This Movie Can Only Be Described With One Word.

Brilliant and touching

It's an amazing and heartbreaking story.

Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

This starts out in class warfare mode, extremely rich landowner, Harry Mandola, versus indigent farm workers. Bijlee is Harry's daughter. Baadal, the son of one of Harry's political ally Chaudhari Devi, presents her with a dance number complete with Zulu tribes people from South Africa. Matru is one of Harry's trusted workers, but he's a lower class worker. He's not so happy with Bijlee spending so much time with Baadal.To add to the comedy elements, Harry has a history of excessive drinking, and he swears off toward the beginning of the film. Then he gets the DTs (delirium tremens), and starts seeing shocking pink water buffalo and the like. Harry's doctor's receptionist is a large woman who likes to wear pink. There's an ongoing joke in which she is referred to as the pink buffalo.Chaudhari Devi has been a government official for 20 years, and has helped Harry get his way in exchange for this and that. At a party, Harry takes up drinking again. He calls Baadal in idiot, and trusts Matru to keep him from falling. Baadal seems to be Devi's emasculated son; she tells him how to think. Nice.Baadal does, however, come up with the idea of destroying all the farmers' crops with a chemical that is a pesticide at low doses, and an herbicide at slightly higher doses. The land grabbers intend to poison the land for years, which will enable them to acquire the farmers' land at much lower costs so that they can do construction instead of farming.How does this play out? Will Bijlee go with Matru, whom she has known for 20 years, or Baadal, whom she has known for 5, mostly at school? How will the movement of the disenfranchised poor versus the rich and corrupt turn out?-----Scores-------Cinematography: 10/10 Lovely.Sound: 10/10 Very good.Acting: 9/10 Imran Khan was very good. Pankarj Kapur was excellent. Anushka Sharma and Arya Babbar were rather good.Screenplay: 8/10 Frequently funny, often touching. A bit long, though.

You can like it, you can hate it, but you can't ignore it. Vishal Bhardwaj is no Rajkumar Hirani. He would never use simple words or simple characters to tell a story. The writing is complex, characters are mad to the core. There is huge amount of metaphors. I really connected myself with the part where movie gets serious about the core issue; politician having an affair with businessman and results are horrific for the poor. Performances are top notch. Imaran Khan, Anushaka play their part quite well. Shabana Azmi was too good. But it's all about the acting powerhouse Pankaj Kapur who never misses a beat. The movie is like a not so good meal but you have to appreciate the effort of chef. This is fearless cinema and it needs to be supported.

The struggle between capitalism and socialism, industrialization and agriculture, the landlords and the farmers – this has been a perennial set of themes of many renowned bollywood films. Mother India, Naya Daur, and, in recent times, Lagaan and, to some extent, Swadesh easily come to mind. It is not a coincidence that all of these films have won some prestigious nominations and some awards. It is also not a coincidence that all of them have gained some amount of international recognition. In MBKM, Vishal Bhardwaj interprets this old theme in his own way, and gets to prove himself (once again) as a director who can produce breathtaking visuals and seamless sequences that create a high level of entertainment value. Mandola (Pankaj Kapoor) is a capitalist who develops into a communist when he is drunk. Matru befriends Mandola's communist alter-ego and heads a socialist-communist movement of farmers. Mandola's lady love and her son, on the other hand, try to tap into Mandola's capitalist personality. Both sides try to win the game by trying to rope in the lovely heroine 'Bijlee' on their side. The film attains an allegorical level here, since 'Bijlee' (read: Electricity) has always been used as a tool of exploitation by the capitalists. The film presents stunning visuals where the rich use electricity in an extravagant manner in celebrations, in construction, in building constructions, and in industrial activities. The farmers, on the other hand, are still susceptible to lack of technologies are entirely vulnerable to rainfall and other powers of nature. Unlike the fictionalized victory of the world sans technology (Naya Daur, Swadesh, Lagaan), the farmers in MKBM only win by some entertaining games, and only when the communist alter-ego of Mandola supports them.

Vishal Bharadwaj serves you "Mr. Pankaj Kapur on the rocks!"'A twisted title, Limousine in gehu ke fields, African Zulu tribes, Pink buffalo called gulabbo, Politician sucking a lollipop in fields, Mao Tse-tung's (Maoism wala) desi avatar, UFO in a village?' Yes, this Vishal Bharadwaj film has more bizarre elements than you can ever think of !MKBKM is one hell of a ride - from crazy, absurd, wacky, bizarre to... social, political, addressing some of the pertinent issues faced by our nation. Here you have one of the greatest actors of India in his elements, with his dual act of - caring, sensitive drunkard 'Hariya' and, a stern, selfish & staunch capitalist 'Harry'. Only actor of his caliber can carry-off such role with aplomb (he is teetotaler in real life). Please, hand over all the awards of 2013 to Mr Pankaj Kapur for his exceptional performance!Director Vishal Bharadwaj has his own eccentric ways of making social commentary with issues such as SEZ (Special Economic Zones), land grabbing, capitalism, Maoism, corruption, honor killing, lokpal, media and what not! At one point, Bharadwaj doesn't even think twice before taking actual names of politicians -- from Sheila Dixit, to Rahul-s, Varun-s, Scindia-s of Congress as political heirs of successful politicians. It takes some time and effort from our side to get acquainted to this Haryanvi setup and accent...but if you start getting Bharadwaj's references and quirky dialogues, you are into this exhilarating mad-cap ride.Imraan Khan as 'Matru' does well with whatever he can do with his limited acting capabilities. Anushka Sharma is effective, but she is getting typecast in these type of roles. Shabana Azmi is excellent in her sly and manipulating political avatar. Arya Babbar does well as Azmi's dimwit son.There are many memorable scenes which only director like Vishal Bharadwaj can think of -- that hilarious fight between Matru and Mandola during "well" scene, Mandola riding a plane after getting drunk, Azmi's monologue about 'progressive' nation called India (over ages), the scene between Mandola and Azmi just before the rain arrives, Mandola telling 'Mao' - tu "left" wala bottle le, or the love story involving something as banal as "tooth-brush".In some cases, Bharadwaj tends to go overboard especially towards the climax sequence and some of Imraan-Anushka's scenes are simply annoying. Sometimes, the film gets repetitive with street theater (natak) type execution.Music: Vishal-Gulzar combo for music is delicious as always. It takes the film one notch higher. You get to hear samples of African and Haryanvi folk music in some of the songs. My picks from the album - Khamakhan, Badal uthiyan, Oye boy Charlie, title song.Verdict: Overall, the film is as twisted as its title. So, watch it if you can digest this genre/Vishal Bharadwaj's films......otherwise you might walk out of cinema hall during the show, like some did where I watched the movie.P.S. Pankaj Kapur is God of acting.