Crew (2024) is a comedy based on the exploits of crooked airline tycoon Vijay Malla in which Kareena Kapoor Khan, Kriti Sanon and Tabu play air hostesses struggling financially who decide to take matters into their own hands. It is a multi-dimensional working-class comedy that has elements of classic Mumbai (Bombay) Cinema or Bollywood, but also modern Western cinema. It has songs that are presented in a Western format rather than the traditional Mumbai format of playback singers singing for cast members. Several musical numbers do pay homage to the traditional format, but it is a clear example of pure homage, as evidenced by retro number, “Choli Ke Peeche” being remixed and presented. It features an able supporting cast, including several popular Indian celebrities, Kapil Sharma and Diljit Dosanjh among them. It was a suitable length for a Western audience, but traditional devotees may feel it lacking. It was pure entertainment or popcorn fare that was a justifiable box office hit, however for all its merit there were minor criticisms if a viewer is comparing it to the traditional format. For its many homages, it would have been worthwhile to extend its two-hour duration by some 40 minutes to pay proper respect to the Mumbai medium. These include the absence of playback singers, item numbers, and most importantly and perhaps most disappointingly, the various significant supporting characters lacked a musical number to truly acknowledge their respective contributions, several being relegated to peripheral, even cameo status. As a comedy that satirises a real and regrettable event it succeeds. It further succeeds in its versatility: Accessible to local and Western audiences alike, by being a pleasant length, by having engaging musical numbers and by being light-hearted irrespective of its very serious topical theme. It will age well for popcorn fare and should be treated as an entry point for Bollywood enthusiasts wishing to explore the intricacies of the traditional Mumbai or Bollywood experience.
Crew was a box-office success, costing 60 crore and registering 157 crore in box office receipts.[1] Impressively, the three leading ladies, all led. The script was sufficiently written so that neither female lead dominated the other, the leads instead complimenting each other symbiotically. Crew is a fine comic tale of negativity and redemption, resulting from bureaucracy. It delightfully demonstrates, one must at times risk disgracing and dishonouring themselves and be errant in their actions to ultimately take the desired path. The supporting cast are just as instrumental to the comedy and ultimate message of the film. Sin vs redemption and duty vs error will always present, but the correct or moral path is the desired one. Some may argue that because the three female leads deliver a comical tour de force, that the undertones are feminist or even that Crew was a proverbial “chick flick”. This may lead to the erroneous assumption that the film was a Western cinematic derivation.
Such observations can confuse as homages are present such as Kapoor Khan referencing Titanic[2], but are unidimensional: They are simplistic and neglect a very traditional sub-plot in Mumbai cinema whereby when the structures of authority breakdown and chaos and disorder are rampant. The hero or heroine takes responsibility for restoring the rightful order often becoming the anti-hero until the desired outcome ensues: This was common in Amitabh Bachchan films, such as Sholay (1975) those with Shahrukh Khan like Main Hoon Na (2004) and Raees, (2017) where male leads challenged authority. Also significant are Kudah Gawah (1992) featuring Sridevi as a royal warrior princess which was as much a homage to popular characters such as bandit and freedom fighter, Phoolan Devi and the fact that there are matrilineal, as well as patrilineal castes and Tridev (1989) where the girlfriends took charge and distracted the villains, allowing the men to restore order.
In Crew the ladies distracted the villains and took charge, paying homage to vintage Mumbai cinema and matrilineal traditions. Importantly also, to an unspoken assumption among Indian citizens that has existed since the 1970’s national emergency under Indira Gandhi that when structures fail, individuals and groups must take initiative and improve matters, any negativity is justified by a positive outcome.[3]
Kareena Kapoor Khan as Jasmine Kohli was anti-hero and heroine combined. She was obsessed with prestige and materialism aspiring to be the SRK-themed heroine who embraces “market capitalism”, sports designer labels and boasts financial success, but who is stuck in proverbial economic class limbo. She was superficial and whimsical and seemed to intermittently boast delusions of grandeur. Her character is paradoxical: Blatantly selfish and unapologetically so, and at times blatantly impervious to social situations and how her behaviour impacts others. Her positive qualities were that she was tremendously street smart and decent enough to employ those skills to protect those she cares about. A homage to her many earlier characters, most notably Pooja from Khabie Khushi Kabhi Gham (2001) and Main Heroine Hoon (2012) She interspersed sensuality and comedy seemingly effortlessly and significantly, behaving errantly was always a means to an appropriate outcome hence she has many negative and positive-themed sequences, with predicably hilarious results. Upstaged by Tabu, Kapoor Khan was nonetheless a tour de force, being the farceur while allowing Tabu to be the hilarious comic foil and Kriti Sanon the ingenue.
Kriti Sanon seemingly the ingenue, like her character showed precocity by exhibiting the ability to intersperse sensuality and comedy. Sanon as Divyya Rana from Haryana, her alliterative name an example of comic affect. She is the typical example of a prodigious young person with aspirations to excel and overachieve but is constantly frustrated by economic woes. She manages to affect very subtle comic timing during a notable death scene, but paradoxically overacts hilariously when having to pilot toward the conclusion. Her character features in a charming but superbly subtle romantic sub-plot with Diljit Dosanjh. It contributes to the comic interaction with Tabu and Kapoor Khan: The love advice sequences and several situational mishaps featuring Sanon prove that inspiration was taken from multiple schools of comedy including British situational which also extends to the innuendo and classic Bombay, the restaurant sequence featuring beer for example. The charm of this scene may be lost on some Western viewers who can consume alcohol provided they are paying customers. Perfectly interspersing youth and maturity, Sanon was also a paradox: there was almost a cherubic or innocent quality that was a delightful homage to heroines like Mumtaz, Hema Malini, Sharmila Tagore and Babita and like them her maturity levels were pertinent when required, such as when being required to pilot a plane. Irrespective of exuding youth or maturity her bespoke ability to intersperse comedy and sensuality betray professional precocity, specifically to be the youngest of the ensemble, her abilities and delivery equal those of Tabu and Kapoor Khan in this film.
Tabu as Geeta Sethi, the matriarch was according to many a fan review, the strongest performer in the ensemble is the lead fantasising about a luxurious retirement. She intermittently seems the most foolish and irresponsible of the characters, allowing herself to be manipulated into many a deviant scheme, but her humanity, specifically loyalty to family sees her on the trajectory of criminality with comic consequences and ultimately redeeming herself. She is passive aggressive, gives humorously blatant romantic advice and paradoxical beauty advice, specifically diplomatic but blatant, triggering charming and hilarious chemistry with Sanon and Kapoor Khan respectively. Tabu also partook in a romantic sub-plot with TV host, Kapil Sharma as her spouse, their chemistry featured non-sexual physical comedy, but the innuendo was so pertinent, thereby negating any need for physicality. She superbly delivered the double entendre, being both farceur and comic foil, allowing Kapoor Khan and Sanon to be comical and alternate as she did. Tabu interacted comically with several supporting characters such as Manoj Mittal & Captain Wadhera, played by Rajesh Sharma and Hetal Puniwala, respectively. The passive aggressive antics of Geeta in coercing or manipulating the comically nefarious Mittal to expose a key plot twist exposed superb comic flair from Tabu. Suffice it to say, the cameo by Puniwala, as the veteran captain with a long infatuation for Geeta, facilitated her use of the awkward pause superbly. Tabu was perhaps the most significant performer, her character being the most multi-dimensional of the ensemble. Tabu was superbly theatrical in the Mumbai sense, perfectly portraying the matriarch, but being so controlled and paradoxically dysfunctional, ala British comic geniuses, French and Saunders she is perfectly accessible to Western viewers.
Diljit Dosanjh as Jaiveer Singh was both serious and a comic foil in the scenes with Sanon and was perhaps the most significant supporting player and the only romantic lead. His embodiment of strength and morality upholds the tradition of Punjabi essence or Punjabiyat[4] which is a classic masculine theme in Mumbai cinema. He was serious and comical and provided the musical contribution with the song “Naina”. Naina was in the tradition of a music video rather than Bollywood playback but succeeds in exalting the three female leads showcasing their sensuality the way a more traditional Mumbai number would.
Rajesh Sharma and Charu Shankar as Mr and Mrs Mittal the two loveable scoundrels who were the middlemen for the true criminals that were wreaking havoc allowing the Mittal clan to be errant but double as anti-heroes via an act of redemption. Seemingly negative characters their status as anti-heroes facilitated superb chemistry with the three leads, their effort was a marvellous supporting contribution and perfectly upheld the classic Mumbai cinematic theme of duty versus deviance, namely dharma and adharma.[5] They were wretched, yet strangely charming and proved that improvement is possible, irrespective of how deviant past deeds may be.
The disappointment some might say is that the writers worked to make it accessible to Western audiences, rather than treating them to the true Bollywood experience. Specifically, some very typical Bollywood hallmarks were absent. The most notable feature being playback singers, singing for stars. For much of the history of Bombay cinema stars were as defined by the playback singers that sung for them, such as Shammi-Rafi or Parekh-Mangeshkar.
Crew was a perfect opportunity to intersperse classical and modern techniques, there were songs like Kiddan Zalima and Sona Kitna Sona Hai that would have benefitted from the traditional Bollywood playback format. Suffice to say that the use of the once controversial song Choli Ke Peeche was the perfect opportunity for an item number. The item number is best understood as a musical number featuring a cameo by a current or former star often irrelevant or having minute relevance to the film plot. Notable examples include Helen in Don (1978) with famed number “Yeh Mera Dil” and Sunny Leone in Raees (2017) with a remix classic number, Laila Main Laila, originally from Qurbani (1980). An example of a homage occurred in Bride and Prejudice (2004) when US pop singer, Ashanti performed, “Take Me To Love”[6]
The historical controversy surrounding, Choli Ke Peeche from 1993 film, Khalnayak was centred around the issue of female objectification. This was refuted by lyricist Anand Bakshi who traced its origins to a Rajasthani folk song, denying the idea of it being even remotely vulgar.[7] Despite this, it has always been a popular song, hence it is not biased to say that the presence of original performer, the iconic Madhuri Dixit ever so briefly interacting with the female protagonists would have been a desirable and very traditional homage. Performers like Helen, Bindu, Padma Khanna and more notably Rekha and Sridevi frequently featured in such interludes, as such this dimension was absent.
The absence of a more traditional format has also slightly negated the comic contribution of several very significant peripheral characters, relegating their efforts to cameos. Pooja Bhamrrah as Komal was particularly significant as the friend and colleague that helped the three protagonists see the error of their ways and subsequently embark on the required course of action. She was a scene stealer. Similarly, Ramakant Dayma as Mr Rajvanshi. Most significantly, Trupti Khamkar as SI Mala, head of airport security made a plot contribution that enabled suspense and comedy to be interspersed. If the hostesses and security people were able to have a song or item number, even distinct from that of the main characters to fully acknowledge their contribution. This was a feature in Classic Bollywood or Mumbai cinema when in classics like Guru Dutt and Joy Mukherjee films supports such as Mehmood and Tun Tun would have a musical number. Kulbhashan Kharbanda as grandfather to Kapoor Khan needed a song to perform with her, his being all but a token performance. The hostesses and security personnel would have benefited from a song. The middlemen and villains needed a song also.
Lastly, the villains only made a cameo, but it was superbly comical, most notably for Garima Yajnik as Ayesha Wallia, spoilt daughter of the tycoon and Saswata Chatterjee as Vijay Walia. Here is another homage to classic Mumbai cinema whereby an individual in the highest position of authority is the true villain, such as was witnessed in a film such as Don (1978)[8]
Crew (2024) comically satirises the exploits of crooked airline tycoon Vijay Malla. Kareena Kapoor Khan, Kriti Sanon and Tabu play air hostesses struggling financially who embark upon rectifying their economic woes. An intelligent sociological comedy that pays homage to classic Mumbai (Bombay) Cinema or Bollywood, and modern Western cinema. Its songs are presented in a Western format rather than the traditional Mumbai format of playback singers singing for actors. Several numbers salute tradition, albeit via homage. Retro number, “Choli Ke Peeche” constitutes evidence. It boasts a distinguished supporting cast, popular Indian celebrities, Kapil Sharma and Diljit Dosanjh included. An appropriate length for Western viewers, Indian audiences may disapprove. Pure entertainment or popcorn fare and justifiably successful. Criticisms are valid if compared to traditional Bollywood. It would have been worthwhile to extend its two-hour duration by some 40 minutes to properly acknowledge the Mumbai medium. The absence of playback singers, item numbers, and most regrettably, significant supporting being unacknowledged, several being relegated to peripheral, even cameo or token status. A successful, versatile comedy: Accessible to local and Western audiences alike, boasting suitable duration, boasting engaging musical numbers and being light-hearted despite being pertinently topical. Sure to garner many Bollywood enthusiasts enthralled as to classical cinematic intricacies of traditional Mumbai or Bollywood.
Robert E. Melato
Reading List:
Das, S.M. (2006) ‘Partition and Punjabiyat in Bombay cinema: the cinematic perspectives of Yash Chopra and others’. Contemporary South Asia, 15:4, 453-471
Hacker, P. (2006) ‘Journal of Indian Philosophy’ 34: 479-96 DOI 10.1007/s-10781-006-9002-4 Copyright Springer 2006*
Jyothi Sethi, ed. Updated 3 April 2024 19:14 IST in Herzindagi.com
Melato, R. “Bollywood Cinema and Indian society: an Assessment of Some Aspects of the Interplay between Cinema, Society and Politics” University of Western Sydney, 2011*
[2] Ibid.
[3] R.Melato “Bollywood Cinema and Indian society: an Assessment of Some Aspects of the Interplay between Cinema, Society and Politics” University of Western Sydney, 22 October 2010, p.11
[4] S.M Das, (2006) ‘Partition and Punjabiyat in Bombay cinema: the cinematic perspectives of Yash Chopra and others’. Contemporary South Asia, 15:4, 453-471
[5] P.Hacker (2006) ‘Journal of Indian Philosophy’ 34: 479-96 DOI 10.1007/s-10781-006-9002-4 Copyright Springer 2006*
[6] www.imdb.com op cit.
[7] Jyothi Sethi, ed. Updated 3 April 2024 19:14 IST in Herzindagi.com
[8] http://www.imdb.com op cit.