u/ak_khainal

During filming, the team seemingly forgot that a daughter's son is called "nati" (grandson from the daughter's side), not "pota" (grandson from the son's side). Consequently, the word "pota" was used in several places in the raw footage. This was later corrected to "nati" during the dubbing stage.

However, I clipped a short segment of that raw footage, and to my surprise, the error appears repeatedly—not just once or twice, but throughout the scene or even the entire film.

It’s a minor detail, but once you notice it, you can't help but see it every time.

Did you ever notice this in Housefull, or is this the first time you're finding out about it?

Name the movie where it’s Part 1 was really good, but Part 2 was terrible—or completely different.

Let me start - Que Sera Sera (From)

Now it’s your turn.

I’ve just stepped out after watching Alpha, and my biggest takeaway is that YRF tried to give their Spy Universe a slightly different feel this time around.

Starting with the positives: the film’s visual presentation is excellent. The lighting, color grading, and several action sequences felt superior to previous films in the Spy Universe. There was also a greater focus on hand-to-hand combat, which I personally appreciated.

Sharvari delivers a strong performance, and Anil Kapoor is reliable as always. Alia Bhatt is decent, though in some emotional and action scenes, I felt she was trying a bit too hard.

Now, for the issues...

No matter how much the film tries to be different, the familiar Spy Universe template keeps resurfacing. The story plays it very safe, relies on too many convenient plot devices, and the emotional moments fail to leave a lasting impact. Some twists are interesting but don't hold their weight for long.

Another thing that bothered me was the inclusion of songs. Personally, I didn't feel they were necessary; they disrupt the film's flow in several places.

Yes, the VFX seemed better than before, and the action—despite being over-the-top—is entertaining in parts. However, by the time the climax arrives, that same old Spy Universe vibe returns.

Overall, if you go in without sky-high expectations, Alpha is a decent one-time watch. But if you are hoping for a fresh spy thriller or a really strong storyline, you might be a bit disappointed.

My rating: 5.5/10.

For those who have already watched it—what did you think? I’d love to hear your genuine opinions.

I watched Dhurandhar and Alpha and man, I didn't expect such a huge gap between them.

Watching Dhurandhar, it felt like a director actually wanted to tell a story.

Watching Alpha, it felt like someone was speaking in a meeting—

“Bro, slap on the Spy Universe logo, throw in India-Pakistan, add 3 action scenes, 2 songs, 1 cameo... and the movie is ready.”

Only the packaging has changed.
The product is the same old thing.

YRF has put effort into the lighting, color grading, camera work, and hand-to-hand combat this time. Some action sequences are genuinely good.

But just when the film starts to feel good... it reminds you, "Relax bro, I'm just a Spy Universe template."

The same impossible conveniences.
The same forced twists.
The same emotional connection that works better on paper than on screen.
The same climax where the laws of physics take a day off.

Alia Bhatt’s performance felt like she was trying too hard in places.
Sharvari, surprisingly, came across as much better.
Anil Kapoor was solid, as always.

The funniest part?
YRF cut down on wire work this time... but didn't cut down on the template work at all. 😭

In Dhurandhar, the tension builds organically.

In Alpha, the background music keeps telling you—
"Feel the excitement now... feel the emotion now... clap now."

And the songs?
Who decided to add a romantic playlist in the middle of a spy mission, man? 💀

For me, the comparison goes like this:

Dhurandhar: "Story first, spectacle later."

Alpha: "Spectacle first... if there's any story left, we'll deal with it."

If you’ve already lowered your expectations after watching the trailers, Alpha might turn out to be a decent one-time watch.

But if you’re going to watch Alpha right after Dhurandhar…

...it’ll feel like someone fed you homemade butter chicken one day, and then served you that watery ₹650 airport gravy the next. Rating (personal):

Dhurandhar — 9.5/10
Alpha — 5.5/10

Question:
Is the YRF Spy Universe actually evolving, or is it just running the same old Windows XP with a new wallpaper for every movie? 👀

Imagine a man sentenced to life imprisonment for murder in 2008, who was released on parole in 2014—and simply never returned to prison.

So, what did he do?

Leveraging his theater experience, he changed his name, forged a new identity, and gradually began working across various mediums—from Gujarati theater to Hindi TV shows, web series, and Bollywood films.

According to reports, he repeatedly altered his name and identity to ensure no one could trace his past. During this time, he worked under the alias ‘Sapandan Modi,’ and his name appears on IMDb in connection with projects like Jayeshbhai Jordaar, Thugs of Hindostan, and Wagle Ki Duniya.

However, after remaining a fugitive for nearly 12 years, he returned to Ahmedabad in 2025. There, someone recognized him and alerted the police. The police verified his true identity by matching physical markers—such as a tattoo, a mole on his chest, and a scar on his wrist—against court records, leading to his re-arrest.

He may have acted in numerous films and shows, but perhaps his longest and riskiest "performance" wasn't in front of the camera, but rather the act of living while evading the law.

Sometimes, Bollywood harbors stories far more unbelievable than the movies themselves.

For me it’s Not Your Type. What yours?

I watched his few movies today and realized something very clearly: we often remember Priyadarshan’s comedy for the dialogues or the actors, but the real magic lay in the direction.

Here are a few of my observations:

1. His characters were almost always frustrated, restless, or in a state of panic. Whether it was Babu Bhaiya, Rajpal Yadav or Maru (Dhol), the comedy stemmed from their frustration, not just from the jokes themselves.

2. He rarely created mere caricatures. While the characters were certainly exaggerated, they still felt real. That is why their conversations felt naturally funny.

3. The rapid-fire dialogue delivery wasn't just about speed. Characters would constantly interrupt each other, react, and move around. Everything happened simultaneously, and that very chaos transformed into comedy.

4. Blocking struck me as one of his most underrated strengths. In static wide shots, distinct actions would unfold in both the background and the foreground. This is why re-watching his scenes often revealed new details.

5. The characters' appearances also seemed very intentional. Sweaty faces, imperfect styling, awkward glasses, and messy hair made the chaotic atmosphere of his films feel more authentic. That kind of rawness is rarely seen in today’s glossy comedies.

6. What I found most interesting was that, when comparing the original Malayalam versions with the Hindi remakes, the stories were largely identical; however, Priyadarshan’s direction—through his handling of frustration, pacing, and visual chaos—so significantly enhanced the execution that the comedic flavor itself changed.

That is why films like Hera Pheri, Garam Masala, Bhagam Bhag, Dhol, De Dana Dan, Hungama and Chup Chup Ke aren't remembered solely for their good scripts. Priyadarshan’s direction made them timeless. In your opinion, what was the most underrated aspect of Priyadarshan's comedy?

After watching Bhoot Bangla recently, I kept being reminded of his older films, and I realized that the difference isn't just in the script—it lies in the entire design of the comedy.

In Hera Pheri,every character had their own brand of cunning. The clash between Babla and Bunty in Bhagam Bhag, the rivalry between Mac and Sam in Garam Masala, the dynamic between Radheshyam Tiwari and his wife in Hungama, and the established family relationships in Bhool Bhulaiyaa — all these elements made every misunderstanding even more hilarious.

However, in Bhoot Bangla, it felt like the comedy relied heavily on recycled gags, references, and the actors' existing public personas. While there were moments that made me laugh, I didn't feel that sense of escalating chaos that used to be Priyadarshan's trademark.

Another major difference I noticed was that, in his older films, the chaos stemmed from the characters' own actions. Someone would lie, someone would be greedy, or someone would hatch a scheme, and that lie would snowball—growing larger and larger throughout the film.

In Bhoot Bangla, most characters seemed to get caught up in pre-existing situations, so the comedy didn't feel quite as organic.

For me, Priyadarshan’s greatest strength has always been the combination of character dynamics, miscommunication, and escalating chaos—not just one-liners or meme-worthy moments.

Did you feel the same way, or am I being overly critical because of nostalgia for his older films?

I won’t get into how "Ran" stands for Ranveer Singh and "Dhar" for Aditya Dhar; while people are busy discussing the film’s action, twists, and spy games, I feel the true story is concealed in the name itself.

“Dhura” refers to the central hub of a wheel—the part you don’t see, yet the wheel cannot function without it.

And that is exactly what Jaskirat / Hamza becomes.

Someone no one sees.
Someone no one recognizes.
And someone no one can even remember.

He becomes an invisible force driving everything forward.

But the real game doesn’t end there…

By the story’s conclusion, every one of his identities has gradually faded away:

Jaskirat (the son) – who wanted to return home but never did.
Hamza (the spy) – who won the mission but lost himself.
Sher-e-Baloch – who burned alongside the very empire he built.

The man seen walking away at the end… is perhaps no longer tethered to any name at all.

And therein lies the film’s greatest tragedy.

This connects to that specific shloka from the Bhagavad Gita featured in the film—
Action cannot occur without the desire for a result… yet true duty begins only after one lets go of attachment.

Hamza’s revenge was not his reward…
It was the price he paid.

And perhaps the final scene with his mother should be viewed through this lens…
Maybe she recognized him…
Maybe she didn’t…

But emotionally, the son she had been waiting for all those years…
…had ceased to exist long ago.

That is why the title “Dhurandhar” feels so perfect.

The wheel keeps turning…

But the dhura is never remembered. Did anyone else notice any hidden symbolism in this film that was generally missed?