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The cinematic world of Anurag Kashyap is normally inhabited by criminals, gangsters, cor­rupt politicians, addicts and serial killers. So his latest film ‘Manmar­ziyaan’ has been pointed out by many as that moment in his career when he came out of his comfort zone to direct a romantic come­dy—a genre so mainstream and overwrought by Kashyap’s stan­dards that nobody would’ve put the director’s name and the genre in the same sentence. But the film isn’t an outright departure, with Kashyap still man­aging to put his trademark stamp of unfiltered and unpredictable chaos on Kanika Dhillon’s screenplay. And this is all done over Amit Trive­di’s hip and pulsating soundtrack.

Set in Amritsar, ‘Manmarzi­yaan’ introduces us to lovers Rumi (Taapsee Pannu) and Vicky (Vicky Kaushal). The film opens with the Mohawk-donning Vicky, as he leaps through terraces to tryst with Rumi at her house. Their small town sees them as a bad influence on their children.

Rumi is a headstrong, outspoken girl, a former hockey player no less. Vicky is a freewheeling bloke, harboring a dream of becoming a superstar DJ. But he is a confused guy, who can easily hop from one passion to another in the blink of an eye.

Their families aren’t antagonists, so much as they are their own ene­mies. As circumstances would have it, Rumi demands a more serious relationship from Vicky, while Vicky gets cold feet. Rumi gives him multiple chances but Vicky fizzles out every time.

In this mix enters Robbie (Abhisekh Bachchan), an NRI banker from England. He is some­one who’ll have mothers swooning over him to marry their daugh­ters. But Robbie falls hard for Rumi the moment a matchmaker shows him her photograph for an arranged marriage. The film then circles around Rumi, who is torn between her first real love, Vicky, and Robbie, who seems to have all the qualities of a perfect husband.

The plot isn’t original. Many view­ers will think of it as an update of 1999’s ‘Hum Dil De Chuke Sanam’ or 1983’s ‘Woh 7 Din’. The freshness therefore comes from the complex characters that populate this film. Rumi for sure is an unlikely leading lady in a Bollywood film. Taapsee Pannu is given lot to do in this role that demands more than just being a simple object in a tug of war between two men.

Pannu pulls off Rumi with such panache that the viewers are able to clearly fathom her character’s mental mess. She shares an elec­tric chemistry with an unrecog­nizable Vicky Kaushal. Kaushal completely disappears in the life of his character, giving him energy and vulnerability. And then there’s the master stroke of casting Abhisekh Bachchan as Robbie, a silent and brooding fellow, and easily likeable.

At a staggering length of 2 hours and 37 minutes, ‘Manmarziyaan’ feels a tad bit too long for a roman­tic film. But Kashyap paces it with cracking music from Amit Trivedi that provides a smooth rhythm. He has lots of fun with the genre and time and again gives us such dynamic visual storytelling cues, for instance, the recurring appear­ance of twin sisters whenever Rumi’s having an internal dilemma. Kashyap’s combination of skills is at display here.

From hammering his actors to fit the mold of their characters to his technically crafted direction, a less worthy director would’ve taken the same material and given it a more regular treatment. But Kashyap takes the familiar and gives it a new toss. Watching ‘Manmarziyaan’ makes you feel it’s a film from a director in top form.

 Located at north Lakeside Pokhara, The Office Bar is one office where you would be more than happy to go every day. At its heart, The Office Bar is a place to chill, with good company and great music. With cozy indoor and relaxing outdoor settings in close proximity to nature, away from the hustle and bustle of central Lakeside, The Office at present is one of the favorite venues for live music in Pokhara.

Not that its food is any bad. Its selection of drinks is also among the best in P-town. Yet The Office’s choice of live music is undoubtedly its biggest draw. Talented local musicians perform in a wide genre of music at The Office, much different to the Nepali and Bollywood repertoire you get in central areas. Underground jazz and blues bands from Kathmandu are regulars at weekends along with travelling for­eign musicians hitting the stage for some jamming. And yes, the prices at The Office are reasonable too considering how expensive Pokhara has become.

 THE MENU

Chef’s Special:

- Baked Fish

- Pepper Steak

- Chicken Kabab Wraps

Opening hours:

1:00 pm to 12:00 am

Location:

Baidam Road, Pkr

Cards:

Not Accepted

Meal for 2:

Rs 1200

Reservations:

9804117934

Located at Lainchaur (right opposite the British Embassy), Curilo is one restaurant that was repeatedly recommended to APEX food sleuths. Owners and managers of popular restaurants sang its praise and suggested we try it because the food there is—unique, organic and hygienic. Curilo’s self-explaining menu offers breakfast, lunch, dinners and in-between snacks, all created carefully by its 5-star experienced chef. Focusing more on quality than quantity, the dishes Curilo’s kitchen belt out are freshly made, with a touch of organic and exotic garnish. Curilo makes its own pastas, bagels, buns and multi-grain breads and also serves an exclusive array of desserts.

Probably the only place in Kathmandu where one can try the “Involtini of mango chicken and pancetta, sage butter, soft polenta,” Curilo is popular among local foodies and expats alike. As one of its regular patrons told us at the restaurant, this is a place where many celebrities and socialites “meet, eat and date.”

 THE MENU

Chef’s Special:

- Quinoa and Goat Cheese Salad

- Lamb ravioli, oyster mushroom cream, truffle essence

- Crème Brulee

Opening hours:

- 8:30 am to 10 pm

Location:

   - Lainchaur, Ktm

Cards:

- Accepted

Meal for 2:

- Rs 2,000

Reservations:

    - 014005079

It wouldn’t be a spoiler to say ‘Lullaby’ by Leila Slimani, a French-Moroccan journalist and novelist, is basically a murder story. The book cover gives that away and you will also find out on the very first page that the nanny kills the children. But what you will really be waiting for is the motive behind the murders and Slimani slowly builds the tension in the story while giving you a clue here and there. It all makes for a riveting read, one that will leave you with a chill in your bones.

The set-up is simple and straight­forward: Paul, a music producer, and Myriam, a lawyer, with two young children, look for a nanny so that Myriam can take up a job that her friend has offered her at his law firm. This is how Louise enters their life. With her prim Peter Pan collar, meticulously painted nails, an age­less face, and an apparent way with children, she is just the nanny they had in mind.

Actually, she is even better than what they had in mind. Louise is not only great with their two kids but keeps the house clean and even cooks dinner. It’s like Mary Poppins has come into their lives and solved all their problems. Lou­ise, thus, becomes indispensible for the family, so much so that Paul and Myriam even take her along during a family vacation.

But things quickly unravel and how! Louise’s façade starts crum­bling as she tells the children cruel tales, takes a simple game of hide-and-seek so seriously that the chil­dren get scared, and starts making herself at home at her employer’s house, sometimes even insisting she sleep over in the children’s bed­room. Paul and Myriam start feel­ing unsettled by her ways and, as a reader, you get spooked too. But the slow unspooling of Louise’s own family life—there’s a daughter who deserts her—makes you sympathize with her despite the horrifying act you know she is guilty of.

Lullaby will feel familiar and you will get a sense of déjà vu because the issues it deals with—class, race, gender and above all parenting—are ones we see, hear of, deal with, and read about ever so often. But what works for Lullaby is how bril­liantly Slimani has crafted the story. If at one point you are seeing things entirely from Louise’s perspectives, the very next page will have you firmly on the parents’ side.

Also, a translated work can be a so-so experience but Sam Taylor’s translation is so graceful and con­trolled that it gives nothing away of all the deranged unraveling to come even a second before it’s due. You will read Lullaby with a mounting sense of dread and, at just a little over 200 pages long, you will wish it were longer.