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Posted by: Sharmila-Sweet Nov 19 2009, 12:39 PM

Kurbaan Film Review [SPOILERS]

First things first. Kudos to Karan Johar for shifting gears completely and entering into serious territory. Of course, we do love him for his K-class cinema: all his crunchy popcorn films beginning with K, ever since Kuch Kuch Hota Hai redefined mainstream romance. But Kurbaan doesn't need the popcorn at all. It keeps the screen on overboil for most of its screen time with its hard-hitting storyline that dares to venture into undefined territory.

Like Khuda Kay Liye, Kurbaan too looks at the other side of Islamic fundamentalism and puts the post 9/11 tumult in perspective. Who are these guys who carry anger in their hearts, revenge in their heads and bombs in their pockets? Why are they hell bent on blasting the world, irrespective of the anguish it spells to all and sundry? Can there be a purpose behind their madness? Is one man's terrorist actually another man's activist? Kurbaan, written by Karan Johar, raises these pertinent - and extremely topical - questions, without glossing over the one undeniable truth: a suicide bomber can never solve the inequities of the world, Palestine, Iraq, Afghanistan, notwithstanding.

So we have Ehsan Khan (Saif Ali Khan), the Pakistani who lost his wife and kid to American excesses, seething with a desire to avenge his loss. He isn't the archetypal, skull-capped, bearded fundoo, mouthing soliloquies on jihad and intifada (uprising). On the contrary, he's suave, sophisticated and a charmer, tutoring the world on the misconceptions of Islam in the modern world. Small wonder then he manages to win the heart of college professor Avantika (Kareena Kapoor) and follows her to New York on her stint with NYU. But the domestic idyll is short-lived as Avantika soon discovers it isn't her neighbours (the Afghani extended family, headed by Om Puri) alone who have suspicious antecedents. Husband Ehsan too is an integral part of the plot to bomb America for its excesses against Muslims, the world over.

In a classroom sequence, the film tries to put Islamic fundamentalism in perspective by linking the rise of the Muslim terrorist to America's oil-grabbing foreign policy and its questionable attempts at destabilising oil rich countries in order to remain a superpower. Almost every member of the sleeper cell that comprises the Afghan family has a sad story of loss and horror that drove them into becoming fidayeens (suicide bombers). And before you begin to question the filmmakers for going too lenient on terrorism, you find Avantika who remains a non-convert till the very end. Articulating the voice of reason - and non-violence - she questions her husband and oscillates between love and hate for the man who has fathered her child. A prisoner in her own house, her only hope is Riyaaz (Viveik Oberoi), the undercover journalist who has his story of personal loss that pitches him on the other side in this war. He is determined to fight the terrorists and derail their plot of bombing America.

Karan Johar's story has gravitas. Renzil D'Silva's narrative keeps you on the edge of the seat, for most of the time. Salim Suleiman's music score has a melodious feel. Hemant Chaturvedi's cinematography serenades both Delhi, where the Saif-Kareena romance blossoms and New York, where it cracks up. And the performances by almost all the lead characters are gritty. If Om Puri paints a chilling picture of the terrorist who masquerades in the garb of the commoner and Kiron Kher makes the myth of a suicide bomber plausible, then Viveik Oberoi lends credibility to the voice of the progressive Muslim. But it is the chemistry between Saif and Kareena that lights up the film as the duo bring to life a picture of passion and restraint as the doomed lovers. We do however wish their relationship had a stronger emotional graph, post the startling revelation. How did the duo contend with the fear, hate and disillusion that crept in after Saif revealed his true identity: a bit more on that? And a bit less in the length of the film which could do with some taut editing in the second half. Also, there are a few inconsistencies that mar the film's realism. Why does the FBI loom large like a know-it-all, do-it-all figure? Not only do the FBI sleuths always be a step ahead of the terrorists and arrest them without actually knowing who they exactly are, they also emerge unscathed in a suicide bombing attacking where almost everybody crumbles. Super Uncle Sam, did we say!
But Kurbaan sure does strike a chord and sets you thinking on stuff that needs to be sorted out before the new world order - a more humanitarian, less violent - sets in. Don't miss it.

A word about

Performances: Saif and Kareena transport their off screen tuning to the big screen. While their passionate encounters are a class in aesthete, their delineation of Ehsan and Avantika is mature, restrained and realistic. Om Puri, Kiron Kher and Viveik Oberoi are in sync too.
Music: While Salim-Suleiman have come up with an entire audio track which fits in with the ambience of the film, it is Shukran Allah and the title track, Kurbaan Hua which have lingering notes. More importantly, the songs blend in seamlessly with the story and have not been filmed as your run-of-the-mill song-dance numbers.

Dialogue: The conversation amidst the diverse protagonists has a realistic edge and seem straight out of life. It's only when he tries to explain the theoretical basis of Islamic fundamentalism that Anurag Kashyap, dialogue writer, seems to enter the realm of text-book knowledge. The exposition seems a rattling of newspapers headlines.

Story: Karan Johar explores new depths with his insightful story on the world's most pressing problem: terrorism.

Cinematography: Hemant Chaturvedi uses his camera deftly to create stunning vignettes of Delhi and New York, without losing out on the seriousness of the plot.

Styling: Kareena looks svelte in dresses and tights and brings to life a glamorous professor who dons the hijab with equal felicity. Saif is his usual dapper self, making casual seem haute.


TOI

Posted by: Sharmila-Sweet Jun 18 2010, 12:19 PM

Raavan is Mani, Abhi, Ash's best work
Last updated on: June 18, 2010 10:04 IST
Aseem Chhabra reviews Raavan in New York.


Mani Ratnam's Raavan is an overwhelming film. At times a tad bit overproduced, the film is an onslaught of brilliant use of technology on the viewer's senses -- stunning cinematography, the fluidity of the camera, quick edits, loud soaring music, with the actors thrown into wild nature.


Ratnam working with his regular cinematographer Santosh Sivan and also V Manikandan, and editor A Sreekar Prasad, gives us a hellish vision -- an innocent woman Ragini (Aishwarya Rai Bachchan [ Images ]), kidnapped by a Veerappan-like outlaw, Beera (Abhishek Bachchan [ Images ]).

Much of the film is the cat and mouse game -- Beera and his gang, in harmony with the forests, rain, rivers, cliffs, mountains and a lot of mud, always a few steps ahead of the police force led by an officer Dev Sharma (Vikram), who also happens to be Ragini's husband.

Ratnam is one of the most remarkable filmmakers in India [ Images ], taking unique story ideas -- although some with muddled political messages, working within the framework of popular cinema, and yet creating memorable films in Tamil, Hindi and other languages.

From the days when he used to shoot his films in one language (Roja [ Images ], Bombay and Dil Se) and then dub them for other markets, he has now moved to working simultaneously on two parallel productions.

This time he shot Raavan in Hindi and Raavanan in Tamil -- shooting each scene back-to-back, with at least one actor interchanging roles. Vikram plays Dev in Raavan and then Veeraiya (Beera) in Raavanan, while Ash appears as Ragini in both films. He also has a third version -- Villain dubbed in Telugu.

That is a lot of ambition for a soft-spoken 54-year-old man, who first attended business school before becoming a filmmaker. There is ambition written all over Raavan and at most times it succeeds.

But it all happens at such speed that it takes a while to absorb the pace of Raavan. The film needs to be digested, absorbed and mulled over. The visual images are often so powerful and strong, each shot packed with so much activity -- rain, mud, trees, cliffs, and, of course, the actors, that many filmgoers will miss out on all that they see on the screen.

I tried to get ahead of Ratnam and started counting the number of edit cuts during the grand dance performance to the song Thok di Killi, but soon I felt I was on a roller coaster ride, and had to stop to breathe.

Raavan is Ratnam's interpretation of the Ramayana [ Images ] (yes, the rumours and speculations are true), with Bachchan, Ash and Vikram playing the roles of Ravana, Sita and Rama, respectively. And in one of the most brilliant strokes of casting, a delightful Govinda [ Images ] plays Sanjeevani -- a modern day Hanuman [ Images ], playfully hopping from one spot to another as he joins Dev's mission to search for his wife.

The film is replete with references to the Ramayana -- from the 14 days it takes Dev to rescue his wife, to a disturbing take on the Soorpanaka story, which becomes the justification to the kidnapping of Ragini.

But Ratnam takes Raavan beyond the Ramayana. I am not giving away the ending, but I wonder what the purists and Hindu fundamentalists will think about the departures of the film from the religious text.

Ratnam gives us all shades of the three main characters. Beera is not always as evil as Ravana is often portrayed; Ragini's Sita has a strong inner core, and while she starts with hating Beera, she is sometimes in awe of his sudden spouts of gentleness; and Dev turns out to be the not so perfect Rama.

I wish the script and the film in general, had not spent so much time in its technological grandeur, because the real crucial conversation around the Ramayana starts to happen near the end of the film. By this time Beera, Ragini and Dev have stopped being the traditional Ravana, Sita and Rama.

That transition makes Raavan a significant milestone for modern India to move beyond the Ramayana as just a religious text. And so Raavan is perhaps Ratnam's most definite political film.

Bachchan's best work to date has been with Ratnam in Yuva [ Images ] and Guru. But here the actor goes beyond anything he could have imagined he was capable of doing. Through the film he stands tall, observing his landscape, his face twitching with myriads of thoughts and his menacing smile unnerving all those who come in contact with him. Bachchan has never worked this hard in a film and it shows in his performance.

Like him, his wife Ash also gives one of the strongest performances of her career. Few directors have succeeded in making us look beyond her beauty and see the actor in her. Rituparno Ghosh worked wonders with her in the under-appreciated Raincoat and Ratnam did that in Guru and now here in Raavan.

Vikram, a star in Tamil films, is a real find for the Bollywood industry.

The fate of Raavan and its Tamil and Telugu versions will be judged in the next few days by audiences across India and abroad. But this much is clear -- Ratnam, the quiet master, is in top form here. It will be a challenge for him to outdo himself.



4/5 - rediff.com

Posted by: Romuz Jun 18 2010, 06:09 PM

RAVAAN
ROBIN HOOD MEETS APOCALYPSE NOW COURTSEY

Aishwariya Rai Bachchan, Abhishek Bachchan, Vikram, Govinda,Ravi Kishen, Priyamani
Director: Mani Ratnam
Music: A.R Rehman

Review by: Dr Usman Khawaja


What is the problem with Bolly scripts, as here a man like Ratnam takes movies like “Gangajal", "Jungle" and Hollywood classics like 'Apocalypse Now' mixing it is a mish mash of action and silly stunts and packages it with pseudo artistic visuals from Coppola's war epic as billowing smoke stands in for mist.

Anyway Vikram is a good cop, married to Aishwariya and they are posted in a lawless Indian rural paradise much like" Gangajal " which is ruled by a gangster cum robin hood Abishek Bachchan as Beera, and he is both Ravaan and ram all in one while Aishwariya Rai as Sita is still married to the real ram Vikram is a stand in for Ram.

I am really confused here as I think this akin to making Ganges flow backwards but than anything goes and after a lot of action stunts, songs and we end up on a suspension bridge for the climax thanks to Indiana Jones.

Never mind as Aishwariya Rai gets loads of sequences which just require running and jumping in Indian hinterland with no dramatic requirements, while Abhishek Bachchan is a joker as “Raavan" who plays it like a clownish big hearted Heath ledger, and the whole pulpy vision is just a borrowed bonanza , where Vikram is the only performer who breathes some air in this dead horse, but fails to flag it still in the fuzzy visuals with mystical mists enshrouding the screen in a paradox of obscure origins.

Cops and gangsters and heart of gold robbers mix with untouchables, who rob the rich and there is enough plunder and gruesome killings to appease any sadistic masochist, while A.R Rehman composes an unusual score which is not synchronised with the milieu of a thriller and interrupts the narrative as does the redundant leading lady who looks uncomfortable between the husband as hero and the great hearted villain on the periphery as a toy boy.

Abishek Bachchan looks as un-winsome as Ravaan, with some extremely bizarre getups, and is overshadowed by Vikram in every aspect from action to talent, and he tries to give a edgy paranoid look which unfortunately misfires.

Ratnam who made Yuva and Dilse and Bombay here is laden with a banal script with a laconic cat and moose game played in a forest which is very similar to R.G.varma's Jungle, and "Coppola's Apocalypse Now, but not a fraction as interesting, and the climax on a suspension bridge suspend all brief and is inadvertently hilarious.

This is not entertainment or art it is pulp mixed with trash packaged with shamelessly stolen visuals and it does no favours to Ramayana in its lousy duration of 2 hors and 20 minutes with a paranoid narrative with misty forests and green ravines and a lush middle aged, Aishwariya trying to desperately cope with two men she obviously is not very fond of in reality or onscreen too.

Mr. Ratnam please go back to real actors like Ajay Devgan and Manisha koirala and turn out something with an original script with some credible gimmicks rather than the falling bodies of aishwariya and a diving Beera.

A rather sullen and desynchronised, somewhat stylised version of so called Ramayana borrowed from multiple sources.

Rating: 3/10

Posted by: Sharmila-Sweet Jul 12 2010, 05:34 PM

Milenge Milenge
TNN, Jul 9, 2010, 08.08pm IST

Critic's Rating: 2.5Cast: Shahid Kapoor, Kareena Kapoor, Satish ShahDirection: Satish KaushikGenre: RomanceDuration: 1 hour 50


Story: College girl, Kareena Kapoor, has just one ambition in life. She wants to settle down in sweet domesticity with a guy who has three basic hobbies: No cigarettes, no booze and no lies. Co-collegiate plus prankster, Shahid Kapoor, gets to know about it and pretends to be her dream guy, despite his penchant for the three vices. Does the romance survive when the lid is blown off the subterfuge? Leave it to destiny...

Movie Review: So what's the one big question that stares you in your face when you walk out after watching Milenge Milenge? Would this film have been a hit had it been released when it was `Milethe Milethe' for the lead pair; that is, when real life was in sync with reel life, for Shahid and Kareena, not so long ago? The answer? Don't think so.

And there are quite a few reasons for it. First, you could blame it on the plot which has nothing new to offer. Now that's almost criminal in an age when even the ordinary love story has been re-written in new-age Bollywood. Who talks about `Someone, Somewhere, specially for me' and consults tarrot card readers (or even, Paul, the Octopus) when it comes to love, aaj kal! Even mush moghuls like Yash Chopra, Aditya Chopra and Karan Johar are realising the risk potential of `Rab ne bana di jodi' like cliches in an age of FB, speed dating, instant romance and speedier breaking. So, it does seem corny to pitch a character like Priyanka (Kareena) who believes that a book on numerology, a fifty rupee note with a phone number or a ride in a lift is all that it would take to bring her together with her soul mate. Ironically, the entire romance unfolds as a destiny play, with one hit and miss encounter following the other. Needless to say, the lovers predictably keep missing each other by a few minutes or a few years.

Naturally, in such a chancy affair, there isn't much that the pair of star-crossed lovers can do, other than catch wrong planes, enter wrong doors, or land up in wrong cities at the wrong time. Remember, the re-union hinges on the special rupee note which must travel the globe before it lands up in Kareena's kitty. So why the khali-peeli bhagam bhag by the babalog! Of course, Shahid and Kareena do try hard to inject life in a dead script and do manage to still look good together.

But with outdated choreography, college humour, couture and a minus-the-thump music score (Himesh Reshammiya), this love story doesn't have the turn-of-the-century zing that has entered most of Bollywood's pyaar-mohabbat pulp fiction.

So what's the bottomline? Milenge-Milenge ends up as a might-have-been, iffy affair. Watch it `IF' you still dig the Shahid-Kareena jodi which re-defined the word 'chemistry' in Jab We Met.

Posted by: Sharmila-Sweet Jul 30 2010, 01:47 PM

Buy a ticket for Once Upon A Time in Mumbaai. Now!
July 30, 2010 11:18 IST
CommentSyed Firdaus Ashraf reviews Once Upon A Time In Mumbaai.

Once Upon A Time In Mumbai [ Images ] there was Bollywood which used to give us great films, but not anymore. Hopes of seeing great films from today's filmmakers seem lost.

Once you watch Once Upon A Time In Mumbaai, however, all hope is not lost. Watch the trailer here.

Once Upon A Time there were writers like Salim-Javed in Bollywood.

Once again, we have found such a writer in Rajat Aroraa. Watch the film and you will understand. By the way, Rajat, where were you hiding all this while?

Once Upon A Time in Mumbai there was an actor called Randeep Hooda [ Images ] who was written off.

Once again, he's back with a bang as ACP Agnel Wilson.

Once Upon A Time in Mumbai there was Ajay Devgn [ Images ] who floored us with his role of Malik Saab in Ram Gopal Varma's [ Images ] Company.

Once again he returns to top form with his role of Sultan Mirza.

Once Upon A Time in Mumbai there was Emraan Hashmi [ Images ] who acted brilliantly and smooched girls with aplomb.

Once again he has acted brilliantly as Shoaib. The smooches, however, are missing this time.

Once Upon A Time in Mumbai there was a genre of music in Bollywood that we used to love, dhan-tanan-tananan.

Once again Tananan Tananan, Tananan, Taan Taan returns. You've got to hear it to believe it.

Once Upon A Time Bollywood used to give us melodious music.

Once again, we find that in this film. Pritam [ Images ], I am speechless.

Once Upon A Time in Bollywood, heroines had little to do in a film.

Once again, Kangna Ranaut [ Images ] and Prachi Desai [ Images ] have little to do. After all, this is a gang war movie.

Once Upon A Time our film critic Raja Sen would have reviewed this film.

Once again, thank you Raja for going on a sabbatical so that I could review this film instead of you.

Once Upon A Time in Mumbai, I saw a great movie on Thrusday night.

Once again, I am going to see it on Saturday with my family and again on Sunday.

Once Again, you are reading my stupid review.

Once again, I am reminding you to book your tickets for this film.

Once Again, you're still reading this review. Stop and go buy a ticket. Now!

Once Upon A Time in Mumbai there was a director Milan Luthria who made Kacche Dhage with Ajay Devgn and Saif Ali Khan [ Images ] and then lost it.

Once again, he is back. Thank You, Milan.

Rediff Rating:4/5

=============================================



EDIT: DON'T BUY A TICKET FOR THIS MOVIE - HIGHLY OVERRATED

Posted by: pranusha Aug 25 2010, 06:11 PM

Lafanggey Parindey

Tested away a different story line with slightly different scripting. Yash Chopra film banner changed their style from mushy love stories to different story. Giving credit to some how different story line and as they moved to reality dance shows, they include the concept in this movie as well.

Posted by: IDOL Sep 5 2010, 10:00 PM

and i watched WE ARE FAMILY......



nice movie.....i like it.....as usual, kajol is at her best ....kareena is also great.....arjun is good too............it's a sad movie......kajol has cancer and is dying......well, i admit i cried while watching this movie....it's about life and relationships.....



i'd rate 3.5

Posted by: Nimii Sep 8 2010, 11:40 AM

QUOTE(IDOL @ Sep 5 2010, 10:00 PM)

and i watched WE ARE FAMILY......



nice movie.....i like it.....as usual, kajol is at her best ....kareena is also great.....arjun is good too............it's a sad movie......kajol has cancer and is dying......well, i admit i cried while watching this movie....it's about life and relationships.....



i'd rate 3.5

Posted by: Sharmila-Sweet Sep 8 2010, 12:24 PM

Yes Nimi and it is a LEGAL & ACKNOWLEDGED remake of Stepmom, VERY WELL MADE and a lovely, touching, beautiful movie.

Posted by: IDOL Sep 11 2010, 01:22 AM

QUOTE(Nimii @ Sep 8 2010, 12:10 AM)

QUOTE(IDOL @ Sep 5 2010, 10:00 PM)

and i watched WE ARE FAMILY......



nice movie.....i like it.....as usual, kajol is at her best ....kareena is also great.....arjun is good too............it's a sad movie......kajol has cancer and is dying......well, i admit i cried while watching this movie....it's about life and relationships.....



i'd rate 3.5

This is copy of the english film Stepmom!

Posted by: Sharmila-Sweet Sep 13 2010, 03:21 PM

Review: Dabangg is an out-and-out entertainer
Published: Friday, Sep 10, 2010, 16:00 IST | Updated: Sunday, Sep 12, 2010, 17:28 IST
By Blessy Chettiar | Place: Mumbai | Agency: DNA



Film: Dabangg (U/A)


Director: Abhinav Kashyap
Cast: Salman Khan, Sonakshi Sinha, Sonu Sood, Arbaaz Khan, Vinod Khanna, Dimple Kapadia, and others
Rating: ***½

“Dabangg is a buffet meal, there’s something for everyone,” said director Abhinav Kashyap before the release of his debut film.

His baby stays true to the director’s claim. An out-and-out Salman Khan entertainer, Dabangg (which means fearless) give you a lot of reasons to love Khan even more.

We see Khan as his old self, packaged in a new police ki vardi as Inspector Chulbul ‘Robinhood’ Pandey in a certain Laalgunj gaav of Uttar Pradesh. Sure, many would like to adopt that middle name.

Lovably corrupt and enticingly lean, Chulbul makes sure he gets the share of the booty in every big (or small) dacoity in the village banks. His love for mother (Kapadia, typical Bollywood maa) and hatred for stepfather Prajapati Pandey (Khanna) on one side is balanced with his love-hate relationship with stepbrother Makhi (Arbaaz Khan) on the other.

Family dramas are not new to Bollywood. But Dabangg has an edge because of the smart packaging of action, love, drama and a tragic climax. Small-town politician-villain Chhedi Singh (Sood) has personal scores to settle with Chulbul. Using his dysfunctional family ties as pawns, Chhedi will stop at nothing to win an election and settle his rivalry with Chulbul.

Apna Chulbul cracks PJs, falls in love, propositions village belle Rajjo (Sinha), and gets married in style. Salman Khan’s on-screen larger-than-life persona is fully exploited by Kashyap.

Arbaaz Khan as the mandbuddhi (slow-witted) stepbrother puts on a good show playing a character with slightly grey overtones. Sinha risked a deglamorised launch and went for the sari-clad Rajjo, a role she fits to the T and in which she doesn’t fail to impress you. She looks comfortable being paired with a hero who is at least two decades older. The star kid (she is Shatrughan Sinha’s daughter) will, however, need some more challenging roles to prove her worth.

Kapadia as the Pandey mother reminds you of the mothers in Hindi cinema of yore, self-sacrificing, torn between relationships, slightly over-the-top, likeable nevertheless. As for Sood, you feel like beating him up for giving hero Chulbul such a hard time.

The casting for each peripheral (importance to the plot notwithstanding) character in Dabangg is perfect, be it Mahesh Manjrekar as Rajjo’s alcoholic father, Om Puri as the hand-in-glove crooked cop, Anupam Kher as the power-crazy politician, or Mahie Gill as family-oriented Nirmala, Arbaaz Khan's lover.

Fans and critics can see Salman Khan do what he does best, positively “bhayanak” dialoguebaazi, Rajini-style action, and trademark dance steps with funny hand movements, topping it all with a shirtless fight sequence. The dialogues of Dabangg are memorable; don’t be surprised if you rattle some off long after you have left the cinema hall.

Mahesh Limaye’s cinematography captures the feel of rustic Uttar Pradesh well and lends authenticity to the muddy politics, fight sequences, and overall lawlessness of the land. The very many songs are effectively, in Chulbul’s words, thusaoed in the plot, without once making the audience cringe. From theme song Hun Hun Dabangg to the romantic Tere Mast Mast Do Nain and the drunks’ anthem Humka Peeni Hain, every song has recall value. Not to mention Munni Badnaam Hui with Arbaaz Khan's wife in real life Malaika Arora Khan sizzling to the beats of composer Lalit Pandit.

Clean humour, fabulous action sequences, innocent love stories, and superb dialogues typify Dabangg. Watch it at a single screen to enjoy the hooting, cheering, clapping and even the occasional standing ovation for the dabangg Sallu Bhai. And yes, don't forget to leave your brains at the door.


http://www.dnaindia.com/entertainment/review_review-dabangg-is-an-out-and-out-entertainer_1436258

Posted by: IDOL Sep 15 2010, 02:56 AM

i have watched so many reviews of this movie on youtube .....all say it's hit.......they say it's made like Wanted

Posted by: Nimii Sep 16 2010, 11:27 PM

QUOTE(IDOL @ Sep 15 2010, 02:56 AM)

Posted by: Nimii Sep 16 2010, 11:28 PM

QUOTE(Sharmila-Sweet @ Sep 8 2010, 12:24 PM)

Posted by: suhana_safar Sep 17 2010, 06:16 AM

I dont watch Salman Khan films but saw Dabaang, crap film but Salman Khan is incredible in the film. Single handedly he saves the film.

Posted by: IDOL Sep 22 2010, 04:42 AM

QUOTE(Nimii @ Sep 16 2010, 11:57 AM)

QUOTE(IDOL @ Sep 15 2010, 02:56 AM)

i have watched so many reviews of this movie on youtube .....all say it's hit.......they say it's made like Wanted

Now watch it.. after all you are Sallu Khan's fan..

Posted by: IDOL Sep 22 2010, 04:43 AM

I watched : Tere Bin Laden.......one word- Hilarios!...don't miss it

Posted by: Sharmila-Sweet Sep 29 2010, 11:38 AM

Dabangg


Expectations:Honestly wasn't that into it initially. But it's a SALMAN KHAN movie. I usually enjoy Salman Khan movies, there are very few that I have hated, and I also thought Dabanng would be a great watch...so I was willing to give it a chance. But did it live up? Read On!

Story: Many people have said it already, there wasn't much of a story. But haha, it didn't really need a specific story, it worked without it. It actually flowed pretty well, and I wasn't looking at my phone because I was bored or getting irritated with mindless jokes which I was kind of expecting to do This is totally made for the geniune Bollywood movie fan!

Direction: I think this is Abhinav Kashyup's first film right? Great first attempt by him. He really got it right! He brought back Salman Khan the way everyone lowes him. He also got great performances from everyone else as well! Way to go

Songs: Hadn't really been too much into the songs before the film, but OMG. I LOWE THEM NOW! haha. "Ud Ud Dabangg" was great! It started the film in a great mood. I loved the way Salman dances!!!! My favorite step was his belt step.I want my cousins to do it for my wedding. "Tere Mast Mast Do Nain" was sooo sweet and cute! It kind of reminded me of Haule Haule though hehe. "Hum Ko Peene Hain" was another fun song, and again, Salman Khan's dancing was hilarious! "Chori Kiya" was beautiful, loved the Dubai locations they shot at!! Booooootifullllllllll! "Munni Badnaam" the song everyone is and will be talking about for a while. Energetic and Fun! I always thought it was another kind of song, but haha, it was far from that, loved it!!!


Performances:

The ensemble cast of Dimple Kapadia, Vinod Khanna, Anupam Kher and the others was just great! They were all there for as long as they needed to be and no one was unnecessary!

Sonu Sood Oh man. Haha, GREAT performance from him. Seriously wanted to smack him a couple of times. This guy is just awesome. The perfect "hero-like villian". Not really sure I would have liked anyone else to play this role.

Arbaaz Khan Haha, I kind of hated him in the beginning for some reason, but haha, he was actually kinda cute in this movie! He was a great Makki and complimented Salman Khan very well in the film!

Sonakshi Sinha For her first film, and to be opposite a star like Salman Khan she did an awesome job! I'm not so sure many people will appeal to her since she doesn't fit the "usual convention of a Bollywood actress" but I think she can make it! She's pretty, and I think she's got what it takes!

Salman Khan SALMAN KHAN!!!!!!!!! Where have you been? I don't know, but um, haha, WELCOME BACK!!!!!! This was genuine Salman Khan! He was just on par with every emotion in this film. I don't feel that he exaggerated or overdid anything as he usual does!!! I cannot imagine ANYONE else playing Chulbul with such charismatic charm and awesomeness! Salman Khan, do more films like this please!

Favorite Scenes

*Chulbul Pandey's entrance and that whole initial fight sequence commentary he was making.

* The scenes with the Jalwa ringtone :rotfl:Salman Khan's dancing and reaction to it Hilarious!

*Arbaaz Khan's crying scene when he tries to get the money,

* Salman's shirt ripping off at the end fight scene Gosh, the audience went crazy here when that happened! And I have to admit, it was pretty awesome

* When he slaps Makki after apologizing to him .Oh man.That was hilarious!

*Tum Bhot Khatarnak Lagrahiho Aaj"

*I can't remember the exact dialogue but the one where he said he'll shoot him so much, that there will be way too many holes for him to remember where to breathe and where to fart from .

* KHAMOSH!

* The editing!

There's so many more, but haha, These are def my most memorable and favorite scenes and the ones that are coming to my mind right now.

The Negatives

* The fight scene, especially in the beginning was kinda dragged on for too long. Even though I enjoyed it, I felt like it was kinda too much

* Wish there were more Arbaaz-Salman scenes!

* Wish there was more of an actual story!

OVERALL This is a film for the Bollywood crazed fan. This is a film for Indians who want to see India, and not the International locales of various countries! This a film for people who want to watch films like they did in the 90s. This is a film for people who want to go to the theater and not think too much or not to have to leave their brain at home either. This is a must watch for Salman Khan fans. They will not be dissappointed! I actually feel like everyone should watch it, but I know this isn't really everyone's cup of tea. I can't wait for the DVD!
__________________

Posted by: IDOL Sep 30 2010, 12:12 AM

i watched Dabang too.......



hmm...good comedy scenes......that is what i liked about the movie....though sometimes sounded very silly too............didn't like the fighting scenes coaz basically salman is not human, he's superman/ spiderman/the hulk or whatever....at least spiderman gets hit and falls down sometimes, but he doesn't.....so that was the yawning/ "whatever" part.......overall, an ok movie.....i'd rate 2.5/5....

Posted by: Nimii Sep 30 2010, 11:52 AM

Finally got to see Tere Bin Laden! A critically acclaimed movie.. was worth the watch!!

Love Ali Zafar in the main role!! He is cuteeeeeeeeeeeeeeeeeeeeeeeeeeeeee

A nice fun movie to watch over a weekend!!

Posted by: Nimii Sep 30 2010, 11:53 AM

Once upon a time in Mumbai..

Phew I am unable to sit through the underworld don kinda stories these days..

Emraan Hashmi noooooooooooooooooooooooooo in any role he keeps me away from screen

Posted by: Marcilo Oct 1 2010, 12:12 AM

QUOTE(Nimii @ Sep 30 2010, 02:22 AM)

Finally got to see Tere Bin Laden! A critically acclaimed movie.. was worth the watch!!

Love Ali Zafar in the main role!! He is cuteeeeeeeeeeeeeeeeeeeeeeeeeeeeee

A nice fun movie to watch over a weekend!!

Posted by: Marcilo Oct 1 2010, 12:13 AM

QUOTE(Nimii @ Sep 30 2010, 02:23 AM)

Once upon a time in Mumbai..

Phew I am unable to sit through the underworld don kinda stories these days..

Emraan Hashmi noooooooooooooooooooooooooo in any role he keeps me away from screen

Posted by: Nimii Oct 1 2010, 07:31 AM

QUOTE(Marcilo @ Oct 1 2010, 12:12 AM)

QUOTE(Nimii @ Sep 30 2010, 02:22 AM)

Finally got to see Tere Bin Laden! A critically acclaimed movie.. was worth the watch!!

Love Ali Zafar in the main role!! He is cuteeeeeeeeeeeeeeeeeeeeeeeeeeeeee

A nice fun movie to watch over a weekend!!

that bin laden guy?? lol he sure was funny.. with his dialect .. aande.. and murgiyaan...

Posted by: Nimii Oct 1 2010, 07:32 AM

QUOTE(Marcilo @ Oct 1 2010, 12:13 AM)

QUOTE(Nimii @ Sep 30 2010, 02:23 AM)

Once upon a time in Mumbai..

Phew I am unable to sit through the underworld don kinda stories these days..

Emraan Hashmi noooooooooooooooooooooooooo in any role he keeps me away from screen

oh i have to admit.. great movie.. and what a background score... i will have to look up who provided that.. hats off

Posted by: Sharmila-Sweet Oct 1 2010, 03:22 PM

Anjaana Anjaani - Movie review
By: Sarita Tanwar Date: 2010-10-01 Place: Mumbai





Mid Day




Anjaana Anjaani
U/A; Romance
Dir: Siddharth Anand
Cast: Ranbir Kapoor, Priyanka Chopra and Zayed Khan
Raitng: ***



What it's about: A film based on relationships with just two central protagonists is a challenging premise and more difficult to tackle. You don't have the liberty of add-on characters, side-tracks or even momentary breaks and fillers. A film of this kind is largely dependant on the screenplay and the chemistry between the lead pair. That's what makes Sajid Nadiadwala's Anjaana Anjaani, directed by Siddharth Anand, unique in its own way and rather different from what you've seen in the year so far. It's the story of Kiara (Priyanka Chopra) and Akash (Ranbir Kapoor) who meet one night during the worst point in their lives. They've given up all hope and want to end their lives. After a few failed attempts, they both realise that perhaps they have some unfinished business to take care of before their time is up. They give themselves 20 days in which to complete their mission and then meet their end together. They make a pact to spend these days making all their dreams come true. In the process, the inevitable happens and come D-day, things change.

What's good: Although it's been said that the premise has been lifted from a few foreign films including Girl On The Bridge, this is quite a novel effort by Siddharth Anand. A truly defining love story comes along rarely - the rest all tell the same stories in different ways. Anand, who has given us Salaam Namaste and Bachna Ae Haseeno earlier, begins this one at a leisurely pace. He spends a good amount of time establishing his two main characters because they're the crux of the film. Once you're engaged with Kiara and Akash, there's no looking back. You laugh with them, enjoy their antics, understand their predicaments and root for them. Just when you feel things are slackening a bit, Anand adds a twist and revs up the proceedings. A love story without new faces is a tough task but the film's freshness lies in the romantic quotient between Kiara and Akash. From their failed suicide attempts to their escapades on land and in water, it's a fun-filled ride. The second half is actually when the film gets into full gear when the couple embarks on a road trip across the United States. Impeccably shot, the film is a visual treat with producer Sajid Nadiadwala going all the way to give it that larger-than-life feel. Anjaana Anjaani is not a complicated love story; it's still heartfelt and even heartbreaking at times. The performances are top-notch -- Priyanka Chopra is at her casual and spontaneous best. She embraces the character completely and makes it totally believable. Ranbir Kapoor continues his rock-steady run and is one of the main factors that make the film so poignant. From facing failure to rediscovering joy to coping with pain, he captures every emotion beautifully in the role of a lifetime. It's amazing how this young actor scales a new high with every film and every performance. Tanvi Azmi and Suneha Khanna in bit roles are delightful.

What's not: The inconsistency in the pace of the film is a hindrance. There are also cliches that Siddharth could've avoided. The cheating boyfriend asking for forgiveness and then driving his ex-girlfriend to her new love is a bit outdated. The director also hasn't focused much on his lead pair's relationships with other characters, which leaves many gaps. A lot of the second half reminds you of Jab We Met -- that's where the screenplay needed some new quotient. A love story works wonders when embellished with great music -- except two tracks, Anjaana Anjaani doesn't offer anything exceptional on that front. That's why when the songs try to take the story forward, the result isn't as effective. The Zayed Khan track, irrespective of its length, needed one strong scene to enhance the character.

What to do: Get romantic in the season of action. Watch AA to believe in love once more.

Posted by: Sharmila-Sweet Oct 4 2010, 10:51 AM

Anjaana Anjaani Review, Includes Spoilers!

Expectations:Yes, I certainly has some. After all, this is my favorite director's film! Priyanka falls into my favorite actresses category, and Ranbir, he is def my favorite these days out of the new lot. I was expecting fun yet seriousness. I have enjoyed all of Sid's previous directorials, all of Ranbir's films, (with the exception of Saawariya), and most of Priyanka's films have been enjoyable as well. So were Sid, Ranbir, and Priyanka able to meet my expectations? READ ON!

Story:From the previews I saw on TV, I was imagining something else, I hate reading stuff online, since usually when you read something, some part of the plot gets given away, so I had no idea what this movie was about. I liked the concept, it was a new twist on how "strangers" meet and fall in love, Most of the movies we watch have the same plot, two people who don't know each other, cross paths, hate each other, then like each other, blah blah. This was novel in making that same old story look new and different. I won't say much more as i'm afraid I will give something away. I was predicting certain things to happen, and, I was SO WRONG! So to me, when things aren't so predictable in a movie. I enjoy it

Direction: Siddarth Anand's 4th film. I have enjoyed all of his previous films. Salaam Namaste being my favorite. I can safely say that with Anjaana Anjaani, Sid has matured as director. I'm going to go out on a limb here and say this is Sid's FINEST work yet. My mouth was open with so much shock and just excitement throughout the whole film. The last time this happened to me at a movie was MNIK! I was smiling the whole time, and just could not stop! Sid, you did AN AMAZING JOB with this film, seriously. He brought out some very different performances from the lead pair, and it just really worked for him! I will stop here, as I can go on and on complimenting Mr. Anand, but haha, I will never stop

Songs:Loved them before seeing the film! Were the picturizations good enough??? "Anjaana Anjaani" was very fun, and haha, all though the dance was cheesy as heck, it was really catchy. Gosh, Ranbir is just a great dancer. I loved the way he danced in this song! " Tumse Hi Tumse" wasn't too fond of it before, but I actually really like it now! The video was soooo cute. I liked how Ranbir was imagining himself, kinda cute! Also, the whole sequence with the costumes, hahaah, GREAT! The audience cheered for Batman and Superman here, no joke "Hairat", fun song! Loved the picturization! Kinda wish there was more in it though "Aas Paas Khuda" lovely picturization once again! "I feel Good" I kinda thought this one wasn't needed, but it was again, very cute "Tujhe Bhula Diya" I thought of something else when I imagined this song, but, the picturization was decent!

Performances:

There weren't too many characters besides Akash's(Ranbir) friends, and haha, Priyanka's friend, but they were all decent, and I'm glad there wasn't much of them in the film!

I'm not sure if people know this person is in the film, so I won't give it away, you can highlight if you want to know
Zayed Khan: I actually totally forgot he was in the movie So when he came on screen, haha, we got excited( Yes, we are fans!) and squealed I miss him so much!!!!!! He was decent as Kunal. Even though you aren't supposed to feel bad for him, I kind of did, only because I was imagining something else from his character:P It was great to see him!

Priyanka Chopra: I'll be honest, there were a couple times when she laughed and I got a little annoyed. However, that was it. I LOVED HER! She was a very fun and vibrant character, well, not when she was trying to, you know I'm not really sure she has played a character like this, but she fit the role of Kiara perfectly! Also. I LOVED HER HAIR! I actually want to cut my hair now, but i'll have to wait till after my wedding

Ranbir Kapoor: Freakin Adorable I tell you! I felt like hugging him, he just looked like a teddy bear! haha. Anywho. Loved him in this movie, he was a mature, yet very fun character. He balanced both VERY well. He has so many emotions sprouting from him, and seriously, You felt for him! Well Done Ranbir!!!!!



Favorite Scenes: This part def includes spoilers, so don't read this if you plan to be surprised when watching the movie.

* Kiara and Akash meet on the Bridge. And Kiara won't shut up!

* Kiara and Akash escape the hospital, or whatever that place was.

* Kiara and Akash try to kill themselves with the Saranwrap and Gas.

* Swimming in the Atlantic Ocean, and well, the whole "Peeing in the Ocean" sequence.

* "What is this, Pee Revenge" :rofl:

*Kunal and Kiara's love story, until, the "incident"

* I AM A DISCO DANCER :dance: Oh man, and the scene that comes after, when they trick John , and the car breaks down, and the whole "AAL IZ WELL" thing


* Ranbir was hilarious when they bumped into "Peshto" in Vegas, the way he said her name cracked me up!

* "Say bye to the house" :rofl:


*The ending scene with the proposal in the water!

btw. the Crossguard, from the beginning and in the end, that was "Gupta" from The Terminal If anyone remembers.

* Also, Sid Anand's son makes an appearance in the film, he's Deven's son haha, cuteness that Ranveer is!

* Special Note: I LOVE THE WAY THIS FILM WAS SHOT!!!! We've seen NYC countless times in several Indian movies, but this was totally different way of shooting it, I felt like I was right in the heart of NYC. And just recently, we saw SF in MNIK, but, I didn't see anything too similar except the whole city shot. I seriously loved the way it was shot!

If any more scenes come into my head, I'll add them on later


The Negatives

* How did they get out of the hospital so quickly in the beginning? And I felt like when they came out of it, they landed on the set of Tara Rum Pum

* If Kiara lived in SF, why was she in NYC? Visiting? That was a bit confusing?

* Rachel, why was she so ugly :rotfl: Like, they could have gotten someone a little decent looking


OVERALL: I'd say, if you are in the mood for something fun and lighthearted...WATCH IT! It's not as crazy as Dabangg or anything. It has the right pinch of everything in it. Ranbir fans...YOU SHOULD WATCH IT! This is one of my favorite performances of his. Priyanka fans will enjoy it, she just will do that to you! So, def if you are a fan of Ranbir or Priyanka, watch it! And of course if you are a Sid fan like me :dance: Totally worth my money :dance: Yay! And yes, def falls into one of my favorite films of 2010! There aren't that many mind you, I've only really loved My Name is Khan and Dabangg this much this year!

Posted by: IDOL Oct 8 2010, 03:18 AM

In my case, so far i liked Tere Bin Laden as best comedy in last two/three years.........other than that any bollywood movie i watched in 2010 did not impress me very very much.....all seem average....



i watched anjaana and anjaani....okayish.....nothing new....for story, 1.5/5....for making and carrying it out 2.5/5.



I can't wait for Guzaarish......my fav director SLB

Posted by: Sharmila-Sweet Oct 8 2010, 10:21 AM

Do Dooni Chaar: Movie Review

7 October 2010, 12:48pm ISTlGaurav Malani/INDIATIMES MOVIES


Director: Habib Faisal
Cast: Rishi Kapoor, Neetu Singh, Aditi Vasudev, Archit Krishna
Rating: 3/5


Do not put two and two together and presume that a small-budget film without any big star value would end up being an average fare. Do Dooni Chaar is delightfully different cinema. It has a solid story idea supported by some excellent acting talents.

Never has the middleclass family been portrayed on the Indian screen with such authenticity since Sai Paranjape’s films or, in more recent times, with the likes of Khosla Ka Ghosla . So here you have a mathematics schoolteacher Santosh Duggal (Rishi Kapoor) who struggles to make ends meet for his family of four. Wife Kusum Duggal (Neetu Kapoor) manages the domestic arithmetic by keeping a tab on the household expenses. Daughter Payal Duggal (Aditi Vasudev) desires for an affluent lifestyle and son Sandy Duggal (Archit Krishna) secretly attempts to upgrade his standard of living by dabbling into betting business.

Santosh’s extra earnings from coaching classes can’t suffice his middleclass family’s high class aspirations. Even a measly raise in monthly income in the form of trivial tax returns has too many takers. But the real journey starts when the scooter-ridden Santosh Duggal decides to buy his family a four wheeler. Careworn between car models, bank loans, EMI and down payments, Santosh attempts everything possible to make his automobile fantasy turn into reality.

The entire film runs on a single conflict (Duggals purchasing a car), yet at no point the narrative gets one-dimensional or monotonous. The solitary dream that the protagonists passionately chase through the film bring back memories of neo-realistic classics like Do Bigha Zameen or the Iranian gem Children of Heaven . However the film, at no point, gets depressing and director Habib Faisal keeps the proceedings lighthearted yet pragmatic throughout and also opts for a happy yet achievable end.

What makes you connect compellingly with the chronicles of the Duggal family is the fact that, at some point or the other in life, you must have certainly come across such characters, conflicts or crisis. The car basically stands as an allegory for anything that you sought or strived to achieve in life. The writing by Habib Faisal and Rahil Qazi is very optimistic and laden with eventful episodes that keep you engaged. The characters are strongly developed, straight out of real life, charming and ones that you can easily relate to. The dialogues have a strong Delhi flavour and are funny, witty and, at times, very thoughtful.

Though Santosh Duggal is susceptible to situations, what makes him a true hero is the fact that he never resorts to anything dishonest. Yet the film never gets preachy in its outlook, despite the fact that Santosh is a teacher. Even when he gets to know about his son’s wrongdoings, rather than getting livid, he takes his son for a roadside feast and strikes a conversation which is casual yet so mature. This well-worded scene is one of the warmest father-son relationships portrayed onscreen in a long long time. Santosh’s bonding with his younger sister (Supriya Shukla) is so endearingly hilarious. Interestingly the younger generation Duggal siblings have no saccharine-coated affection for each other and are absolutely indifferent of each other’s existence – so very characteristic of today’s youth.

Director Habib Faisal resorts to minimalism in narrating a decent and delectable family drama. The characters he creates are likeable and their conflicts are relatable. The climax could have been more interesting. Nevertheless the movie succeeds in sustaining a sweet smile on your face throughout its runtime and that’s an achievement for a debutante director.

Art director Mukund Gupta perfectly sets the ambience for a middleclass house crammed with furnishings. The music by Meet Brothers is peppy and goes with the flow of the film. Aarti Bajaj crisply edits the film never letting you lose the narrative.

This is the perfect return ‘vehicle’ for Neetu Kapoor who gets to portray a well-etched character. Despite playing a mother, she gets to play the central protagonist and is not relegated to being a part of the secondary cast. Both, her beauty and her performance prowess, have not diluted one bit over the years. To see Rishi Kapoor play a suitable and sensible lead character is a treat. The vulnerability, spontaneity and maturity that he brings to Santosh Duggal is admirable. The chemistry between Rishi Kapoor and Neetu Kapoor is never exaggerated in the film and yet they seem to be so comfortably compatible with each other.

Both the kids – Aditi Vasudev and Archit Krishna are gifted natural actors, unlike the typical sugarcoated children in most films. They play their parts to perfection. Supriya Shukla and Rajesh Vivek are hilarious. The casting of the film is flawless with even the secondary cast actors coming up with impeccable performances.

This is ‘car’efully crafted charming cinema. Do not miss Do Dooni Chaar !

Posted by: IDOL Oct 12 2010, 12:52 AM

see, it is a good movie.....and i did not know Ali Zafar was Pakistani .....no wonder they got Urdu and Pakistani humor right

QUOTE(Nimii @ Sep 30 2010, 12:22 AM)

Finally got to see Tere Bin Laden! A critically acclaimed movie.. was worth the watch!!

Love Ali Zafar in the main role!! He is cuteeeeeeeeeeeeeeeeeeeeeeeeeeeeee

A nice fun movie to watch over a weekend!!

Posted by: Sharmila-Sweet Oct 15 2010, 02:57 PM

AAKROSH

By Taran Adarsh, October 15, 2010 - 08:23 IST


Shameful as it may sound, honour killings still exist in many parts of the country. The misconception is honour killings are all about the murder of a female family member by one or more family members, since the perpetrators / wrongdoers believe that the victim has brought dishonor / disrepute upon the family by having a relationship with a man of different religion or social status or marrying against the parents' wishes or having premarital sex.

Write your own movie review of Aakrosh
The fact is men are also victims of this practice, especially when it affects the reputation of a particular caste and community. Many grooms have been killed by the father or brother of the bride and this is exactly what AAKROSH attempts to highlight.



Made with right intentions, AAKROSH enlightens you on the caste system which continues to be at its rigid best, with people from the rural areas refusing to change their attitude towards marriage. Having said that, I'd like to add that AAKROSH is strikingly similar to the Hollywood film MISSISSIPPI BURNING, which, reportedly, was loosely based on the FBI investigation into the real-life murders of three civil rights workers in Mississippi in 1964.

After attempting a series of some pleasant, some forgettable laughathons, ace director Priyadarshan embarks upon a hard-hitting drama that draws one's attention to a relevant issue in a non-compromising approach. But there's a flipside too: This one's a dark film. Also, a number of sequences in the narrative can make you uncomfortable [the brutal killings especially] and the spoken language, at places, is harsh, acidic and volatile.

Final word? A gripping fare.

AAKROSH revolves around a lower caste guy who, along with his two friends, goes to his hometown Jhanjhar. These three students go missing soon after. The government appoints CBI officers Siddhant [Akshaye Khanna] and Pratap [Ajay Devgn] to investigate the matter.

Investigating in Jhanjhar becomes a tough task for these officers as the local police [Paresh Rawal], with the help of local bigwigs, refuse to co-operate with the two officers. Besides, the officers cannot break the ice with the locals, due to years of fear instilled in them. The effect of their investigation causes mayhem in Jhanjhar, with the wrongdoers spreading terror and killing people in broad daylight.

There's no denying that Priyadarshan is a creative thinker with an amazing ability to handle comedy as well as intense drama. In AAKROSH, the director succeeds in giving an effectual and authentic look, but there's a problem: The unnecessary length, which dilutes the overall impact of the film. The first half is excessively lengthy and the second, though crisp, could've also done with trimming for a stronger impact.

A number of sequences hold your attention and I'd like to single out the penultimate 20 odd minutes, which leave a stunning impact. Also, the chase sequences - all of them - are executed with panache, especially the one when Ajay chases a key suspect on rooftops. But, like I pointed out earlier, a film like AAKROSH is dark and brutal and therefore, has its limitations. Also, the screenplay [Robin Bhatt, Akash Khurana] vacillates between engaging and not-too-engaging moments at times.

There's not much scope for music in the film and even otherwise, Pritam's score is bland. 'Issak Se Meetha', an item song filmed on Sameera Reddy, is strictly okay. Cinematography [Tirru S] is striking, while the sepia look gels well with the theme of the film. Dialogues [Aditya Dhar] are well-worded and powerful when required.

Ajay and Akshaye, known for intense acts, deliver bravura performances. Ajay pitches in a remarkable act, establishing himself as one of the iconic actors of the country. Akshaye is superb yet again and only someone who has complete understanding of the craft could've delivered such a fine performance.

Bipasha, who was seen in LAMHAA in a deglamorised role, has turned extremely sensitive and serious towards issue-based films. Though the length of her role isn't much, she sinks her teeth in the non-glam role and delivers a really fine performance. Paresh Rawal is menacing as the uncouth cop. In fact, this is amongst Paresh's best works. Reema Sen is excellent. Amita Pathak doesn't have much to do. Jaideep Ahlawat is good. Pankaj Tripathi is perfect. The remaining actors enact their parts well.

On the whole, AAKROSH is not the standard Bollywood fare with the usual song-and-comedy routine. This one strikes a punch. Being an issue-based cinema, it will magnetize the thinking viewer and the intelligentsia mainly. It should find more flavor with the North Indian audience.


3.5/5

Posted by: Sharmila-Sweet Oct 20 2010, 03:41 PM

Knock Out

What is it with our filmmakers making frame-by-frame remakes of Hollywood films? It isn't as though we lack ideas or even talent. Knock Out is basically a copy of Phone Booth and there is no two way about it. Not really sure what Mani Shankar, director to the film was thinking, but he has basically made a film that didn't do too well in the west but is totally inapplicable to 2010; a day and age where modern technology runs the world and PCO's are a thing of the past. Anyhow, somehow he managed to bag Sanjay Dutt, Irrfan Khan and Kangna Ranaut to be a part of the film and before you knew it, Knock Out was out and about ready to create mayhem.

An unknown man (Irrfan Khan) finds himself in complete shambles when he is asked to enter a phone booth but not pick up any phones. For some odd reason he agrees. The phone then rings and he finds himself picking up the phone and has basically been taken hostage by a banker (Sanjay Dutt). The media and police get involved in this whirlwind and then begins the film. Or something along those lines at least.

Knock Out is so half-baked, that it is virtually impossible to understand or even write the plot. As a director Mani Shankar has totally lost the plot. Granted it is a copy but in all honesty, it needed to have more than Phone Booth had in order for it to have any impact. And because of this, it falls flat. The characters in the film themselves look confused and lost. It seems like they themselves are unsure as to why a film is being based on a PCO phone when everyone has mobile phones in this day and age. A film that is deemed a thriller all of a sudden becomes patriotic and filled with national pride which is even more confusing. Not only are you left wondering what on earth is happening but feel the need to walk out.

Sanjay Dutt is the only reason to watch Knock Out. His performance is worth it because he is the only actor that doesn't ham or fake his role. In fact, he depicts the most real character in a film. Irrfan Khan disappoints in Knock Out. He hams, screams, shouts, hollers and over acts like no other. Kangna Ranaut is a waste of time in this film. Her role is hardly understood within the film let alone applicable to Knock Out. And lastly, we see Apoorva Lakhia debuts in a film and makes no mark.

Yes, you are knocked out with Knock Out; knocked out of your sense and logic. It screams useless and basically, KO can go down as one of 2010's dumbest films.


1/5

Posted by: Sharmila-Sweet Oct 22 2010, 10:19 AM

JHOOTHA HI SAHI

By Taran Adarsh, October 22, 2010 - 08:28 IST


Every film should be judged purely on the basis of its merits/demerits. Comparisons or drawing parallels with another film, even if it's helmed by the same director, is not right, in my opinion. But if the posters/billboards/newspaper ads/promotional material of JHOOTHA HI SAHI has an eye-catching line that screams 'From the director of JAANE TU YA JAANE NA', if not comparisons, the expectations from JHOOTHA HI SAHI do multiply five-fold, since JAANE TU YA JAANE NA was, in terms of economics, the biggest hit of 2008.

Write your own movie review of Jhootha Hi Sahi
Sadly, Abbas Tyrewala's new offering JHOOTHA HI SAHI falls flat for this reason [it doesn't meet the expectations] as well as several other reasons. What comes across is unexciting, boring and lethargic. Moments make a love story work and JHOOTHA HI SAHI never reaches there. It lacks the fizz and heart, to put it bluntly. Also, the chemistry between the lead pair - John Abraham and Pakhi - is plastic.



Another department where the film fumbles, besides writing, is its music. It's an unspoken rule that love stories should be embellished with terrific music, but maestro A.R. Rahman's compositions in JHOOTHA HI SAHI are lifeless.

Final word? Thumbs down!

When Siddharth [John Abraham] wakes up one night to a call from a desperate man threatening to jump out of the window, he isn't prepared for what lies ahead. A mixed-up phone number. A desi suicide helpline in London. And various callers demanding that Sid give them a reason to live. Or else... Until one fateful night, Mishka [Pakhi] calls. And they both discover an unlikely bond.

Sid becomes her nameless friend. Her faceless philosopher. And she becomes his reason to rethink about life. Along the way, he also lies to her. Lies about his exciting adventures and daring escapades. The mountains he has climbed and the sharks he has tamed. Until the day they accidentally meet. And Sid falls in love.

How can he tell her the truth? That he's just a simple bookseller? With four friends, a small apartment and a girlfriend whom no one likes and he doesn't love.

The first and foremost thing that you expect from a film is an engrossing story and of course, a cohesive screenplay that keeps your attention alive for the next two hours. But the screenplay [Pakhi] is devoid of moments that bring a smile on your face at the end of the screening. Ideally, one would expect the focus to be on the principal pair, but the sub-plots [the friends and their sequences] dominate a good chunk of the film. And that, consequently, makes the film verbose, talk-heavy, tedious and verrry lengthy.

On retrospection, the female protagonist [Pakhi] comes across as a confused character, who finds stability in her life when John stages an entry, but goes back to her ex [Madhavan] for no particular reason. And the moment she does that, she drops John like a hot potato. That's not all, she, all of a sudden, dumps her ex too and goes back to John. Thanks to this reason, the character comes across as someone who's stone-hearted, cold and confused and that's also the reason why you don't jump with joy when the lovers unite towards the end.

Also, like I pointed out earlier, the multiple tracks in the film are a deterrent. The track of the gay couple is silly and unimaginative, while the relationship between the aggressive and dominating pregnant sister and her Japanese fiance is weird. Also, if the sensibilities of the film are Western and the humour British, the ending becomes Bollywoodish conveniently. The entire sequence at the bridge looks so filmy.

Director Abbas Tyrewala has filmed a number of sequences impeccably, but the writing is flaccid and the prime reason why the film fails to register an impact. Rahman's music is of the fast-forward variety and that's all the more surprising since the duo [Rahman and Tyrewala] had come up with a winning score in JAANE TU YA JAANE NA.

John makes a sincere attempt to look the part, but he's awkward, especially in sequences when he stammers. Pakhi is a complete miscast. She looks too matured and has her limitations as an actor. Amongst the sundry characters, Raghu Ram is noticeable. R. Madhavan should avoid such flimsy characters.

On the whole, JHOOTHA HI SAHI is an absolute letdown in terms of content. Given its high costs on one hand and weak merits on the other, the film will make a big hole in the pockets of its investors.


1.5/5

Posted by: Sharmila-Sweet Oct 25 2010, 04:49 PM

Hisss

Kittu Singh reviews Hisss.

Indian mythology is an endless bank of fascinating tales. Director Jennifer Lynch uses one of the most popular Indian myths as the storyline for her film, Hisss.

It is the legend of the Nagamani, a jewel that exists in the body of the Nagin. This jewel is said to give immortality to anyone who possesses it.

George, a man dying of brain cancer, is on an expedition to find this Nagamani. Along with local Indian goons and villagers, he captures a male cobra to tempt the Nagin into giving up the Nagamani as ransom to free her beloved.

The legend comes alive as the female cobra takes mortal shape (Mallika Sherawat [ Images ]) to seek revenge and rescue her partner.

Mallika dares and bares all as she plays the Iccha Dhaari Nagin (shape shifting snake) traversing through most of the film in her birthday suit!

Irrfan plays a local cop, Vikram Gupta. He lives with his wife (Divya Dutta [ Images ]) and delusional mother-in-law, Laxmibai. Laxmibai adds some entertainment to the film as her character in the film is both fresh and well portrayed.

Vikram Gupta is called in to investigate a string of murders in the city soon after Mallika's appearance. The murders are bizarre and unlike any that either he or his forensic team have seen before. Believers in the legend keep screaming that the Iccha dhaari nagin will kill all sinners that she comes across till she finds her mate.

The film is handled very tackily and looks extremely amateurish. Even the special effects are not of top quality and fail to impress.

The support cast is weak and lack direction. Irrfan keeps one engrossed without much content at his disposal. His chemistry with Divya Dutta is convincing.

Mallika remains the only visual element in the film.

The film is a huge disappointment as it fails to bring alive an awesome legend.

Rediff Rating: 2/5

Posted by: Sharmila-Sweet Nov 8 2010, 11:13 AM

Movie Reviews


By Taran Adarsh, November 4, 2010 - 12:28 IST


Brand GOLMAAL is back again. Its equity continues to soar upwards. Naturally, every film of this franchise carries the burden of humungous expectations. Touted as India's first-ever trilogy, GOLMAAL 3 [G-3], the third installment of GOLMAAL and GOLMAAL RETURNS, promises to mesmerize, tickle your funny bone and entertain moviegoers of all ages. G-3 promises to be bigger, better, funnier and far more entertaining and amusing than the first two parts.

There's a flipside of having a thriving brand. No matter how hard you try, comparisons with the earlier parts are inevitable. The question everyone's keen to ask is, does it supersede the forerunners in terms of entertainment? The best thing about G-3 is that it lives up to its undertaking of amusing you from the word go, till the very culmination. From inception to conclusion, save for a few lax moments, G-3 is high on fun and entertainment quotient.

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By now one is well versed with Rohit Shetty's funda: Come, have a blast at the movies. Frankly, there's no word called 'logic' in Shetty's cinematic dictionary and the moviegoer too has attuned himself/herself to Shetty's high-on-entertainment laughathons. I've often said that comedy is serious business and a director attempting one has to walk a tightrope. But Shetty has mastered the art by now and G-3 proves that when it comes to entertainers, he's amongst the best in the business.



Final word? G-3 rocks! It may not go down in history as the best side-splitting entertainer ever made, but it should go down in history as the first trilogy that would pass the audience test with flying colors. G-3 raises the bar for G-4, what say Mr. Shetty?

G-3 highlights the story of hatred between two bunch of siblings. Ajay Devgn [Gopal] lives with his brother Shreyas Talpade [Laxman], mother Ratna Pathak Shah [Geeta aka Guddi] and best friend Kareena Kapoor [Daboo]. Their world collides with another trio, Arshad Warsi [Madhav], Tusshar Kapoor [Lucky] and Kunal Khemu [Laxman].

Arshad, Tusshar and Kunal's father Mithun Chakraborty [Pritam] and Ajay and Shreyas' mother Ratna Pathak Shah decide to rekindle their relationship and with Kareena's persuasion even get married. But there's a problem: The kids detest each other. To complicate matters further, there's a thief Johnny Lever [Puppy] and his henchmen [Vrajesh Hirjee and Sanjay Mishra] and a necklace that's hidden somewhere.

Two things. One, before watching G-3, I had felt that focusing on eight main characters would lead to chaos only as there would be no scope for character development. But I was proven completely wrong because each character is well etched out and by the time the movie concludes, you don't feel that the show belongs to 'x', while 'y' was sidelined. The movie belongs to everyone!

Two, it's said that G-3 is inspired by Basu Chatterjee's KHATTA MEETHA [1978; starring Ashok Kumar and Pearl Padamsee], Umesh Mehra's HAMARE TUMHARE [1979; starring Sanjeev Kumar and Raakhee] and the Hollywood film YOURS, MINE AND OURS [1968], wherein an elderly couple, having their own kids, decide to live under one roof. Rohit Shetty and his team of writers [screenplay: Yunus Sajawal; script consultant: Robin Bhatt] may be inspired by these films, but they have given G-3 a completely different flavor and dimension altogether. The writing, I wish to forewarn, defies logic, sense and reason, therefore one has to go with the flow. It has a skeletal plot, but is packed with jokes, jibes, pranks and of course, stunts/action [Rohit Shetty's movies are incomplete without cars being blown to smithereens].

The casting of Johnny Lever as the absentminded and scatterbrained thief is a master stroke. The writing, execution and portrayal of this part must've been an arduous task, but what comes across on screen is remarkable. In fact, this track would work wonders with the audience, especially those who swear by the Johnny Lever brand of humour. Johnny's sequence on the water scooter, to cite an instance, is sure to bring the house down. Besides the sequences involving Johnny Lever, I'd like to single out yet another sequence that shows the siblings threatening each other. It's a sequence without words but a super background score [Sanjoy Chowdhury], with the siblings trying to threaten one another with every possible thing in the house - be it a cactus plant or a rose, be it a tomato or a pumpkin, while their parents [Mithun and Ratna] watch HUM SAATH-SAATH HAIN on TV. Also, Kareena's pet dog called Facebook trying to get the bone out of Mithun's pocket is bizarre, but will be loved by the hoi polloi. Prepare to laugh your guts out in the above-mentioned scenes.

Any hiccups? The climax could have been a little more imaginative. It follows the trademark Priyadarshan style of getting together the entire cast, including supporting actors to villain sidekicks, for the finale. No issues with that, but a more innovative and ingenious finale would have only proven the icing on the cake.

Relying more on treatment than content, G-3 has the by-now-famous stamp of Rohit Shetty all over it. The director gets ample help from writer Yunus Sajawal and dialogue writers Farhad-Sajid and Bunty Rathore [additional dialogues]. The screenplay doesn't give you time to think, while the dialogues are truly funny at most times. As the third installment in the GOLMAAL series, G-3 has a lot to live up to and so does the soundtrack [Pritam]. 'Golmaal' is fun, while 'Ale' moves at a feverish pace. Cinematography [Dudley] is perfect, while the action scenes [Jai Singh Nijjar] are exciting.

Like I pointed out earlier, every actor in the film contributes his/her bit in making this fun ride enjoyable. Yet, I'd like to single out Ajay, who goes for a grungy makeover. The rugged style, diamond ear studs, tattoos and cropped hair suits the hyper character that he portrays. He's excellent. Another well-written character is of Kareena, who fits in so well with the boys. She looks every bit the tomboy she is expected to be. She's matchless. Tusshar gives a brand new dimension to the character he has learnt so well to portray. He is sure to have the audience in splits with his class act. I'd also like to single out the emotional sequence, which Tusshar performs with gusto. Arshad oozes sufficient confidence to carry off the role, while Shreyas and Kunal are wonderful as well.

Mithun Chakraborty and Ratna Pathak Shah are genuinely lovable, while Johnny Lever is simply fantastic. Ditto for his henchmen, enacted by Vrajesh Hirjee and Sanjay Mishra. Mukesh Tiwari, Murli Sharma, Vijay Patkar, Viju Khote and Ashwini Kalsekar lend very good support. Prem Chopra is superb in a cameo.

On the whole, GOLMAAL 3 is an ideal fun ride with thrice the enjoyment and gratification, thrice the magic and thrice the hilarity. Go on, have a blast and make this Diwali thrice more entertaining for you. An out-and-out entertainer, it's sure to light up the celebratory festive mood.



4/5

Posted by: IDOL Nov 10 2010, 12:11 AM

I watched Action Replayy.......not bad movie....i just picked that movie over golmaal caoz of Akshay- king of comedy.....but it turn out...it was okayish .....Akshay is amazing as usual...but it is the story, predictable scenes, and tooooo many songs that makes it slightly boring sometimes...but thanks to Akshay and Raj pal for making us laugh........combined with acting 3/5 ...story and scenes 1/5.....aishwarya needed an eye drop so bad....

Posted by: Sharmila-Sweet Nov 19 2010, 04:48 PM

GUZAARISH

By Taran Adarsh, November 16, 2010 - 20:25 IST


Bollywood appears to be inclined towards exploring rare illnesses/disorders/disabilities, with directors casting megastars in characters to raise awareness about the lesser-known ailments. In GHAJINI, Aamir Khan had short-term memory loss [Anterograde Amnesia]. In PAA, Amitabh Bachchan played a child afflicted with Progeria. In MY NAME IS KHAN, SRK was shown suffering from Asperger Syndrome. In TAARE ZAMEEN PAR, Aamir Khan portrayed problems of Dyslexic children. In BLACK, Amitabh Bachchan was shown succumbing to Alzheimer's. In KARTHIK CALLING KARTHIK, Farhan Akhtar portrayed a Schizophrenic.

This is not the first time that master film-maker Sanjay Leela Bhansali has attempted a movie that has the protagonist suffering from a serious disability. In GUZAARISH, Hrithik Roshan suffers from Paraplegia, a complete paralysis of the lower half of the body, including both legs, usually caused by damage/injury to the spinal cord.

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Bhansali has always been known for two things. The first thing is, of course, the visual splendour in his films [which was quite evident in HUM DIL DE CHUKE SANAM, DEVDAS and SAAWARIYA] and the second thing that he takes inspiration from various stories. The critically acclaimed BLACK was inspired from THE MIRACLE WORKER [a 1962 film] and SAAWARIYA from 'White Nights', a Russian short story.

There's talk that GUZAARISH is a remake of Christopher Nolan's Hollywood movie THE PRESTIGE, which, let me clarify, it is not. GUZAARISH brings back memories of two films, which may be coincidental: The Spanish Oscar and Golden Globe winning film MAR ADENTRO aka THE SEA INSIDE [2004], which, in turn, was based on a real-life story of Ramon Sampedro and WHOSE LIFE IS IT ANYWAY?, a television play which was later adapted into a play [theatre] and much later into a film [1981].



Bhansali has worked himself to the grind and his presence is felt in every frame of GUZAARISH. There is an inimitable intellect that Bhansali brings to his movies. Bhansali is also known to extract the best performances from his actors. In a light-hearted vein, I would go to the extent of saying that Bhansali has the ability to make a dumb man speak and a sightless man see. His devotion and dedication towards his craft is truly inspirational and motivating. In GUZAARISH, Bhansali puts behind all the glitter and glamour and comes up with yet another unique and sensitive story told through a series of flashbacks.

Final word? GUZAARISH is special in more ways than one. In my individualistic opinion, it easily ranks amongst Bhansali's best works so far. Just don't miss this one!

Set in Goa, it tells the story of an accomplished magician Ethan Mascarenhas [Hrithik Roshan]. Ethan suffers serious injuries when one of his magical trick goes horribly wrong, turning him to a Paraplegic. Confined to a wheel chair, Ethan becomes a Radio Jockey at an FM Station called Radio Zindagi. His show talks of hope, laughter and sunshine and it's difficult to imagine that the man behind it has been immobilized with a spinal injury for the last fourteen years of his life. Sofia [Aishwarya Rai Bachchan], a nurse, takes good care of him; they share a silent love.

Ethan files a petition in court for mercy killing. This decision of Ethan leaves Sofia stunned. Ethan takes the help of friend-lawyer Devyani [Shernaz Patel] to support his appeal. Even Ethan's mother Isabel [Nafisa Ali] supports him in his petition, although Ethan is persuaded by his physician Dr. Nayak [Suhel Seth] to retract his case. Alongside all this, Omar [Aditya Roy Kapur] enters Ethan's life with the aim of learning magic from him. Impressed by Omar's love for magic, Ethan agrees to pass on his legacy to him.

Only a sensitive raconteur can do absolute justice to a challenging subject like the one in GUZAARISH and Bhansali seems the right candidate for an extremely tricky theme like mercy killing/Euthanasia. The story is complex and can only be narrated by a storyteller who has the art of telling stories most convincingly. Sure, the protagonist in GUZAARISH wants to end his existence, but that doesn't mean the film is disheartening or unsettling. Clearly, the writing [screenplay: Bhavani Iyer and Bhansali] is smart, taut and absorbing.

GUZAARISH has a number of sequences that bear the unmistakable stamp of a genius. Sample these…


The courtroom sequence and Aishwarya's outburst towards the end of it.

The hearing of the petition at Hrithik's house.

Hrithik's act going wrong and the near-fatal accident.

The finale.
Any negatives? The generous usage of English in the narrative. The language is sure to act as a barrier in the hinterland specially. Agreed, the film is set in Goa, they are bound to speak that language, but despite everything, Hindi is a must for a pan-India appeal.

Irrespective of how his films fare at the box-office, Bhansali's films have always been embellished with rich and cherished music. The songs continue to linger in the hearts of the listeners with their dulcet and soothing tunes. After legendary Satyajit Ray and Vishal Bhardwaj, Bhansali is the next accomplished film-maker who has himself created the music of his film. The songs in GUZAARISH are more inclined towards poetry that's earthy and contemporary. However, it does take some time for the listeners to sense the pulse of the music. 'Tera Zikr Hai Ya Itra Hai' is a limerick to exquisiteness, 'Sau Gram Zindagi', with its philosophical tone, leaves a lasting impression, the title track 'Guzaarish' casts a spell on you and 'Udi' is, of course, memorable.

GUZAARISH has been magnificently shot. The indoors as well as outdoors [the gorgeous panorama] add so much to the film. There's no refuting that cinematographer Sudeep K. Chatterjee has created some really alluring and enthralling visuals. The very effective and subtle background score [Tubby and Parik] of GUZAARISH is its very backbone. The feelings of intrigue, anxiety, anguish and romance come across so well. In fact, for the very first time, I felt that I was not hearing the background score, I was feeling it. Dialogue [Bhavani Iyer and Vibhu Puri] belong to high standards that touch your soul. Costumes [Sabyasachi] are absolutely wonderful; they gel well with the setting and mood of the film.

Hrithik and Aishwarya are seen in a lackluster facade and that's what makes the characters so plausible. While Hrithik is seen sporting a beard and has even put on weight, Aishwarya is seen in sober outfits. In fact, the two actors have gone through a drastic appearance change and both pressurize you to believe that they are indeed Ethan and Sofia. It must be said that Hrithik and Aishwarya exude a certain dignity and elegance, much needed for a sensitive film of this magnitude and caliber.

It must have been an arduous task for Hrithik to carry off the Paraplegic character of Ethan Mascarenhas, but he depicts the part with flourish. It's a great risk in filmy norms to have the hero of the film almost entirely on a wheel chair, but Hrithik has never hesitated or been irresolute in putting himself to adverse conditions, in order to achieve excellence, in whatever character he chooses to depict. Kudos to Hrithik for accepting a role that's truly opposite to his larger-than-life image and portraying it with elan.

Aishwarya, as Ethan's nurse who is the epicenter of his world, has approached this role with rare understanding, not going overboard even once. So effective is she that she not only influences you but also compels you to believe that their love is solid in its quiet strength and also spirited in their verbal sparring. The sensational chemistry, which sizzled the silver screen in DHOOM 2 and JODHAA AKBAR and won hearts all over, sizzles yet again, but this time in a distinctive aspect.

Aditya Roy Kapur is truly outstanding in a pivotal character. Shernaz Patel is exceptional. Nafisa Ali makes her presence felt in a small but significant role. Suhel Seth is in terrific form. Moni Kangana Dutta is okay. Vijay Crishna [judge] is effective. Rajit Kapoor does complete justice to his role. Makarand Deshpande leaves an impression. Ash Chandler and Achint Kaur lend good support.

On the whole, GUZAARISH is an invigorating tale. Bhansali, as a film-maker, has scaled several notches above his past accomplishments to create a near-perfect cinematic experience. The highpoint of the motion picture is the magnificently penned story of an incapacitated and debilitated man who desires to end his being with dignity. The film seduces the viewer with a strong emotional quotient, soulful music and of course, the crackling and wonderful onscreen chemistry between Hrithik and Aishwarya. Without doubt, GUZAARISH is one of the most profound, insightful and enriching dramas of the year.

4/5

Posted by: IDOL Nov 20 2010, 07:22 AM

Finally a PERFECT movie from Bollywood....GUZAARISH...yes....i knew only SLB could do that...i always count on him as a great director and Nimz always laughs at me, right nimbos.... ......see nimz SLB has done it again.........go and watch the film.



The movie is too perfect to be rated....overall, it has wonderful music ( i want the songs, nimi r u listening? )...........it has awesome and perfect cast& crew, story, scenes, setting (u can see even cups and glasses are chosen carefully)..........everyone is on top of their game.............just too good ....best of all, good handling of a controversial topic on euthanasia..



the only question i have as non-indian is, if Goa people's religion is Roman Catholic and if they have Roman-era kind of culture and dress codes?.....caoz i tried to make sense of the setting and wondered whether it exists now in India, or used to be?.....it is totally different..........

Posted by: Sharmila-Sweet Nov 23 2010, 12:05 PM

@ IDOL - You are right, the costumes, esp. Ash's are slightly oldfashioned - today in Goa people don't dress like that - it is just SLB's imagination running wild lol.

I agree the film was good.

Posted by: IDOL Nov 24 2010, 05:17 AM

QUOTE(Sharmila-Sweet @ Nov 22 2010, 11:35 PM)

Posted by: Sharmila-Sweet Nov 26 2010, 10:19 AM

BREAK KE BAAD


By Taran Adarsh, November 26, 2010 - 08:59 IST


Aditya Chopra's DILWALE DULHANIYA LE JAYENGE, Karan Johar's KUCH KUCH HOTA HAI and Farhan Akhtar's DIL CHAHTA HAI continue to inspire and motivate film-makers to this date. Danish Aslam's debut film BREAK KE BAAD borrows from the above-mentioned films, besides Imtiaz Ali's LOVE AAJ KAL and several other films churned out by Yash Raj and Dharma.

I don't think it's sacrilege to seek inspiration from a great film, a taut script or soulful music, but the storyteller ought to take that extra effort to present something more than what we've watched before, in his/her film. That's where BREAK KE BAAD fails to connect.

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BREAK KE BAAD deals with space issues in a relationship, a much exploited and abused word used a lot in the present-day scenario. Space is almost like a break-up mantra and BREAK KE BAAD explores this concept rather than being a conventional love story. It has that typical Hollywood inspired urban drollness, approach and responsiveness, but what comes across on screen is a poor replication of romance-laden movies that we have enjoyed over the years.



BREAK KE BAAD goes wrong, sorry horribly wrong in its writing. The screenplay is full of glitches, the writing is juvenile, the situations are amateurish and I actually wondered how a shoddy screenplay like the one in BREAK KE BAAD was green-lit and approved in the first place. The intention was to make a cool film for the urban youth, but the writers [screenplay: Renuka Kunzru and Danish Aslam] have messed up and how!

Final word? A boring fare that gets unbearable after a point!

Abhay [Imran Khan] and Aaliya [Deepika Padukone] have known each other since they were kids. Their friendship turned into love at the tender age of 15, when Abhay realized that Aaliya is the girl for him.

Aaliya's life is defined by her burning desire to become an actress and she is unmindful of what or who comes in her way. Abhay, who is still unsure about what he wants to do, finds himself competing with Aaliya's incessant plans and projects to fulfill her dreams. Things come to a head when Aaliya decides to go to Australia to study and Abhay has to deal with the prospect of a long-term relationship, secretly fearing that he will lose Aaliya forever.

They decide to give their relationship a break, so that Aaliya can pursue her dreams. As time passes by, Abhay realises his skills, while Aaliya realises that there is no joy in achieving one's dreams if one has no one to share it with.

The basic idea of BREAK KE BAAD may compel you to think that it's going to charter a new path completely, but what comes across is a sham. I mean, the lovers break up for a flimsy reason [there's no persuasive rationale actually], then become friends, then go separate ways, then become friends again, then argue animatedly and then get married. Besides, the film is talk-heavy, extremely verbose and the chatter is pointless, senseless and ludicrous.

One fails to understand why the girl drops the guy like a hot brick. Actually, there's no valid reason for her to do so. He is so committed, so devoted, so trustworthy that any girl would give her left arm to be with him. But the girl comes across as a no-brainer and expectedly, realizes her folly only towards the finale [as expected in a screenplay of convenience]. Besides a faulty screenplay, even the supporting characters [Sharmila Tagore, Shahana Goswami] are wasted.

Director Danish Aslam has handled a few moments well, that's it. A love story ought to be embellished with a lilting musical score, but Vishal-Shekhar disappoint this time. The songs are strictly okay and one misses that winning track that makes a love story memorable. Cinematography [Andre Menezes] is alright.

Both Imran and Deepika take a step forward as actors. Having watched Imran closely from JAANE TU YAA JAANE NA days, I feel that he has come a long way in his fifth outing and you can see a marked difference in his performance. As far as Deepika is concerned, I like the spontaneity that she brings to the character. After LOVE AAJ KAL, this is another film that will make people sit up and notice her talent. Sharmila Tagore is wasted. Ditto for Shahana Goswami. Yudhishtir Urs irritates. Lillete Dubey gets to deliver some spicy lines. Navin Nischol gets minimal scope.

On the whole, BREAK KE BAAD has a vibrant Imran and Deepika as its USP, but a faulty and an unpersuasive screenplay as is its major stumbling block. Fails to impress!

1.5/5

Posted by: desai2rn Nov 27 2010, 10:53 AM

QUOTE(IDOL @ Nov 20 2010, 07:22 AM)

Finally a PERFECT movie from Bollywood....GUZAARISH...yes....i knew only SLB could do that...i always count on him as a great director and Nimz always laughs at me, right nimbos.... ......see nimz SLB has done it again.........go and watch the film.



The movie is too perfect to be rated....overall, it has wonderful music ( i want the songs, nimi r u listening? )...........it has awesome and perfect cast& crew, story, scenes, setting (u can see even cups and glasses are chosen carefully)..........everyone is on top of their game.............just too good ....best of all, good handling of a controversial topic on euthanasia..



the only question i have as non-indian is, if Goa people's religion is Roman Catholic and if they have Roman-era kind of culture and dress codes?.....caoz i tried to make sense of the setting and wondered whether it exists now in India, or used to be?.....it is totally different..........

Posted by: Sharmila-Sweet Dec 3 2010, 11:35 AM

Khelein Hum Jee Jaan Sey

By Taran Adarsh, December 2, 2010 - 16:17 IST


Adapting a work of literature into a movie is an arduous task. Satyajit Ray's 'Apu Trilogy' [PATHER PANCHALI, APARAJITO and APUR SANSAR] was based on two Bengali novels written by Bibhuthibhushan Bandopadhyay. Ray's SHATRANJ KE KHILADI was based on Munshi Premchand's short story of the same name. In fact, film-makers have always been fascinated by best-selling books/novels for adapting into feature films. Mira Nair's THE NAMESAKE, P.C. Barua, Bimal Roy and Sanjay Leela Bhansali's DEVDAS, Pradeep Sarkar's PARINEETA, Rajkumar Hirani's 3 IDIOTS, Atul Agnihotri's HELLO and the recent AISHA have been adapted from literary works. Even in Hollywood, LORD OF THE RINGS, HARRY POTTER, NARNIA and many more have been successfully adapted from novels by reputed names.

However, if you analyze the past, you will realize that not all movies adapted from novels/short stories have set the cash registers jingling at the box-office. Films like PINJAR, PAHELI, RAINCOAT and international experiments like BRIDE AND PREJUDICE and THE MISTRESS OF SPICES have found very few takers in the past.

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This is not the first time Ashutosh Gowariker has adapted a book into a film. KHELEIN HUM JEE JAAN SEY is yet another book-to-movie adaptation by this talented storyteller [this one is based on the book 'Do And Die: The Chittagong Uprising 1930-34' by Manini Chatterjee]. Again, this is not the first time Ashutosh Gowariker has revisited the bygone era. He did it successfully in LAGAAN [period], then JODHAA AKBAR [historical] and now KHELEIN HUM JEE JAAN SEY [period].

Recreating the bygone era is indeed demanding, laborious and strenuous. It's a challenge to present the era convincingly. Besides extensive detailing to lend authenticity, the director carries the responsibility of making the characters come alive to the present-day generation. Gowariker has successfully done that in the past and does it successfully yet again in KHELEIN HUM JEE JAAN SEY.

Once the film-maker takes on the task of depicting a chapter from history, it's imperative that he/she remains factual to the depiction of the revolution, giving an accurate account of what actually transpired in that period. But details alone won't help, it needs to be well dramatized for the big screen. There's a vast difference in the style novels are written, but one needs to take extra care to make it film friendly. While I may not be able to comment on whether Gowariker has been faithful to the book or tampered with it or implemented some changes, which may be necessary to suit the tastes of the present-day spectators and make it more palatable, I would definitely like to say that what comes across on screen is very absorbing, truly informative and exceptionally inspiring.

Final word? The expectations from KHELEIN HUM JEE JAAN SEY are minimal, but you can't overlook the fact that it's a genuinely honest effort that needs to be encouraged and appreciated. I would like to add here that the promotional posters/billboards/promos don't create any impact whatsoever. Wish the makers would've looked into this very important aspect as well!




1930, British India: In the province of undivided Bengal lies the sleepy, peaceful port of Chittagong. In this unassuming little town, a revolution is about to begin; a revolution which will forever wake all of Chittagong and inspire the entire nation.

April 18. 1 night. 5 simultaneous attacks. A band of 64 - 56 innocent yet fearless young boys, 5 defiant revolutionaries, 2 determined young women, and an idealistic leader [Surjya Sen], a school teacher by profession.

This group of 64 represents a little-known chapter in history; a forgotten night that reigned terror on the British through a series of calculated attacks. This is a true story of these forgotten heroes and the narrative takes us through every step of the action from the initial trepidation, to the thrill of the attack, to the underground movement, daring escapes and tragic captures, and most importantly, their undying legacy.

A film-maker of extensive aptitude and sensitivity, Gowariker's tryst with period films continues. Seems like he has worked himself to the grind in order to attain perfection. The writing [screenplay: Raoul V. Randolf and Ashutosh Gowariker] and execution of the material are so credible that it influences you to wonder if the writers and director were part of the revolution. The Bengali ethos and the behavioral patterns of the characters, recreating the etiquette and body language of people who lived in a different era along with their attire and styling and also their dwellings come across as very pragmatic. In fact, Gowariker has left no stone unturned to make a film that does justice to the event.

KHELEIN HUM JEE JAAN SEY has almost entirely been shot in Goa and not Chittagong [now Bangladesh] because the location that was there in the 1930s no longer exists in that shape, I understand. However, the film captures the spirit and intensity to perfection. On the other hand, with Gowariker's films, the length/running time of the film is always a topic of discussion and that's a problem with KHELEIN HUM JEE JAAN SEY as well. The film has a running time of approx. 2.48 hours and the editor [Dilip Deo] and director could've easily trimmed a few fight sequences in the second half, to make the goings-on crisper.

Musically, KHELEIN HUM JEE JAAN SEY is embellished with soft and soothing compositions, but I have an issue with that. Sure, the album is high on patriotic sentiment, but the songs in the first hour act as a roadblock in the narrative. Ideally, it should've been a songless film. However, the background score [also by Sohail Sen] enhances every scene, making it more impactful. The production design [Nitin Chandrakant Desai] transports you to that era. It's that authentic. The stunts [Ravi Dewan] are true to life. Kiran Deohans and Seetha Sandhiri's cinematography captures the era to perfection.

Abhishek as Surjya Sen suits the character right. His character appears very fervent, but at the same time truly tranquil, incredibly unperturbed and really unruffled, which merges very well with the character of an educationalist that he illustrates. A freedom fighter with these attributes hasn't been presented in a motion picture before. Abhishek gets to the character a certain authority. The rebelliousness and boisterousness are depicted to perfection.

Deepika sheds her glam look and looks every bit the character she illustrates. Kudos to her first of all for accepting a challenging role [of a woman revolutionary of the 1930s] so early in her career and then almost living that character in the film, continuing to prove her mettle far ahead of her poise and exquisiteness.

Sikander Kher leaves a terrific impression. He excels in several scenes. Vishakha Singh is a complete natural. She catches one's attention instantly. Samrat Mukerji, Maninder and Feroz Wahid Khan, each actor is earnest and sincere to the core. In fact, every actor in the film looks most convincing in their respective parts. I would like to make a special mention of the young artists [most of them seem like first-time performers], who have a very unpolluted/uninfluenced approach to acting. Brownie points to each one of them.

On the whole, KHELEIN HUM JEE JAAN SEY, based on the Chittagong rebellion, is an enlightening experience of a poignant, but little-known chapter in history. It's a film of immense significance which evokes a colossal patriotic fervor. A motion picture like KHELEIN HUM JEE JAAN SEY isn't created targeting the box-office solely. It's also made for the gratification of the senses. And that it does in sufficient measure. In an industry obsessed by opening weekend business and box-office records, this is one of those rare films that doesn't compromise on its gracious objectives for the sake of becoming more box-office friendly. At the same time, a film like KHELEIN HUM JEE JAAN SEY, although very well made, may not appeal to those who relish the customary kitsch and masala. Therefore, the film will have to rely on a very strong word of mouth to create any kind of an impression or impact at the box-office.

4/5

Posted by: IDOL Dec 7 2010, 12:46 AM

QUOTE(desai2rn @ Nov 26 2010, 10:23 PM)

QUOTE(IDOL @ Nov 20 2010, 07:22 AM)

Finally a PERFECT movie from Bollywood....GUZAARISH...yes....i knew only SLB could do that...i always count on him as a great director and Nimz always laughs at me, right nimbos.... ......see nimz SLB has done it again.........go and watch the film.



The movie is too perfect to be rated....overall, it has wonderful music ( i want the songs, nimi r u listening? )...........it has awesome and perfect cast& crew, story, scenes, setting (u can see even cups and glasses are chosen carefully)..........everyone is on top of their game.............just too good ....best of all, good handling of a controversial topic on euthanasia..



the only question i have as non-indian is, if Goa people's religion is Roman Catholic and if they have Roman-era kind of culture and dress codes?.....caoz i tried to make sense of the setting and wondered whether it exists now in India, or used to be?.....it is totally different..........

Saw the moive. Highly recommend it. Great direction, acting by Hrithik and Ashwaria and the rest of hte cast.
Probably won't do good at box office. But historically most movies with serious subjest does not do well at
commercial level and at times does not get recognition at awards either.

As for SLB he knew exactly what he wanted for this movie. It is said he had made up his mind on Hrithik and Ash as lead pair and only make the movie if both were available. And then he extrcted the performance needed.

Posted by: Sharmila-Sweet Dec 21 2010, 05:28 PM

Review: Don't miss the Band Baaja Baaraat - 3/5

Published: Friday, Dec 10, 2010, 23:53 IST | Updated: Saturday, Dec 11, 2010, 0:22 IST
By Blessy Chettiar | Place: Mumbai | Agency: DNA


Jisse vyapaar karo, usse kabhi na pyaar karo is the rule of business that Shruti Kakkad (Sharma) swears by. She’s a feisty Punjabi kudi, focused yet realistic about her plans of making a career out of planning weddings, armed with a scrapbook of marriage themes, some experience, and dreams of her future venture.

Now meet Bittoo Sharma, bhukkad, lazy, and aimless. The two poles come together to set up Shaadi Mubaarak, a wedding planning agency, in partnership. What follows is a ball of a time they have organising weddings, from taking care of guests to food, decoration, lighting, sound, and whatnot. One wedding after the other and Shaadi Mubaarak breaks into the wedding planning scene in Delhi.

Predictably, the twist in the tale comes when Shruti’s ‘binness’ rule goes for a toss as she falls in love with Bittoo. The dip in the narrative also comes with the twist in Band Baaja Baaraat.

Debutant director Sharma’s writing is crisp and the story is vibrant and colourful. It successfully carries the Yash Raj tinge of romance and drama against the backdrop of the big fat Indian wedding. The dialogues (by Habib Faisal, who directed and wrote the dialogues for family comedy Do Dooni Chaar) are sharp and conversational. Delhiites will particularly relate to the lingo and the flashy weddings, a status symbol among many North Indians.

Newcomer Singh is impressively confident and effortlessly good at his job. Watch out for this Yash Raj find. Anushka Sharma is comfortable in her skin and carries off the rough-and-tough girl’s part with ease. The lead pair is comfortable and their chemistry striking.

The music is loud, like most other things in Band Baaja Baarat but the peppy tracks could well qualify as wedding staples this season. Notable among the lot are Ainvayi Ainvayi and the title track Band Baaja Baaraat.

Wedding planners Bittoo and Shruti are set with their preparations to welcome you at the nearest theatre. Don’t miss this vibrant spectacle that celebrates the great Indian wedding.

Posted by: Sharmila-Sweet Dec 24 2010, 01:21 PM

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.

Write your own movie review of Tees Maar Khan
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

Posted by: Sharmila-Sweet Jan 5 2011, 11:02 AM

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

Posted by: IDOL Jan 11 2011, 06:02 AM

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

Posted by: Sharmila-Sweet Feb 21 2011, 12:52 PM

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

Posted by: Sharmila-Sweet Apr 1 2011, 01:40 PM

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

Posted by: Sharmila-Sweet May 4 2011, 03:18 PM

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

Posted by: Sharmila-Sweet Jun 1 2011, 02:03 PM

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

Posted by: Sharmila-Sweet Jun 3 2011, 11:25 AM

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?

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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

Posted by: Sharmila-Sweet Jun 8 2011, 01:52 PM

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

Posted by: Sharmila-Sweet Jun 21 2011, 11:23 AM

‘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

Posted by: Sharmila-Sweet Jul 1 2011, 10:08 AM

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.

Write your own movie review of Bbuddah...Hoga Terra Baap
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

Posted by: Sharmila-Sweet Jul 7 2011, 12:20 PM

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

Posted by: Sharmila-Sweet Jul 28 2011, 11:31 AM

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

Posted by: Sharmila-Sweet Aug 30 2011, 02:53 PM

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

Posted by: Sharmila-Sweet Sep 9 2011, 03:23 PM

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

Posted by: Sharmila-Sweet Sep 23 2011, 10:38 AM

Mausam - fails to impress

Raja Sen feels that Mausam has its moments but disappoints overall. Post YOUR reviews here!
Our hero, a bizarrely uptight young air force officer, sits across from the beautiful woman he loves, yet seems afraid to smile. Suddenly, in what may be perceived as a moment of weakness, humanity or merely kindness toward an exasperated audience, he lets his guard down and says, "Yeah, baby." And then he grins.

Bad, bad idea. He knows it; cluelessly, abruptly, his face automatically falls. Not everyone can get away with that, and in his latest film Shahid Kapoor [ Images ] is visibly better equipped to play a baby than call a woman one. For the cosy first half-hour or so of Mausam, he does so with gusto, a delightful young rapscallion with cheek and vigour.

Set in a small and very warmly depicted Punjab [ Images ] town, Mausam kicks off most entertainingly. The elderly gent playing the befuddled yet gruff village chieftain is an absolute treat and unquestionably the finest thing in the film, while cinematographer Binod Pradhan, capturing earthy frames with unusual yet fluid grace, earns a clear second place. The rest of the folks involved, including debutant director (and the best actor in the history of Hindi cinema) Pankaj Kapur are best advised not to look at the marks-sheet with much optimism.

Mausam starts off significantly fresh, making up for slightly overdone cutesiness with heart and flavour. The setting is enchanting and real, the characters are likable, the supporting cast stays pretty solid throughout, and Shahid revs up the energy while his classically gorgeous heroine Sonam Kapoor [ Images ] does what she does best, skipping around looking breathtaking.

It is when the film changes gear from romcom to melodrama that both Kapur and his son struggle, going from light and likable to irritating and implausible. The couple that initially wins us over gradually emerges harebrained and inexplicably passive. We never root for either girl or boy, because they coyly retreat just when they shouldn't. The passion the film began quickly turns lukewarm, because as Mausam and Shahid begin to take themselves seriously, we stop having fun. And, more importantly, giving a damn.

This is a love story gone awry purely because of undercommunication, and while that seems fine enough on paper, it's rather hard to swallow two lovers cleaved for well over a decade simply because they don't have each other's forwarding address.

This isn't a period film. Cellphones, email, academies and embassies, answering machines all exist. Our leads are well-to-do youths of significant affluence and sophistication, and neither makes standard enquiries? No, because we're supposed to sob over the old-world sight of letters piling up in an unpeopled courtyard.

Sure, mosques are smashed and wars break out, but the real-life atrocities the film uses as background soon feel like predictable gimmick. Worse still, they serve only to underscore the film's repetitive, episodic nature, making the already overlong Mausam feel like several seasons too many.

Kapur frequently salutes Dev Anand's [ Images ] superlative Hum Dono, borrowing far more than a great song. A man goes to war incommunicado with his lover, with no clue of her whereabouts. A moustached soldier loses the function of a limb, and wonders aloud whether his love will still want him. A woman stays steadfast in her affections for her man, no matter how steadily he neglects her. Except Hum Dono has both well-defined motivations and strong characters; this one has a couple of flibbertigibbets, a man disgracefully churlish and the woman too bashful to ever speak up.

Sonam's Aayat is a thankless character with an exquisite name, one I first encountered in Gulzar's [ Images ] Chhaiyya Chhaiyya. (It means a hymnal couplet.) The first time we meet her we hear an alarming giggle before we see her face, and the second time she screeches out of a nightmare. This, despite there being much pretty smiling in the first act, somewhat sets a tone. In the rest of the film, she waits and pines, and is made to simper an awful lot. We've seen it before, and Kapoor knows what she's doing. The actress shows genuine grace, once even while in a Mozart [ Images ] wig, and one wishes her character was smarter.

Shahid, as said, makes for a smashing small-town scamp but is inexplicably somber as a decorated IAF pilot. His Squadron Leader Harry is the kind of guy Tom Cruise's [ Images ] Maverick would have made faces at, no-nonsense to a ridiculous degree. Once in uniform, he's too self-serious to be taken, well, seriously, and we're treated to a plywood-stiff performance, all pruned lips and occasional MohnishBahl-ery. He's pretty good when in action, when running frantically across snow or while one-handedly trying to douse a fire (looking like a wrestling referee going for the three-count) for example, but the problem is when he sits down quietly and tries so very hard to look thoughtful or introspective or melancholy: there's only that much you can say by sucking your cheeks in.

The film provides some genuinely affectionate moments -- one where a song turns almost to karaoke as the lovers scribble notes making up the lyrics -- and some curious but lovely detailing. A pair of small binoculars, opera-glasses actually, with a scarlet stain that could be both blood or betel seems like a sinister clue to a later revelation till the girl efficiently and unthinkingly wipes it clean; and later Shahid dancing at a wedding with a checked-shirt under his sweater reaching down to the knees of his jeans, looking quite a bit like a kilt: a fine precursor to the film's next venue, Edinburgh.

But no lovely little nuance could forgive Mausam its preposterous bad-action-movie climax, completely bringing the guillotine down on the already too-long film. As manipulative masala tearjerkers go, it's a film that tries relatively earnestly and certainly one that occasionally looks striking, but disappoints overall.

Finally, giving you opinion about a film called Mausam turn us critics into weathermen, so here goes: Bright and cheerful day, hit by a predictable, gloomy downpour and turned into a damp, middling mess. Perfect one-day cricket conditions, as the English would say.

Rediff Rating: 2/5

Posted by: Sharmila-Sweet Sep 30 2011, 10:17 AM

Force

By Taran Adarsh, September 29, 2011 - 17:04 IST


Remakes are in! With fast-paced action entertainers reaping gold at the box-office, Mumbai-based film-makers are making a beeline for South, acquiring remake rights of films that work big time with audiences of all ages. A few decades ago, Jeetendra hit the pot of gold by working in some wonderful remakes [of South films] and the trend seems to have re-surfaced thanks to the successes tasted by Salman Khan and Ajay Devgn more recently.

With FORCE, John Abraham re-visits the genre [action] that he attempted in DHOOM. He has the physique and the persona to carry off the part and make the character believable. Remake of the Tamil hit KAAKHA KAAKHA, which starred Suriya and Jyothika, FORCE packs the punches, the kicks, the blood and the bruises in those two hours. Essentially a fight between the good and the evil, there's a restrained love story as well, which becomes the backbone of the plot.

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FORCE borrows from the masala films of yore that popularized Indian cinema in 1970s and 1980s. Love, romance, deceit, treachery, revenge, loads of action... FORCE has it all. Sure, you may find the plotline clichéd and predictable, but if the film manages to keep you hooked, if the twists and turns are truly interesting, despite the predictable path the story undertakes, the purpose is served. Thankfully, FORCE gets it right!




Yashvardhan [John Abraham] is a senior narcotics officer who doesn't play by the book, but always ensures that justice is served. He believes that the only way to eradicate crime is to give criminals the bullet -- not handcuffs. In the midst of his most dangerous and significant operation to crack down on India's drug cartels, Yashvardhan encounters a ruthless enemy Vishnu [Vidyut Jammwal], who will stop at nothing until he gets his revenge for the damage done to his business by the narcotics team.

Yashvardhan also meets the free-spirited Maya [Genelia D'Souza], whose love pushes him to make a choice between the life he already knows and the life he could have with her. Just when everything seems to be going right, the enemy strikes...

Director Nishikant Kamat has the viewers' adrenalin pumping in this engrossing crime drama. Velocity and technique are the essence of FORCE. Add to it sharp dialogues and raw action. Though the storyline is far from novel, it is these attributes that keep you engrossed. Also, this deadly cat-and-mouse game ends in a spellbinding climax. Very frankly, the film has some fairly engrossing moments in the first hour, but there are times when you feel restless. But the post-interval portions work big time. The penultimate half-an-hour is the best part of the enterprise. It packs a solid punch, especially the raw action sequence between John and Vidyut.

Nishikant integrates the songs well in the movie. Even otherwise, the songs [Harris Jayaraj] are tuneful and well choreographed [Bosco-Caesar]. Cinematography [Ayananka Bose] is a visual treat. But it's the raw action that stays with you. The action scenes [Allan Amin] are the type that will have the masses go in frenzy, especially these two sequences -- the chase [John chases Vidyut, soon after Vidyut attacks him] and also the finale confrontation.

From showing off his chiseled body to lifting a 120 kg bike, John is a complete revelation and gives an outstanding performance. Robust in looks and smug with self-confidence, the young man matures into a full-fledged action hero with this film. With the additional pounds of muscles to his frame, he looks very convincing as the Narcotics Officer. It is obvious that John has worked really hard -- honing his acting skills, concentrating on stunts and particularly on his physique.

Genelia is strikingly sweet and subdued. I genuinely feel that Genelia's an under-rated actress, who's capable of delivering if given an opportunity. Note the sequence when she proposes to John. It's a difficult sequence which Genelia carries off so well. Besides, the on-screen chemistry between John and Genelia is infectious. The villain, portrayed by newcomer Vidyut Jammwal, is a worthy opponent, who is the proverbial Evil pitted against Good. His persona is striking and his performance, excellent. This guy is here to stay and his performance will be talked-about when the movie hits the screens.

Mohnish Bahl is top notch, especially towards the final moments. Sandhya Mridul is, as always, highly competent. Amit Gaurr does well. Kamlesh Sawant is convincing. Mukesh Rishi is perfect. Raj Babbar doesn't get much scope. Ditto for Anaitha Nair, who is wasted.

On the whole, FORCE is an engrossing story of vendetta and the execution of the material makes it stand out in the crowd. The film has the requisite amount of zing and force, so essential for action movies that talk of heroism. If you are looking for a sensible masala film with substance, FORCE should most definitely figure on your agenda. Recommended!


4/5

Posted by: Sharmila-Sweet Oct 3 2011, 11:04 AM

Chargesheet (September 30, 2011

By Taran Adarsh, September 30, 2011 - 11:08 IST


As a moviegoer, I have grown up on Navketan movies. But, over the years, the man behind this production outfit -- the charismatic Dev Anand -- has not been able to churn out any memorable film that has recall value. CHARGESHEET, Dev sahab's new endeavor, is no different. It is yet another forgettable experience from the veteran, who once regaled us with great entertainers.



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CHARGESHEET has an apology of a script. It has skimpily dressed women dancing on forgettable tunes. The music, once the hallmark of Navketan movies, is of fast-forward variety this time. That's not all! Known for discovering some of the finest talent over the years, the veteran's new discoveries in CHARGESHEET are all duds. No looks, no talent! As for names such as Naseeruddin Shah, Jackie Shroff and Divya Dutta, one is well aware why they agreed to be an integral part of this film [tremendous respect for the veteran], but what I fail to fathom is, what was the motive behind casting them when they have nothing worthwhile to do?




The only thing I took back home was the indomitable spirit of Dev Anand. How many people live their dreams at 88? Here's an actor/film-maker committed to making movies on his terms. Irrespective of how CHARGESHEET fares or received by the movie-going audience, I am sure Dev sahab would've already cracked the idea of his next film. I salute that!

Posted by: Sharmila-Sweet Oct 4 2011, 11:13 AM

Hum Tum Shabana

Nikhat Kazmi, TNN, Sep 30, 2011, 08.41PM IST

Critic's Rating: Cast: Tusshar Kapoor, Shreyas Talpade, Minissha Lamba, Satish Kaushik, Sanjay MishraDirection: Sagar BallaryGenre: ComedyDuration: 1 hour 50 minutesAvg Readers Rating: Rate this movie1 (Poor)1.5 (Below average)2 (Average)2.5 (Above average)3 (Good)3.5 (Good +)4 (Very good)4.5 (Very good +)5 (Outstanding)




Story: Shreyas Talpade and Tusshar Kapoor are not only competing with each other at office but become rivals in love too when they fall for the same girl, beauty pageant contestant, Shabana ( Minissha Lamba). Soon they are competing for another thing....Who will be the first to flee from the girl who turns out to have gangster antecedents?

Movie Review: Sagar Ballary sure seems to be losing his expertise at Bheja Frying with comedies that are meant to tickle the rib, without being slapstick. Like the Bheja Fry films, Hum Tum Shabana too is meant to make you laugh. But the entire first half slips through without eliciting a single smile. Designed as an extended beauty pageant, with umpteen non-happening rounds, this section of the film revolves around the goofy attempts of the two suitors to win the hand - and attention - of the girl they seem to be smitten with. If Tusshar tries to impress her by giving her tips on the judges, then Shreyas plays gallant good Samaritan and saves her from a bad hair day. Small wonder then, the girl is totally confused and can hardly make up her mind who is the suitable boy between the two. No sparks in this part at least.





Post-interval, the proceedings do perk up a bit with the arrival of the girl's dysfunctional family, headed by her uncle, Satish Kaushik who turns out to be an international gangster, hellbent on finding a suitable match for his niece. His criterion? The boy must emerge the winner after undergoing training in his in-house school of gangsters, headed by Sanjay Mishra. Time for some fun and games, with veterans Satish Kaushik and Sanjay Mishra pulling off some zany gags. Tusshar and Shreyas try their best to keep pace while Minissha desperately follows suit.

End result? Just time-pass.

Posted by: Sharmila-Sweet Oct 7 2011, 10:22 AM

Review: Rascals is plain lame!

Last updated on: October 06, 2011 16:38 IST
Sukanya Verma feels Rascals fails to entertain.



Recycling paper is nice. Recycling movies? Now that's plain lame. But director David Dhawan [ Images ] has never been the discerning sort. He painstakingly built his brand around cheesy, slapstick wit, resolutely steering clear of logic, relying on spontaneity and a cast skilled in comedy to accomplish the shtick to which his coterie of writers like Rumi Jaffrey, Anees Bazmee, Sanjay Chhel, Kader Khan and Yunus Sajawal have contributed immensely.



For his latest Rascals, starring Sanjay Dutt [ Images ] and Ajay Devgn [ Images ], Dhawan sponges a bunch of comedies from his own stable and outside to rustle up a series of misadventures that are dumb, dated and dreary. But that's not its only problem. Rascals, with no structure or motive, cannot (rather does not even try to) conceal its desperation to make itself funny. And this insecurity shows in each and every gag.



What begins as a mindless laugh raiser with a set of 2D animated opening credits, quickly establishes itself as a tale of two swindlers Chetan (Dutt) and Bhagat (Devgn) (an obvious swipe on the author lacks the punch of Amar Prem), engaging in some vacuous, worn-out tricks, to steal from an unsuspecting Anthony Gonsalves (Arjun Rampal [ Images ] in an indifferent cameo) and win the affections of a doltish heiress (Kangna Ranaut [ Images ]) in Bangkok. This flake of a story, believe me or not, is pretty much the entire plot.



Unless making light of poverty, charity, handicap or a sexed-up version of Andaz Apna Apna meets Jodi No 1 meets Deewana Mastana meets Bluffmaster [ Images ] is your idea of a joke, those laugh lines won't budge.



Moreover, why on earth would you want to contend with all that screeching for effect, rhyming dialogues to pinch a cackle and constant parade of zero-intellect women with size zero bodies in a wardrobe that's as scant as Rascals' credibility?



And haven't enough award functions taken potshots at Sanjay Leela Bhansali's [ Images ] Black and Guzaarish already? Find a new punching bag, Bollywood.


Often you crave for a Govinda [ Images ], a Kader Khan or a Johnny Lever [ Images ] to drop in and elevate this drivel to an acceptable level of idiocy. Instead you get a super annoying Chunky Pandey [ Images ] and Satish Kaushik [ Images ], with their false accents and ridiculous get-ups jostling your senses to evoke a titter.



Of its actual cast, Devgn is a notch better here than his Golmaal appearances and that's mainly because he stays off body-hugging pink tee-shirts. Dutt is saddled by thankless role that makes him look silly for trying and sillier if he doesn't Far from giving them amusing lines to deliver, Dhawan gets two of Bollywood's worst dancers to shake a leg on Vishal-Shekhar's noise of a soundtrack.



Last but not the least; let me draw your attention to the most offensive aspect of Rascals. Its women. Both Kangna and Lisa Haydon [ Images ] are reduced to pea-brained ob-jects of lust with absolutely no self-respect for themselves or their tribe. And so when Dutt equates Kangna's shrill cries to a dog's yelp after someone steps on its tail, you simply nod in agreement.



Rediff rating: 1/5

Posted by: Sharmila-Sweet Oct 10 2011, 11:26 AM

Love Breakups Zindagi


Love, Boredom, Zzzzz


Karan Anshuman

Posted On Saturday, October 08, 2011 at 03:02:07 AM



♦ Director Sahil Sangha ♦ Actors Zayed Khan, Dia Mirza, Cyrus Sahukar, Tisca Chopra, Satyadeep Mishra, Vaibhav Talwar ♦ Run Time 154 mins ♦ Certification U/A

Love Breakups Zindagi is yet another film that falls under the bracket of generic, politically-correct, boring rom-coms involving a triangle (or in this case, a half-baked quadrangle) inspired by every major hit romcom you've seen before: from Kuch Kuch Hota Hai to Mohabbatein to Dil Chahta Hai to those badly imagined 80-rupee rubbish paperbacks by the 'new wave' of young Indian authors.

It's like a condensed version of all of these, with their edge taken off. The love is school-crush level, the breakups are tamer than a housebroken pet, and the zindagi bit is less bumpy than driving on the expressway.

A predictable storyline (boy-meets-girl in an elaborate Punjabi wedding which takes all of the first half), uninspired writing (we almost, almost have an airport ending), and characters made of sugar.

Just how saccharine are these people? Let's just say the most negative trait you'll see in any person involves him being allergic to - hold you breath - puppies. It's not that he doesn't like them, because the gentleman in question gallantly leaves himself, rather than insisting the puppy thrown back on the road. His other crime? He's a tone-deaf investment banker and doesn't have the time to learn the guitar his girlfriend has forced upon him.

This guy is the villain, the man standing in between the lead couple getting together. Intense. You may argue that it is precisely because he is such a nice guy, it's hard for anyone to break up with him.

But seriously, a puppy? The other big problem with LBZ is that there is only talking, no showing. The dialogue writer obviously beat the screenplay writer in a match of arm-wrestling because everything is explained in a conversation with the actor's sounding board: his/her best friend. E.g. "Oh, my girlfriend is psycho".

We barely see this woman, let alone an inkling that she is psycho. The director Sahil Sangha forgets that cinema is a visual medium. Next time (to paraphrase a song playing in everyone's head right now): only see, only see, no talking, no touching.

There is only one scene in LBZ that is worth mentioning, and it doesn't even have the lead actors in it. It does, however have Boman Irani, as he assesses a prospective son-in-law, rifle in hand. The dialogue exchange is genuinely funny, his comic timing, flawless. For the 5 minutes he is present, he manages to lift the entire film up a notch. Sadly, he is never seen again.

The director opts for long, uncut takes (all those endless conversations) and while more often he pulls this off, there are times he has to resort to jarring jump cuts that don't go with the rest of the film. Otherwise, production values are middling.

Zayed Khan and Dia Mirza are at ease with each other. Mirza especially seems to come across as a thinking actress and she'd do well to pick more serious roles. Tisca Chopra and Cyrus Sahukar are endearing (and for a while it seems he has a part more meaty than Zayed's - complete with a backstory relevant to plot).

LBZ should serve as an example for stars aspiring to turn producers - there is no reward in playing safe. There is reward in risk. Re-invent yourselves, do movies you were never asked to do - play a character with depth - make a movie that stands apart and shows the world not what they expect of you, but what you have to proclaim to them.

Posted by: Sharmila-Sweet Oct 14 2011, 03:39 PM

Aazaan (October 14, 2011)

By Taran Adarsh, October 14, 2011 - 12:39 IST


Bioterrorism is amongst the most burning and disconcerting issues today. The perils of biological warfare -- also known as germ warfare -- just cannot be disregarded and what makes it even more hazardous is the fact that a lot of countries remain vulnerable to it.

AAZAAN undertakes a grave issue, a theme that has never been depicted on the Hindi screen earlier. Besides, director Prashant Chadha attempts to narrate the story in a style that's reminiscent of the BOURNE series. An espionage thriller that travels various continents. But AAZAAN, despite the right intent, doesn't come across as a compelling, assertive experience. What should've been fear-provoking and also emotionally enveloping, since Aazaan Khan shares poignant moments with the people he loves [brother Aman and sweetheart Afreen], doesn't register the desired impact.

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Let's get to the root. Chadha had solid material to play with [story: Shubhra Swarup, Heeraz Marfatia, Prashant Chadha], which, perhaps, can trigger off debates and discussions, but a patchy screenplay [Shubhra Swarup] acts as a dampener. Bioterrorism is a new-fangled topic for Indian moviegoers and therefore, the team should've undertaken an additional effort to coherently explain the issue to the spectator. The narrative is complicated and difficult to decipher. Also, since the story moves from one location to another, it leads to puzzlement after a point. Furthermore, when you play on a realistic fear, you cannot afford to have too many cinematic liberties in the narrative.




On the brighter side, AAZAAN is embellished with a harmonious musical score [Salim-Sulaiman]. The background score, also composed by the maestros, is electrifying. In addition, the stunts, chases and combat sequences are spectacular. Also, since the film has been filmed across continents, it boasts of some stunning and dazzling visuals [DoP: Axel Fischere]. To cut a long story short, AAZAAN comes across as an assemblage of several well executed sequences, but the sheen and shimmer cannot surrogate for a spellbinding screenplay.

Aazaan [Sachiin Joshi], half Afghan, half Indian gets drawn into the murky world of espionage, only to find his younger brother, Aman [Neet Mohan], a suspected terrorist. As Aazaan infiltrates deeper, he has no clue of the price he might have to pay for it. Aazaan stands in the way of Doctor's [Sajid Hassan] plans to destroy India. All he has on his side is the love of a brother and the love for his country.

A thriller works only if it's got that nail-biting edge-of-the-seat quality. That's where AAZAAN stumbles. What you carry home are a few moments, which aren't enough. The piece de resistence is undoubtedly that car chase and the subsequent crash in the pre-climax. The conclusion, though well filmed, appears like a rushed job and also seems implausible.

Sachiin Joshi has screen presence, excels in action sequences, but would help him a lot if he works on his dialogue delivery. Ravi Kissen is competent. Dalip Tahil is wasted and so is well-known Pakistani actor Sajid Hassan. Alyy Khan manages to keep your interest alive. Vijayendra Ghatge is serviceable. Aarya Babbar suffers due to a half-baked character. Candice Boucher looks gorgeous, but gets no scope to act. Samy Gharbi and Neet Mohan fit their parts well. Sarita Choudhury gets it right. Sachin Khedekar appears in a cameo.

On the whole, AAZAAN boasts of a novel theme [Bioterrorism] and superb action scenes/stunts/chases is its biggest USP. But the film could've done with a taut script. Nonetheless, AAZAAN should find some flavor with lovers of action movies.


2/5

Posted by: Sharmila-Sweet Oct 20 2011, 03:24 PM

My Friend Pinto

Subhash K Jha speaks

October 15, 2011 - 17:16 IST

Zindagi khwab hai khwab mein sach hai kya aur bhala jhooth hai kya? Remember Motilal's staggering existentialism in Jagte Raho. Such philosophy underlines the fey goings-on in My Friend Pinto a wispy, nostalgic comedy about a Goan simpleton's one night of zany adventures in the mad mad bustle of Mumbai during New Year's Eve.

This isn't the first film that explores Mumbai by night. From Khwaja Ahmed Abbas's Bambai Raat Ki Bahon Mein to Sudhir Mishra's Iss Raat Ki Subah Nahin, the dark comic side of the city's underbelly has ceaselessly fascinated 'Bollywood' from long before the term 'Bollywood' was invented.

Debutant director Raghav Dar switches on the innovative mode full-blast. The first and most conspicuous component in his comic romp is the director's sense of fun. Dar is fearless about the fun quotient that he has while going with one sumptuous swoop into lives as different from one another as any two homes, families and lives in Mumbai can be.

A semi-retired gangster (Makarand Deshpande) and his never-been star-actress mistress (Divya Dutta), his twin assassin-goons Ajay and Vijay (played by real life Amin and Karim Hajee, who were last seen together on screen dancing in a Sufi trance to A R Rahman's devotional number in Jodhaa-Akbar), an old taxi driver and his gambler-son (theatre actor Shakeel Khan making a stellar screen appearance), a lost girl Maggie (Kalki Koechlin) abandoned by her small-time crook boyfriend on the railway station, the competitive couple (Arjun Mathur and Shruthi Seth), coping with the sudden appearance of an unwanted guest from Goa, even as they try to cope with the fissures in their own marriage….

These, then, are some of the characters who show up one night in Raghav Dar's Mumbai 'raat hi bahon mein'. There are many others. Oh yes, characters pop out of every nook and cranny like rabbits from a hat. Bringing them all together is the Goan Mama's boy, the simpleton Michael Pinto who we're informed, with tongue firmly in the scriptwriter's cheek, is the nephew of Albert 'jissko bahut gussa aata tha'.

The reference to Saeed Mirza's 1980 cult classic Albert Pinto Ko Gussa Kyon Aata Hai is not lost in the film's melee of bustling adventures. The film is knowledgably laden with references to cinema and cinematic devices from the past including a very pointed allusion to a corpse's journey across Mumbai from Kundan Shah's Jaane Bhi Do Yaaron.

My Friend Pinto is a very complex script to write and an even more complex act to pull off on screen. Raghav Dar manages the chaos created by Michael Pinto's misadventures across the celebratory streets of Mumbai with fluency and grace. The awkwardness that we encounter in the storytelling is purely by design. Pinto is put into all kinds of bizarre and embarrassing situations. Like Charlie Chaplin in the silent films he walks out of the chaos unscathed. He is a Goan angel in disguise. He's Chaplin, Raj Kapoor and Guru Dutt from City Lights, Jagte Raho and Pyasa. He is all of those and none of them. Prateik with his waif-like quality truly finds himself as an actor when he plays a lost character. My Friend Pinto needed his vulnerability and uncertainties. The supporting cast is impressive, with Divya Dutta and Makrand Deshpande having a ball with their guns and games. They are like two bulls in a sex shop. Arjun Mathur as Pinto's desensitized Mumbai friend creates quite a graph for his character within the limited space provided by the restless script. Quirky, capricious, whimsical and times magical (watch those Broadway-styled musical performances) My Friend Pinto conveys the fey comic patterns of Kundan Shah's Jaane Bhi Do Yaaron. Prateik echoes the innocent adventures of Raj Kapoor in Jagte Raho. Raghav Dar's directorial debut is endearing in its eccentricity.

When you leave the crazy comic cosmos of Pinto's world behind you take away with you a film that is fiercely original in concept and designed to deliver tongue-in-cheek swipes at all those scared cows of Bollywood that we grew up watching and loving without knowing why we loved them in the first place.

There is something about My Friend Pinto. But you don't really know what.

Posted by: Sharmila-Sweet Oct 25 2011, 11:18 AM

Ra.One (October 26, 2011)

By Taran Adarsh, October 25, 2011 - 01:22 IST


I've often heard people say, film-making is nothing short of a gamble. And as any gambler will tell you, you've got to gamble huge to triumph huge. Going by this logic, Shah Rukh Khan is The Supreme Gambler of the year.

What's at stake, beside the big money invested in RA.ONE of course, is a dream, a vision, an aspiration to make a film which appeals to kids and kids at heart. In short, attempt a film that appeals to the universal audience. At the same time, it ought to raise the bar for Hindi films. Also at stake is SRK's once-unchallenged supremacy as the reigning idol of Bollywood and that elusive thing called reputation. When you invest your repute in your dream project and stick your neck out, you expect nothing short of a mega-success.

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Movies like KRRISH and ROBOT initiated the trend of superhero films in India, with fantasy making deep inroads into mainstream Hindi cinema. Now RA.ONE raises the bar, takes not a step or two, but a giant leap and adheres to international standards, in terms of execution. But the soul, I wish to add, is very desi. That's precisely the reason why RA.ONE emerges trumps. RA.ONE is beauty [read good looking film] with brains [read content].




What characterizes a stunning superhero movie? I have narrowed it down to three precise constituents that I deem are absolutely necessary for an alluring superhero flick. The first is that the motion picture must encompass spectacular action and edge-of-the-seat thrills. Secondly, a magnificent superhero movie must also boast of luminous performances from the protagonists, which in turn should make these characters appear credible and relatable. Thirdly and most importantly, superhero films must have a narrative that keeps us yearning for more. All of these are indispensable factors in making a superhero movie that will be both acclaimed and adored by fans. Fortunately, RA.ONE emerges triumphant in all the three departments.

RA.ONE is the most ambitious, most expensive and the most technologically complex Hindi film ever made. It pushes the envelope further. It's not merely a film, but an experience, an event. It's a film that will rewrite the textbook of computer graphics in Hindi cinema. At the same time, it is very Indian at heart. The relationship between SRK and the kid is the highpoint of the enterprise. But, at the same time, there are ample clap-trap moments that will send the viewers in frenzy. The chase sequence, when Ra.One finally zeroes on Lucifer, and the subsequent 'entry' of the superhero is awe-inspiring. The train sequence in the second hour is exceptional and a cinematic feat. The presence of Rajnikanth in a crucial sequence will be greeted with deafening claps and whistles. And, of course, the climax of the film; it's simply jaw-dropping.

Besides these factors, the 'Chammak Chhallo' number is already a rage and so are the sequences involving visual effects. In a nutshell, it's an entertainer that works big time. You haven't experienced something like this ever before, on the Hindi screen!

A father tries hard to fit into his son's world. While Shekhar [Shah Rukh Khan] tries every trick in the book to woo his son, his son had given up on him. Just when the father-son duo hit a deadlock, Shekhar strikes gold when he designs one hell of a game. Finally, it all starts falling in place. But the happiness is short-lived. All hell breaks loose when the game that was meant to be played with, starts playing them.

We are spoilt by cinema's ability to create on celluloid anything that can be imagined, therefore we have raconteurs making endeavors to bestow us with movies that you wouldn't have ever envisioned even in your mind's eye. You realize this as you watch RA.ONE, which is a visual spectacle from start to end.

Director Anubhav Sinha along with co-writers David Benullo, Kanika Dhillon and Mushtaq Shiekh may be inspired by international flicks as far as the concept is concerned, but they ensure that they serve the right masala to moviegoers in those 2.30 hours. What actually takes you by complete surprise is not just the money spent on visual effects or the stunning chase and action scenes, but the twists and turns in the screenplay that unravel at a feverish pace.

Besides, the moviegoers have certain expectations and notions about superhero flicks and they expect such characters to perform audacious aerobatics to save someone's life or a nation. But this one's different. Visually arresting and dramatically just what the doctor ordered, the film boasts of relatable characters, which makes this superhero movie for kids as well as grown-ups. In fact, I'd like to add, RA.ONE is not only skillfully directed, but also visually dynamic and entertains from commencement to conclusion.

The album of the film lives up to the grand expectations. Vishal-Shekhar deliver a striking score with 'Chammak Chhallo', 'Dildaara' and 'Raftarein' being the pick of the lot. The background score, also recorded by them, is equally electrifying. V. Manikandan and Nicola Pecorini's cinematography is top notch. Same goes for the stunts and chases [Andy Gill and Spiro Razatos]. Dialogue [Kanika Dhillon and Niranjan Iyengar] are hardly ever commonplace. What I found most interesting is that, whether humorous or thoughtful, the channel of communication appears very credible. The Ra.One and G.One suits, designed by Robert Kurtzman, are super.

RA.ONE is a perfect vehicle that does justice to the talent of Shah Rukh Khan. He seems to have found a story and character that work in perfect sync and tandem with manic energy. SRK steers this physically challenging lead role with high-spirited self-belief. He's endearing as the father and magnificent as the superhero with a heart. Kareena Kapoor is a delight to watch. She effortlessly glides into the character. Besides, she looks ethereal in the 'Chammak Chhallo' song and her wit is infectious. Arjun Rampal pulls his act with effortlessness and style. Also, Arjun's well-designed look is admirable.

I'd like to make a special mention of Armaan Verma, the kid who has a pivotal part to portray. He stands shoulder to shoulder with SRK and Kareena all through the film and delivers a super-confident performance. The film has a number of actors in key roles [Shahana Goswami, Dalip Tahil, Satish Shah, Suresh Menon, Mushtaq Shiekh and Tom Wu] and each of them fit well in their respective parts. Sanjay Dutt and Priyanka Chopra add to the glam quotient, while Rajnikanth proves yet again that he's a scene stealer.

But the man who warrants the actual round of applause is director Anubhav Sinha himself. For bringing out the best of SRK, Kareena and Arjun. For the amazing screenplay. For the speedy yet smooth stream of the narrative. And for the fantastic unfolding of the written material. He merits top admiration for every act of his.

On the whole, RA.ONE is a solid entertainer, no two opinions on that. It's not merely a great looking film, but also has soul, which is so essential to strike a chord with the avid moviegoer. As for the business prospects, RA.ONE is sure to shatter all previous records and set new ones, in India as well as internationally. The film will be the new yardstick for measuring success. It has Blockbuster written all over it!


4.5/5

Posted by: Sharmila-Sweet Oct 31 2011, 03:00 PM

Subhash K. Jha speaks about Tell Me O Kkhuda

By Subhash K. Jha, October 31, 2011 - 11:46 IST


Take away all the awkwardness of the comic relief by Johnny Lever and a plot that moves through three segments without transitional smoothness…and you have a film that's tender sweet and gentle.

Tell Me O Kkhuda (TMOK) is a bit of a smile-invoking ode to parenthood. Tanya (Esha Deol in an author-backed, tailor-made, custom-built role), happily ensconced in her life of parents (benign Farooq Sheikh-Deepti Naval), best friend (Chandan Roy Sanyal) and sweetheart (Arjan Bajwa) discovers she is an adopted child. Thus begin her genealogical journey.

The drama unfolds with the least fuss or ostentation.

To the narrative's credit, it dithers not from its picaresque aspirations. Esha Deol goes through three different emotional and geographical locations in pursuit of papa-dearest of these the Turkish sojourn with Rishi Kapoor and the beautiful Turkish actress is the most crisply edited and packaged.

The Rajasthani sojourn with Vinod Khanna as a haveli-bound Zaindar, meanders all over the place, subsuming issues such as female foeticide .Here the narrative makes ample space for a camel race which adds spectacle to the emotion without really saying much about the characters or their need to reach into the recesses of their heart.

The third segment which brings the real-life family of Dharmendra, Hema Malini and Esha together has a certain emotional resonance because of the real-life relations. The family portrait is heart warming.

Shot in stunning locations including Istanbul the film could have done with a more evocative music score and tighter editing.

The performances range from the endearing to the endurable. No doubt this film is meant to showcase Esha Deol's evolved status as an actress. The girl has eloquent eyes and an expressive face which knows how to hold an emotion. Esha is a graceful portrait of a girl in pursuit of something echoing happiness.

TMOK is a heart warming story of a search for identity. It occasionally loses its way but finally finds a satisfying culmination. This is a high-gloss product shot on exotic locations that include a young woman's wounded heart.

Posted by: Sharmila-Sweet Nov 11 2011, 01:46 PM

Rockstar (November 11, 2011)

By Taran Adarsh, November 11, 2011 - 10:19 IST


Rock based movies are revered and admired in Hollywood, but Bollywood hasn't been too kind to this genre. Vipul Shah's LONDON DREAMS failed to cut ice, despite the presence of top notch names, but ROCK ON! was a moderate success, with the urban audiences giving the film a second and third dekho. The film couldn't penetrate into the heartland, though.

Imtiaz Ali has always managed to strike the right balance between the hoi polloi and the gentry. Movies like JAB WE MET and LOVE AAJKAL are proof that the enormously talented raconteur won't attempt a film if he's not fully convinced about it. Known for his imaginative and inventive take on love stories, Imtiaz takes up yet another challenge with ROCKSTAR. The story of a rebellious singer/musician, it traces his journey of love, anguish, ego, trouble, sorrow and devastation. A difficult path to tread, no doubt, but Imtiaz could be a game changer, if the film strikes a chord. Alas! ROCKSTAR is a sumptuously shot movie that is disjointed on script level.

Write your own movie review of Rockstar
Let's get to the root of the problem. We are used to watching films that have a beginning, middle and end. The problem with ROCKSTAR is that it starts off most impressively, has some terrific moments in between, but the writing gets so erratic and incoherent as it heads towards the conclusion that you wonder, am I really watching an Imtiaz Ali film? I mean, even the naysayers would agree that Imtiaz Ali is a super storyteller and his movies have been talked about [and also remain etched in our memory] due to varied factors, the written material being one of the paramount reasons.




What you take back from ROCKSTAR are some terrific moments, a bravura performance [Ranbir Kapoor is a class apart!] and of course, A.R. Rahman's musical score. Wish one could carry the entire film back in our hearts!

Janardan [Ranbir Kapoor], born and brought up in the very middle class locality of Delhi, has a larger than life dream -- of being a rockstar like Jim Morrison! But all he gets from his reluctant audience is ridicule and humiliation. He's at his wit's end, when he realizes that all musical stars, all artists in fact, have one thing in common. And that is tragedy. They all have tragic lives. They have all suffered painful heartbreaks to become what they are. Alas, there is no pain in Janardan's life. Unless he does something drastic, he will never become a rockstar.

Heer [Nargis Fakhri] is the undisputed diva of the college campus -- beautiful, talented, arrogant, rich and unavailable. She has broken many hearts. Janardan hopes she will break his heart too. He sets out to woo Heer with the sole object of getting his heart broken.

ROCKSTAR traces the journey of a boy who leaves behind Janardan to become Jordan, who traverses the highs and lows of life -- from simple naiveté to tortured soul, from the campus in Delhi to the international stage… He ultimately gets all that his heart has ever desired, but in the process shatters/loses his heart forever.

It's evident that ROCKSTAR seeks inspiration for the story from the iconic, charismatic and popular Jim Morrison. With a capable director like Imtiaz Ali at the helm, one expects ROCKSTAR to be a cult movie in this genre. But the film falters after an impressive start, after you are introduced to the four pivotal characters in the story -- Ranbir, Nargis, Kumud Mishra [Ranbir's confidante] and Piyush Mishra [owner of a music company].

Narrated in flashback, the writing gets erratic as you delve deeper and deeper. The film begins with a few people bashing up Ranbir and one expects the reasons for this fight to come to the fore as the reels unfold. But the sequence remains unexplained even after the movie concludes. Sequences that depict Ranbir's unpredictable and inconsistent behavior are inexplicable as well. The major mood swings -- he's cool as a cucumber at times, but turns irritable and furious immediately -- is also baffling. His relationship with Heer is inconsistent as well. He comes across as an extremely mystified individual. Ranbir's portions in Prague [including meeting Nargis on arrival there] look unreal. The end to the tale is most worrisome. It's an open end, with the audience not really knowing what actually happened to one of the central characters. In fact, the second hour is stretched without valid reason and that makes it a tedious watch.

One expects Imtiaz Ali to outshine his previous works, but he doesn't. Sure, he explores the emotional depths with immense compassion and also draws bravura performances from the central characters, especially Ranbir Kapoor. But let's not disregard the fact that every film depends on a watertight screenplay and ROCKSTAR stumbles and fumbles in this department. At the same time, there are moments that are spectacular and brilliantly executed. The sequence between Shammi Kapoor and Ranbir [when introduced in the music company office] is super. Ditto for a particular sequence featuring Piyush Mishra; he's taking a massage and talking to Ranbir concurrently. Even the sequence when Ranbir tears apart the agreement and throws it at Piyush Mishra is fantastic. A few more individualistic scenes reiterate the fact that Imtiaz Ali is a genius!

Music maestro A.R. Rahman's music is scintillating. ROCKSTAR is about the progression of a musician from India and the songs not only tell his story, but also track his journey from a nobody to a somebody. It must've been a challenge for Rahman to depict the emotional catharsis a rockstar undergoes and the tracks, I wish to add, aren't the typical Rahman numbers either. While some of the songs ['Sadda Haq'] will be loved instantly, a few others will take time to grow on you.

Anil Mehta's cinematography is top notch. Every frame is picture perfect, a painting on celluloid. Dialogue deserve special mention. They are straight out of life.

The secret behind Ranbir's triumph is that he puts his heart and mind into every project he chooses to perform in. Love, resentment, pain, hurt... Ranbir brings a multitude of feelings to his character. It's a role of a lifetime and Ranbir is sure to be immortalized in this story of a rockstar. He glides into the character effortlessly, so much so that you see very little of Ranbir, the actor and more of Janardan/Jordan, the character he represents. His performance is beyond extraordinary.

Nargis is a stunner as far as looks are concerned, but isn't persuasive in poignant moments. However, the chemistry between Ranbir and Nargis is exhilarating. Shammi Kapoor is superb in a small but significant role. Aditi Rao Hydari suffers due to an undeveloped characterization. Kumud Mishra is splendid. What a fine actor! Piyush Mishra is, as always, exceptional. Shernaz Patel enacts her part well.

On the whole, ROCKSTAR does not live up to the confidence and expectations from the otherwise very skilled and accomplished film-maker Imtiaz Ali. The film suffers immensely due to a disorderly screenplay, especially in its post-interval portions. However, the silver lining or the comforting prospect is the virtuoso performance by Ranbir Kapoor and the captivating score by A.R. Rahman, which justify that one extra star.

3/5

Posted by: Sharmila-Sweet Nov 28 2011, 02:34 PM

Desi Boyz - Movie Review

'Desi Boyz' is part funny, part frustrating
By Nikhil Kumar
Fri, Nov 25, 2011 12:52:08 GMT
Comments (0)







The ApunKaChoice movie review of Desi Boyz

Nonsense, besides sex, sells! And two beefy hunks, one in late thirties and the other in mid-forties, ripping their shirts off and showing off their finely waxed chests hardly make for an eye-pleasing sexual content. Not for the male lot this raunchy display of the ageing beefcake, I’m sure, sexual orientations notwithstanding. With sex scratched out, we are left with nonsense, something that director Rohit Dhawan, having inherited a good chunk of genes from his dad David Dhawan, can be veritably relied upon to be at home with.

And home with it Rohit Dhawan indeed is. For he manages a laugh out of situations like John Abraham and Anupam Kher rubbing against each other and looking into each other’s eyes, before the latter declares “Don’t get ambitious”. To Rohit’s credit he wrings out a few comic moments from the otherwise wooden John. Catch John absolutely nonplussed when his fiancé (Deepika Padukone) and her father (Kher) show up at his pad while he’s having a raunchy party with a bunch of eager-to-strip guys and girls.

Where Rohit Dhawan falters is in his bid to squeeze in melodrama where none was needed. The sequences involving Akshay Kumar and his orphaned nephew whose custody the latter is about to lose are aimed at leaving you moist eyed. They don’t. More embarrassing is a scene where a maths professor scoffs Indians as harebrained and Akshay spiels about the contribution of great Indians: from Aryabhatta, the contributor of ‘zero’, to Sabeer Bhatia the cofounder of hotmail. Worse still, Rohit filches an idea from an advertisement and turns it into a full-blown scene when Akshay makes a show of being beaten up by his interviewee to scare away the other contenders for the job. That’s lame! If anything was left, we have Sanjay Dutt who runs a male escort agency Desi Boyz and claims to be the purveyor of happiness to the womankind.

The story of Desi Boyz is pretty slim. Two best friends find themselves scrounging for a decent living in London after being hit by recession. Jobless but not hopeless, they must find something to make ends meet. Nick has a fiancé Radhika (Deepika Padukone) who craves for a perfect wedding while Jerry is trying to come good to gain the custody of the nephew he dotes on. Pushed to the wall, the two become male escorts, which involve stripping for women at bachelorette parties and even fulfilling their fantasies in the bed.

But this job turns their already derailed lives topsy-turvy. So the two Desi Boyz set out to make amends and get their lives back on track.

The movie’s pace is bumpy for the most part of the first half. The second half begins on a promising note with the introduction of Chitrangada Singh as the hot Economics professor who has a crush on her overaged student, Akshay Kumar. Chitrangada doubtlessly looks prettier and hotter than Deepika. There’s a scene where she offers to strip layer by layer for her student Akshay if he answers the economics questions correctly. The scene is almost exploitative, but Chitrangada makes it work. In comparison, Deepika’s character is reduced to looking sulky. Akshay Kumar and John Abraham are the two lifelines of Desi Boyz and they just about deliver the goods.

The film’s music by Pritam is below par. Cinematographer Natarajan Subhramaniam cans a few interesting shots, particularly one where Akshay and John are shown sitting on the ledge of their penthouse. In the dialogue department, Milap Zaveri comes up with some lines that leave you grinning.

All in all, Desi Boyz is a film that’s not a laugh riot but just about a tolerable one-time watch. Its humour may be irreverent, facetious and even crass, but it works at times.



2.5/5

Posted by: Sharmila-Sweet May 2 2012, 02:53 PM

Tezz

is the story of one man, who is out to get back what was unjustly taken away from him... the other is willing to do whatever it takes to stop him in order to serve justice; both are pitted against each other.. and both are pitted against time. Lives have already been destroyed and more lives are about to be devastated as a train speeding from Glasgow to London holds the fate of Aakash Rana (Ajay Devgn) and Counter Terrorism Command Arjun Khanna (Anil Kapoor), and only one of them will succeed.

Posted by: Sharmila-Sweet May 3 2012, 09:33 AM

Tezz

MovieSrijana Mitra Das , TNN, Apr 27, 2012, 08.19PM IST

Critic's Rating: 3/5

Revised from to 3, based on popular feedbackCast: Anil Kapoor, Ajay Devgn, Boman Irani, Sameera Reddy, Zayed Khan, Kangna Ranaut, MohanlalDirection: PriyadarshanGenre: ActionDuration: 2 hours 15 minutesAvg Readers Rating: Rate this movie1 (Poor)1.5 (Below average)2 (Average)2.5 (Above average)3 (Watchable)3.5 (Good)4 (Very good)4.5 (Very good +)5 (Outstanding)



Story: Revenge-seeking Indians plant a bomb on a British train - can Indians loyal to the law prevent an explosion fast enough?

Movie Review: Look carefully - Tezz shows you a London Bollywood hasn't explored before. Forget those chiffon saree-soirees, lush parks and cream teas - Tezz's London showcases illegal Indian migrants trapped between violent ghettoes and furious policemen, wet sewers, oily garages and bomb-strapped garbage bins. This is a gritty city, normally shown as every Indian's vacation paradise - but what happens to those who want to live there, even illegally?


Tezz follows engineer Akash Rana's (Devgn) life unraveling as he and his workmates Megha (Reddy) and Adil (Khan) get hunted by British immigration. Rana suffers the cruelest cut - his marriage to British citizen Nikita (Ranaut) is declared invalid, he's deported, she's jailed for unpaid loans. But it's not over - four years later, Rana returns seeking revenge and the London-Glasgow Express, 500 people on board, finds itself laced with a bomb that'll explode if the train drops under a certain speed.

Sounds familiar? Tezz draws from different vehicle-thrillers, reminding you of Keanu Reeves' Speed one moment, Vinod Khanna's Burning Train another. But it isn't just another machismo-fueled race - instead, Reddy is Tezz's surprise package, pulling off devilish stunts, looking stunning in the short life of a desperate Megha. As Counter-Terrorism Command Chief Arjun Khanna, Kapoor looks good too - and with one glance at a boy with bandaged eyes, he reminds you of the acting power-house he is.

In Tezz, he's pitted against Devgn (the latter can play 'smouldering' in his sleep apparently) and occasionally, Boman Irani as Sanjay Raina, Railway Traffic Controller. In one tense scene, Irani controls a track-switch, trembling almost like a music conductor commanding a symphony. There's a shout-down between Kapoor and him - over far too soon. In fact, you're left wishing Tezz had more dramatic face-offs between its fine actors but instead, the film diverts into several tracks too many.

Mohanlal is poorly used as policeman Nair escorting a criminal via train. As is Ranaut, pretty in her now-familiar 'impending doom' style, but with little to do. Khan looks fresh but has a shaky role - topped with a thrilling chase. Mallika Sherawat performs an item number in the 'Desi Club', asking, "Do you wanna get hot? Do you wanna get wet?" - but after all that promise, dances little and smiles even less. Tezz's London, overrun by Indians, is also populated by Brits speaking hilariously fluent Hindi and despite pumping background music, features few pleasing songs, snatches from just one qawwali, Tere Saaye Mein, standing out. Otherwise, it's gunshots and grim lines, some pacey - "Ye koi naya kameena hai," quips Kapoor of Devgn - some not.

Despite slick action and stunning scenes - bullets ramming underwater into a sunlit stream, a violet flower-bush before a cop-car - Tezz loses speed often. Here's possibly why - director Priyadarshan's oeuvre is putting characters in desperate situations and watching them respond. It works beautifully in comedies - but Tezz needs relentless pushing, not frequent stops pondering over the unfairness of citizenship. You can't run fast carrying heavy baggage - that's why Tezz huffs and puffs a little too much.

Posted by: Sharmila-Sweet May 4 2012, 09:54 AM

Review: Jannat 2

Published: Friday, May 4, 2012, 9:25 IST | Updated: Friday, May 4, 2012, 8:26 IST
By Kanika Sikka | Place: Mumbai | Agency: DNA


Movie: Jannat 2
Director: Kunal Deshmukh
Cast: Emraan Hashmi, Randeep Hooda, Esha Gupta
Rating: **

With uncanny similarities to Nicolas Cage’s Lord of War, Jannat 2 revolves around an unexplored (in Bollywood) premise of arms trafficking. The sequel of the 2008 film Jannat, the film is a predictable, yet partly gripping tale of a small-time brat who faces the results of his own deeds.

A street-smart punk, Sonu Dilli KKC i.e. kutti kamini cheez (Emraan Hashmi), runs a small bi-ness (business) of selling and renting guns. His motto – people kill each other with any weapon they find, he might as well make it convenient by supplying guns. ACP Pratap (Randeep Hooda), a maverick cop, driven by the aim of getting to the roots of nexus of arms racket, compels Sonu to convert into his informer and forces him to delve deeper in the illegal business of arms manufacturing and selling. In the midst of all this, Sonu falls in love with Jhanvi (Esha Gupta), a doctor who works at a government hospital which faces serious cash-crunch. The plot moves on to show how Sonu, in a bid to transform his life into a decent living, signs a deal with Pratap (who develops a soft-corner for Sonu and Jhanvi) to reach to the bottom of the nexus of illicit business of guns trading.

Although the plot is calculable, the swift narrative manages to squeeze out humdrum portions. The movie had a prospect of being more engaging if the director would have invested some extra action sequences. The chase sequence in a dargah needs special mention with excellent camera work and proves why action scenes could have been a bonus for the film.

Kunal Deshmukh, who made his debut with the prequel of Jannat 2, though promising, has a lot of scope to narrate a plot with a more engaging approach. The climax, though, was somehow is unpersuasive.

Emraan Hashmi, who is the protagonist and narrator of the movie does justice to his role, and carries the film forward with a not-so-believable portrayal of a typical dilli boy. In a particular scene, Pratap tells Sonu, “Saans toh lele. Bolta hai toh bolta hi chala jaata hai.” This rightly portrays Emraan’s dialogue delivery in the movie, in his bid to play a (well-tried, yet unconvincing) crook. The actor somehow looks more convincing when he is not busy trying to be a typical Delhi lafandar.

Randeep Hooda proves yet again that he is worth all the compliments in his previous films. His convincing portrayal of a grief-driven cop is noteworthy. Randeep’s stellar performance is the most positive point in the film.

Esha Gupta adds glamour to an otherwise fiery and somewhat-impetuous tale as she switches between magnetic and the next-door-neighbour looks. The alluring model-turned-actor, (whose similarities to Lara Dutta are remarkable) may land up being another one of Vishesh film’s ‘rare discovery’ which never saw a career in Bollywood beyond their first film.

The music, like any other Vishesh Films’ movies, is remarkable. The background score deserves brownie points.

Overall, the portrayal of this foreseeable plot is appealing in parts. Jannat 2 is worth a one-time watch, since there aren't many options for the movie-goers this weekend.

Posted by: Sharmila-Sweet May 18 2012, 04:01 PM

Department
By Taran Adarsh, 18 May 2012, 10:54 hrs IST


For a really long time, he has been attempting the kind of movies he aspires to make, with not much concern for the BO. The uneven response to his last few films at the ticket window hasn't shaken the confidence that viewers have in his abilities. His past few films were nowhere close to SHIVA, RANGEELA, SATYA, COMPANY, BHOOT, SARKAR, SARKAR RAJ and RAKTA CHARITRA-I, but regardless of the BO outcome, Ramgopal Varma is one film-maker who continues to make movies that he believes in.

Earlier, in NOT A LOVE STORY and now, in DEPARTMENT, RGV has dared to re-invent the cinematic language by changing the visual imagery. While the visual style is worth applauding and catches your eye instantly -- RGV has filmed in angles not witnessed before in Hindi films -- it's the erratic and inconsistent writing that bogs down DEPARTMENT.

No one illustrates the underbelly of crime on celluloid as persuasively as RGV. The issue with DEPARTMENT is *not* the beaten to death genre, but the screenplay that has nothing novel to offer. Encounter specialists, ruthless gangsters, inter-gang rivalry, corrupt politicians… haven't we had our fill already? One could never lay blame on RGV for taking the tried and tested route, opting for easy shortcuts while narrating a story. But, in DEPARTMENT, all you remember is style, while the substance goes for a toss.

Alarmed at the hitherto unseen escalation in underworld criminal activities, the government officials hold a secret meeting in which they take a decision to create a new unit which is unofficially referred to as 'Department'. This special task force is formed to clean up the muck caused by gangsters.

DEPARTMENT throws light on the power struggle that exists in the police department and one expects RGV to narrate a story we haven't heard or witnessed before. Sadly, the already exhausted genre curtails the maverick film-maker to spring surprises. To put it bluntly, DEPARTMENT is old wine packaged in a brand new bottle. Right from the characters, which we have witnessed in soooo many films of this genre, to the twists and turns in the story, RGV borrows from the past endeavors, instead of moving frontward. Besides, in an attempt to make it more mass-friendly, more 'commercial', RGV forcibly injects a couple of songs in the narrative [barring 'Cheeni', filmed on an alluring Nathalia Kaur] that are completely unwelcome in an enterprise that's out to depict realism.

DEPARTMENT is soaked in high-voltage drama and action, with a consistent undercurrent of tension. As a matter of fact, there's an overdose of action in the film, though, I must admit, a few action pieces, especially the final showdown between Sanju and Rana, is deftly executed. But the absence of a riveting and absorbing screenplay looms large in the post-interval portions. Sure, some sequences do hit you hard, but the writing tilts heavily towards been-there-seen-that kind of situations persistently, promising little or no surprise as the plot unravels. RGV's obsession with the camera is evident here as well. He does away with the usual visual language this time, which is sure to win him admirers. The background score [Dharam-Sandeep] enhances the impact, while the dialogue are power-packed at times, but plain mediocre at places.

The central characters get extensive scope and absolutely surrender to RGV's vision. Amitabh Bachchan is remarkably credible. Sanjay Dutt stands out with a prominent performance. But it is Rana Dagubatti who surfaces as an accomplished actor. Rana has remarkable screen charisma and is convincing in his superior portrayal of a cop.

Vijay Raaz's character lacks meat. Abhimanyu Singh enacts his part with gusto. Madhu Shalini [Abhimanyu's love interest] catches your eye. Laxmi Manchu [Sanju's wife] is proficient. Anjana Sukhani underplays her part wonderfully. Deepak Tijori doesn't get much scope.

On the whole, DEPARTMENT is neither novel, nor experimental, but a return to the tried and tested formula. Disappointing!

Posted by: Sharmila-Sweet Jun 4 2012, 10:53 AM

http://movies.ndtv.com/movie_Review.aspx?id=714

Rowdy Rathore review
(Action) Saibal Chatterjee
Friday, June 01, 2012

2/5



Cast: Akshay Kumar, Sonakshi Sinha
Director: Prabhu Deva


An air of unabashed, if generally harmless, imbecility pervades Rowdy Rathore. With very little substance to play around with, the film spreads itself dangerously thin. But even when it teeters on the brink of snapping point, it hurtles along like an armoured vehicle on four flat tyres. It makes much din but covers little ground.

Let’s hand it to director Prabhu Deva. He throws every trick that he knows in the book into this predictable remix of a Telugu hit – song, dance, crass humour, romance, thunderous action and a fearless supercop out to outsmart a bunch of murderous marauders.

It’s the good old unstoppable all-or-nothing approach. Prabhu Deva obviously has no faith in any form of subtlety. He goes the whole hog and revels in unbridled excess every step of the way.

Actually, for a film of this kind, a cross between Dabangg and Singham with stray traces of Agneepath, over-the-top methods are par for the course. Some of them do pass muster.

Rowdy Rathore is a shrill action flick designed to help Akshay Kumar return to his hit-making ways. Accept that obvious intent and you might actually end up enjoying certain parts of the film against your own better counsel. Isn’t that the effect that many a Bollywood potboiler of the 1980s would have on us?

Yes, Rowdy Rathore employs narrative elements that hark back to a bygone era of Bollywood potboilers: two men who look like each other without any apparent reason, a bunch of baddies that snarl and snap at the slightest provocation and indulge in rape and pillage with abandon, and the good old back-from-the-dead revenge seeker who goes back dispensing rough-and-ready justice.

The only surprise that the film springs is in the opening credits: SLB, maker of Hum Dil De Chuke Sanam and Devdas, is one of the producers of this no-holds-barred entertainer designed for easy mass consumption.

The first half of the film ambles through an hour and a bit of mostly insignificant narrative detail, including the circumstances in which the male protagonist, a small-time Mumbai conman Shiva (Akshay Kumar), meets and falls in love with Paro (Sonakshi Sinha), a pretty girl from Patna who is in town for a wedding.

It is only in the second half that Rowdy Rathore gets down to serious business as the action moves to a hamlet called Devgarh where a rural tyrant, Baapji (Tamil character actor Nasser), calls the shots. Cops shiver in front of him and his lecherous men, and a minister dances to his tune. The villagers are mere lambs to the slaughter.

Away from this hell-hole, Shiva is taken by surprise when a little girl mistakes him for her father. After with a life-threatening attack on him by a gang of goons, he decides to get to the bottom of things. He discovers that the girl’s father was actually a random doppelganger, a lookalike police officer who is eventually killed before the crook’s eyes by the rustic gang.

Shiva assumes the garb of the dead policeman, transforms into a violent rabble-rouser and goes all out to avenge the murder.

The film’s romantic track is mere window-dressing – it offers the director a pretext to stage a couple of song and dance set pieces that only serve to slow down the film’s pace.

You know what is coming next – the hero’s beloved and the dead cop’s daughter are abducted by the villains and the policeman who is masquerading as one takes the law into his own hands and sends the bad guys scurrying for cover.

The thing about a film like Rowdy Rathore is that it lets the viewer stay a step ahead of the action, which is a perfect recipe for an instant connect with the masses.

Riddled with an array of loud, lame and specious contrivances, Rowdy Rathore plays out pretty much like a comic-book fantasy rendered in the form of a live-action film. Go for it if you must, but don’t expect the earth from it.

Posted by: Sharmila-Sweet Jun 7 2012, 02:30 PM

Review: Shanghai is powerful cinema
Published: Thursday, Jun 7, 2012, 9:30 IST | Updated: Thursday, Jun 7, 2012, 12:36 IST
By Aniruddha Guha | Place: Mumbai | Agency: DNA


Emraan Hashmi as Jogi in Shanghai
Film: Shanghai
Director: Dibakar Banerjee
Cast: Abhay Deol, Kalki Koechlin, Emraan Hashmi, Prasenjit Chatterjee and Farooque Shaikh
Rating: **** ½

Where does a filmmaker like Dibakar Banerjee go from here? His debut film, the delectable Khosla Ka Ghosla, drew us into the story of a middle-class family fighting to save their land. His second was the sparkling-with-smart-lines and engaging indie, Oye Lucky Lucky Oye, also among the first films to signal the arrival of the change gripping Bollywood. His third, LSD, was a bold, experimental story of love, sex and betrayal, narrated episodically.

Thankfully, Banerjee seems to be aiming higher with each subsequent film. Shanghai, Banerjee’s fourth film, is his best. It’s also a very important film, in addition to being consistently engaging and extremely satiating. Why just make a good film, when you have the wherewithal to make a powerful one? A film that can change perception; one that can make a statement, and push the envelope.

Shanghai does all of that, and does it well. Banerjee brings together great plot (inspired by Greek writer Vassilis Vassilikos' political novel, Z) some very good actors and a bunch of able technicians in a movie that clocks just a little under two hours, but occupies your mind for many after. It has a story few filmmakers in this country would dare to tell – it’s one thing to show politicians as single note, corrupt antagonists (as we have been seeing for years now), and quite another to explore the red-tapism and inner workings of the government machinery, and how it affects the lives of many (as in Shanghai).

On the face of it, the plot is simple – a social worker, Dr Ahemadi (Chatterjee), fighting for the resettlement of the hapless residents of Bharat Nagar, is bumped off. The involvement of the political-builder-police nexus is apparent. Stuck between them is Dr Ahemadi’s student, supporter and lover, Shalini (Koechlin), looking for justice among the mayhem; TA Krishnan (Deol), the guy in charge of the enquiry commission set up to investigate the death; and a small-time video filmmaker, Joginder Parmar aka Jogi (Hashmi), who gets dragged in unwillingly.

The pace is breakneck. Banerjee and co-writer Urmi Juvekar pen a tight screenplay, one that gives you little room to breathe, the story moving swiftly. Shanghai is not the kind of film where one-liners come thick and fast, yet dialogues have gravity. The narrative is propelled by Namrata Rao’s deft editing (with Ishqiya, Band Baaja Baaraat, Kahaani, and now Shanghai, she’s emerging as one of our best), and Mikey McCleary’s background score. The sound of dhols to denote cacophony even as life seems brittle elsewhere is a neat trick.

Shanghai wouldn’t have been what it is without its actors. Sadly, we are yet to constitute an award for Best Casting Director (most films don’t even have one), or Atul Mongia would stake his claim. The film boasts of actors who shine in smaller roles, among them Pitobash, Anant Jogue, Tillotama Shome and Supriya Pathak.

Chatterjee’s casting as Dr Ahemadi is a masterstroke, his character probably the film’s most important, even if short in duration. My favourite performance of the film, though, comes from the ever-dependable Farooque Shaikh, who’s a delight to watch onscreen. Another actor in the same role would have been forgotten soon after the film ends, but Shaikh nestles himself in your memory with a knockout act.

Okay, so Shanghai is “kissy actor” (in the words of Banerjee) Emraan Hashmi’s big shot at winning over that audience which doesn’t think much of his bad-guy-who-makes-out-with-the-pretty-girls roles. As Jogi Parmar, Hashmi is stripped of all charm, the stained teeth and paunch making him a lot less appealing. Yet, make-up and physical transformation isn’t always directly proportionate with great acting. Hashmi, thankfully, goes beyond the exterior aspects of his character, and shines as the vulnerable Jogi. The transformation is indeed commendable, and Shanghai could do for Hashmi what Omkara did for Saif Ali Khan.

Abhay Deol, in comparison, has a comparatively one-note role, but he makes a mark in spite of a suspect Tamil accent. In the final moments of the film, especially, Deol packs a punch. Kalki Koechlin is the film’s weakest link, her physical appearance probably the only factor that seems to have worked in her favour (as it has in past films). How long, though, will she continue playing the agonised expat/NRI with doped-out eyes and weird accent?

To sum, Dibakar Banerjee’s Shanghai walks the thin line between mainstream and meaningful cinema, and does so beautifully. The rare, well-deserving Rs100cr film? Who cares? There’s more to cinema than box office records and opening weekend numbers; Shanghai is the perfect example. Watch.

Posted by: Sharmila-Sweet May 2 2013, 11:36 AM

Aashiqui 2
U; Romance
Dir: Mohit Suri
Cast: Aditya Roy Kapoor, Shraddha Kapoor


2013 is touted to be the year of sequels in Bollywood with more than a dozen franchise-based films hitting the marquee. Well, after watching Aashiqui 2, the definition of sequel needs to be visited once again. This particular romance-drama might come across as a sequel to the 1990 hit Aashiqui but it’s not. What the film does though is it religiously follows the Bhatt model — in which winsome music plays a huge role — with dull moments.


Aditya Roy Kapoor and Shraddha Kapoor in a still from the film.

In a nutshell, the whole story is about fame, failures and feelings. In hindsight, it’s also about a woman who wants to reform her alcoholic mentor-boyfriend with love. And fails miserably. But that’s also where the charm lies. Sending him to a rehab would have done the trick but then, it wouldn’t have added to the melancholy. Also, it’s advisable to ignore common sense in a film attempting to measure the equations of a showbiz couple, right? Wrong. Abhimaan (1973) did a comparatively better job in this regard. What Aashiqui 2 does is negate the jealousy factor and microscope more on trust between the protagonists.

Aashiqui 2 begins with this has-been rockstar who is busy destroying himself with alcohol but his life changes one night when he runs into — quite literally — this beautiful girl who also happens to be a gifted singer. From that point onwards, he tries to nullify his excesses by wholeheartedly supporting her career. That is before he comes to terms with his own realities.

Director Mohit Suri chooses to follow the set template. There are barely any remarkable sequences. As the result, the movie relies heavily on the actors. Performance-wise, the first half scores an own goal whereas the second half is a revelation. Shraddha Kapoor’s portrayal of a conscientious lover is noteworthy as she showcases the emotional flair without going overboard. Overall, Aditya Roy Kapoor is promising but he struggles; especially during the scenes where he has to present a wasted artiste. Ranbir Kapoor effortlessly aced those very moments in Rockstar (2011).

The editor could have kept this film shorter without losing on the essence. Ironically, the loveliest scene happens in the end but you’ll have to go through a lot of tears and few smiles to reach that point.

**