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[Sharmila-Sweet]

Tees Maar Khan

By Taran Adarsh, December 24, 2010 - 08:40 IST


Caution: Absurdity, illogicality and buffoonery scale new altitudes in TEES MAAR KHAN.

If you thought MAIN HOON NA and OM SHANTI OM were smashing tributes to the wholesome entertainers of 1970s, Farah Khan's brand new outing TEES MAAR KHAN will make the most absurd, bizarre and wacky cinema of yore pale in comparison. Not just your cell phone, even your brain needs to be put on 'switched off' mode at the commencement of this film. Farah's fundas are very clear: Ask no questions and abandon all faith in logic, reason and rationale. Only then can you relish TEES MAAR KHAN.

Knowing Farah and her love and obsession for masala films of yore, it's foolhardy to expect thought provoking cinema from her. TEES MAAR KHAN belongs to the hardcore masala variety, which was savored with glee by the hoi polloi then and which continues to be hugely popular at single screens to this day. But unlike her past endeavours, Farah looks at the West for inspiration this time around.

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TEES MAAR KHAN is the desi adaptation of Peter Sellers' 1966 Italian film AFTER THE FOX [CACCIA ALLA VOLPE], which now enjoys a cult following, but it bears the Farah Khan stamp in every frame. Like MAIN HOON NA and OM SHANTI OM, TEES MAAR KHAN is also a formula-ridden outing with tadka-maar-ke entertainment.




Creating heist films is tricky and tough. The director should ensure that action, thrills and wit are mixed and merged in right doses and TEES MAAR KHAN amalgamates it all with charming results, mainly in the first half. In fact, Farah's distinctive style transforms the simple premise into a truly vitalizing thriller that can be replicated, but rarely matched. She chooses to once again make a film she is most comfortable making and sticks to the staple formula of action, comedy and full-on masala. What really stands out is the relative effortlessness with which she handles the material.

On the flipside, the film slips towards the second hour. You feel that way primarily because the first hour is thoroughly entertaining with a good number of laugh-inducing sequences and three solid songs and though the second half is engaging at times, it doesn't measure up to the first half in terms of the entertainment quotient.

Final word? TEES MAAR KHAN is a film that will see a big divide in opinion: The masses may admire it, while the hard-nosed aficionados and connoisseurs of cinema will loathe it. For me, TEES MAAR KHAN worked in parts only.

Only once in a blue moon is such a great criminal born who is fearless as well as shameless! Tees Maar Khan [Akshay Kumar] steals cons and cheats all with such alarming audacity that even shame shies away from him. He and his gang comprising of Dollar, Soda and Burger have managed to keep the police, world over, on their toes.

Then one fine day international antique smugglers, the Johri Brothers, assign Tees Maar Khan the biggest con job of his life. He must rob antiques worth Rs. 500 crores from a heavily-guarded moving train. Will Khan and his gang, with some unwitting support from his wannabe-actress girlfriend Anya [Katrina Kaif] and the Oscar-greedy Bollywood superstar [Akshaye Khanna], be able to pull off this heist?

TEES MAAR KHAN is a crazy ride. Nearly everything in this picture is amusing, riotous and over the top. It's loaded with many laughter-inducing moments, with everyone exhibiting immaculate and faultless comic timing. The slapstick quotient is on the higher side, but there's plenty of verbal comedy as well.

Ashmith Kunder and Shirish Kunder's script wastes no time in establishing the ways and means of the heist. Once you get a hang of the goings-on, once you throw logic out of the window, there's ample pleasure to seek in this humorous entertainer which does not claim to break new ground. I'd like to make a special mention of the film's dialogue [Ashmith and Shirish], which comes across as the perfect garnish to the proceedings.

Of course, TEES MAAR KHAN is not without its share of slip-ups. The film gets messy in the second half, especially since Farah and her team of writers attempt to pack just about everything in this hour. Also, a couple of scenes don't register well. The sequence involving the 'headless ghost' appears futile. The heist is plain ordinary and doesn't conjure up the magic on screen. The finale in the courtroom and the premiere of the film fall flat as well. Even the comic scenes fail to evoke mirth in the latter half. The tracing-paper-thin plot comes to the fore in this half, frankly.

Talking of its soundtrack, the expectations are humungous again, since Akshay, Farah and Vishal-Shekhar team up to create a mass-friendly soundtrack. 'Sheila Ki Jawani' is highly energetic and stimulating and has already made its excessive presence felt. 'Wallah Re Wallah' is another track that stands out. The presence of Salman Khan in this number will cast a spell on viewers. The title track, repeated throughout the film, is truly wonderful. The choreography of all songs is top notch. Background score [Shirish Kunder] is apt. The review would be incomplete without acknowledging the contribution by cinematographer P.S. Vinod. The titles during the end credits are lovely.

Farah plays it smart by choosing to cast actors who fit their roles perfectly. Akshay Kumar dominates the proceedings, as always. The requirement of the role was, he has to be loud and hammy and it works well here. In this one, he is neither a nerd nor a geek; he portrays a hero and does a swell job. Akshaye Khanna springs a big surprise. Enacting the role of an Oscar-hungry superstar, the film explores the funny side of Akshaye very well. He has a substantial role, which he carries off with conviction.

Katrina looks drop dead gorgeous and scorches the screen in the 'Sheila Ki Jawani' track. In fact, she has never looked so alluring. Raghu and Rajiv are superb. Akshay's three cronies compliment each other wonderfully well. Aarya Babbar is sure to be noticed. Murli Sharma and Aman Verma's try very hard to be funny, but fail. Apara Mehta is first-rate. Sudhir Pandey is fantastic. The villagers are mere props. Sachin Khedekar and Vijay Patkar are okay. Salman Khan makes an appearance in a song [electrifying], while Anil Kapoor appears in a cameo towards the end.

On the whole, every movie buff has humungous expectations from TEES MAAR KHAN since it's already very high on hype. Firstly, fulfilling colossal expectations is an arduous task and over-hyping makes the task even more complex. TEES MAAR KHAN is more of a tribute to old-school Hindi cinema, with a fabulous first half and a strictly average second half. The Christmas weekend and vacations across the globe will ensure a record start in its opening weekend. If only its content was powerful enough, it would've truly been a tees maar entertainer!

3/5

[Sharmila-Sweet]

No One Killed Jessica

By Taran Adarsh, January 5, 2011 - 08:36 IST


Most storytellers entertain, a few enlighten. A scattering number of celluloid visionaries entertain as well as enlighten. Rajkumar Gupta fits into that exceptional variety of film-makers that opens up thought-processes about the condition of the homeland without losing the cinematic elements that constitute a film.

To reconstruct on celluloid a true occurrence that is oven fresh in public reminiscence is not a trouble-free mission, but Gupta takes up this colossal challenge of placing together the controversial and litigious story of Jessica Lall's murder case on celluloid. However, having sensitive and explosive material on hand is not enough. The execution of the subject is of paramount importance. Fortunately, the one-film-old director interprets the events of the murder case in remarkable style and form and makes it a cinematic experience that haunts you even after the film has concluded. Gupta does complete justice to the spirit of the story, which had created headlines and still remains well etched in our memory to this day.

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A few monsoons ago, Rajkumar Santoshi's HALLA BOL commenced with a shootout sequence at a party. Of course, HALLA BOL wasn't about this incident alone, it was just a tiny segment in the narrative. NO ONE KILLED JESSICA focuses on this true-life incident [with no deviations] and its strength lies in the fact that it sucks you into the world of dirty politics and power games as soon as it unfolds.




NO ONE KILLED JESSICA is not Gupta's first and foremost endeavor at illustrating a real incident that shook the nation. Even in his directorial debut AAMIR, Gupta depicted a common man's [Rajeev Khandelwal] hard try at combating terrorism and violence. However, that was a work of fiction. But NO ONE KILLED JESSICA is a different ballgame altogether because reams of paper and hours of television footage have been devoted to this case. Thankfully, Gupta makes it an engaging thriller rather than relying on the docu-drama format.

NO ONE KILLED JESSICA belongs to the unique hard-hitting, gut-wrenching genre of cinema. Script-wise, the director has tried to remain faithful to the episode that occurred during that fateful night and also what transpired subsequently, but besides depicting reality on celluloid, he adds the thrill element to the plotline, which makes it very viewer-friendly. The events have been chronologically put forth and the daring story of two women who challenged the system hits you like a ton of bricks. The film truly celebrates the human spirit and also reflects a vital change in the society and in the attitudes of people.

Final word? This gutsy film deserves a standing ovation!

New Delhi, 1999. The guns at Kargil are still blazing when another one goes off, this time in the nation's capital. Jessica [Myra], a young attractive model, trying her hand at bartending, is shot dead at a celebrity party. Her crime - refusing to serve a drink after closing hours. The culprit Manish [Mohammed Zeeshan Ayub], son of a prominent politician, inebriated by a deadly cocktail of alcohol and a sense of entitlement, pulls the trigger in a fit of rage.

With 300 of Delhi's swish set present at the party, many of whom are witnesses to the murder, Manish looks all set to go to the gallows. Except that it doesn't quite turn out that way. But two women, Jessica's sister Sabrina [Vidya Balan] and the feisty TV reporter Meera [Rani Mukerji], decide to outwit Manish and his politician-father [Shireesh Sharma] at their game. Over the course of seven years, the case goes through several stages of legal complications. Witnesses turn hostile one after another and the few who don't, became inconsistent with their versions.

Manish is acquitted, leading to a fierce public uproar and a relentless campaign by the media, which eventually leads to a life sentence for Manish.

A film like NO ONE KILLED JESSICA pricks your conscience and makes you think. In fact, it's the kind of film that will lead to debates and discussions. What was more appalling - the model's slaying or the slapdash method in which the suspected assassins were brought to justice? What's even more scandalous is that almost immediately after the killing, the police identified the slaughterer and it seemed like an open-and-shut case. But it wasn't.

Gupta deserves kudos for choosing a thorny and contentious story to interpret on celluloid, but he deserves a few extra brownie points for handling the material with aplomb. His prowess and competence is visible all through the film, but more specifically in the electrifying courtroom sequences and also when Rani decides to take up this issue. The candle light protest at India Gate in particular is simply overwhelming.

Since it is based on a real story that occurred in Delhi, Gupta has shot the entire film in the city. The characters are real and so are the locations and that's what makes the goings-on very identifiable, besides bestowing an authentic feel to the film. Like his earlier film AAMIR, NO ONE KILLED JESSICA has been shot in guerrilla style and that makes the viewer feel that he's actually watching the drama unfold in front of his eyes, that he's a spectator in the proceedings. Gupta also ensures that the two pivotal parts remain true to their respective characters.

Any shortcoming? Yes, if Gupta would've trimmed the film by at least 10 minutes, the impact would've been much stronger.

A hard-hitting drama, generally, doesn't have scope for music. But Amit Trivedi joins hands with Amitabh Bhattacharya, the wordsmith with whom he delivered the fabulous soundtrack of DEV D, and together they deliver a solid soundtrack. 'Dilli Dilli' has already won hearts of audiences and the remaining songs too leave an impact. Anay Goswami's cinematography is first-rate. Dialogue, also penned by Gupta, are realistic to the core.

Gupta may be young and relatively new to the fray, but that does not deter him from getting the best and most appropriate cast for his second outing and I am sure, it's only thanks to a potent and persuasive script. Vidya has been basking in the glory of films like PAA and ISHQIYA lately, which gave her ample opportunity to prove her dexterity. She gets a wonderful opportunity to prove her prowess yet again. Vidya plays the iconic Sabrina Lall brilliantly, reliving some very stressful and arduous chapters of Sabrina's life. Balan is poignant yet controlled and projects an imposing figure of maturity, refinement and veracity. This film completes a hat-trick of her commendable performances.

In the role of a spirited and audacious journo, Rani, who smokes non-stop, flings swear words every now and then and who rebuffs being a voiceless spectator when the culprits go scot-free, is simply exceptional. She sinks her teeth into the character, giving it the much required pragmatism that it necessitates. Her performance is bound to be talked-about in days to come. In fact, it would be unfair if I do not acknowledge the fact that she appears very much at ease mouthing abusive words and lurid language.

Neil Bhoopalam, the key witness, is fantastic. Especially in the sequence when he comes for an audition of a film role and blurts out the truth unsuspectingly. Mohammed Zeeshan Ayub, the main accused, is very good. Myra, as Jessica, is natural. Rajesh Sharma, the investigating police officer, is excellent. Satyadeep Misra, as Rani's boss, gives a fine account of himself. Shireesh Sharma, the politician-father, is perfect.

On the whole, NO ONE KILLED JESSICA is a poignant story of two women's resolve for justice. It's a remarkable blend of facts and fiction inspired by a series of real-life episodes, which has thankfully not been presented as a tedious biography or in a mind-numbing docu-drama format. It's more of an engaging thriller which has the right doses of histrionics, tautness, anguish and thrills. The emotional and disturbing journey, the strength of the common man and the relentless endeavor of the media have all been most compellingly put together on moving picture. In times of yore, a lot of films have been attempted on real-life incidents, but haven't struck a chord so effectively. NO ONE KILLED JESSICA should shatter this jinx. This heroic and daring film truly deserves a prolonged applause.



4/5

[IDOL]

I watched TMK......................1/5

[Sharmila-Sweet]

7 Khoon Maaf review: Strikingly boring but cute
Last updated on: February 18, 2011 17:37 IST


'Once that you've decided on a killing,' sang Sting [ Images ] back in 1983, 'first you make a stone of your heart. And if you find that your hands are still willing, then you can turn a murder into art.'

Tragically, Priyanka Chopra [ Images ] is the kind of actress that painstakingly -- and painfully -- tries to spell out just how stony her heart is, something far better conveyed through deed rather than affected mannerism.

Eyes well up with hurt, thick lips quiver in pouty indignation, and subtlety is thrown to the hounds as the actress flounders, trapped inside a bewildering character significantly out of her league.

And while The Police song might have gone on about a slaughtering spree as easy as ABC, Vishal Bhardwaj [ Images ] takes it far too literally and gives us a film so linear, so simplistic in narrative, that it never quite manages to arouse interest. 7 Khoon Maaf may well be about a demented deity with a fetish for husband-killing, but -- incredible as it may seem -- it is a strikingly boring film.

More than that, in fact, this is a cute film. A very adult story told puzzlingly like a children's fable, this Ruskin Bond adaptation never quite shakes off the artificial affectedness and comes across only as a silly film masquerading as a smarter, cooler, deeper one. Its lines mostly overwritten with both cloying mawkishness as well as childish over-exposition, 7 Khoon Maaf is often just being precious -- while not really worth all that much.

It starts off promisingly enough, an investigation tray being wheeled into a government forensics lab -- the kind of place Bollywood never shows us. An expert opens up the box, looks at pictures of a presumably dead Priyanka, and a tear rolls down his cheek. Most of the rest of the film is photo-album driven flashback, involving him telling her story to his shrill, curious wife.

We see a young Priyanka Chopra at her father's funeral, and then are exposed, one-by-one, to a procession of her many fatally flawed grooms. A two-timing Trotskyite, a poetic pervert, an antiquated apothecary, a foolish officer, and a couple of men who can't act. The wedding-fetishist disposes of them all with consummate ease, while the master filmmaker loyally -- and unimaginatively -- serialises her process.

Bhardwaj's cinema has always been one of quirk and energy, the director whimsically bending the narrative and soaking it in such style that it's impossible to look away. This time, however, he seems content to let the film do the talking while he merely watches... there is no panache, no audacity, no trademark flourish. There is just an immaculate song set in Kashmir [ Images ], and a fabulous one with Russian roots that deserved a better film around it.

There are inevitably a few very clever moments in the film -- a scene involving a white cat in the snow, for example, or that marvelous last line about broken spectacles -- but the characters populating the proceedings are much too exaggerated.

A muted dwarf as if from a Sherlock Holmes adventure; a tender writer with a violent sexual fetish; a Russian man of mystery who quotes Amitabh Bachchan [ Images ]... Bhardwaj's traditionally wonderful dialogue is more basic and less smart this time around, and resultantly the characters emerge considerably contrived and theatrically overdone.

It may be argued, of course, that the maker's intent was to create a macabre opera. Yet this is a highly irregular product, often flip-flopping the line between melodrama and dark comedy, not quite achieving either. And what opera could work if you cared not for its players?

Priyanka tries her best, but is simply not a good enough actress to justify being in a role this nuanced and demanding. It is a fantastic character, one deserving of a Sofia Loren or a Penelope Cruz [ Images ] or a Waheeda Rahman, and try as Ms Chopra might, she never comes close to being convincing. She turns hints into signals, happiness into hysterics, her every movement an act. She looks her best when sternly strutting into a hospital, occasionally gets a line right, and her acting highlight comes with her resigned yet in-control body language as she sees off Annu Kapoor to his car. Yet these are but a few swallows, and she's an actress unworthy of this season.

The strongest acting comes from Vivaan Shah, who plays the film's lovelorn narrator, and Harish Khanna, as a loyal butler who knows it all. Both men have interesting screen presence and relatively solid characters, but are one-note, and frequently drowned out by the buffoons around them.

As for the husbands, only two are any good: Aleksandr Dyachenko charms both heroine and audience, as does Irrfan Khan [ Images ] when reading poetry or drowning breathlessly into Priyanka's eyes. Annu Kapoor is let down by a character written into caricature, while Naseeruddin Shah [ Images ] behaves differently every time we see him. John Abraham [ Images ], his biceps the size of Bandra, tries hard to be a rocker and fares only marginally better than Neil Nitin Mukesh, playing a furious armyman seemingly focussing on his moustache not falling off.

Yet the heartbreak is in watching Bhardwaj, that fantastic master director, make a bloated film that plods sluggishly along, a film that doesn't connect either emotionally or sensually.

I exit the theatre tiptoeing gingerly through treacley blood, past the fallen corpse of my expectations. That, ladies and gents, is Susanna's seventh casualty. And it's the only one that hurts.

Rediff Rating: 2/5

[Sharmila-Sweet]

GAME

====


By Taran Adarsh, April 1, 2011 - 10:02 IST


It's back to the theatres after a sabbatical. GAME is crucial for Abhishek Bachchan. Also for director Abhinay Deo, this being his first release [though he had signed DELHI BELLY much before he made GAME]. So let's figure out how exciting this game is...

Recall Vijay Anand's whodunit TEESRI MANZIL. Also recollect Vijay Anand's crime thriller JEWEL THIEF. Now reminisce Raj Khosla's suspense thriller WOH KAUN THI?. Also revisit Biren Nag's eerie suspense saga BEES SAAL BAAD. Several decades and several screenings later, you still relish those films. These films worked for varied reasons. Melodious music. Taut screenplay. Most importantly, it was hard to guess the identity of the 'culprit' till the very end.

Hindi cinema is undergoing a major metamorphosis. But the rules of the game haven't changed. A whodunit should keep your interest alive till the penultimate moments. Besides, the identity of the killer/culprit should come as a shock, when the veil of secrecy is lifted. Also, the logic or rationale behind the goings-on needs to be convincing and relatable at the same time. Unfortunately, GAME misfires on all three counts.

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The problem with GAME is manifold. First and foremost, first-time storyteller Abhinay Deo serves a slick-flick that's devoid of meat. It's all about narrating interesting stories and how convincingly do they translate on celluloid, but Abhinay seems to be under the notion that stunning locales and vibrant/energetic action pieces compensate for a tight/cohesive script. Nope, they don't!

Another problem with the film is that the screenplay [penned by Althea Delmas Kaushal] goes for a toss after an electrifying first hour. In fact, I'd go to the extent of saying that the first and second halves are diametrically opposite in terms of content and also the impact they leave. While the first hour succeeds in holding your attention thanks to the interesting twists and turns [never mind the slow pacing at times] and flows like a breeze, the second hour simply tests your patience. It's puzzling and confusing, with everyone pretending to be Sherlock Holmes.

Moreover, the second hour is formulaic and takes the most convenient route to reach the finale [more on that later]. Agree, Hindi films abound in cinematic liberties, but the implausible screenplay takes not just the cake, but the bakery away. The finale is so weird and amateurish that one wonders, how did the director and such experienced producers approve it at the script level itself?

GAME is a story of four strangers - Neil Menon [Abhishek Bachchan], O.P. Ramsay [Boman Irani], Tisha Khanna [Shahana Goswami] and Vikram Kapoor [Jimmy Sheirgill] - who have been invited by the reclusive billionaire Kabir Malhotra [Anupam Kher] to his private island of Samos, Greece.

A casino owner by profession, Neil has investments in various businesses, some legal and some not so legal. Ramsay is a politician from Thailand, who is running for elections. In fact, he is one of the most powerful men in Thailand. Vikram is a Bollywood superstar, recognized by all on the streets of India and Tisha is a crime journalist, with a career that is going nowhere.

None of these characters know each other and neither do they know the billionaire who has invited them to Samos… and by the next morning they will wish they had never come.

GAME bears an uncanny resemblance to the Dharmendra-Zeenat Aman starrer SHALIMAR and the more recent LUCK, but the similarity is limited to a number of people congregating at one place. Actually, GAME springs a surprise at the very start, with Anupam Kher spelling out the reasons for inviting the four people on his island. The turn of events thereafter, right till the conclusion of the first half, leave you impressed mainly due to the twists and turns that are hard to envisage.

But the turn of events in the second hour leaves you bewildered. Abhishek's character travels from Istanbul to Bangkok, then Mumbai the very next moment, executing the plan with flourish as if it was child's play. Difficult to absorb. Then comes a revelation: Abhishek's true identity, which is very filmi, very clichéd, very formula-ridden… in fact, it seems straight out of 1960s and 1970s cinema, which is hard to absorb today. Much later, something happens to Shahana and all of them land up at Samos once again and the cat is out of the bag, finally. Sadly, the mystery no longer remains a mystery since one can easily guess the identity of the killer, much before the mystery is resolved. All I can say is that the writing becomes outlandish at this juncture.

Shankar-Ehsaan-Loy aren't composers you associate with such a genre and the musical score doesn't add weight to the goings-on. Ram Sampath's background score is eclectic. Kartik Vijay Thyagarajan's cinematography is top notch and the stunning locales of Greece, Istanbul, London and Bangkok give the film a spectacular look. Even otherwise, the production values are of highest order. Dialogue [penned by Farhan Akhtar] are well worded at places. The action and chase sequences are pulsating, especially the one filmed in Istanbul.

GAME offers Abhishek ample opportunity to prove his mettle. He has delivered some really fine performances in the past [I'd like to single out GURU and KHELEIN HUM JEE JAAN SEY in particular] and he gets it right in the first hour. But no actor can rise beyond a weak script and that's precisely why he looks far from convincing in the post-interval portions. Kangna acts well and though she seems to have worked on her dialogue delivery, she stills needs to get her diction right. Especially when she converses in English. Sarah Jane Dias looks lovely and for a first timer, makes a decent debut.

Anupam Kher doesn't really get ample scope, while Boman Irani is over the top this time. Jimmy Sheirgill has a miniscule role. Shahana Goswami is wasted, except in the lone sequence when she rebukes Anupam's claims. Gauhar Khan is alright. Mohan Kapur is first-rate. Benjamin Gilani is adequate.

On the whole, GAME is high on style, but low on substance. Disappointing!

1.5/5

[Sharmila-Sweet]

Shor In The City

By Taran Adarsh, April 25, 2011 - 11:50 IST


A major chunk of the film industry is under the misapprehension that when a film makes it to the festival circuit, it holds zilch prospects at the box-office. It isn't for the aam aadmi; these films are sans entertainment. Tags such as offbeat and unusual are attached to it, even before the audience can give its mandate. But the perception has gradually changed with time, with more and more people getting cinema literate. These films have been successful in striking a chord with the festival crowd as well as passionate moviegoers. Most importantly, these films have quashed the notion that they aren't commercially viable.

SHOR IN THE CITY, which won tremendous acclaim at various international festivals, takes this legacy forward. Like some striking films in the past, this one has the power to mesmerize and fascinate the festival crowd as well as those looking for an intelligent film while planning a trip to cineplexes. Yet, it is not one of those regular entertainers that we churn out with amazing regularity and which insult the intelligence of the viewer.

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Get ready for a film that keeps you on the edge, but at the same time is one helluva entertaining film. As a film, SHOR IN THE CITY absorbs you into its world in no time. It is slick, has a lot of nervous energy and also has its share of fun moments. This one actually stands out in the crowd due to its unconventional plotline as well as execution.

SHOR IN THE CITY revolves around three stories in the midst of the noise and grunge of Mumbai. It has the gangster backdrop [but that doesn't make it dark and depressing] as well as the thriller quotient that keeps you on the edge. The three stories run concurrently - the characters are not connected with each other, they don't cross paths and nor is the film episodic. It's not like watching one character/story first, followed by the second and then the third. Nope, not at all! And there lies the beauty, for the characters never meet till the very conclusion, but there's a commonality or cohesion that can't be disregarded.

Does SHOR IN THE CITY bear an uncanny resemblance to the British black comedy FOUR LIONS? That's a misconception again, for FOUR LIONS was about four jehadis, while this one has a brand new story to tell.




SHOR IN THE CITY revolves around three loosely interconnected stories set in the midst of the noise and soot of Mumbai during Ganeshotsav festival. Abhay [Sendhil Ramamurthy], an outsider, is forced to come to terms with the fact that he is alone in an unwelcoming city, which he thought was home.

Tilak [Tusshar Kapoor] is an honest bootlegger who pulls scams with his unruly buddies Ramesh [Nikhil Dwivedi] and Mandook [Pitobash]. They chance upon a rare loot on a local train, which opens up new, dangerous avenues for them.

Young Sawan [Sundeep Kishan] has one goal, and more importantly, the only option - to get into the Mumbai Junior Cricket team. In a city where corruption is a way of life, the goal comes at a price - he needs to find the money first.

Directors Raj Nidimoru and Krishna D.K. deserve brownie points for their choice of the subject and most importantly, for handling it with aplomb. Though the situations are simple and the tone serious, the film offers laughs in decent doses.

Besides the skilful direction, the film is embellished with a taut screenplay [Raj Nidimoru, Krishna D.K., Sita Menon] that leads to an explosive, stunning, nail-biting finale. In fact, the penultimate moments are pure dynamite and any misgivings or shortcomings you may've had vis-à-vis the pace of the film vanishes into thin air when you watch the finale explode right in front of your eyes. Besides a watertight screenplay, the film is embellished with exceptional cinematography that's just hard to overlook [Tushar Kanti Ray] and some truly wonderful dialogue. Although there's not much scope for music [Sachin-Jigar], 'Saibo' and 'Karma Is A Bitch' do catch your attention - the former due to the soothing melody, the latter due to its infectious tune.

SHOR IN THE CITY belongs to the men, while the women [Radhika Apte, Preeti Desai and Girija Oak] take a backseat. Radhika [RAKHT CHARITRA, I AM] is a natural, while Preeti has good screen presence. Girija does a fine job. As for the men, Tusshar, Sendhil, Nikhil, Pitobash and Sundeep - each one shines in their respective parts.

Tusshar's character in SHOR IN THE CITY is a stark contrast to the characters he has portrayed in the GOLMAAL series. He displays a humane side that's sure to win hearts. Pitobash is simply outstanding and without doubt, the discovery of the season. His performance is bound to be talked about. Sendhil is efficient, displaying helplessness and anger with remarkable ease, while Nikhil is striking, especially towards the second hour. Note the sequence in the end, after the bank robbery goes wrong. He’s electrifying! Sundeep is first-rate, who, like Sendhil, displays vulnerability with natural ease. Amit Mistry is remarkable. Zakir Hussain is excellent.

On the whole, SHOR IN THE CITY belongs to one of those rare categories of movies with sensibilities that would not only entice the festival crowd and the cinema literate, but also lure the ardent moviegoer. Although it is not your standard Bollywood entertainer and nor does it have your customary flippant and frivolous humor, it prides itself on a certain distinctive Indian appeal with elements of adventure, thrill and drama with its understated and minimalist humor which makes it stand out in the crowd. I robustly recommend, try not to miss this one!

3/5

[Sharmila-Sweet]

Film-maker Amole Gupte is passionate about cinema with kids as the central characters, which is very evident from the stories he wants us to hear. He chooses to get into their little world, depict their joys, sorrows, concerns... It was evident in TAARE ZAMEEN PAR [written by Gupte, besides being the creative director] and now in STANLEY KA DABBA [written and directed by Gupte]. Like TAARE ZAMEEN PAR, STANLEY KA DABBA is a slice-of-life film about school kids, it makes you appreciate friendship, besides exploring the relationship that kids share with their teachers. Yet, STANLEY KA DABBA delves deeper. It talks of tiffins and recess breaks and how an orphan's life undergoes a sea-change when confronted by a selfish, cold-blooded teacher, only because the orphan can't afford a lunch box to school.

Write your own movie review of Stanley Ka Dabba If you think STANLEY KA DABBA bears any resemblance to TAARE ZAMEEN PAR, you are mistaken. The film goes into a zone that no Hindi film has ever explored earlier. The two films are as diverse as oranges and peaches in terms of content. But like TAARE ZAMEEN PAR, STANLEY KA DABBA also makes a stunning impact on the viewer.

Simplistic, honest and sensitively told, STANLEY KA DABBA takes you back to your school days. It's unlike any other film you may've watched in the past. It's an uncomplicated film that moves you with its sheer simplicity and unfussiness. Told through the eyes of a 9-year-old kid and filmed extensively inside a classroom, STANLEY KA DABBA moves you on several occasions, especially towards its thought-provoking finale.

Here's a small film with a big heart. A remarkable film with a rock-solid script, this heart-warming experience should not be missed at any cost. A cinematic gem!


He arrives in school much before any of his classmates to drum away his blues on empty benches. He stuffs himself with water instead of the nutritious food that his schoolmates relish during the lunch break. He covers up for his lack of social rank with the finesse of the most seasoned diplomat. He's Stanley [Partho].

Stanley loves to be amongst friends and win the appreciation of his peers and colleagues. He uses his sparkling wit and innocent wisdom to astound everyone around him. At times spinning a yarn amongst friends about his mother's flight, while on occasion conjuring some heartfelt poetry to impress the lovely English teacher, Rosy Miss [Divya Dutta].

There are teachers like the pungent Science Madam, Ms Iyer [Divya Jagdale], whose rigid beliefs smother Stanley's innovative science experiment with all the contempt at her disposal. Then there is the gluttonous Hindi master, Verma Sir [Amole Gupte], who emerges as the catalyst in helping the boys bond for Stanley's dignity and rightful place in the school.

The camaraderie between the boys comes to the fore when they thwart Verma Sir's desperate attempts to polish off their dabbas with all the guile at their disposal. The gang makes the 'invincible' Verma show his true vulnerable self for once as he marches from one possible hideout to another in the school premises, trying to binge upon their home-made food. Feeling humiliated by his students, Verma Sir vents his anger on Stanley...

The general misconception in India is, children's films are not meant for adults. But I don't subscribe to this viewpoint. I strongly feel that films depicting a child as a protagonist appeals as much to the universal spectators. In fact, it's high time we stop calling them 'children's films'. I could cite a number of films, starring kids in principal roles, which have worked with moviegoers from all age groups. STANLEY KA DABBA works big time as well, not just with kids, but also grownups.

With STANLEY KA DABBA, Gupte peeps into the psyche of a school kid. His Stanley tugs at your heartstrings while facing this heartless world. At home, at school, in fact life is a challenge for this kid every single day. While the story doesn't move much initially, it takes a [humorous] turn when the kids start hiding themselves and their dabbas from the insatiable Hindi master. But the events thereafter - right from Stanley bearing the brunt of Verma's ire to the subsequent redemption - strike like lightening. Especially the conclusion to the film, which leaves an indelible impression.

There aren't any visible flaws in STANLEY KA DABBA, but the entire track of Stanley performing at an inter-school contest could've been sharper. Also, it's snail-paced at times, taking its own sweet time to unfold. But keeping the fault-finding aside, I'd say that STANLEY KA DABBA is a rare film that tells an interesting story and carries an important message as well. It moves you on several occasions, it pushes you to reflect and introspect and it makes you look at kids differently. Simple in the truest sense of the word, Stanley could be an acquaintance, perhaps your child or even a friend... who knows Stanley could be you.

As a storyteller, Gupte deserves distinction marks for turning a superb script into a superb film. Besides, his ability to draw natural, sparkling and wonderful performances from the kids warrants ovation. Partho is a wonder kid. Uninhibited, spontaneous and lovable, this child actor is the star of the show, the soul of the enterprise. The remaining kids pitch in amazing performances as well, especially the kid who gets the most delicious meals in his dabba.

The supporting cast delivers remarkable performances as well. Divya Dutta is top notch. Note the sequence when she confronts Gupte. Divya Jagdale, Aditya Lakhia and Raj Zutshi enrich the film with relatable performances. Rahul Singh makes his presence felt. Last but not the least, Amole Gupte. I haven't loathed anyone as much as I detested him in the film. That only goes to prove what a fantastic performance he has delivered.

I've been told that Gupte shot the entire film with a skeletal crew. He also avoided the usage of lights [only natural light was used], except for a scene in the climax where a bulb was used. If at all that's true, I'd like to applaud the efforts of the DoP [Amol Gole] for the wonderful frames. The songs fit in beautifully in the narrative and most importantly, stay true to the film's spirit.

On the whole, STANLEY KA DABBA is a sincere, noble, well-intentioned film that tells a moving story with earnestness. One of the finest films of our times, this emotional journey is a must watch. Thumbs Up! (4 stars)


By Taran Adarsh

[Sharmila-Sweet]

Ready


By Taran Adarsh, June 2, 2011 - 14:00 IST


So are you ready for the first biggie of the season? Who isn't, actually? Love him, loathe him, but you can't overlook him. Salman Khan is, without doubt, the sweetheart of the masses. No two opinions on that!

But here's a word of caution. READY is NOT for the rigid detractors or counterfeit scholars of Hindi cinema who masquerade as messiah of meaningful cinema. They rebuke masala films, ridicule big stars, detest anything and everything associated with 'commercial cinema' -- a genre cherished by a wide majority of audiences. They wrote off DABANGG [which recently won the coveted National Award], pulled down the super entertainer GOLMAAL 3, scoffed at YAMLA PAGLA DEEWANA [the biggest hit of 2011 so far], even panned the iconic 3 IDIOTS [which ranks as the biggest grosser of Hindi cinema], but these films had the mandate of the junta and that's what matters eventually. Isn't it?

Write your own movie review of Ready
Remake of a Telugu hit, READY is a traditional, Southern-flavored family drama that we thought had gone out of vogue in the 1980s. But let's not forget that ingeniously crafted masala entertainers remain the first choice of an average Indian moviegoer to this day. And READY serves the same dish with a fresh tadka. Pack in humor, stir some peppy music ['Character Dheela' and 'Dhinka Chika'] and add the star power of Salman... the outcome is one delicious, scrumptious, yummy dish called READY.




In fact, READY re-invents the much revered formula in contemporary idiom. Plot-wise, there's not much to talk about, you may call it behind the times, but it's a vehicle that showcases the star charisma and magnetism of Salman and the actor hits the bull's eye yet again. He has a ball on screen and makes sure the viewer joins the festivity as well.

READY is a full-on entertainer, a paisa vasool film that has just one motive -- entertainment -- and it succeeds in its endeavor absolutely. This is a Salman show all the way and even those who don't hero-worship him will be forced to admit that like WANTED and DABANGG, Salman's dynamic presence and powerhouse performance translates into great entertainment. He's comical, wicked, aggressive, besides larger than life and yet warm and real.

As a film, READY is one of the easiest watches of our times. It transports you to a world that's dreamlike. It packs one gimmick after another. Also, the dialogues are totally mass appealing; they are simply mazedaar -- humorous and impactful, both at the same time. Frankly, it's a film that guarantees ceetees, taalis and cheers aplenty. It's a film that lets you into its world without hesitation and gives you a thoroughly entertaining time during your two-hour visit.

Final word? If you are ready to discard logic and rationale and have a good time at the movies, if you consider yourself being a part of the mob, then READY would be the right experience for you. Go on people, go enjoy your annual dose of Salman Khan. The star performer plays to the gallery from start to finish. READY is outlandish and bizarre, but it's tremendously entertaining.

Prem [Salman Khan] lives with his father [Mahesh Manjrekar] and two uncles [Manoj Joshi, Manoj Pahwa]. Sanjana [Asin], an orphan, lands in India to be with her mamas [Sharat Saxena, Akhilendra Mishra], who are greedy and want to usurp her property. Prem, who falls in love with Sanjana, decides to teach her mamas a lesson. Both the mamas, who are sworn enemies, want Sanjana to get married to their respective brothers-in-law, so that they can lay their hands on Sanjana's property. But Prem makes a fool of them by getting friendly with them and making his family pose as billionaires.

One of the uncles of Prem poses as the manager from the World Bank, who reveals to the mamas that Sanjana's father owed the bank millions of dollars. Either they sell their property or disown the girl. Circumstances prompt the mamas to accept Prem as the prospective husband of Sanjana. But Prem's game plan gets exposed on his wedding day.

READY is boisterous, crazy, wacky, irrational, comic book type, totally make-believe with the desi tadka of songs and dances. So those questioning its makers, Where's the story?, ought to shut up since the question is simply irrelevant. READY was never expected to have a ground-breaking story. The only thing it was supposed to have is Salman, Salman, more Salman... and only Salman. So just relax and savor the antics of Salman, who communicates with the viewer like never before. He knows the rules of the game and is a master at it.

READY may not boast of an inventive or pioneering story, but director Anees Bazmee packs loads of entertainment in those two hours. In fact, you hardly get time to ponder on anything else but the goings-on. Like I pointed out at the very outset, it's a wholesome entertainer, absolutely in sync with what one would've expected after one watched its first promo a few months ago.

Any flaws? Yes, the screenplay isn't gripping in the first hour. There are sequences that don't work, while a few do manage to make you laugh not because they are funny, but because they are extremely ludicrous and farcical. In fact, this movie celebrates bizarre conduct and kitsch, which may give an impression that the writing is outmoded and obsolete at places.

READY has the sort of music one would expect from an entertainer. Tracks have a larger-than-life feel and gel well with the content. The action sequences, not many though, are done in an enticing mix of masti and mayhem. Especially the chase in the end and the sequence when Salman shows off his exceptional physique - the viewers are sure to go into frenzy.

Salman Khan continues his super act with gusto. He's the soul of the film and the reason why READY works. Asin convinces in parts. At times you feel that she's got it right, but there are sequences where she looks ill at ease. Paresh Rawal is excellent and compliments Salman beautifully. I'd like to single out one more actor - funster Sudesh Lehri - who makes a solid impact. He's exceptional and brings the house down with his style of comedy.

The film has a number of actors in supporting roles and the ones who stand out are Akhilendra Mishra, Mahesh Manjrekar, Anooradha Patel and Sharat Saxena. Sanjay Dutt, Ajay Devgn, Kangna, Zarine Khan, Chunky Pandey and Arbaaz Khan appear in cameos.

On the whole, READY is strictly for the masses and for those who relish typically formulaic masala entertainers. The film prides itself with super music ['Character Dheela' and 'Dhinka Chika'], gags and gimmicks aplenty and of course, Salman Khan, the beloved of the masses and the mainstay of this film. If you hero-worship Salman, you cannot afford to miss this one. Even if you don't hero-worship him, watch READY as a stress-busting therapy that makes you smile, laugh and break into guffaws in those two hours.

4/5

[Sharmila-Sweet]

Ready, unsteady, don't go

Film: Ready
Cast: Salman Khan, Asin, Tree
Misdirection: Anees Bazmee
Rating: 1/5

No kidding. Ever so expressionlessly, a girl dangles from a studio tree branch, she could plunge to death in the valley below. So, the boy (45 years of age) goes haw-haw-haw-caw-caw. What nonsense is this? The classic cliffhanger scene would look way more authentic in the silent black-and-white movies. This one’s technically shoddy, childishly written and a punishment to sit through. Oooh, the mind aches right away.

In fact, Anees Bazmee’s Ready is three hours of rigorous punishment. It’s all very well to say leave your brain at home (by the way how do you do that?), enjoy-enjoy, just go with the lunacy, but sorry even that dumbed-down yardstick can’t be applied here. In the name of mass entertainment, no one can just pass off a delirious, often incomprehensible malarkey as a piece of cinema. Tsk.

Bazmee, like his predecessor David Dhawan, appears to care a flying fig for basic niceties of filmmaking, be it in the scripting, technical sheen or in extracting performances from his cumbresome cast . Indeed there are so many dispensable characters out here that you seriously want to suggest population control. Bandh karo.

After the ‘Pee Break’ (joke, joke, that’s what written in lieu of the quaint old word ‘Interval’), Bazmee and his team of scriptwirters lose the plot totally. So you just give up and cry salty tears into your caramel popcorn. And to think that the once-formidable Salim Khan is even credited as ‘script consultant’. Nahiiiiiiiiiiiiiiin, how did this happen? Nyet, na, na, that’s as unbelievable as a master chef wanting to cook up a Sholay Bhature. Anway, whatever.

Of course, much depends on hero bhai Salman Khan’s ability – or the lack of it – to deliver a product which makes no sense whatsoever, a kind of Dabangg meets TV serial saases and bahus. But hello, those ladies have become archaic, ditto their suited-booted husbands, and a maidanful of unsavoury characters. For starters, Prem (nudge nudge, that’s a reference to Salmanji’s lucky screen name) begins with a voice-over introducing his uncles, aunts, and yahoo, himself. By the time, he’s finished, he’s exhausted, the v-o vanishes. Tweeet, cho chweet.

Next, a runaway heiress (Asin) – echoes of dear Asha Parekh in Kati Patang – parachutes into his arm, masquerades as his fiancee and nearly tumbles off that aforecited tree into a valley of rivulets. Mami mia! Aunts go hysterical. A clan of feuding brothers join the jamboree, a mega-goon accompanied by a son impersonating Bob Marley pops up from anorexic air. And hello, feeling ever so neglected, Paresh Rawal signs up as a chartered accountant. What a number, really.

Duh-duh-bang fights, promo-friendly songs (Dhinkachika dhinkachika literally), cornball dialogue (“How do I get him out of a coma? I don’t even know how to use a coma in sentence”), overlit cinematography and very haphazard direction later, you may actually survive to tell the tale. Ail. Or regret spending the ticket money which could have paid for a Chinese noodle-dimsum-cola meal, service tax included.

Amazingly, the censors look the other way when a security guard is made the butt of a joke because of his dark complexion, or when something quite asinine is said about Obama. To be trendy, the dialogue opts for such jewels as, “I’ll make you vanish in such a way that you won’t be traceable on google.com.” Huh?

Of the enormous supporting cast, only Mahesh Manjrekar is somewhat endurable. Asin Thotumkall is awfully photographed and displays some of the tackiest costume seen in recent years. Quite naturally, Salman Khan dominates the show from the first frame to the last, muttering stuff like, “We peoples, you peoples..” He doesn’t act, he kids around before the camera. Cute?

Not for me. And I truly don’t care if this Ready becomes the biggest hit in the world, shattering the box-office records of Titanic and Avatar. That is not under contention here. The plain fact is that here’s plain bad cinema, without an iota of passion or prem.

http://www.khalidmohamed.com/review.html

[Sharmila-Sweet]

‘Always Kabhi Kabhi’ is a story of four unique lives trying to compete with the pressures of growing up and the firsts we all experience in school. From crushes to classes, from bunking to break-ups. A modern age Romeo named Sameer (Ali Fazal) whose biggest theory of living life is through shortcuts. Who has eyes only for his Juliet, this dreamy eyed girl called Aishwarya Dhawan (Giselle Monteiro) who is a new admission in school. Aish leads a life, which is lived by her; but designed by her mother.

Tariq (Satyajeet Dubey) is Sam's best friend and the geek who has the cheek to be cool but carries the burden of having to excel at everything. His sole ambition is to study and to try staying out of Nadini's way.

Nandini (Zoa Morani) is the school brat; who you love to hate and hate to love. Living life on her terms and breaking rules to make her own makes Nandini; the most envied girl in school and no one agrees to that more than Tariq.

It's the final year at St. Marks, and they begin with a lot of excitement. Principal Khan and Ms. Das have decided that the school was going to participate in the interschool ‘Shakespearewallah’ contest and present Romeo and Juliet!.

The story then unfolds a series of dramatic incidents that take place in each of these characters’ lives and how they find the answers to each question on a youthful journey together where life has many lessons for these carefree souls. But to the questions which life throws at them, they have only one answer "Kabhi Kabhi Jo Dil Kahe, Always Wohi Karein".

First time director Roshan Abbas comes up with a fresh concept; but he and his team of writers (Ranjita Raina and Ishita Moitra) somehow are not able to showcase it with full conviction. While the first half has light moments, the graph escalates towards the second half. Dialogues are dipped in youth flavor, but while some of them try to sound ‘cool’ (if that was the intension behind it); they aren’t. On the acting front, newcomer Ali Fazal is plain mediocre and also needs to work on his looks. Giselle Monterio is expressionless and should take a crash course on acting. Zoa Morani is at least confident; but again is no heroine material. Satyajeet Dubey is the best of the lot with his boy-next-door looks and a likeable performance. No great shakes though.

The other cast includes Satish Shah, Lilette Dubey, Mukesh Tiwari, Manoj Joshi, Akash Khurana, Navneet Nishan whose roles aren’t well defined and hence does not leave any impact whatsoever. Vijay Raaz is wasted.

Music by Ashish Rego, Shree D and Pritam Chakraborty has no repeat value (except the title song) which is a ‘must’ for a film with romance as it’s backdrop. Even the ‘Antenna’ song filmed on Shahrukh Khan is not tuneful. Editing by Sanjay Sharma is of standard. Cinematography by Fuwad Khan and Anshuman Mahaley is of top order. Art directors Mansi Mehta and Tanushree Sarkar succeed in capturing a vibrant ambience and a colourful atmosphere. Pack your bags. Brace yourself. It's time to re-visit your school!

http://www.planetbollywood.com/displ...=f061611024153

[Sharmila-Sweet]

Bbuddah...Hoga Terra Baap


By Taran Adarsh, June 30, 2011 - 16:14 IST


Flashback 1970s and 1980s. An Amitabh Bachchan film was considered an event. A sea of people would make themselves comfortable outside the theatre premises on Sunday night itself, although the advance booking counters would open only on Monday morning. Most theatres would be packed for the entire week in a matter of hours. Most Bachchan starrers ran for 25 weeks, 50 weeks, even 100 + weeks those days. Films helmed by Yash Chopra, Manmohan Desai, Prakash Mehra and Ramesh Sippy were adored and revered and even those helmed by not-too-successful names or relative newcomers were greeted with similar enthusiasm. The Hindi film industry was referred to as a one-man industry then. The Bachchan mania was invincible and indestructible.

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Considering the iconic status that Bachchan Sr has achieved, every film-maker aspires to work with him at least once in his lifetime. Puri Jagannadh, the man behind many a successful film in Telugu, pays homage to the veteran in his debut film in Hindi, BBUDDAH HOGA TERRA BAAP. This film relies entirely on the persona and charisma of this iconic actor of Indian cinema.




BBUDDAH HOGA TERRA BAAP has the 69-year-old Bachchan enacting the role of a defiant, flamboyant hitman in his inimitable style. With BBUDDAH HOGA TERRA BAAP, the angry young man of the 1970s and 1980s re-surfaces to re-live various roles that he enacted in those memorable films. This one's a masala film all the way. Right from a medley of Bachchan hits to the expertly crafted action sequences to the by-now-famous Bachchan baritone, this one has it all.

Frankly, masala films and path-breaking story don't go hand in hand. It's the moments that make a film. And BBUDDAH HOGA TERRA BAAP is no different. This one also rests on a skeletal plot. But that one man makes a world of a difference -- Amitabh Bachchan. He's angry [dare not call him 'Bbuddah'], but has a soft side too. He bashes the baddies, squeezing them like oranges. He gets the best lines to deliver and believe me, it makes the fan in you clap and cheer on several occasions. Let's face it, no Hindi film actor has ever had the opportunity to portray a part that Bachchan gets to portray at the ripe age of 69. Besides saluting the actor for delivering an electrifying performance, I would also like to salute the indomitable spirit and energy of this iconic actor for essaying the role with gusto and zest.

Final word? Bachchan fans -- especially those who have grown up on his movies -- are sure to relish it. Even if you're not a Bachchan fan, watch this one for one simple reason: They don't make them like Amitabh Bachchan anymore!

Viju [Amitabh Bachchan], an ex-gangster, arrives in Mumbai on a mission. He is flamboyant, wears loud clothes, is arrogant and hits back when people call him 'Bbuddah'. At first, everyone thinks that he's on a mission to assassinate the ACP [Sonu Sood], but there's a hidden agenda, which is revealed much later.

BUDDAH HOGA TERRA BAAP is a Hindi film packaged like a well-made South Indian fare: the style of narrating the story, the slick edit, the fast pacing, the stylized action scenes, the larger-than-life characters… The film commences on a pulsating note [Bachchan's intro is smashing], but the first hour works sporadically. While the portions involving Bachchan are exhilarating, there are multiple tracks in this hour which get on your nerves. The scenes in the coffee shop, for instance, are most irritating. Also, the track involving Raveena Tandon comes across like an unwanted guest. If the intention was to evoke laughter, sorry, it doesn't work.

The story actually takes off at the interval point, when an unexpected twist startles the viewer completely. From this point onwards, BBUDDAH HOGA TERRA BAAP only scales higher and higher, reaching the peak towards the action-packed finale and the subsequent emotional reunion. I'd like to single out the confrontation between Bachchan and Prakash Raj in the final moments of the film and also the soaked-in-emotions sequence between Bachchan and Hema. It's the perfect icing on the cake!

While the written material banks too heavily on the tried and tested formula, director Puri Jagannadh ensures that he doesn't disappoint the hardcore fans of the icon. Bachchan is known for, besides his acting potential, larger than life roles and witty/smart dialogue. Puri presents Bachchan like a true superstar and gives him lines that would garner ceetees and taalis, especially when he's confronting the baddies in the movie.

Vishal-Shekhar do a super job while composing the medley of Bachchan hits, 'Go Meera Go', the soft and soothing 'Haal-e-Dil' and the title track, which comes at the very start of the film. Amol Rathod's cinematography is perfect, while Vijay's stunts are stylish.

Bachchan is truly the Baap and this film reiterates this fact yet again. His character, his attitude and the dialogue he delivers will remain etched in your memory for a long, long time. His attire may raise eyebrows initially, but once into the film, you will realize it gels well with his character. Hema Malini is, as always, graceful. The chemistry between the senior actors is refreshing. Raveena is saddled with an ill-defined role and that's the prime reason why she doesn't leave an impact. Sonu Sood is first-rate, confident at every step. Not once do you feel that he's overawed by Bachchan's towering presence. Sonal Chauhan looks pretty and acts well. Charmee Kaur is likeable and contributes to the funny moments.

Prakash Raj is super. In fact, it's a treat to watch powerful actors like Bachchan and Prakash Raj embroiled in a confrontation. Makrand Deshpande is wonderful. Shahwar Ali is okay. Rajeev Mehta irritates. Again, this track seems completely unwanted. Rajeev Varma has a half-baked role. Vishwajeet Pradhan and Atul Parchure are passable.

On the whole, BBUDDAH HOGA TERRA BAAP is a must-watch for Bachchan fans. Even if you're not a fan of this iconic actor, watch it for a simple reason: They don't make them like Amitabh Bachchan anymore. A masala entertainer all the way, BBUDDAH HOGA TERRA BAAP may get affected by the omnipotent and unstoppable DELHI BELLY and TRANSFORMERS wave on Friday [although single screens would perform better than plexes], but the business should multiply on Saturday and Sunday due to Bachchan's bravura act and rock-solid post-interval portions. The producers [A.B. Corp, Viacom18] have already recovered the cost of production by selling the Satellite rights for a hefty sum and recovering the balance amount [P&A] from theatrical business should be a cakewalk, ensuring good profits to the investors in the final tally.

4/5

[Sharmila-Sweet]

Delhi Belly

By Taran Adarsh, June 30, 2011 - 12:37 IST


Much before I watched DELHI BELLY, I was told very categorically that the film will reduce to rubble the image of Aamir Khan, the producer, which he has very painstakingly and meticulously built over the years. I disagree with this viewpoint. Sure, Aamir Khan steps into a territory that is least expected of him. Agree, DELHI BELLY is expletive-ridden, has several scandalous moments which give you a 440 volt ka jhatka and is just not for the faint-hearted. But DELHI BELLY is not outrageous just for the sake of it. It doesn't shock for effect. The truth is, DELHI BELLY has a novel story to tell and the cuss words/outrageous moments are integral to the plotline and have been juxtaposed seamlessly in the narrative.

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Let me introduce you to DELHI BELLY. It is Bollywood's most daring, cheeky, irreverent, blasphemous, raunchy youth film to date and the lurid content, I am certain, has never been witnessed on the Hindi screen before. Even some hugely popular reality shows that have the participants using the most appalling, colorful lingo to garner attention and TRPs, would pale into insignificance. Belonging to the same genre as THE HANGOVER and LOCK, STOCK & TWO SMOKING BARRELS, DELHI BELLY is the ultimate culture shock for Indian audiences. It is a raucous, boisterous, potty-mouthed caper featuring the antics of three hapless young men.




DELHI BELLY is a verbally explosive comical crime-caper, with a smart screenplay and witty dialogue as its aces. It is funny, has a lot of energy and most importantly, as you protest that Hindi movies thrive on beaten-to-death formula, a film like DELHI BELLY defies the stereotype and comes alive with a brand new recipe [writer: Akshat Verma]. The writing is airtight and the movie moves from one episode to another furiously. Original in style and thoroughly entertaining, backed by colorful characters and superior acting, there's no film quite like this one or should I say, there is no film that matches the sheer brilliance of DELHI BELLY. It's a top-quality comical thriller made with guts and gusto. I can assure, you will exit the auditorium with a grin on your face.

If a film like DELHI BELLY works -- which I am sure, it will -- it will propel film-makers to explore this untapped genre of cinema. It will encourage them to push the boundaries and undertake risks. It will usher in a new era of comedies of this kind that have never been explored on the Hindi screen.

Tashi [Imran Khan], Arup [Vir Das] and Nitin [Kunal Roy Kapur] -- flat mates, buddies and partners in crime. Tashi is to get married in a month to the glamorous Sonia [Shenaz Treasury]. Arun has been dumped by his girlfriend and also has an annoying boss [whose idea of creativity is sketching a smiling banana]. And Nitin is about to discover that eating delicious Tandoori Chicken off a street vendor is going to give him the worst case of Delhi Belly he's ever known!

Three regular blokes lead a regular life, except when they get on the hit list of a deadly crime syndicate [Vijay Raaz].

Director Abhinay Deo and writer Akshat Varma may have been inspired by the adult comedies of Hollywood, but DELHI BELLY is an Indian film at heart. The characters are very Indian and the humor, equally desi. As a matter of fact, there are situations and dialogue that the desis would take to instantly -- it's inherently Indian. Aimed squarely at the youth brigade, DELHI BELLY makes an undisguised, earnest attempt to woo this segment of moviegoers. What really works is its screenplay that packs one twist after another. You are as clueless as the on-screen characters about what's in store next. Also, the humor is very on the face and sardonic. It's not one of those humor-laden films that we've been subjected to of late. Here, the makers don't underline a joke, you need to be intelligent enough to comprehend it. This film speaks a language that the youth would connect with instantly and perhaps, it may go down as a cult film in its genre.

In terms of visuals, DELHI BELLY has been filmed at real locations and the DoP captures the essence of Delhi extremely well. The eye-candy locales are clearly missing here. Instead, what we get to watch are real locations, real lower middle class surroundings and the crammed bylanes of Delhi.

Much has been said and spoken about the music of DELHI BELLY. Let me add my bit. After delivering a likeable score in LUV KA THE END, Ram Sampat goes completely innovative and inventive with the soundtrack of this film. 'DK Bose' stands out and is the anthem of the youth. 'Jaa Chudail' is peppy and energetic, while the Aamir Khan track in the end credits ['I Hate You'] is more of a tribute to the disco era of the 1980s, when the Bappi-Mithun combo reigned supreme.

On the flip side, a film like DELHI BELLY may not be savored and relished by everyone. It's not for, what we label in filmi parlance, 'family audiences'. In fact, it might get a bit embarrassing to watch a film like DELHI BELLY with one's family thanks to the generous usage of expletives and toilet humor. Also, the hugely popular 'DK Bose' and 'Nakkaddwale Disco, Udhaarwale Khisko' songs merely play in the background and I for one sorely missed the eye-catching videos of these two tracks in the movie.

DELHI BELLY is a boy's film predominantly [although the women have key roles to play] and boy's films are always fun. The chemistry between the three actors is what makes the script come alive. In fact, I won't be wrong in stating that their sense of humor is very much in sync with each other. This is Imran's best work to date, no two opinions on it. Vir Das is incredible. Kunal Roy Kapur is the scene-stealer actually. As a matter of fact, the performances by these three actors will be the talking point once the film releases.

Shenaz Treasury acts well. Poorna Jagannathan gets into the skin of the character and catches your eye. Vijay Raaz is exceptional. Paresh Ganatra [the landlord] is equally competent. Rahul Singh is perfect. The Aamir Khan song is imaginatively filmed.

On the whole, DELHI BELLY is a ground-breaking and inventive comic caper targeted at the youth brigade. People who can't absorb brazen, grimy and unabashed language might abhor it; in fact, it's not for the straitlaced moralists or purists. It's for those who have a strong belly, with an appetite for adult comedy and cuss words. Its wittiness may astound and astonish you. I viewed the Hinglish version, but I understand that the Hindi interpretation of the movie is so impactful that it renders you speechless. Eventually, DELHI BELLY works big time predominantly for the reason that it's a pioneering motion picture, an incredible film that dares to pierce into an untapped and brand new terrain. The unblemished, racy screenplay coupled with super performances and a chartbusting musical score will make it a WINNER all the way.


4/5

[Sharmila-Sweet]

Zindagi Na Milegi Dobara


By Taran Adarsh, July 15, 2011 - 07:58 IST


By and large, after graduating from school/university, before one steps into a fresh phase in life, friends do settle on having some fun… It could be an extended bachelor party. It could be an excursion. Living each moment to the fullest is what most of us are thinking at that point of time. ZINDAGI NA MILEGI DOBARA is also about living each precious moment, as if there's no tomorrow. It's a film that also deals with surmounting and overpowering our personal fears. In this case, it changes the lives of three youngsters who embark on a road trip to Spain.

Zoya Akhtar represents the new brigade in Bollywood. But the talented storyteller is mired in controversies pertaining to ZINDAGI NA MILEGI DOBARA. Is it similar to HANGOVER? Or is it a present-day adaptation of Farhan Akhtar's directorial debut DIL CHAHTA HAI?

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Sure, ZINDAGI NA MILEGI DOBARA is a buddy film like DIL CHAHTA HAI or like any other film that focuses on friends. But comparing DIL CHAHTA HAI and ZINDAGI NA MILEGI DOBARA won't be correct. For, the difference lies in the fact that the individuals in both the films face diverse problems. Aamir, Akshaye and Saif's dilemma is different from that of Hrithik, Farhan and Abhay. Perhaps, people tend to draw parallels between the two films because both focus on male bonding and are also produced by the same production house [Ritesh Sidhwani, Farhan Akhtar]. While DIL CHAHTA HAI was about the friendship between three youngsters and the individual journey each of them undertakes subsequently, ZINDAGI NA MILEGI DOBARA is poles apart in terms of content [screenplay: Reema Kagti and Zoya Akhtar] as well as execution of the written material.




There's concern that ZINDAGI NA MILEGI DOBARA caters to the urban centres of India chiefly. People beyond the metros wouldn't be able to relate with the goings-on. Sure, ZINDAGI NA MILEGI DOBARA is a refined film, a metro-centric film primarily, so what's wrong with that? Yes, it's unlike the masala films some of us relish with glee. But if masala means entertainment, amusement, hilarity, escapade, emotions and drama, yes, ZINDAGI NA MILEGI DOBARA has it all. Only thing, it's treated differently. Everyone has his/her style of interpreting a tale, after all.

ZINDAGI NA MILEGI DOBARA is real and can be rightly termed as a slice of life film. The protagonists don't play 'heroes' in the conventional terms; they are not presented as larger than life here. Zoya's ability in bringing offbeat elements in mainstream cinema needs to be applauded and appreciated. Zoya understands the intricacies of human behavior, which was evident in her debut film, and ZINDAGI NA MILEGI DOBARA strives to impeccably integrate authentic characters and bona fide situations on celluloid.

But the film is not without its share of blemishes. To start with, the drama is missing in the first hour. In fact, the first half comes across as a collage of some well executed sequences. Also, the comic scenes fail to evoke mirth. The three protagonists' attempt to scare strangers in a restroom, bar and on a lonely street doesn't gel well with their suave personalities on-screen. However, if the intention was to evoke laughter, sorry, these scenes fall flat. Besides, mocking at Doordarshan seems out of place and also appears in poor taste. Most importantly, the first half comes across as a showreel to promote Spain Tourism.

Another aspect that goes against the film is its running time. One tends to get restless after a point. In addition, the pacing is lethargic at places and it also gets talk-heavy. Zoya could've been ruthless in bringing down the length of the film. It would've only been more impactful.

Three young men take a holiday that changes their lives forever. Kabir [Abhay Deol] is engaged to Natasha [Kalki]. Kabir decides to go on an extended bachelor party, before he gets married. A 3-week road trip with Imraan [Farhan Akhtar] and Arjun [Hrithik Roshan], his two best friends since school. The only problem is Arjun is too tied up with work. After much emotional blackmail and cajoling, the boys set off on a journey they were meant to take four years ago. A fantasy holiday they had planned to take after college, which never happened. A road trip where each one gets to do the ultimate sport of his choice and the other two just have to do it with him. Whether they want to or not!

Kabir, Imraan and Arjun meet up in Barcelona and set off on an adventure that not only make them iron out their differences, but also face their fears, alter their perception, unravel their fabric, force them to break out of the box and teach them to seize the day. This holiday changes their lives forever.

A travel film is tough to shoot. And it gets all the more difficult when you have a story involving multiple characters. Unlike LUCK BY CHANCE, Zoya does something visually and thematically diverse this time around. In ZINDAGI NA MILEGI DOBARA, Zoya chooses an attention-grabbing story and garnishes it well with moments that may seem straight out of a person's memoirs. In fact, it's a completely novel take on comrades and camaraderie. While the first half has several wonderful moments [the strain between the two friends is well presented], the post-interval portions -- right till the well-thought-of culmination -- keeps your attention arrested.

Reema and Zoya have penned the script with a lot of care and concern, borrowing incidents from real life. Besides, the fresh dialogue [Farhan Akhtar] augment the impact of numerous sequences. The exquisite cinematography is another aspect that catches your attention. The spectacular locales of Spain have been captured on celluloid with dexterity by Carlos Catalan. In an era where earsplitting and tawdry tunes are working big time, Shankar-Ehsaan-Loy come up with tunes that the youth would take a fondness for instantaneously. The songs that appeal the most are 'Ik Junoon' and 'Senorita'.

The film boasts of an exuberant on-screen ensemble cast. As a matter of fact, it's an unusual mix of actors who are not prisoners of any image as such and one is curious to see how well they coagulate in this film. Hrithik takes up challenges for himself with every project he chooses to do and tries to outdo himself by pushing his limits. He is in terrific form here, interpreting an extremely intricate and exceptional character fluently, channelizing every emotion in the book through his eyes. The much-talked-about kissing scene in the film is also aesthetically filmed.

Farhan's character is totally different from his previous roles since he is playing the funster here. But beneath all the fun and jokes is a person who's looking for answers. He's concealing something even from his buddies, something that's disconcerting him persistently. Again, for someone who's not a veteran at acting, this is a character that needs to be handled with a lot of understanding and Farhan, thankfully, gets it right. In fact, Farhan is quite a scene-stealer on more occasions than one.

Abhay's choice of roles has always been offbeat and ZINDAGI NA MILEGI DOBARA reaffirms his stand on the kind of movies he wants to be associated with. Enacting the role of a rich, well brought-up youngster, Abhay is in supreme form, striking a super balance between light and dramatic moments. In fact, Abhay portrays the role with plentiful charm and magnetism.

Katrina is a revelation. In fact, the actress continues to surprise you with her performances in film after film. Besides making an impact as a glamour girl, she's all out to prove her mettle as an actress of substance with ZINDAGI NA MILEGI DOBARA. Kalki plays a Mumbai girl belonging to the upper crust and though it's not a typical 'heroine' role, Kalki infuses life into the character, fitting into the conceived character accurately. Naseeruddin Shah is remarkable in a cameo and so is Deepti Naval. Ariadna Cabrol doesn't get much scope.

On the whole, ZINDAGI NA MILEGI DOBARA has its share of plusses and minuses, highs and lows. It's definitely not for ardent fans of kitsch or those with an appetite for typical masala entertainers. This one's more for spectators with refined tastes and sensibilities. It's a film for a more evolved, mature and cinema-literate audience that's geared up to embrace and support newer genres of cinema.



3.5/5

[Sharmila-Sweet]

Bodyguard (August 31, 2011

By Taran Adarsh, August 29, 2011 - 16:57 IST


For most of us, the festive season is also about entertaining ourselves with a Bollywood biggie. Following two blockbuster Eid releases in the last two years, WANTED [2009] and DABANGG [2010], Salman Khan, the darling of the masses, unleashes yet another entertainer this Eid [this time, it coincides with Ganesh Chaturthi] -- BODYGUARD. The buzz around a Salman movie only got bigger this year, but the pertinent question is, will Salman deliver yet another festive hit with BODYGUARD? After having set such high standards for himself, will Salman surpass his previous achievements? Well, that should be easy to pull off taking into account [a] Salman's current form at the box-office and [b] The film has the merits to stand on its feet.

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A section of the industry feels that Salman is limiting himself to hardcore masala films that defy logic. That he's slowly getting typecast in similar genre movies. Perhaps, you may assume that BODYGUARD is no exception. You may also assume that BODYGUARD is an extension of what we've witnessed in DABANGG and READY. But it is not so. Let me say, BODYGUARD is atypical Salman entertainer, yet there are moments [in its second hour specifically] that make it stand apart from all Salman starrers we have witnessed in the recent past, which includes WANTED, DABANGG and READY.




Let me elaborate. You expect Salman starrers to be larger-than-life, superhero films. You expect him to be the messiah of the masses. BODYGUARD presents Salman exactly the way we expect him to be presented, but, at the same time, the film brings back memories of the soft, romantic roles that Salman essayed in his initial films. What makes the film tick is that Salman and director Siddique have done something hatke within the limitations of the typical Bollywood formula, which, I am sure, should appeal to the Hindi movie buff abundantly.

Final word? BODYGUARD is a perfect family entertainer that compliments the spirit of the festive season.

When it comes to being punctual and doing his duties perfectly, Lovely Singh [Salman Khan] is unmatchable. Taking great pride in what he does, he spares no effort in giving his everything to his profession.

Lovely is summoned for an assignment of guarding Divya [Kareena Kapoor], the daughter of Sartaj Rana [Raj Babbar], a business tycoon. Lovely accompanies her to her campus, but ends up rubbing her the wrong way with his over-protective nature. She finds him to be a major obstacle in leading a regular campus life. To throw him off-track and get him out of the way, she comes up with a 'master plan' -- that of trapping him in a fake love affair. 'Once he's smitten by the girl of his dreams and is reveling in his new-found romance, he will leave us alone and we shall be free to do our own thing unhindered', says Divya to her friends.

She becomes an anonymous admirer of his and starts hounding him, expressing her 'feelings' in no uncertain terms. Lovely, however, proves to be a tough nut to crack and it takes quite a bit of doing from her side to penetrate his fort-like exterior. But once she succeeds in doing so, he transforms into a completely different person. Divya is triumphant and is all set to relish her regained freedom.

But things take an unexpected turn when she learns a few things about Lovely. Things that she could've never even imagined. And she soon finds herself trapped in a dilemma that she's unable to resolve. And with her, soon enough, Lovely finds himself trapped in a web of lies, trickery and deceit.

BODYGUARD is a simple-n-sweet tale of love that's engaging and relatable. At the same time, there's an unexpected twist in the pre-climax which shocks you completely. At no point does the director swerve from the main plot to provide a few extra laughs or thrills. Besides, this is a script which gives actors a lot of room to emote. And both Salman and Kareena seize the opportunity with both hands. More on that later!

Like I pointed out earlier, with BODYGUARD, Salman returns to a genre he started out with -- love story. Sure, BODYGUARD is a remake of a Malayalam film [remade in various South Indian languages as well], which has all the trappings of a perfect masala film -- action, music, comedy -- but BODYGUARD is essentially a love story at heart. Salman's intro may give an impression that it's a hardcore masala film, especially the song and fight sequence [frankly, the first half of the film is routine, with not much happening in the plot]. The director reserves the best for the second half, when it transforms into a love story. The action scene in the second half -- when Salman and Aditya Pancholi get into a fist fight -- is outstanding and will send his fans in raptures. Especially the moment when Salman's shirt rips off and his ripped muscles can be seen. The twist in the tale is a complete shocker. In fact, the penultimate reels of the film catches you complete unaware since you don't expect the story to change so dramatically.

Director Siddique, who has directed the same script for the third time, ensures that a simple story is narrated with simplicity and unfussiness. The twist in the tale comes at the right time, the songs are smartly integrated in the plotline and of course, there are ample comic moments, courtesy Rajat Rawail. The best thing about the film is that Siddique has made a very conscious effort to project Salman as a sensitive human being and not as a demigod, which is why the character becomes all the more relatable and endearing.

The soundtrack fits the genre of the film well. The title track at the very start [Salman's intro] will draw whistles and claps, while 'Teri Meri' is undoubtedly the pick of the lot. Soulfully rendered, this one's simply mesmerizing. Overall, it's a hit score from Himesh Reshammiya and Pritam. Sejal Shah's cinematography is appropriate. Vijayan's action sequences are stylish. Though not an action film, the action sequences do stand out.

Salman delivers one of his best performances in recent times. He makes magnificent use of his tough physique and soft face. Salman's fans are sure to lap this knockout performance in a big way. BODYGUARD would be incomplete without Kareena's contribution. Some roles are tailor-made for actresses who can deliver with aplomb and who better than Kareena to infuse life in a challenging character. She looks gorgeous [as always] and gives this character the dignity that it deserves. Raj Babbar is perfect. Mahesh Manjrekar is as usual. Aditya Pancholi, in a cameo, stages a welcome comeback. He's first-rate. Rajat Rawail is a joy to watch. He's truly funny. Hazel is quite good. Asrani and Vidya Sinha are okay in their respective parts.

On the whole, BODYGUARD works for varied reasons -- it has a simple, but captivating story with a dramatic twist in the tale, the chemistry between the lead actors is perfect and the music is well juxtaposed in the narrative. But its biggest USP is, without doubt, Salman Khan. He carries the film on his broad and brawny shoulders and that alone is the imperative reason for watching this film. BODYGUARD should emerge his third festive hit and fourth super-success at the ticket window. Expect a hurricane called BODYGUARD to strike at the box-office.


3.5/5

[Sharmila-Sweet]

Mere Brother Ki Dulhan (September 9, 2011)

By Taran Adarsh, September 9, 2011 - 15:08 IST


Our fascination for shaadis, band-baaja-baaraats, dulha-dulhans and swayamvars is for all to see. In Bollywood, most stories either begin with a shaadi or end with a shaadi. The audience claps the maximum when the hero wins his bride in the climax, overcoming all obstacles and hurdles thrown on his way by opponents. Like a veteran film-maker once told me, "Marriages [in Hindi films] can never go out of fashion." I completely agree!

Yash Raj too has had their share of shaadis and baaraats on celluloid. Be it DILWALE DULHANIA LE JAYENGE or BAND BAAJA BAARAAT, the production house has successfully come up with stories that had the viewer thirsting for more. MERE BROTHER KI DULHAN more than lives up to the legacy. Sure, it has the trademark flamboyancy and family drama associated with Yash Raj, but it's totally different from what we've watched thus far.

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Let me clarify something vital, before we proceed further. MERE BROTHER KI DULHAN has nothing to do with Onir's SORRY BHAI or the Barbara Mori starrer MY BROTHER'S WIFE. Nor is it an adaptation/rip-off of the Hollywood film DAN IN REAL LIFE. There's also talk that the film bears an uncanny resemblance to Yash Raj's earlier film MERE YAAR KI SHAADI HAI. On the contrary, the inspiration for this film, as director Ali Abbas Zafar confessed to me, came from the matrimonial advertisements in newspapers. And the director does just that -- he picks up an interesting plot, garnishes it with appealing characters and makes a fun-and-joyous ride that keeps you hooked for most parts. In fact, there's never a dull moment in this prem kahani involving two brothers and the girl they both love, in the first hour at least. The wacky adventures that follow once the loony dulhaniya enters the picture are thoroughly amusing and entertaining. However, it's only towards the second hour that the film dips at places, though it picks up towards the end.




MERE BROTHER KI DULHAN isn't trite or clichéd, but it's simple and honest, so much so that this could be the story of someone you know. Thanks to a well directed cast, sparkling script and a luminous soundtrack, this is easily one of the most heartwarming movies from the leading production house.

Kush [Imran Khan] is looking for the ideal Indian bride for his brother Luv [Ali Zafar], who stays in London. In his quest, Kush goes through an array of wacky encounters with several families until he finally finds that perfect girl in Dimple [Katrina Kaif], the craziest / wackiest girl he has ever known.

Both the families meet. Formalities are completed. Preparations proceed in full swing. And just then Kush falls in love with Dimple... his brother's dulhan.

On hindsight, if someone were to tell you that the story of the film is about a guy who falls in love with the bride he has chosen for his brother, you'd expect lots of melodrama and an undercurrent of tension after a point in the narrative. I'd say, ignore all the nagging misconceptions or preconceived notions you may have had about MERE BROTHER KI DULHAN. Venture into the cineplex with an open mind and trust me, as the reels unfold, you'll realize that the film is not like what you may have envisioned prior to its screening. It makes wonderful sense!

Most rom-coms follow the conventional route. You know how they start, what's in store in the middle and how they usually end. They don't really challenge the intellect, frankly. But there's a twist in the tale in MERE BROTHER KI DULHAN that catches you by surprise. Sure, it's about two guys liking the same girl -- a formula that's done to death -- but even if the theme has been used and re-used time and again, there's always scope that the next man who attempts it may treat it slightly differently. Thankfully, MERE BROTHER KI DULHAN has the conventional plot, but isn't conventional in the true sense. And it's definitely not the been-there-seen-that kind of a movie either.

On the flip side, MERE BROTHER KI DULHAN has its share of few predictable moments in its second hour. Actually, the graph of the film dips, albeit slightly, in the post-interval portions. The problem is, the first hour is so high on entertainment quotient that you expect the second hour to supersede the first by leaps and bounds. Lots seem to happen in the post-interval portions, but the episodes aren't as exciting as the first hour, which is why you feel the difference. However, the finale throws a new twist, which may appear stretched to some, but is likeable nonetheless.

First-time director Ali Abbas Zafar has complete grasp over the medium and has treated each scene wonderfully well. Besides, he has drawn admirable performances from the principal characters. Handling comic scenes is one tough job, but Ali seems to have a flair for it. MERE BROTHER KI DULHAN has a winner of a soundtrack. Expectedly, the songs, composed by Sohail Sen, stress on the fun quotient that compliments the mood of this film. The songs are urbane-friendly, yet massy, with 'Dhunki', 'Choomantar', 'Madhubala' and the title track being excellent compositions. I would also like to make a special mention of the choreography of these songs [Bosco-Caesar]. It's truly eye-catching. Sudeep Chatterjee's cinematography is vibrant.

The performances are easy on the eyes. The unlikely chemistry between Katrina and Imran coupled with Ali Zafar's impeccable comic timing keeps you glued to the screen. Imran, frankly, seems the apt choice for this role and he more than lives up to it. Katrina is only getting better and more endearing with every release. Ali Zafar is a supremely talented actor and this film proves it yet again.

Tara D'Souza does a fine job. Parikshit Sahni and Kanwaljeet Singh are truly wonderful. The actor who plays Imran's friend is natural. John Abraham appears in a cameo.

On the whole, MERE BROTHER KI DULHAN is a delectably wholesome, heartening, feel-good entertainer. Not just a comedy, but also a tender, bittersweet saga, this rom-com is sure to melt your heart, then restore it anew all over again. Yet another winner from Yash Raj!

4/5