Qaidi Band Full Movie In Hd Download
Niki Wienberg
The film opens in a jail in India where in the male ward, a bunch of under-trail prisoners are trying to catch a mouse, which ends up becoming a betting game for all the other prisoners. Sanju the under-trail prisoner who successfully catches the mouse takes his share and leaves. Meanwhile, in the girls' ward, Bindu an under-trail prisoner is illegally earning money by providing her fellow prisoners with eyebrow-cutting and manicure services. A senior prisoner refuses to pay her and Bindu angrily steals money from her and runs. The other girls chase her and thrash her brutally for her antics.
All the prisoners are called by the jailer SP Dhulia who announces that for the first time on the occasion of Independence Day of India, a male-female joint musical band of under-trail prisoners will be created to participate in the Independence Day function. He also announced that the band will be rewarded with grace points, which will help them to get their jail sentences cleared at the earliest. Subsequently, auditions happen and Sanju and Bindu are selected for the band along with Maskeen Singh, Ogu, Rufi, Tatyana and Sange. The group bonds quickly and decides to give their best to get their jail charges cleared as soon as possible, as per the promise of Dhulia. They also reveal their reasons for being imprisoned. Sanju has been framed by the husband of a woman whom he had given a lift on a rainy night to reach home, for trying to molest her. Bindu was accused of trying to kidnap her niece by her brother-in-law who actually was indulging in violence with his wife and daughter. Rufi reveals that after his wedding, he purchased a car which got stolen. After a few days, he discovered that the bomb blast in his city was triggered by his car. Since he hadn't registered a missing complaint of his car, he is framed for being a part of a terrorist group. Ogu is imprisoned for trying to procure drugs in Goa.
The lyrics for the songs have been written by Kausar Munir, Habib Faisal, Peter Muxka Manuel and Sidhant Mago. All the songs featured in the film are sung by Arijit Singh and Yashita Sharma. The soundtrack consists of 9 songs and was released on 26 July 2017 by YRF Music.
The film garnered mixed reviews from critics. In a review published by Hindustan Times, it received a rating of 2 out of 5. However, the review also lauded the music composer, Amit Trivedi, hailing him stating that "the genius of music composer Amit Trivedi, who is the real star of this interesting yet ordinary film."[5]
Beaming with an idealism that sticks out uncomfortably in an atmosphere of confinement, they romanticise about freedom and prospects in the vein of a dreamy-eyed Shah Rukh Khan crooning Bas Itna Sa Khwab Hai atop a moving truck.
If the idea is to highlight the frustration and plight of India's growing percentage of undertrials or criticise slow-moving judiciary reforms, throwing in a mere mention of Assam native Machung Lalung who spent 54 years behind bars without trial like trivia does precious little to make its point.
Credited for its story, screenplay, lyrics, dialogues and direction, Faisal assumes a lot of roles to tell a story based on real events -- one of them is when Tihar Jail's in-house band Flying Souls played alongside Delhi-based rock group Menwhopause, the rest is mostly bogus.
Even as you are wondering about their unusually chirpy disposition and hip fashion sense languishing in crammed chambers and dimly lit dingy corners, a rock band called Middle Finger, one that looks like it's never performed a day in their lives, drops by to jam together.
Their music becomes an instrument of their liberation. But there are many hurdles in their path and the fight winds its way through several maudlin passages involving the young lead pair and their pals before the eventual denouement. The problems they face spring from reality, but the solutions they find are far too simplistic to be entirely convincing. But, then, who wants these hapless blokes to end up badly?
The dialogues, penned by Faisal himself, are generally fresh, but the characters take a largely conventional route in reaching their goal. As a result, the second half of Qaidi Band lacks the power and sensitivity of the first. The climax, in particular, is dragged to snapping point. By the time we head to the exit when the end credits roll, the thoughts in our minds are rather mixed.
Faisal's social leanings come out best in the religious and racial mix that he creates within the eponymous band. While it gives the bonding between the members a special dimension, it also gives him the triggers needed to bring out the prejudices rampant in our society. In the sense that the prison at its heart is a microcosm of the nation itself, Qaidi Band is a film that deals a significant blow on behalf of the diversity of this nation even as it lays bare the narrow-mindedness of elements that want to wall themselves inside the ghetto of their identity.
Trailer of Qaidi Band:
On the performance front, Qaidi Band is dominated by Anya Singh. She is a bundle of energy in front of the camera. Aadar Jain, a chip off the Kapoor block, delivers a rather uneven performance. He clearly has a great deal of catching up to do with his more famous cousin Ranbir Kapoor, who he appears to imitate both in terms of dialogue delivery and general demeanour.
Among the veterans in the cast, Sachin Pilgaonkar, playing the jail warden, makes the strongest impression. Ram Kapoor has a cameo as a lawyer who comes to the aid of the band in a situation that is entirely contrived.
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I've watched a lot of sub-par YRF productions over the years, but Qaidi Band takes the modak-shaped cake. It looks like the illegitimate millennial-mocking offspring conceived out of an amorous train-toilet union between a depressed Rock On!! and a neurotic (insert random prison break drama). It bears all the authenticity of One Direction acclimatizing to Tihar Jail, and is as incredulously unnecessary and superficial as Paris Hilton experiencing the tough life of a prisoner for another cash-grabbing reality show.
There is literally no excuse for such an outdated, vain, deluded and senile film to exist on this planet in 2017. It might be intended as a "spirited" launch pad for two young newcomers, but the only thing it really launches is the pit at the bottom of my stomach straight out through my mouth. And I promise this image is still far more appetizing than writer-director Habib Faisal's latest monstrosity.
Except perhaps the villain (Sachin Pilgaonkar, as the evil jailer), everyone else seems to be part of some elaborate modern-day parody of Phir Bhi Dil Hai Hindustani. As a result, Qaidi Band's consistent commitment to awfulness might have claimed another victim in its messy slipstream.
Think about it: A frustrated group of innocent under-trials form a band and use their music as a way to vitalize the country and achieve freedom. If there was ever a story that seamlessly lent itself to the heightened Bollywood dichotomy of song and drama, this was it. I mean who doesn't want to see a harmless preppie rendition of sarkaari cops as bad guys and sad-eyed convicts as noble beings again? If Sanju (Aadar Jain) and Bindu (Anya Singh), along with a carefully handpicked group of ethnically diverse fugitives, can expose the nation's feeble Justice and Law system with all the conviction of Malabar Hill students tattling to their principals, what's not to like? Never mind that all of them deserve to be behind bars for participating in a recklessly researched tale like this. I could swear there were a Belarusian girl and a Manipuri lady in the band who disappeared midway through the film. Could each frame not handle so much culture?
There's such an elaborate plasticity to even the most basic emotions that it's hard not to imagine how detached from ground realities these creators are. Amateur band competitions with a top prize of INR 50 lakhs? In what alternate universe? Bollywood, of course. Under-trials suddenly sounding like an international Sufi band (Sainanis, it seems) once they are given branded equipment? YRF's Bollywood, of course.
Flying Souls, a real band formed in Tihar Jail, inspired director Habib Faisal to make Qaidi Band. He started his research on the band after he saw them on the news. The research, however, openend up tangents that required to be researched too.
Former director general of Tihar Kiran Bedi was instrumental in introducing music therapy in Tihar jail. Delhi-based rock band Menhwhopause had done a charity concert in the jail in 2001, thereafter, they conducted workshops for the inmates. Flying Souls came into prominence after an inhouse jail contest, Tihar Idol, was held in 2012.
Qaidi Band revolves around a group of undertrials, passionate about music, who form a band and perform behind the bars. Their popularity grabs the attention of the masses which compels a local politician to ensure that they remain in jail. Their right to justice is compromised as their biggest asset music stands in their way as a hurdle. But they use their bond and music to set themselves free eventually.
Habib Faisal, who has directed earlier YRF ventures like Do Dooni Char and Ishaqzaade, meddles with a new genre and achieves success to a great extent. He is also the writer of the film which is why he should be given a pat on his back. The writing comes across as fresh and even makes bad actors (like the lead star) look convincing. He has also paid great attention to detail, as evident by minor props like a plastic bucket being used to serve dal to the under-trials and a school bus being used to ferry the undertrials for an unoffical parole.
The screenplay and story are in place too as the film boasts of just the right pace and progression. Where these fall short is the climax. While the film escapes the infamous curse of second half, it falls prey to a weak and unnecessarily stretched climax. While the film could have easily, and smartly, ended at the point when the undertrials are released from jail but still feel caged owing to the bondage of their fellow inmates, Faisal decides to spoon-feed some more hope to the viewers.
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