Anurag Kashyap
@anuragkashyap72

बस एक तू ही है बहन – इकलौती मणिकर्णिका । तू ना चार पाँच को ले के चढ़ जा चीन पे।देखो कितना अंदर तक घुस आए हैं । दिखा दे उनको भी कि जब तक तू है इस देश का कोई बाल भी बाँका नहीं कर सकता। तेरे घर से एक दिन का सफ़र है बस LAC का । जा शेरनी। जय हिंद ।

Earlier kangana also tweeted मैं एक क्षत्राणी हूं। सर कटा सकती हूं, लेकिन सर झुका सकती नहीं! राष्ट्र के सम्मान के लिए हमेशा आवाज़ बुलंद करती रहूंगी। मान, सम्मान, स्वाभिमान के साथ जी हूं और गर्व से राष्ट्रवादी बनकर जीती रहूंगी! सिद्धांत के साथ नहीं कभी समझौता की हूं नहीं कभी करूंगी! जय हिंद ।

However, she insists that she is never the one to start a fight. In a tweet shared on late Thursday night, Kangana said she would quit Twitter if proven wrong.

“I may come across as a very ladaku person but it’s not true, I have a record of never starting a fight, I will quit twitter if anyone can prove otherwise, I never start a fight but I finish every fight. Lord Krishna said when someone ask you to fight you mustn’t deny them,” she said.

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Nihit Bhave’s script is set in suburban middle-class Mumbai of 2016. The story begins in October that year, around a month before the demonetisation of Rs 500 and Rs 1,000 currency notes would take place.

The plot is centred on a family of three — the bank employee Sarita (Saiyami Kher), her unemployed husband Sushant (Roshan Mathew), who is a struggling musician, and their son. Sushant, who can never hold on to a job, has piled up a sizeable debt. Sarita hardly makes an attempt to hide her exasperation and their daily bickering sessions are a staple for the neighbours.

Twist in the tale comes when Sarita one night discovers the drainpipe below their kitchen sink is overflowing. It spits out more than much, actually — the filthy water tosses out neatly-packed bundles of currency notes, too. What’s more, the accidental largesse of fate isn’t a one-off coincidence. It starts happening every night.

What follows is meant to be a gripping saga of secrets and cover-ups, though Kashyap throws in an expected dose of comment between the lines, too. Sarita’s ready willingness to make best use of her freak fortune, without stopping to bother about reason or consequence, underlines a world where money is all that. When demonetisation happens out of the blue, Kashyap gets a chance to take a few sly political jibes at “achhe din”.

Doubtless, “Choked” touts the right intentions — as an entertainer and as a vehicle for socio-political comment.

Yet, it all starts to meander after a point. A runtime of below two hours starts feeling too stretched, and for a film that primarily tries regaling as a suspense drama that bit is a downer. “Choked” somehow lacks the familiar Anurag Kashyap touch of assuredness.

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