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WATCH LIFE IN A METRO NEW HINDI MOVIE ONLINE FREE
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Cast: Shiny Ahuja,
Shilpa Shetty, Konkona Sen Sharma, Irfan Khan, Kay Kay Menon
Plot
:With the backdrop of a metropolitan city, Anurag Basu's 'Life in a Metro'
attempts to demonstrate the conflicts of the practical and the emotional sides
of the human mind. And it commendably succeeds in its attempt.The director
employs seven complex characters to narrate his story but expresses his vision
very lucidly. Metro is one of those films that do not differentiate between the
leading hero and the supporting actor with all characters having equal
significance in the story. Akash (Shiny Ahuja) forms an informal bond with
Shikha (Shilpa Shetty) and finds solace in her company despite knowing that she
is married to Ranjeet (Kay Kay Menon). Ranjeet on the other hand has an illicit
affair with his office subordinate Neha (Kangna Ranaut) sans any emotional
bonding. Rahul (Sharman Joshi) who works in the same company is attracted to
Neha but is oblivious to the fact that he is lending keys of his flat to his
boss who is using the venue to sleep with the girl Rahul has been dreaming about
all this while. Then there is Shikha's sister Shruti (Konkona) who is still a
virgin at 30 and is unproductively hunting for prospective grooms through
marriage portals. One such unique sample piece she encounters through the
matrimonial service is Monty (Irrfan Khan). In a parallel story, a sexagenarian
Amol (Dharmendra) reunites with his college ex-flame Vaijanti (Nafisa Ali) for a
live-in relationship.Without being episodic, each tale of Metro is interlinked
with the other beautifully. None of the relationships come across as
conventional coalitions and each bonding is treated very maturely. There is no
one particular black character but every individual is shown to have a grey
streak. The film has no idealistic heroes but points out imperfections in
characters, something with which every discerning audience could identify with.
Every character is exploited with one particular emotion and each one tries to
overcome the guilt with their practical approach in the Metro life.The film is
sensibly scripted and crisply edited to two hours with a sufficiently brisk
pace. The screenplay effortlessly changes track to its subplots before any
particular plot tends to get monotonous and very smoothly comes back to the
original subplot before you could lose track of the core story. Despite having
strong emotional intensity in its theme the treatment is very subtle devoid of
any melodrama. While dialogues are usually taken notice in comedy films, the
lines penned for Metro are very sharp and non cliched. Unlike Anurag Basu's last
film Gangster, Metro isn't an out-and-out dark film but has sufficient dose of
witty humor that basically comes out in the Irrfan-Konkona track and the initial
reels of Sharman's story.The script as such has no scope for music in the film
but the director very skillfully assimilates songs in the screenplay with each
number used as a transition track playing in the background. There is a song for
each emotion in the film. Music director Pritam and his band appearing in every
track onscreen performing somewhere in the background is a unique concept though
after a point of time they tend to get monotonous. This is one film where songs
despite being unnecessary, don't look forced.Performances are a major USP of the
film with each character excelling. Each actor gets at least one scene in the
film where they steal the show. This is unarguably one of the most performance
oriented roles that Shilpa Shetty has done in her career other than Phir Milenge.
She is worthy of all the applause for the vulnerability she displays in this
role over the undeserving Big Brother hype. Male chauvinism oozes from Kay Kay
Menon's flawless act of an egoistic husband. It's nice to see Sharman Joshi in
roles that are not essentially designed as comic characters. And it's nicer to
watch Konkona Sen Sharma loosen up in a role that doesn't require her to be the
regular intense actor. |
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SOURCE 1 |
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Part 1
Part 2
Part 3
Part 4
Part 5 |
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