoppadpattis, and wanted to show that sport is indeed the greatest leveller. In Jhund , however, the focus is on the children he coached rather than the coach himself. We are gradually acquainted with the life and times of Don (Ankush Gedam) and Co who are given the rawest of deals by life and the system. We see how they risk their lives running atop trains to steal coal. We see how a bunch of them resort to chain snatching and phone snatching. We see how being subjected to humiliation is a way of life, and even the faintest of retaliation is stamped out of them by the higher powers. In between all this, Amitabh Bachchan’s Vijay hands them a football and asks them to kick it around. The casting for these characters is brilliant because the non-actors breathe life into what are template characters often seen in underdog films. It is the novelty of seeing them play extensions of their reality that turns out to be the highlight of a film that does resort to cliches but knows how to cash in on them. This choice makes a lot more sense because the presence of Amitabh Bachchan already lends the film much-needed gravitas. Right from the moment he saunters into the film, we see him shadowing over it. So, both him and Nagraj purposefully downplay him, and barring an emotional meltdown at the courtroom in the final act, we have a rather restrained Amitabh Bachchan just nudging along things from the periphery rather than placing himself at the centre.

In fact, for a football film, there is actually very little actual football in the film. After the rather Chak De India -esque pre-interval sequence (it is a hoot) with the jhopadpatti team and the posh college team in the same neighbourhood, Nagraj decides to take the pedal off the gas. He decides to show how the othering of these communities robs them of things that are basic to the rest. Right from running from pillar to post for getting the required documents for being assigned a passport to escaping the suspicious and prying eyes of law enforcers who see these kids more as delinquents and less as… well, people with aspirations. 

Nagraj doesn’t really paint a glossy picture about the life and times of the people in the jhoppadpattis. There is no “our lives are in penury, but we lead fulfilling lives” trope that is often seen in such films made by less-sensitive filmmakers. There is the showcase of how a lot of these children resort to a path of crime and violence in these slums. But this matter-of-fact approach, enhanced by the visual language of DoP Sudhakar Reddy Yakkanti, isn’t without the gaze of sensitivity. Even the one kid who wants to grow up to become a murderer because he will gain respect is the one who talks his friend out of committing the same crime. These children are often shown that the grass is greener on the other side of the wall that separates them from the “developed” part of society. But they don’t see it that way because there is not even a hole in that proverbial wall to give them hope of a better tomorrow. But, when a football-sized hole is drilled through it courtesy their repeated kicks at it, the kids begin to dream. The romantic angle might seem far-fetched, but love, like dreams... has no logic. We have settled for far less convincing love stories in many star vehicles over the years, and more importantly, this angle isn't really that far-fetched. Even in this romantic angle, the guy's dreams have limitations. Imagine that. 

Jhund tries to show how fair opportunities, and a path with fewer obstacles are enough for the oppressed to make their way in this world. With a few telling scenes, Nagraj establishes how the othering of the oppressed happens with the slightest of things that slowly become a way of life rather than systemic oppression. In fact, every success, however minuscule it might seem, is something that happens through the efforts of the jhoppadpattis. Yes, the system comes to felicitate them at the last leg of their struggle, but till then, it remains a silent spectator, and at times, even a seemingly insurmountable obstacle. These struggles, coupled with the rousing score of Saket Kanetkar, and the thumping numbers of Ajay-Atul, add adrenaline to the already pumped up proceedings that lead to triumphs.   Unlike his previous works, Fandry and Sairat , Nagraj Manjule doesn’t really want to leave any open-ended questions or have any subtlety in his expositions in Jhund . Here, every single element is carefully explored and the machinations of it are laid open for unadulterated comprehension. Instead of pointing us towards the direction of awareness, Nagraj holds our hand and takes us along the tunnel, and shows exactly where the light is. He wants the ones who have reached the end to not completely block the light out for the ones who are still forced to struggle to make their way into the tunnel. The jhund will eventually make its way to the end, for sure… but the question is, do we stand by them, or against them?

Well... there is just one right answer. 

Jhund Review: A Bit Bollywood-ised, but Still a Great Hindi Debut by Nagraj Manjule

Nagraj Popatrao Manjule ’s  Jhund isn’t anything like I expected. Firstly, it is not your regular sports drama. Yes, it is about a sport and the journey of a team of amateurs towards an international tournament. However, the composition of the team — a complicated bunch of kids from a slum in Nagpur — makes the journey here end where most sports biopics with upper-caste protagonists begin. This narrative choice alone highlights everything wrong with this country. But when a kid casually asks, ‘ Bharat matlab ?’, the viewer is made aware of the heartbreaking reality that estrangement goes both ways.

Ankush Masram (Ankush Gedam) is a hot-headed teenager who, along with his group of friends, does odd, illegal, and risky jobs to make a living. Vijay Borade ( Amitabh Bachchan ) is an about-to-be-retired physical educator nearby. He also lives in the neighbourhood, but a giant wall separates both worlds. He chances upon the kids playing football with a jar while trying to shelter himself from the rain. We aren’t explained why he takes such interest in them. Maybe it’s his impending retirement, but he does, and the rest is the movie.

I was not particularly impressed by Bachchan’s performance. His speech at the court, too, feels forced and beyond the point. But I understand the relevance of that casting choice. If anyone can personify Bollywood, it is Bachchan. Having him move around unfamiliar terrains and thematic territories perfectly parallels Manjule’s entry into Hindi cinema. Bollywood is the coach that one day decided to look beyond the wall. And I wish I could say Manjule is as unintimidated as the kids, but he isn’t. I knew that Manjule would rub off on Bollywood, but I didn’t expect Bollywood to get into his mind. He is still the director with a vision – ‘ Talakh Talakh Talakh ‘ shouts a Muslim woman when her husband tries to threaten her – but his message is a bit diluted, like the saffron shade on the shirts worn by men looking for a fight saying, ‘ Ghar mein guske maarenge .’

This isn’t to say that the film lacks a moral compass; it doesn’t. The whole subplot concerning Rinku Rajguru ’s Monica is about the government asking people for papers they are never given. ‘A Digital India’ board standing uselessly as the girl and her father try to find a “big man” who can vouch for their whereabouts. The joyous abundance with which the kids celebrate Bhim Jayanthi is a miracle in itself for a Hindi film.

Jhund doesn’t lack humour either. The kids are played by a bunch of natural actors who steal the show. The scene where an adult film reminds them of football is small yet delightful. So is this amusing dialogue, “ Hitler bhai, Jai Bhim .” So many things are wrong and right with it. It’s marvellous.

Manjule’s previous films are, even if cinematic and dramatic, detailed and exact. Everything has its place, and nothing is redundant. Here, though, you miss the precision. Vijay’s son is displeased with his father’s charitable spending. He leaves the country, and then he comes back changed. Why or how; we aren’t told. Not just that, the documentary-style exposition, before the interval block, meant to familiarise us with the kids, does the exact opposite. They were flesh and blood until then, and that device turns them into a checklist of stories. I understand that the filmmaker wanted to discuss reality through them, but the issues with the screenplay become apparent.

Cinematographer Sudhakar Reddy does a great job while capturing the predictably unpredictable match, and in establishing the dynamics of the slum and the neighbourhoods around it as well. The camera tracks the landscape and, while doing so, also shows the way one part treats the other. The affluent locality throwing their waste into the slum is both a literal and symbolic representation of a world that’s rotten to its core. The production, too, does a great job creating a believable world. After a point, you stop fact-checking the details, and instead, let the surroundings guide you into the story. Ajay-Atul’s music doesn’t always flow seamlessly, but it adds energy, much needed for an unnecessarily extensive film.

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Jhund ends with a plane taking off. The camera is looking up, standing beside a wall that prohibits anyone from crossing it. What of people flying above it? It doesn’t say. This frame perfectly encapsulates Manjule’s  Jhund . The film doesn’t pretend to solve a problem as deep-rooted as caste. The basthi is still there, and so is the wall. Yet he tries to focus the gaze towards the sky, providing his characters with an escape, however brief, and leaving his audience hopeful without erasing the reality. For that, I was thankful.

This Jhund review is a Silverscreen original article. It was not paid for or commissioned by anyone associated with the movie. Silverscreen.in and its writers do not have any commercial relationship with movies that are reviewed on the site.

Jhund Review: Amitabh Bachchan starring sports drama is an ode to the game of life

Simran Khanna

• March 5, 2022
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Movie : Jhund

Director: Nagraj Manjule

Cast: Amitabh Bachchan, Akash Thosar, Rinku Rajguru, Kishor Kadam, Tanaji Galgunde, Somnath Avghade

Bollywood Bubble Rating: 3.5

Jhund begins by showing the obvious divide between the haves and the have nots but in a literal manner. The divide between the slum and the urban is built with an iron-clad fence. Nagraj Manjule has brought the emotion of this discrimination through these heart touching visuals. While the Amitabh Bachchan starrer is a sports drama but the plotline runs deeper than that. Jhund is more about uplifting the underdogs and making them outshine in any way possible.

  View this post on Instagram   A post shared by Amitabh Bachchan (@amitabhbachchan)

Amitabh Bachchan is seen playing Vijay Borade, the character is based on Vijay Barse who was a retired sports professor. He had formed an NGO Slum Soccer. The cinematography will make you float through the lanes of the slums while you form a heartwarming connection with the place even though crime lurks in the shadows. The movie begins with Amitabh Bachchan’s Vijay close to retirement from his job but he is in no mood to give up his profession just yet. While he is facing some resistance from his son and also plans to take up adult education classes, kids in the nearby slum get a hold of his attention with their impeccable football skills. Borade begins to coach these kids who are entangled with their personal issues like drugs and crime. But will they give up the darkness to light up their future?

Nagraj’s writing and directing plays between a slow and fast-paced screenplay. While the first half keeps you gripped with the nail-biting football kicks and the second half brings you to the edge with the life of the kids which is running high on drama. Every character has got their own spotlight and their plotlines get equal screentime. Jhund shows that sports is just not an escape, it is the route to a brighter dawn. While most sports drama is high on adrenaline and making the underdog the winner, Jhund focuses on a wider perspective like caste, privilege and much more.

Amitabh is gentle and patient with a bunch that can easily get on your nerves, fry them and won’t even turn back. But it would be unimaginable to have any other actor lead this plot. But what the beautiful writing and direction of Manjule does is that the movie is just not Big B’s it is just as much of Don, Baba, Razia and all the other kids as well.

Jhund will open your heart and put it back together in a much more beautiful way bringing about much-needed changes in perspective.

Also Read: Gangubai Kathiawadi REVIEW: Alia Bhatt is magnificent and deliciously reckless as Sanjay Leela Bhansali’s heroine

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Based on the life of Vijay Barse, a retired sports teacher who founded an NGO called Slum Soccer. He managed to rehabilitate street kids by keeping them off drugs and crime by turning them i... Read all Based on the life of Vijay Barse, a retired sports teacher who founded an NGO called Slum Soccer. He managed to rehabilitate street kids by keeping them off drugs and crime by turning them into soccer players and building a whole team. Based on the life of Vijay Barse, a retired sports teacher who founded an NGO called Slum Soccer. He managed to rehabilitate street kids by keeping them off drugs and crime by turning them into soccer players and building a whole team.

• Nagraj Manjule
• Amitabh Bachchan
• Ankush Gedam
• Babu Kshatriya
• 521 User reviews
• 19 Critic reviews
• 1 win & 6 nominations

• Vijay Borade
• Ankush Masram
• Rajiya Bahwan
• (as Jaspreet Singh)
• All cast & crew
• Production, box office & more at IMDbPro

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• Trivia Amitabh Bachchan slashed his acting fees in half for this movie as it was a smaller film and faced production issues. He told producer, Sandeep Singh to put that money into the film itself, to enhance it's look and feel even more.
• Alternate versions The UK release was cut, the distributor chose to make changes to the film in order to obtain a 15 classification. A sequence of solvent abuse was removed. An uncut 18 classification was available.

User reviews 521

• prathameshbarde
• Mar 4, 2022
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• March 4, 2022 (India)
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• Runtime 2 hours 56 minutes

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Nagraj Manjule's Jhund, Streaming on Zee5, Loses Itself Somewhere Between Caste And Cast

Director : Nagraj Manjule Writer : Nagraj Manjule Cast : Amitabh Bachchan, Kishor Kadam, Ankush Gedam, Arjun Radhakrishnan

A familiar football match concludes the first half of the 178-minute-long Jhund . The underdogs v/s the elites. It brings to mind the pre-interval game of Chak De! India , where the ragtag Indian women's hockey team take on their famous male counterparts. Sexism makes way for casteism in Sairat director Nagraj Manjule 's first Hindi film: The ragtag team of Nagpur's Dalit slum teens take on their affluent college-going counterparts. It's an away game for the raw "Gaddi Godam" gang: on the other side of the fence, in manicured college grounds. The superbly choreographed match follows the same beats: they get destroyed in the first half before launching a spirited comeback in the second. The Chak De women win hearts as well as a sponsored trip to the World Cup; a single cut later, they're in Australia. The Jhund teenagers win hearts and eventually qualify for the 'Homeless World Cup' in an unnamed country – but Jhund is more concerned with the contents of that single cut. It is, in form, a sports biopic that's more concerned with the pragmatism of playing. For the India of Manjule's movies, reaching that airport is the real sport. Making the flight out is the real tournament. Recognition here is not the fruit of talent but the root of living.

Most of the second half, then, deals with the logistics of being seen rather than the trials of triumph. The best footballer is on parole after a gang war, so he faces police verification problems during the processing of his passport. A girl from rural Maharashtra learns that she needs a local identity card – an identity – before even thinking of applying for subsequent visa documents. A young Muslim mother of two is in the middle of a marital spat, so her papers are with her husband. The coach – a retired college professor – struggles to raise funds, gets mocked by politicians, puts up a kid's bail and fights a court case in between. His Vijay is no more an angry young man but a wise old man. This is not Chak De! India but Hak De, India. Escaping those margins is harder than erasing them.

This is all very thought-provoking – but only on paper. The screen is another ballgame. At no point does this translate into an engaging viewing experience. The film goes on and on and on, as if to imply: If you find it so tiring to watch, imagine how tiring it is to be them. The film has no primary narrative, which is fine in terms of depicting the plurality of caste discrimination and cultural oppression. But the result is also a disjointed, distracted and self-indulgent story that isn't half as organized as Manjule's Marathi features ( Fandry , Sairat ). If Jhund were a person, it would be very unhappy that it's not an octopus instead. It wants to be everywhere at once: a vignette-y sports biopic, a commercial docu-drama, an Amitabh Bachchan tribute, a City of God -style ghetto thriller, a social-message entertainer, a Gully Boy -ish origin story.

Several little films and disparate genres seem to be stitched together in an effort to mean something. You sense Manjule's vision is necessary and important – especially within the context of commercial Hindi cinema's notorious caste blindness – but the realization of those ideas lacks rhythm. Picture this: Moments after the riveting football match, we see the players crammed into the professor's living room and narrating their stories straight to the camera. Some of them break into tears. The objective is to take us out of the "cinema" of it all and remind us that these are not just non-professional actors but flesh-and-blood people. But the image of Bachchan listening to them with an extra-attentive Aamir-Khan-in- Satyamev-Jayate face just doesn't sit right. It's like the director has plonked a superstar into the setting for reach alone: If Amitabh Bachchan is learning, so can you. If Amitabh Bachchan is pondering every night and using his privilege, so can you. Towards the end, after resisting a trademark monologue at his own retirement ceremony, Professor Bachchan finally lets it rip in a courtroom. It feels inevitable. He breaks the fourth wall, looking straight into our eyes during his TL;DR speech, agonisingly asking us, "kya jeena apradh hai?".

It's almost as though the director is unclear about whether to let Bachchan take a backseat for the sake of the team – much of the first half features the man's reaction shots from the sidelines – or use him as the booming voice of the oppressed. His character, Vijay Borade, is modeled on Vijay Barse, the real-life founder of an NGO called Slum Soccer. But unlike in the similarly-themed Aarakshan or the spiritually identical Pink , this is a curiously inert performance; the veteran actor seems to be stuck in a film that's both star-struck and satisfied with his mere presence. It's tough to be Amitabh Bachchan and not steal the spotlight, so the compensatory tactic of making Vijay all subdued and mysterious feels awkward. We end up knowing very little about his motivations, life, family (wife is stoic support, Columbia-alum son is on his own Swades arc, I swear I saw a daughter too) and overall personality. What gets him so invested in this particular slum after all these years? Is a single kick in the rain enough to pique his curiosity? Is he looking for a post-retirement purpose? Why does he want to rescue them from a future of crime and drugs? Does nobody think that an old man paying 500 bucks to a teen gang everyday to "play football in front of me" is creepy? I get that Jhund , unlike Chak De , isn't about the coach. It's about the team; the coach is just a medium. But it's the casting – not so much the caste-ing – that raises questions.

Jhund Music Review: Rage Against The Machine

I wonder if Manjule's vision has been compromised by the pressure of making a 'Bollywood' film. It would be ironic, given that Sairat 's genius lay precisely in its power to fetishize the mainstream palette and reveal the caste behind the curtain. Here it's not subtext but blatant text. The camera designs entire sequences around Babasaheb Ambedkar portraits, there's an elaborate Zingaat-style slum celebration on Ambedkar Jayanti, and Jai Bhim greetings are exchanged loud and clear. The disenfranchisement feels a bit exoticized: the script derives comedy, as opposed to humour, from the attitude of the teens. They're looked at through the lens of the professor and, by extension, the average multiplex viewer – with wonder, fascination and an urge to rehabilitate. There are other narrative symptoms, too. A kid falls off the train and dies. Another is on the run from the cops after slitting his rival gang with a blade. Emotions are running high. Yet, all of this gets lost in a broad montage about a national slum football tournament, which invites "zopadpatti" players from all over the country (cue, state-wise shots) only so that they can litter the Nagpur college, invite the wrath of the upper-caste principal, and then redeem themselves by cleaning up for the sake of their professor. If this is confusing to read, imagine how disorienting it is to see. Not even an Ajay-Atul soundtrack can streamline the scattered swag.

The odd sparks of brilliance make it more frustrating. The final ten minutes are haunting, but not in the way you expect. Actors from both Fandry and Sairat appear in bit roles here, teasing a recurrence of darker themes. A blade is bought, with a character on the verge of a murderous spiral. A tragedy seems around the corner. Similarly, a rich college girl gets into a flirtatious only-glances-and-texts relationship with Ankush, the 'hero' of the lot. You expect this little sub-plot to detonate at some point, the tension mounting with each sighting. A climactic airport dash has both of them, but it isn't about love – a simple metal detector becomes a profound metaphor for self-realization. The first two films of Manjule become red herrings, subverting our perception of what it means to emerge before rising. Then there are the younger performers (especially Ankush Gedam; the only one with an arc), who do a remarkable job of being themselves in a medium that is conditioned to appropriate them. The little touches during the match – their celebrations, spats, one-liners, banter, a senile old spectator doing his best Tinnu-Anand-in- Agneepath impression – allow the film to freewheel into textural spaces.

But Jhund does not do well by them. It keeps expanding horizontally instead of growing vertically, adding instead of merging. I don't usually comment on the length of films, but at least Sairat 's duration thrived on the duality of language. In expecting the audience to feel the height of the caste ladder, Jhund jumbles up its statements and meanders with unconvincing resolve. Some Hindi films, like Sardar Udham , are challenging to watch but riveting to reflect on. Others, like Gangubai Kathiawad i, are riveting to watch but hollow to reflect on. Jhund is in no man's land – largely challenging to watch and intermittently challenging to reflect on. That's not an ideal combination. Movies aren't made on paper. A scene never ends; it ceases to continue. A single cut can contain months of struggle and unglamorous striving. Yet, for all its ambition, Nagraj Manjule's Jhund feels like the unkindest cut of all.

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Jhund Review

Average Ratings: 3.31/5 Score: 71% Positive Reviews Counted:10 Positive:6 Neutral:2 Negative:2

Ratings: 3.5/5 Review By: Taran Adarsh Site: Twitter

Sairat director #NagrajManjules first #Hindi outing is not just a sports drama – peppered with terrific moments – but also tackles real issues that hit you hard€¦ #BigB is spectacular, #Shahenshah among actors. The deterrents here are its run time [almost 3 hours] and inconsistent pace€¦ #Jhund may/may not appeal to the mainstream audience, but heres a film that speaks its mind and eventually, stays in your mind€¦ You need a strong stomach to absorb this one!

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Ratings: — Review By: Anupama Chopra Site: Filmcompanion

Jhund is an unwieldy film but its not a forgettable one. Take the track of Rinku, who plays a village girl without any identification who must somehow get a passport made. The rounds that she does with her father, going from one place to another, to somehow prove herself a legitimate citizen, is Kafkaesque, darkly funny and awful. At one point, her father exclaims: aadmi ki koi keemat hi nahin.Its these moments of tough truth that give the film its power.

Ratings: — Review By: Komal Nahta Site: Zee ETC Bollywood Business

On the whole, Jhund may have its heart in the right place but thats not enough to set the cash registers ringing. The film will win more critical acclaim than box-office rewards. Flop. It will do slightly better in pockets of Maharashtra.

Ratings: 3.5/5 Review By: Rachana Site: Times Of India

One of the centrepieces of the film is the subtlety with which several issues including caste divide, societal judgements, class difference, economic difference and womens education and rights are interspersed into the screenplay. The downside is that some of these issues divert the attention of the proceedings, breaking the overall rhythm of the story. To sum up, this ones a dramatic sports film, which may not have thrilling moments around every corner for you but the point it tries to drive home will definitely kick your insides hard.

Ratings: 4.5/5 Review By: Saibal Site: NDTV

Jhund releases its coiled-up energy a joule at a time as it glides towards an airport security check sequence that constitutes the film’s climax and conveys in a nutshell the plight of the powerless as well as the possibility of a game-changing pushback.

Ratings: 2/5 Review By: Shubhra Gupta Site: Indian Express

Finally, Jhund is an overlong meander, its sporadically alive moments doused in the most generic beats of the sports-as-upliftment movie. The best intentions do not always a good film make.

Ratings: 3.5/5 Review By: Sukanya Site: Rediff

Jhund revolves around football, but it does not build itself around a thrilling match. Sometimes the greatest goal a man can score is to toss the knife in the trash can.

Ratings: 2/5 Review By: Anna Site:Firstpost

After a while, Jhunds shot at true-to-life realism becomes self-indulgent to the point of being dull. Manjule seems to be trying to achieve a hybrid of fictionalised reality, realistic storytelling, a deeply observational mode and a documentary-like flavour in Jhund but is unable to get there.

Ratings: 3.5/5 Review By: Shubham Site: Koimoi

This is a film that wants your attention and once it has it, there is no looking back. Amitabh Bachchan is amazing, Nagraj Manjule is at his best and so is everything around them. You must go for this one.

Ratings: 4/5 Review By: Hungama Site: Bollywood Hungama

On the whole, JHUND is a superb social entertainer, with Nagraj Popatrao Manjule’s writing and direction, and the performances being its core strengths. At the box office, it has the potential to grow significantly as the word of mouth is bound to be very positive. It also deserves tax-free status. Recommended!

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Jhund Plot:

Based on the life of Vijay Barse , a retired sports teacher who founded an NGO called Slum Soccer. He managed to rehabilitate street lower caste kids by keeping them off drugs and crime by turning them into soccer players and building a whole team.

Jhund Release Date:

Mar 4, 2022 ( India) straight to Theaters

Jhund Cast:

Amitabh€‰Bachchan Akash Thosar Rinku Rajguru

Jhund Director:

Nagraj Manjule

Jhund Producer:

Bhushan Kumar Krishan Kumar Raaj Hiremath

Rajeev Masand Reviews are awaited for this Web Series

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Next Goal Wins (Inglês) Crítica do filme: NEXT GOAL WINS é um filme divertido, baseado em um evento real

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Oscar Kightley https://www.bollywoodhungama.com/celebrity/oscar-kightley/

Kaimana https://www.bollywoodhungama.com/celebrity/kaimana/

David Fane https://www.bollywoodhungama.com/celebrity/david-fane/

Casa Raquel https://www.bollywoodhungama.com/celebrity/rachel-house/

Divida o Koale https://www.bollywoodhungama.com/celebrity/beulah-koale/

Elizabeth Moss https://www.bollywoodhungama.com/celebrity/elisabeth-moss/

Uli Latukefu https://www.bollywoodhungama.com/celebrity/uli-latukefu/

Taika Waititi https://www.bollywoodhungama.com/celebrity/taika-waititi/

Rede de notícias de Bollywood Hungama https://plus.google.com/+BollywoodHungama

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Próxima meta ganha (inglês) Avaliação {2,5/5} e avaliação da avaliação

PRÓXIMOS OBJETIVOS GANHA é a história de um treinador treinando um 'time de perdedores'. Em 2001, o time de futebol da Samoa Americana sofre uma derrota humilhante depois de perder por 31-0 para a Austrália. 10 anos depois, em 2011, o cabeça quente Thomas Rongen ( Michael Fassbender ), é convidado a ingressar como técnico da Samoa Americana pela American Soccer Association. Sem outra opção, ele aceita o trabalho com relutância; caso contrário, ele teria sido demitido. Seu objetivo é fazer com que a Samoa Americana tenha um bom desempenho nas eliminatórias para a Copa do Mundo de 2014, marcadas para três semanas depois. Mas a Samoa Americana está na última posição do ranking mundial. Desde a sua criação, nunca marcou um único gol. Thomas fica frustrado ao perceber que falta disciplina e técnica ao time para jogar. O que acontece a seguir constitui o resto do filme.

PRÓXIMOS GOLS WINS é baseado em eventos reais. A história é fascinante. O roteiro de Taika Waititi e Iain Morris é simples e leve. Os roteiristas apimentam o filme com muitos momentos engraçados e também algumas cenas comoventes no final. Os diálogos são coloquiais e também hilariantes.

A direção de Taika Waititi é bacana. Ele mantém o foco na história e também não entra em uma espécie de zona biográfica, ou seja, a história foca apenas no desempenho da Samoa Americana na partida de 2011 e como eles se prepararam para isso. Portanto, a duração é controlada em 104 minutos. O quociente de humor funciona muito e é divertido ver o treinador ficando frustrado ao tentar ensinar o jogo aos jogadores. Há também uma linda mensagem no final.

Por outro lado, os produtores criaram grandes expectativas com o padre (Taika Waititi) garantindo aos espectadores desde o início que eles não conseguirão acreditar que os acontecimentos mostrados no filme aconteceram na realidade. Embora o evento seja inspirador, não é tão inacreditável quanto foi prometido. O filme estagna no meio e também lembra filmes como CHAK DE INDIA (2007), JHUND (2022) etc.

Falando em atuações, Michael Fassbender é excelente e apto para o papel. Oscar Kightley (Tavita; presidente da Federação de Futebol da Samoa Americana) é adorável. Kaimana (Jaiyah) é muito bom como jogador transgênero. Sua faixa adiciona um toque agradável ao que está acontecendo. David Fane (Ace; treinador anterior), Elisabeth Moss (Gail; ex-mulher de Thomas) e Semu Filipo (Rambo; policial) deixam marca. Uli Latukefu (Nicky Salapu) é apresentado de forma heróica, mas não tem muito o que fazer. Beulah Koale (Daru Taumua) e Ioane Goodhue (Smiley) não têm muito alcance.

A música de Michael Giacchino é apropriada. A cinematografia de Lachlan Milne é espetacular. O fotógrafo captura lindamente a vida cotidiana da ilha. O design de produção de Ra Vincent é realista. Os trajes de Miyako Bellizzi são autênticos. A edição de Nicholas Monsour é inteligente.

No geral, NEXT GOAL WINS é um filme divertido, baseado em um evento real. No entanto, devido ao atraso no lançamento na Índia e às semelhanças com CHAK DE INDIA e JHUND, o filme pode não encontrar muitos compradores na Índia.

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Kalki 2898 AD: Amitabh Bachchan stands amidst the battlefield with fallen soldiers in new poster dropped ahead of trailer release, see photo

The makers of the film unveiled a new poster featuring Amitabh Bachchan on Friday in his role as Ashwatthama.

Excitement for the upcoming sci-fi epic Kalki 2898 AD is reaching a fever pitch as the trailer release date is finally set for June 10, 2024. The makers of the film unveiled a new poster featuring Amitabh Bachchan on Friday in his role as Ashwatthama.

The poster portrays a battle-ready Bachchan, wielding his Astra (weapon) and adorned with a divine gem on his forehead. Standing amidst a battlefield with fallen soldiers and a colossal vehicle in the background, the poster hints at the intense and action-packed nature of the film. The caption, “His wait is ending… 3 days to go for #Kalki2898AD Trailer, Out on June 10th,” adds to the growing anticipation.

  View this post on Instagram   A post shared by Vyjayanthi Movies (@vyjayanthimovies)

This trailer release comes after the successful launch of the prelude titled Bujji & Bhairava on Prime Video. This prequel series offered a tantalizing glimpse into the world of Kalki 2898 AD , further whetting the appetites of fans eager to delve deeper into this futuristic saga.

Announcing the trailer launch on their official social media handle, the film's team declared, “A new world awaits. #Kalki2898AD Trailer on June 10th.” This announcement was accompanied by another captivating poster showcasing Prabhas, who plays Bhairava in the film. The poster depicts him standing tall on a mountain peak, with the words “Everything is about to change” emblazoned across it, hinting at the transformative events that will unfold in the movie.

Kalki 2898 AD boasts an all-star cast including Amitabh Bachchan, Kamal Haasan, Prabhas, Deepika Padukone, and Disha Patani.

Directed by Nag Ashwin and produced by Vyjayanthi Movies, Kalki 2898 AD promises to be a visual spectacle. The film is scheduled for a worldwide release on June 27, 2024.

ALSO READ: Kalki 2898 AD: Trailer of Prabhas starrer to be out on June 10

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