Tuesday, September 18, 2018

Love Sonia Movie Review


Love Sonia Movie Review






Love Sonia Movie Cast: Mrinal Thakur, Richa Chadha, Frida Pinto, Manoj Bajpayee, Anupam Kher, Adil Hussain, Sai Tamhankar
Love Sonia film director: Tabez Noorani
Love Sonia movie rating: 2.5 / 5.00 stars

My reaction after watching the movie


My initial expectation from Tabrez Noorani's Love Sonia was that it may be 'socially conscious message pictures' which all general people are not ready to appreciate. This film is a story of a girl from the Maharashtrian village, caught in the global sex trade network. It beautifully shows how this profession operates at many layers mainly as the organized business. This is a film that does not leave you the brutality of the truth, but it manages to poetic at the same time. In the past also the movies on this subject have been made, but they do not involve the audience with them and they offer the subject matter in such way that does not force us to think anything and be easily digestible.
The film raw power overwhelmed the audience and the audience applauds the talent to showcase the film in such a narrative, even after ending of the film audience leaves the cinema hall very silently. During watching the film you feel what the central character that young, school girl, Sonia goes through physically and what she experiences during the whole journey.


The Film clearly describes the total loss of innocence of childhood and how she faces the hard reality of life in a most unexpected way. While watching the film you experience that something is dying you inside as you witness the hell ride which Sonia goes through. Sonia comes in life like a striking charcoal painting; His lips are drawn with caution, both his gums and his teeth expose his battle for his surprise and his soul, which he is most afraid to lose. Love Sonia does not give up on the idea of beauty, and further shows us that in the density of information, in the abundance of truth, true artistic beauty is hidden.



In such a situation, Sonia's father Shivaji (Adil Hussain) is a debt-ridden farmer, plowing the drought-ridden land, sells Sonia's sister Preeti into flesh trade. But keep Sonia keeps Sonia to himself. Who goes and who lives, though, is a completely commercial decision, not the emotional one, because Shivaji knows that Sonia is physically strong for two sisters - she is not good to go.
The deal to send Preethi from Mumbai is broken with the village's exile, Dada Thakur (Anupam Kher), who sprayed the drinking water around and removes their sins - possibly to please good spirits. When Sonia Dada reached Thakur and requested her to visit Mumbai so that she could live with her sister, Thakur agrees to smile, at this point, his daughter, who is Sonia's age, suddenly makes an appearance on the scene, and Thakur has a good understanding of removing it.


Sonia shares a deep relationship with the natural world (with clay, milk fragments, and butterflies); So many that, under the influence of love, he also experiences sunlight. In the harsh lane of Mumbai, the sunlight is its opponent; But when in love, light gives support to his face. There is a face of actress Mrinal Thakur (who plays Sonia) that takes the strange wonders of Mumbai - its every lane and its many contradictions - and brings them without filters.



And then she is led through trains punished by Belle (Sai Tamhankar as Anjali - accidentally brilliant), who specializes in 'supplying' village girls She is asked whether she loves bangles, after raising her question, Sonia is taken to a busy brothel where there is overlap between sex, terror and fast talking, and where at every turn There is a Bollywood face (Richa Chadda, Rajkumar Rao, Frida Pinto, Manoj Bajpayee, and obviously 'Bollywood Cat' all appear in the early blasts) play prostitutes regularly. This is a breathless, continuous sequence where you are kept in the position of Sonia and the air gradually gets out of your way. Although Noorani is not interested in shock; He is searching for a real myth image of the red-light districts of Mumbai.

And love Sonia is not about social evil as prostitution; It's about its wasteful, eccentric and consumeristic basis - about the manners of the prostitute and the peacocks, where there is a large part of the fake knowledge and business, and where the search for perfect sexual intercourse meets the unresolved issues.In such a setting, Sonia becomes a 'premium package' - she is the latest flower; The virgin, which should be preserved for 'big killing'When the prostitution of the brothel (Manoj Vajpayee) pitted Sonia with the international customer, then the relationship between sex and power became clear. Faisal screams in his phone, 'Girl is a virgin,' Virgin! Innocent!'

The score of the film is the scream of sex and the screaming of the imprisonment is tied together; And when the camera swiges geographically in a piece of geography, it seems that it is capturing both on this step and the moment of life. The mysterious, artificial images of the film give us the truth behind our highly used dictionaries; And sometimes they show us how our dictionaries achieve dimensions like life.




When Indian container-filled containers (which emits from Mumbai) are transferred to a truck (waiting in Hong Kong), then the word 'flash trade' is expanded: girls and their bodies are actually 'commodities'. They are probably one of our most valuable 'exports'.
The structure of Love Sonia is also the arc of its story, it also has an outline approach - it is a tilt in the face of those mis-inspirational editors, like 'The girl from Kanpur who attracts Paris'.By the end of the photo, Sonia is wearing expensive clothes and ornaments for a woman on the streets of Hong Kong after being a schoolgirl in rural Maharashtra - and then she stops to eat from the garbage cans. Tabrez Noorani's approach is generous: he does not push irony into the story above us. She trusts to catch us.



In her village, Sonia has a fan - who hunts a butterfly in a bottle and gives Sonia permission to reproach her cheek. Regarding being excited about her sister, that feels like a 'kiss' on her cheeks, Sonia confidently tells how it does not feel like kissing. In a way, this is the intuition that protects the girl's sense of danger in the dark pit of hell. That is why she feels the need to flee to the prostitutes' first places and voices. That is why he manages to pull himself together after breaking into all the wrong places. That is the reason: She may be a terrible little village girl, but she can definitely tell the difference between a kiss and some random fluttering.


The insult of a virgin, the right to kill her innocence - it is a right that the king, strong people of the village, and politicians all crave, is the driver's power of the meat business. The bigger the man, the greater the thirst for destroying the natural order of things. Manoj Vajpayee plays a fresh like an entrepreneur with a religious head vocabulary. He tries to stir Sonia with big teachings, and after that, his money is counted in isolation this is a scary form of smooth performance and one of the most effective when Bajpai is deliberately behaving (on its most scary, Faisal is like a rabbi, which is attractive for money).

When the film really wants to make you sensitive to reality and does not give the title, then you want to see the violence (like you want to see the guitar in The Godfather) - then violence becomes a part of the whole opera, and you have its effect Feel your nerve at the end For the most part of Love Sonia, Noorani places this subject under a glass and enhances our feelings about it. But towards the closing stages, the film starts reading like the density of a great non-fiction book. Which happens when someone can feel a little spoon. Apart from this, the relationship between Sonia and her sister - rationally the focus of the story - a relic feels undeveloped (the desired Epiphany does not quite reach). Counterpoint editing is almost dead, but Sonia's heritage village- those fake-poetic scenes of fantasy of life have been relaxed in sections of the city.



When you meet him for the first time, Faisal is pumping the customer to get very angry with a girl. Girls are the property of Faisal; When he is happy he can do only with them. Faisal is both their guardians and their destructive: they are the Gods of girls. Love Sonia spreads the scope of the world, which keeps it away from the villain's apparentness - a clear sign of a director with an epic vision. Sonia's first 'customer' is an old man (look at him and you know his history - a retired government servant-type, perhaps his home secretary, here is a person who now remembers the fruits of domestic happiness).

Around 70-something runs and humbly asks Sonia, 'How are you?. He does not wait for his answer and moves forward to take off his flight. Later, in Hong Kong, Sonia has emerged in a magnificent house by a gentleman who shows her around - fitting, 'collection', scenes from her freak. The film was made less than a 'savior' from this flavorful person, but Love Sonia as was a motion picture with the ambitions of a novel. And so 'showing around' becomes only the first step towards the inclination.
Man is not bad; Only a person with sophisticated flavor: he comes with a prostitute like 'sex date' in the evening. Sex was caught in the roundly, the search for finishing has been shown to be an eternal one. Prostitutes, when they call each other the 'Randis' Act as if Tanay takes them into the better life; Although transiently

When you are in the film's matrix, none of these looks or looks useless; And you understand that those in a blink, highly susceptible room, which naturally gets, is an absurd idea of life. This is the best example of Frida Pinto's Rashmi which can rarely live and which constantly runs in the music of meat: she is like Catwoman in colly dress. Look at Sonia's own dream and love HeliCinter Pacing: Neon and Village, fast-moving traffic and slow life, all are connected.

During Sonia  120 minutes, there are many moments filled with short revelations - like the prostitute who runs her hand on Salman Khan poster, unknowingly moving images - that you can feel the lack of emotional strength to deal with yourself. With the total experience of I was not looking at some scenes of cruelty (scenes like Frida Pinto's Rashmi showed Sonia showing a trail behind him, or Faisal ousted Sonia in exchange for cigarettes) as I usually do.



Mumbai, for example, has been established in the small village of Sonia as a Grand Tale. The school teachers of the village strengthen the importance of Mumbai through their lessons; And the people of the village themselves talk about the city as if it was a foreign, remote land. This is Mumbai which consumes Sonia and her sister. And Noorani brings together another series of tragedy by presenting a series of leading Bollywood faces as the main deities: reflecting on the persistence of the people who protect our dreams galaxies, the apathy of our heroes.



In the film, sequence suggests regret with more conviction where, as Madhuri, Richa Chadha thinks at the moment where her life changes forever. He talks about a train he had missed, and when he remembers his small details, then pushing his head against the wall. One argument can be argued that Love Sonia is a subtle comment about lovingly divorced sex on some level, meaningless, about mechanical sex; It is perhaps the opposite that Nurani holds the story of innocent love in the heart of the movie.