this movie had something new to offer, that's very rare in Bollywood movie plots. every character in this film was well developed and created. the actors did pretty great job as their acting was very convincing. the story was written in such a manner that it is hard to predict where it is leading to. the movie also offers beautiful shots of Varanasi. there are four major characters in this film. a girl who is guilt ridden after trying to have a sex with her boyfriend but ending in a tragedy. a father who finds different ways to earn money to pay a corrupt cop and a guy who falls in love with a girl from higher caste.this is just the base of the story, how it progresses from here is what makes the journey wonderful. the use of realism in the plot is really well written. its kinda sad, this movie is listed one of the underrated films of Bollywood. its a great movie which explores the story without using any clichés, as it is heavily dependent on realism.thanks for reading. :)

Love and loss is a concept that is there in loads of Hindi films but this film can easily be the best of them. Fly away solo / Masaan is a independent film with four interlaced plots that talk about various themes - one about Devi and the predicament she falls in with her boy friend's suicide when police interrupts them during sex and the other about Deepak , whose ancestral occupation is corpse burning , falls in love with a high caste girl Shaalu in college without revealing his identity. The rest two is about Devi's father who cripples between his love for Devi and corruption and a child's yearning for family and life. There is a scene in the film where Devi is rudely questioned by her boss in front of few people and she replies saying "Jo Bhi Kiya Hum Do Ne Milke Kiya" and he says "Par Mara To Vo Akela". This is a small example of all the beautiful writing in the film that is simple, pale and melancholy on the top but deep down has a lot to ponder on.Other than LOVE the film also talks about other themes ranging from the society's perspective on sex, corruption, coming out of the ancestral occupations , men and women aspiring for a better life, caste issues as a barrier for love, toll that death takes on a person and the preciousness of life.In an industry that's synonymous to gloss and glamor, Masaan is an eye opener. The film is set in Banaras and believe me the place is also a character in the film. The film does have its weak points. It's pacing is very slow and depressing but you hook to the film with those magnetic performances from actors and the simplicity in writing. The costumes, the subtle background score, the locations, settings, lingo and cinematography all cater towards making the film so close to real life circumstances that tears roll down right when the screens roll down. A special credit to Vicky Kaushal who plays Deepak, with his jaw dropping performances brings life to his character. Sad that Filmfare had to follow nepotism and give the best debut to someone else.This might not be a film which you can watch on a good weekend but it surely is a film that after watching will linger in your mind for a long time as it did for me.

Its simple,its beautiful,its heart touching and just unforgettable. Starting with acting, Riccha Chadda is as usual brilliant in her work.The debutants Vicky Kaushal and Shewta Tripati are mind blowing..!!They act as if they are doing films from many years.Sanjay Mishra is also just perfect in his role.The other actors,Pankaj Tripati(lover guy) & Bhagwan Tiwari(policeman) have played their parts very nicely. The direction of the movie is also very good.Its brilliantly written too,be it dialoges or story.It is the best movie of Phantom productions(after Queen and Gangs of Wasseypur). The summary is that the movie is masterpiece and you should must watch it.

Banaras doesn't really stand a chance when it comes the nation's top film-makers , does it? From Ray's 'Aparajito' to Mehta's 'Water', this holy cradle of Hinduism has been imbrued with a decidedly unholy miasma. Employing two tracks , one a story of police corruption and victims' cowardice, and another of a young funeral- pyre attendant aspiring to be a civil engineer, Masaan will not inspire you, either, to instantly book a train to this sacred town but holy cow! it does chart a riveting story of loss and hope that mirrors the rebirthing ethos of those stony steps and waters. It neatly slices open its own layers of social milieu to reveal that while the larger whole still seems hopeless, its young rebels calmly persevere to buck the trend. Produced by Manish Mundra and the Phantom Films triumvirate of Bahl, Motwane and Kashyap, 'Masaan' marks the auspicious directorial debut of Neeraj Ghaywan. Most of India will not hear of this film, despite its international accoldes and inherent caliber, but the picture will stand as an emblematic triumph of cinema neatly filtering the modern reality of an ancient epicenter. One of the pic's strongest assets is the airy light that pleasantly suffuses its wide canvas - I appreciated this better on a 60 inch screen than on a laptop. Cinematographer Avinash Arun Dhaware frames Banaras in clean composed frames that dignify its actual shabby sprawl. There's a superb night-time shot of a boat motoring through dark waters while yellow light silhouettes hives of activity along the town's shores - what's more the on-board narrative continues with similar understated beauty. A terrific medium-length static capture stands tall later in the story when a person enters a house and an uproar ensues inside but the shot maintains the visual hygiene of remaining unmoved outside the gate , gazing at the house exterior. And there's a completely soothing canvas of a boat nearing the survivors of this tale, as it traverses a beautifully sepia mirror-like surface of the Ganga. In the first story-track, a young couple caught in the act of secret sex are blackmailed by a malignant police inspector , while the other thread revolves around a youngster from a small-town underprivileged background aiming to make it big and the arc of his dalliance with his sweetheart. The undeclared just-below-the -surface script here narrates how the new gen calmly fights the sclerotic demeaning mores which have robbed the spirit and happiness of their ancestors. Attending to and tidying up funeral pyres his whole life only affords Deepak a meager salary and a depressing hellish job day after day year after year, and his supposedly low-caste birth and position means that he can't carry out the the luxury of courting just about any pretty girl he sees but this does not stop Deepak. On the other track, the traumatized girl Devi Pathak is initially shell-shocked as any girl would be , but steadily we see her true spine (in response to a savage blaming her in public, she retorts "Whatever we did, we BOTH did it!"). Her father persuades her to accept a measly Rs.5000 per month ($100) job from an employer who was his student ,but when she stares at him in cold anger at the recruitment table, the father says in defence - 'But look how much respect he gives us!' (obviously his daughter has moved on from the peanuts gleaned from such token respect).The film's several producers notwithstanding , I find Anurag Kashyap to be the true moral guardian of this film. Debutante director Neeraj Ghaywan shows an European aesthetic and reserve in depicting his canvas , and a fine temperament is telling a tough story without melodrama. With a producer-director team like this, it is no surprise that 'Masaan', steeped in boondocks bedrocks opaque waters malignant lawkeepers failed fathers ruptured lovers and eternally burning hells , emerges beautifully from the ashes.More analysis @ Upnworld