In the first part of the diptych Ragini MMS, the young Ragini had left with the rabble of Uday, neither seen nor known, in an isolated barrack in the forest. In this time of gritty narcissism 2.0, the rascal and opportunist Uday shortly before his fateful death had nevertheless succeeded in filming his intimate antics with the innocent Ragini.
Ragini ended up in a psychiatric asylum and her naughty video, nourishing the vile, passes from hand to hand for the greatest happiness of the Onanists devoting themselves, to their solitary pastime. Thus punish the gods for the uterine fury of the daughters of Durga!
If in 2014 Ragini MMS 2 punctured the box office, it is certainly not for its originality. Moreover, it is very much below the original Ragini MMS, which we just disclosed to you earlier and that by the way did not fly very high. The first part of the series Ragini MMS was overrated in the tradition and style of paranormal activity and its franchise spawned the Atlantic. Since then, Indian cinema and audiences have enjoyed a certain enthusiasm for Yankee productions, rather mediocre.
Certainly, the scenario of Ragini MMS was not very intellectual. The lovebirds were cosing up in a haunted house, that ended badly. However, where the film was still playing well, it was in the clever mix of soft eroticism and its particularly frustrating delusional story.
Ragini MMS 2, the second part of the franchise does the minimum and prefers to play the card of the provocation by highlighting the participation of the sulfurous Sunny Leone, now retired Indo-Canadian porn actress, who has converted into a savvy businesswoman who no longer chains the well-assembled stallions but business always as well-mounted in India and the United States.
Before her reconversion Sunny regaled her admirers with particularly noticeable performances, alternating in her short career. Mankind has benefited from It's Sunny in Brazil and The Dark Side of the Sun, where we recognize her undeniable talent to tie and untie the mammary intercourse and her dedication to the delight of her fans. She withdrew since 2013 and her adulators regret that she did not carry out more ambitious European projects.
The only interest of Ragini MMS 2 is therefore the presence of Sunny Leone. In the film Sunny plays her own role of a candid actress who has departed from porn to experimental as an ecological cinema writer (when she is told you're really hot, she responds by saying, It is global warming!. The very shady and rather shabby Rocks (Parvin Dabas) wants to direct a horror film, a horrifically sexual film, with horrifically sexual content, based on the story of Ragini and Uday. Phew!
Thus, in one of the most comical scenes, Sunny's partner allows himself to question his game claiming that it is only good for adult films. She answers simulating feminine ecstasy in a very convincing and frightening way and we are not going to lie. The contradiction is great, because apart from the erotic scenes and music videos the game of Sunny is very painful.
She is a disarticulated uncomfortable puppet, a disembodied doll, never on its marks, as ghostly as the witch who will all butt. Her stuttering at the time of reading her text is however caught up by the more or less sincere expressions of her pretty face. And, we can tell you without unveiling the end, At the end of these 119 minutes Sunny will be possessed several times by its text.
If there was not Sunny Leone's chest, occupying a considerable volume alone, Ragini MMS 2 would be flat. The film and the actors' game are a bad soap well served by dialogues of a cretinism to make pale the most oligophrenic. And even though the genre used carries fertile themes (transgression of taboos, unveiling of prohibitions) there is no idea of Ragini MMS 2.
This is certainly due to Bhushan Patel, the director, also author of 1920: The Evil Returns, an indigestible sub-m # and we will not even take the time to summarize you. But also to the producer Ekta Kapoor (also daughter of Jeetendra), who after the very good The Dirty Picture has departed of the right way.
The horror cinema has always maintained more than cordial relations with sex, its symbolic representation and its visual figuration. The erotic horror thrillers of the 70s testify to the indivisibility of the films filmed by the invisible Jesús Franco and the films of the late Wes Craven (notably The Night Claws or Nightmares and Teenage Sexuality).
This is not the case in Ragini MMS 2, which seeks to make a capitalizing figure on the presence of the actress without satisfying either our lower impulses nor our expectations of thrill. This shyness is very strange, all the more so because in its opening credits the film swings a very sophisticated version of Hanuman Chalisa, a devotional song that should be hummed or whistled to protect oneself from evil spirits, as if The film was an invitation to the exorcism of certain social taboos. But we will not be allowed to have torrid scenes of bestial sex or to brutalize our brains by a traumatic horror.
Sunny emerges from the foam of her bathtub like an Venus Anadyomene. Her pink lips like newly hatched flowers tell us that her pretty well rolled girlfriends just after their tuning will come join her for a festival of lascivious swaying and other waddling.
Saving mix of hip hop and urban rap punjabi, Baby Doll respects the codes of the genre. It contains its lot of unnecessary and unlikely scenes. Its hypersexualized women, in a luxurious setting, and whose favorite pastime is to rub against the walls; as well as quite absurd words certainly by a retarded teenager. Be that as it may be Baby Doll regale us of a Sunny reified to desire and other women decorative, deprived of any individuality.
In a more than correct photograph, the very enticing Sunny appears as an object of consumable desire (dozens of anonymous hands tear it away). Between two convulsive movements of her hindquarters, she shows herself passive and offered to merchant possession (spread out on a sofa or in a gilded cage serving as a showcase). It is only a desirable body. Note also the corsets framed squeezed of promises; The close-ups on an exceedingly greedy mouth (whose color oscillates between russian red, vermilion red and dull carmine); and the pelvic movements filmed in slow motion, in light against-dives with stunning views of a crotch of the most attractive.
The music is composed by Meet Bros Anjjan, Sikh rappers having swapped the gangsta hood of the craft by a dastar turban of the best effect. With their smoked glasses, their big baguzes, the golden chains and all these females at their disposal, they honor the traditions of rap while practicing as representatives of Ayurvedic products for Zandu, a makeshift lubricant or Vaseline.
The one that pushes the song is Kanika Kapoor, debutante in 2014, says she is specialized in Sufi music. Not only does she lend her appetizing voice to Sunny Leone, but she also wins the Filmfare Award for the best playback singer for her shimmering involvement in this track. Moreover it will make a remarkable representation in Baby Doll Remix, remarkably abject piece by the use of 10 years old girls disguised in Sunny.
What more can be said? Bah, that we will never thank enough the gods of the video clip to let us contemplate Sunny and her girlfriends making the little train lasciviously moving their hindquarters while patting the rump cheerfully. It was a great moment of happiness. This piece proved to be the ultimate proof of the virile intercession of the great authorizer against feminism.