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

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

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

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.

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

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

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.

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!

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

is it?.....hmm....maybe the original is too old to have copyright issue......but anyhow...it's good...it's not a popcorn movie....it's just simple and realistic....

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/revi...rtainer_1436258

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..

Ahaa! Then I must see this one for sure.. I was very apprehensive about it after I saw the trailor of the movie when I went to see Peepli Live!

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.

I AM NOT...

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

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!
__________________

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....

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!!

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

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

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

Not him.. yes Bin Laden guy was real funny! I was talking about the youngster Ali Hassan who wants to go to the US. He is a well known Pakistani pop singer too.

I did not watch the full movie. Yeah songs are great.. Pee Loon Tere Neele... but featured on EH Music is by Pritam.

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.

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!

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

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 !

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

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

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

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

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

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.

Write your own movie review of Golmaal 3
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

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....

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

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..........

@ 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.

Yeah I thought so...coaz although i have never been to India but i sort of have the idea of their culture through films and friends and a cousin who lives in india.............and aish looks pretty in those dresses......

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

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.

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

yeah i wonder why great movies don't do good at box office while silly movies do good........

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.

Tees Maar Khan

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


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

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

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

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




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

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

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

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

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

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

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

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

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

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

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

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

3/5

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

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

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

GAME

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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