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Bangla Animation Golpo

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My Name is Khan, introduces us to a global, multicultural theme from the<br/>perspective of an innocent Muslim in the horror of the post-9/11 United States.<br/>Victimized for being autistic in his native India, Rizvan Khan also faces the<br/>perennial violence and hate generated by the anti-Muslim pogroms there. While<br/>an impressionable child, his mother, Razia Khan, teaches him a very profound<br/>ethical lesson - that irrespective of caste, class, race, religion, or ethnicity, there<br/>are only two kinds of people - good ones who do good deeds, and bad ones who<br/>do bad deeds.<br/>After immigrating to the United States, Rizvan works as a salesman for his<br/>brother Zakir Khan’s herbal beauty products company. Due to his strong work<br/>ethic, he is able to enjoy the benefits of the American Dream. Despite opposition<br/>from his brother, he marries a Hindu divorcee, Mandira, who has a 6-year old son,<br/>Sameer, and becomes part of her family. They work hard, lead a happy life, and<br/>are well integrated into a multicultural community.<br/>After the tragic events of 9/11 Rizvan’s whole world turns upside down.<br/>Due to prejudice, Mandira's customers abandon her beauty salon and she is forced<br/>to close and seek work elsewhere. 9/11 marks a watershed moment concerning<br/>the rights of Muslims in the US. The ignorance, fear, racism, and hysteria<br/>generated by the media lead to stereotyping, demonization, stigmatization, and<br/>brutal attacks against Muslims. The film depicts the cruel, inhumane, and racist<br/>character of American society, where Muslims are considered less than human<br/>and their rights trampled upon with impunity, based on unsubstantiated and vague<br/>suspicions. Due process and equal protection rights are disregarded due to the<br/>hysteria generated by terrorism. We see events get even uglier when Sameer,<br/>Mandira's son, is killed by four racist bullies at his school. Mandira is beside<br/>herself with grief and blames Rizvan and his Muslim-ness for all their woes. She<br/>asks Rizvan to leave and only return when he is able to tell the President of the<br/>United States that he is not a terrorist. Accordingly, Rizvan leaves San Francisco<br/>in search of the President to deliver his message.<br/>This movie depicts the gross violations of the civil/human rights<br/>experienced by the Muslim community in the US, which arose from prejudice,<br/>collective blame, and hate incited against Muslims. While attempting to meet<br/>President Bush, Rizvan is arrested for suspicion of being a terrorist and is placed<br/>in solitary confinement, in flagrant violation of his constitutional rights. He is<br/>strip/cavity searched and dehumanized by overzealous law enforcement agents<br/>and classified as a dangerous terrorist. In time, due to the advocacy of Rizvan's<br/>friends, the authorities realize they have made a mistake and release him.
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Asif, a Muslim married to a Hindu, who, for reasons too convoluted to explain, becomes possessed by the spirit of a transwoman Laxmii. When he is under her spell, Asif ferociously clicks his teeth and even lets out a sort of war cry. We get so many close-ups that I started admiring how clean Akshay's teeth are. As I watched, I also wondered, how many communities will Akshay save? In Airlift, he saved Indian migrants in the Middle East; In Toilet: Ek Prem Katha, he saved women from the humiliation of defecating outdoors; in Padman, he once again came to the rescue, playing a man who creates low-cost sanitary napkins; in Kesari, as Havaldar Ishar Singh, he rescues a fort and Sikh honor; and now as Laxmii, he bats for transgenders and also throws in a few strokes for Muslims and a child with special needs. It's a heavy load. Which might be why his performance feels delivered in auto-pilot mode.<br/><br/>Laxmii is the remake of a Tamil film called Kanchana, written and directed by Raghava Lawrence, who also played the lead in that film. In Kanchana, his character, also called Raghava, isn't heroic. He's a cowardly man, so afraid of ghosts that he sleeps next to his mother and even insists that she accompany him to the bathroom. Some of the pleasure in that film was watching this wimp transform into the avenging angel Kanchana. Raghava has directed Laxmii but perhaps him and co-writers Farhad Samji, Sparsh Khetarpal and Tasha Bhambra who did the adaptation and dialogue, didn't want to risk downsizing their star. So Asif is some sort of ghostbuster. From his first scene itself, he is in savior mode, rescuing people from fraud babas. Kanchana was made in 2011. It's loud, simplistic and problematic in terms of representation. But Raghava created moments of cheesy fun and it was satisfying to see Kanchana ultimately get her revenge. The high pitch and stereotyping has not aged well and so much has been lost in translation. The tweaks to the original have only made this version worse – the interfaith marriage angle is laughably lame. Kiara Advani plays Asif's wife Rashmi. She does little except calisthenic dancing at the Burj Khalifa and widening her eyes as her husband behaves erratically. Rashmi's family disowned her when she ran away with Asif. They are offended that he is Muslim but not one person seems to notice the difference in age. Also Read: Laxmii, Starring Akshay Kumar, Is A Tone-Deaf Horror Comedy The writing is awful. The message of inclusion is noble but also obviously fraudulent because the film itself contradicts it. There is so much shrieking that it might induce a headache and perhaps the worst sin – the ghost, before it enters Asif's body, is basically a wig with a fan behind it.
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