Lust Stories doesn't live up to the hype and Here's Why!

The prospect of four of the best directors of the Hindi Film Industry convening with a stellar ensemble boasting of remarkably credible talent seemed thoroughly intriguing.  The astounding trailer only compounded my curiosity as I coveted for a big screen release and a theatrical experience of the film. 

Upon the eventual experience of what I had anticipated would be a path-breaking masterpiece, I appreciate the realistic intent restricting Lust Stories to 13 inches. As, the great Indian Society has mutilated connotations of the word L-U-S-T reducing it to the equivalence of a sin,  Lust stories is not for the masses. At the same time, the notion of it being "classy" is reasonably  rebuttable. While, the trailer misguides you into the belief that the venture is an embodiment of intelligent cinema species, the two hour film bordering on psuedo-intellect will shatter your myth. Whereas the first three stories obscurely portray a skewed interpretation of lust and are merely passable, the fourth and final one makes plausible sense creating a moderately persuasive value befitting the theme.

The first story once again unites terrific duo of Anurag Kashyap and Radhika Apte, both of whom are a force to reckon, with the energy invariably transmitting on screen akin to their previous outings. Radhika a college professor effortlessly portrays an obsessive, control freak subsequently metamorphosing into her student's stalker upon engaging in a sexual relationship with him. Through her intermittent monologues, earmarking on self validation, she demonstrates the simultaneous coexistence of vulnerability and defiance.  With her unapologetic traits bordering on that of a maniac, Radhika Apte appropriates to secure the viewers empathy but crashes for the undersupply of "meat" in the character sketch. I however, liked the use of social media being made integral to the plot with a reference to Instagram boomerangs which corroborate a crucial conjecture in the narrative.

The second account by Zoya Akhtar is short yet crisp, courtesy a sensational performance by Bhumi Pednekar who dazzles in her act of a maid embroiled in a physical relationship with her master played by Neil Boopalan. With barely more than a couple of dialogues, amidst the background setting of a marriage matchmaking, she aces in conveying her resentment and frustrations via facial expressions.  And boy! she has chapped lips which is so real for the character of a maid. Kudos to the   maker artists for not using any lip tint.  

Despite the fact that Bhoomi surpassed every other actor who is a part of this extravaganza, the story felt problematically contrived with the inception of agony in the maid's character upon learning of her  master's wedding. In a feigned attempt to secure sympathy for the maid, her palpable misery makes you detest her yearning of a relationship beyond the bed, in a society which is predominanatly characterised by class divide. Also social media although not requisite, finds another unmistakable reference, as the parents sign off with "hum bhi hair whatsapp pe".

In the third story, Dibakar Banerjee kind of endeavours to glorify adultery with a very non-cliched setting of an extramarital affair. The complications are usual but the mannerisms aren't. His unorthodox take appears genuine on the scuffle of a middle aged couple enacted by Manisha Koirala and Sanjay Kapoor to keep their marriage alive. The very complacent Jaideep Ahlawat is the man's friend and the women's escapade. Although the narrative is superiorly compelling and trumps  the first two, I had trouble comprehending the intent. At one level, you perceive the women as prisoner of circumstances and dispense your sympathy, at another you perceive the plot to be a male bashing, artificial empowerment initiative. Manisha Koirala and Jaideep Ahlawat deliver a formidable performance and Sanjay Kapoor is intensely convincing in his limited screen time making you wonder why doesn't he work in more films. Tinder and Youtube encompass the social media references although they don't add significantly to the narrative.

Three stories down, most of my hopes had nearly dissipated, but last chronicle turned out to be the saving grace. My claims have no connection with my hero worship for Karan Johar, the man who directed it. I vehemently nod my head in agreement to the fact that Karan doesn't boast of the same critical appeal as the other three and his storytelling is vastly incomplete sans the larger than life sets, costumes and good looking actors. However, in all contradiction, his story depicted the most honest rendition of LUST, the sin we regard it to be. It is the story of a women who empowers herself and explores her sexuality. There is a hilarious scene which will drastically alter the way you listen to the Kabhi Khushi Kabhi Gham title track. 

Kiara Advani is a newly married woman who is outrightly dissatisfied on bed and her husband Vicky Kaushal is blissfully oblivious that he doesn't last long enough. The guy we adored as Iqbal in Raazi drastically departs and settles into a goofy ignorant man making for fun watch. There is a scene in the movie where Kiara's mother in-law entrusts her with the responsibility of bearing two children in quick succession, just so that she no longer has to do any"mehnat" because as per her definition, Sex is a task, a tedious one. That scene made me wonder if there are women for real who actually think like that and for the same purposes, educating and empowering women is so essential. Sadly, none of the other three films made me think. I watched them like a spectator made notes of the good and the bad, but there was barely any takeaway.

Despite the stories having its share of inhibitions, the anthology is an honest attempt to push the boundaries of Indian Cinema.It could have easily passed off as a set of four short films but there is a certain feature film vibe to all the stories,  a beginning, a story (which may not necessarily be about lust) and a conclusion (which may not necessarily be the closure you desire). There is a bonafide attempt towards a contemporary filmmaking and despite the ambition not meeting the desired objective, Lust Stories is pleasing on the eye.