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Anwar Ka Ajab Kissa is a 2013 Hindi dark comedy directed by Buddhadev Dasgupta. In the film about a detective in search of himself, Nawazuddin Siddiqui plays the lead, followed by Ananya Chatterjee, Pankaj Tripathi. After premiering on October 17, 2013 at the BFI London Film Festival, the film was also screened at the International Film Festival of Kerala 2013. The film was released on November 20, 2020 on Eros Now.
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The movie titled Anwar Ka Ajab Kissa released on the digital platform, Eros Now. However, many other illegal websites like Tamilrockers, 123movies, Filmy4wap, MovieCounter, Filmywap, 9xmovies, Filmyzilla, Movierulz, among others Leaked the movie online making it FREE to watch for the viewers. A message from the internet stated that the film has also been leaked on several telegram channels.
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Anwar Ka Ajab Kissa Review
When director Buddhadeb Dasgupta is at his best in Anwar Ka Ajab Kissa, his fourth Hindi narrative feature, he captures life’s broken rhythms beautifully and movingly, celebrating the resilience of a little man.
Streaming on Eros Now, the film, which alternates between the gloomy and the lively, and the melancholic and the sardonic, is shot through with Dasgupta’s signature, often sprawling poetic heyday and enlivened by a sparkling pitch-perfect Nawazuddin Siddiqui performance.
The melancholic tone of Anwar Ka Ajab Kissa is drenched in nostalgia for the receding light; the pessimistic air is tempered with persistent hope of regeneration; the harsh, meditative edge is softened by persistent humanism. The treat is doubled by the protagonist, perfectly cast as a private detective more lost than the prodigal sons he must find.
Dasgupta suspends the titular figure, the story of the man, and his spatial parameters somewhere between acute realism and dignified, tactile fantasy. The eponymous protagonist is a faltering, unassuming detective unlike anything we have encountered in Hindi cinema before. His job is to find answers. He asks questions instead.
Mohammad Anwar is also not the stubborn, tough type. He fondly remembers his rural postman father and his “hazaar khat, hazaar kahaniyan”. He breaks into a soft mold while singing a song inspired by a Sukumar Ray nonsense rhyme (Hattima Timtim…). He creates a dreamy world for himself and repeatedly withdraws into it.
Wearing a black hat and dark glasses, carrying a backpack and a photo camera to collect photographic evidence, Anwar exudes a detached attitude that belies his steadfast commitment to his job, works for a detective agency that sends him on assignments that relate mainly to missing persons.
Whether on the field or in the privacy of his modest house in a dilapidated building, the protagonist struggles with crushing loneliness. Siddiqui fills Anwar with intuition and empathy, summoning a person whose strumming is as intriguing as his plight is sympathetic.
Pankaj Tripathi – he was cast in the film before Masaan catapulted him into the collective consciousness of independent Hindi cinema enthusiasts – has a one-series cameo as one of the missing men to find Anwar. Tripathi makes an immediate impression – and leaves a lasting impression.
Anwar Ka Ajab Kissaphotographed by Spanish cameraman Diego Romero and embellished with a music score by Alokananda Dasgupta, has the feel of a free-running ballad, a composition of multiple chronicles of loss and longing. While Anwar strives to soften the dullness by sipping a bottle of rum every night and chatting incessantly with a loyal Labrador, his customers are no less in the doldrums. Each of them is facing some kind of emotional hardship.
A family man disappears without a trace and Anwar’s investigation leads him to a surprising secret. Anwar feels sorry for the missing person’s wife and adult daughter, but is not averse to giving the ‘suspect’ a compassionate hearing.
The 11-year-old son of an old farmer, who works in the city to supplement the family’s meager income, is missing. He feeds the distraught farmer in a restaurant – the man eats to his heart’s content – before heading out to find the child. The adventure doesn’t end well for him.
A wealthy director leaves his wife (Ananya Chatterjee) and son and disappears into obscurity. Anwar tends to dig deep into the lives of the individuals whose disappearance he is investigating; sometimes he goes way too deep for his own good. One assignment takes him back to his rustic roots and to Ayesha (Niharika Singh), the love of his life that he has never been able to forget.
Dasgupta’s meticulous script is riddled with inexplicably absurd distractions. Walking drunk with his dog one night, Anwar meets an old woman who cries that she hasn’t slept a wink for ten years. He rubs his eyes, not sure he can believe what he just saw and heard. On a trip to a rural outpost in the line of duty, he meets a shriveled man who asks every passerby what time it is.
Anwar helps a woman (Farrukh Jaffar in a luminous cameo) cross a street, befriends her, and is treated to stories of her likely imaginary travels, which in turn awaken him to travel and bring his thoughts back to his childhood. A young girl (Amrita Chatterjee), a neighbor, occasionally sneaks up to his door and overhears Anwar talking to his pet.
These flashes of whimsy elevate the struggles of an insignificant outsider who pursues people and seeks truth, all in the day-to-day work, but barely able to fathom the purpose – and meaning – of his own life to the level of the epic quest. from a man to happiness. Anwar is lost in a city that hardly tolerates its peers. The assignments he receives take him out of themselves and reveal the most important facets of his character, layer by layer, but closure rarely comes his way.
The only true friend he has is the dog he rescued when the original owner abandoned the dog for having scabies. The animal is also its drinking partner – it has a fondness for the rum that the master drinks every night in a house where both drinking and pets are prohibited.
There is much that the self-effacing Anwar has lost in life, including his childhood, the village he grew up in, the imposing childhood home of his maternal grandmother and the woman he loved. It’s understandable why he’s so attached to the dog – it’s the only living thing he’s found and held in a life of joy that has slipped from his grasp.
The big city lets the people on the outskirts hide themselves and their true feelings, but offers them no comfort. But Anwar is not one to give up his hopes and principles. One case confirms Anwar’s open-mindedness, the other brings out his generosity, and a third helps him get in touch with his innermost urges.
Nawazuddin Siddiqui is absolutely brilliant in this parable of pain and desire. The actor’s captivating, sharply angular interpretation of a man who seamlessly shifts back and forth between sincerity and resignation, creating Dasgupta’s mastery of the medium Anwar Ka Ajab Kissa a must watch.
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