Bollywood Movie Review

Fruit & Nut

2009-10-23 08:24:41

FRUIT & NUT, directed by Kunal Vijaykar, is one of those films that succeed in making you giggle intermittently. But how one wishes the film had a strong story in the first place. This one is a senseless comedy and the sad part is, the absurdities here are not too amusing. FRUIT & NUT is about Jolly Maker, who is a simple, hard working middle class struggling bachelor in search of love, money, friends and success. He works as a clerk/accountant in the office of a greedy and corrupt builder named Khandar. He is typically nerdy and un-stylish. He is also accident-prone and leaves a trail of disaster behind him. One fine day, Jolly Maker's beautiful, sexy, smart and snobbish colleague, Monica, gets mysteriously kidnapped. Through a roller coaster ride and series of comical mishaps, Jolly Maker finds himself in the middle of a plot that has been hatched by an insane Ex-Maharaja to destroy Mumbai. Whether the poor, adorable, accident-prone Jolly Maker finally falls in love or not, gets his girl or not and above all, is able to save Mumbai or not, makes for rest of the film. Director Kunal Vijaykar tries hard to keep you entertained, but the writing is just not captivating. Sure, you do laugh at a few jokes/situations, but there are times when the jokes aren't too funny and also tend to get repetitive. The performances are over-the-top, but go well with the mood of the film. Boman Irani glides into the character effortlessly. Cyrus Broacha is perfect. Mahesh Manjrekar is first-rate. Dia Mirza does a fine job. On the whole, FRUIT & NUT has some funny moments, that's it! A film like this holds very limited appeal.

Main Aurr Mrs Khanna

2009-10-16 05:52:08

We love drama. That's the staple diet of Bollywood films. Even television shows, till a few months ago, relied too heavily on dramatic moments and twists-n-turns, especially the saas-bahu shows. Of late, the reality shows rely on drama to boost the TRPs. MAIN AURR MRS. KHANNA, directed by debutante Prem Soni, could've been an interesting story had the drama quotient been a bit stronger. What comes across is too simple and ordinary. Actually, the problem lies in its writing. It wouldn't be erroneous to say that Prem Soni, the director is letdown by Prem Soni, the writer. The writing gyrates from interesting to ordinary to unconvincing and that bogs the film down. The inconsistency is evident all through. Final words? This Mr. and Mrs. Khanna won't live happily ever after! Raina [Kareena Kapoor], Samir [Salman Khan] and Akash [Sohail Khan] are three people whose lives get entwined at an international airport. Samir has to decide whether he wants to stay in the same city [Melbourne] that gave him so much and then took away everything or fly away to a new city [Singapore], to a new life. Raina has to decide whether her love and loyalty for her husband Samir, who left her to pursue success, is more justified than her faith and trust in her new-found friend, while Akash has to decide whether what he feels for a married woman is lust or true love and whether he's justified in trying to win her at all costs, even at the cost of her marriage. Now let's analyseâ¦ MAIN AURR MRS. KHANNA makes a promising start. The cracks in the relationship are evident when the husband starts facing problems on the professional front. He tries to re-locate to Singapore, but decides to send his wife to Delhi, to his parents' home. Convincing! The wife decides to stay back in Melbourne and suddenly meets an 'angel' [Sohail Khan] and a friend's friend [Mahek Chahal], who gets her a job at the airport [within hours of meeting her] and a few scenes later, Mrs. Khanna shifts into a palatial mansion. Wowwwww! How can she afford a palace-like home in Melbourne from the salary that she gets, while working in a shop at the airport? Not convincing! The wife and angel become friends. The angel is well aware of her marital status, yet loves her dearly. The woman trusts him as a friend. Convincing! The husband re-surfaces [very quickly]. He's now settled in Singapore, has even bought a house there, he returns to Melbourne to fetch his wife back. Complications arise when the marriage registration letter surfaces. Not convincing! The question is, why didn't the wife confide in her husband about it? That she had to do it for the work permit? Of course, she states subsequently that she didn't want to complicate things further, but didn't she ever realise that the truth would be out sooner or later? Also, when the husband is in Singapore, there's scant or zilch communication between the couple, which looks so unreal. There's just one sequence of the wife calling her husband, but the husband isn't responding to the call. Again, not convincing! The ending is interesting, but the surprise appearance of Deepika Padukone looks forced in the script. Perhaps, it was incorporated so that Sohail doesn't come across as a loser. Strangely, Deepika's name is also Raina [also Kareena's name in the film] and she too was in a relationship with a Samir [also Salman's name], which looks fake. Prem Soni has handled a few scenes well, but the writing is ineffectual. Dialogue, also by Prem, are wonderful at places. Sajid-Wajid's music is tuneful. 'Don't Say Alvida' and 'Rabba' are melodious compositions. The cinematography is striking. The locales of Melbourne give the film a perfect romantic setting. Salman handles his part with maturity, but it's a Kareena show all the way. She is remarkable and delivers a winning performance yet again. Sohail contributes to some light moments. Yash Tonk is alright. Mahek Chahal is perfect. Nauheed Cyrusi doesn't get any scope. The film has several star appearances: Deepika Padukone, Preity Zinta [okay], Dino Morea [hardly there for a few minutes] and Bappil Lahiri [yes, the veteran music composer has a proper role in the film]. On the whole, MAIN AURR MRS. KHANNA is weak in merits. At the box-office, the BLUE wave, followed by another strong opposition in ALL THE BEST will sideline MAIN AURR MRS. KHANNA completely. It's a non-starter!

Acid Factory

2009-10-09 04:02:57

Besides Abbas-Mustan, Sanjay Gupta has attempted interesting thrillers in the past. His new outing, ACID FACTORY, directed by Suparn Verma, is a cat-n-mouse chase that will have you on edge of the seat as it unfolds. Inspired by Hollywood film UNKNOWN, ACID FACTORY is engaging in most parts. Also, it's well adapted to suit Indian sensibilities. It starts off strong enough and keeps the momentum going till the end, though, of course, it goes back and forth at times and that could get a bit confusing. ACID FACTORY demands your attention from the very start. The viewer ought to stay alert and watch the goings-on carefully. Even if you blink, chances are you may miss a vital link and the subsequent portions may not work for you since there's something happening every minute. At the same time, ACID FACTORY has its share of loose ends. The climax, for instance, could've been more impactful. Also, the concept is too urbane and holds appeal for the urban youth, who've a penchant for slick thrillers. Final word? ACID FACTORY is a well-crafted, well executed film with the ensemble cast pitching in competent performances. A man [Fardeen Khan] wakes up in a deserted factory surrounded by several other seemingly dead men. He has absolutely no memory of who he is or how he got there and he is unable to get out. Before too long, the others [Aftab Shivdasani, Dino Morea, Manoj Bajpayee, Danny Denzongpa, Dia Mirza] wake up and they all have amnesia too. All they know is that some of them have been shot, one is tied to a chair, a third is hanging by his wrist, which is handcuffed to a railing... It is eventually discovered that they have lost their memory because of gas leaked from a container. Much later, they figure out that two of them have been kidnapped by the other three. Who are the kidnappers and who are their victims? Meanwhile, the police are tracking a sinister man [Irrfan Khan], while a worried wife [Neha] desperately searches for her husband. ACID FACTORY has enough going for it, thanks to its premise which is intriguing. But the plot is such that it takes time to come to the point. There's not much happening in the first hour, except the fact that everyone's clueless about their identity and how they seem trapped in a dilapidated factory. But the answers start flowing in the second hour. The answers come quick and the reasons why they are trapped are also justified. But, as mentioned earlier, the conclusion could've been as realistic like the rest of the proceedings. Also, the track of the harried wife trying to trace her husband isn't too convincing. This is Suparn Verma's second film as a director and midway through the film, you realise that Suparn has grown as a storyteller. The film bears a slick look and also, the narrative holds your attention for most parts. Cinematography is top notch. So is the sound design. Tinu Verma's stunts and chase sequences deserve distinction marks. Every actor pitches in an effortless performance. They aren't putting on an act. The film has an assorted mix of experienced and accomplished actors [Danny Denzongpa, Manoj Bajpayee and Irrfan Khan] and yet-to-reach-there actors [Fardeen Khan, Aftab Shivdasani, Dino Morea and Dia Mirza] and each display confidence in their respective parts. Neha doesn't get scope, while Gulshan Grover is as usual. On the whole, ACID FACTORY is a slick thriller that has an interesting premise and also super stunts and chase sequences as its trump cards. The film is targeted at the urban youth, especially those who relish thrillers. Of course, the film will have to storm the dull pre-Diwali period which might curtail its prospects to an extent despite decent merits and also, the three biggies that arrive next Friday.

Fast Forward

2009-09-25 06:30:00

Films like DIRTY DANCING and GREASE have enthralled millions of moviegoers across the globe. There have been few attempts to make out-and-out dance-based films in Bollywood, although there's a barrage of dance-based shows on television these days. FAST FORWARD, directed by debutante Zaigham Ali Syed, has some brilliantly choreographed songs, but there's a hitch: Absence of a gripping storyline. Actually, FAST FORWARD stands on a faulty story and the patchy screenplay only worsens the situation. The sole redeeming aspect of the enterprise is the dance numbers. That's it! Write your own movie review of Fast Forward FAST FORWARD tells the story of two friends, Rehan Khan and Akshay Kapoor, who are exceptional dancers. Akshay falls in love with Rehan's sister Bhavna Pani, only to discover she was suppressing her burning desire to dance. Akshay shows Bhavna a whole new world through dance, but unknowingly they revive Rehan's painful and dark past. The story is full of contradictions. Firstly, the lead man is haunted by visions of his mother performing dances at sleazy joints and surprisingly, he aspires to be an accomplished dancer some day. But the moment his kid-sister wears her dancing shoes and starts gyrating, he actually throws a fit and gets those visions again that haunt him. Strange! Here's another gaffe. When Rehan's buddy Akshay professes love to Rehan's kid-sister Bhavna, all hell breaks lose. Rehan severs all ties with Akshay, opts out of the dance group, even bashes him and also detests his sight. Sure, Akshay has a roving eye, but even to the viewer, his intentions this time [for Bhavna] seem honest, so why this fuss? Suddenly, in the finale, there's a change of heart too! The climax fight between Vinod Khanna and Mahesh Manjrekar is ridiculous. Khanna bashes up a dozen-odd villains like a 20-year-old would, which is hard to digest. Something like this may have worked when Khanna was in his prime, not today. Zaigham seems technically adept, but he's letdown by a tacky script. The songs are okay, although the choreography is top notch. 'Taali Bajao' - towards the end credits - is the best of the lot. The youngsters pitch in decent performances. Rehan is natural. Akshay is equally at ease. Bhavna makes a sincere attempt. Siddhanth Karnick and Sabina Sheema are perfect. Each of them is exceptional in dancing. Vinod Khanna and Mahesh Manjrekar are wasted. On the whole, FAST FORWARD is a weak product.

Ruslaan

2009-09-11 10:30:47

Times have changed, but certain film-makers are still stuck up in the era gone by and that reflects in their cinema. That's what you realise when you watch RUSLAAN. The film highlights a terrorist act that shook the nation a few years ago and how the life of an innocent goes topsy-turvy when he's falsely framed as a terrorist [KHUDA KAY LIYE and more recently NEW YORK also depicted this]. But the gravity of the situation doesn't come across on the screen because the writing is amateurish and the execution, childish. Ruslaan [Raajveer] lives with his parents and a younger sister. He's in love with Samaira [Meghaa Chatterjee]. One day, a series of blasts occur at various railway stations of Mumbai and the cops arrest Ruslaan for this act of terror. Director Mohan C. Sharma looks at a serious issue [train blasts in Mumbai], but there's nothing in the film that moves you or makes you think. In fact, the love story [between Raajveer and Meghaa] is also under-developed and the terrorist track is poorly written as well. Why is Ruslaan picked up by cops, is never explained. Also, Ruslaan is thrown in a lock up, but the execution is such, it gives an impression that he's a petty thief, not a terrorist. Seems like no detailing whatsoever has gone into the scripting [writers: Brahma-Dhruv]. Music [Raees Jamal Khan] is the sole saving grace. 'Maula Maula' is the pick of the lot. Raajveer tries hard to infuse life in his role, but, surprisingly, is relegated to the backseat in the second hour. Meghaa should've faced the camera after proper grooming. Asrani is as usual. Shahbaaz Khan and Ganesh Yadav are as usual. S.M. Zaheer and Smita Jaykar are okay. On the whole, RUSLAAN is a weak fare.

Aagey Se Right

2009-09-04 05:32:48

Till a few years ago, if a director or writer would tell you that the object of attention in his story is a pistol and how the entire film would revolve around it, you'd laugh, even scoff at, on his face. Is he out of his mind? But times have changed. Wacky concepts are the order of the day. Last week, QUICK GUN MURUGUN depicted one. This Friday, it's AAGEY SE RIGHT. AAGEY SE RIGHT is witty and humorous in parts, but at the same time, the story is so fragile that it runs out of breath when stretched for 2 long hours. Had debutante director Indrajit Nattoji concentrated on just two characters - the cop who loses his gun and the terrorist who loses his heart - instead of focussing on the assorted characters, this one would've been one helluva ride. Final word? AAGEY SE RIGHT doesn't get it right. AAGEY SE RIGHT tells the story of a cop [Shreyas Talpade] and terrorist [Kay Kay Menon]. Through a series of events not in their control, the cop loses his gun and the terrorist loses his heart. Their two worlds collideâ¦ To start with, the screenplay doesn't do justice to the wild and imaginative story. In fact, the writing has loopholes aplenty. To cite an instance, Vjay Maurya is supposed to be the front man of the terrorists in Mumbai, but when Kay Kay has a change of heart, so does he. Strange, isn't it? Ditto for Shehnaz Treasurywala, who dances in a sleazy bar, is later visiting studios for film assignments and much later, also dances at the police function [in the finale]. Even Kay Kay's part suffers due to poor writing. His change of heart looks weird. Barring Shreyas, Mahi Gill [television reporter] and Bharti Achrekar [Shreyas' mom], the characters are not well defined. Director Indrajit Nattoji has a wacky sense of humour and it shows in the film, but he's been unsuccessful as far as the writing is concerned. The songs don't serve any purpose either. Shreyas Talpade does a commendable job. In fact, his comic timing is impeccable. Kay Kay Menon is wasted. Vijay Maurya delivers a superior performance. Mahi Gill is perfect. Shehnaz Treasurywala can't act. Shiv Pandit irritates. Ditto for Shruti Seth. Rakesh Bedi is funny in a small role. Bharti Achrekar is excellent. On the whole, AAGEY SE RIGHT has a few funny moments, but overall, this one doesn't go left or right, but directionless.

Mohandas

2009-09-04 06:01:03

Browse a newspaper or surf news channels and I am sure, you'd be enlightened with more than a hundred stories in the course of a day. But not all stories have the potential to be adapted for the big screen. MOHANDAS suffers due to this reason. MOHANDAS is a poignant tale and is well shot too, no doubt, but the question is, does it hold your attention for the next 2 hours? In parts, yes, not in totality. At best, MOHANDAS might strike a chord in the film festival circuit, that's it! Catering to a really miniscule audience. Write your own movie review of Mohan Das - A Man Lost In His Own Nation Meghna [Sonali Kulkarni], a correspondent working at a news channel in New Delhi, receives a videotape from a remote place in Madhya Pradesh. On the tape, a battered young man claims to be the real Mohandas [Nakul Vaid] and alleges that someone else has stolen his identity. Someone else is living as 'Mohandas'. Intrigued by what looks like an unusual small-town scam, Meghna makes a trip to that place. There, she unearths the true story. Mohandas is a topper in studies and is overjoyed when he is selected for a job in Oriental Coal Mines. But he is kept waiting and waiting to actually get the job. Long afterwards, when he has given up and reconciled to it, he learns that someone else has assumed his name and has already taken his job. When he rushes to protest, he is beaten up and thrown out. Meghna places this story in the media. Harshvardhan [Aditya Srivastava], a lawyer from the district, takes this case of stolen identity to court with the intention of hauling up the usurper. But will things change? In most cases, the choice of the subject is right, but the director makes mincemeat of it. But in this case, debutante director Mazhar Kamran makes a sincere attempt to narrate this unconventional story well. A number of sequences are truly well executed, especially the end, which comes as a shocker. But, at the same time, Mazhar should've restricted the narrative to 1.30 hours, instead of almost 2 hours. Also, after a point, it becomes one of those films that depict the good in good light and the corrupt in bad light. In short, it gets bland and monotonous! Nakul Vaid plays his part very well. Sushant Singh doesn't get scope, but nonetheless leaves an impact. Sharbani Mukerji has transformed herself well for this part. Sonali Kulkarni gets her role right. Aditya Srivastava, as always, is competent. Govind Namdeo is first-rate. Sameer Dharmadhikari gets no scope. Uttam Haldar is proficient. On the whole, MOHANDAS is a well-intentioned, well-made film, but it will have a tough time standing on its feet due to lack of face-value and also multiple releases. Rating:[critique]

Chintuji

2009-09-03 08:10:27

Sometimes, big things come in small packages. The expectations from CHINTUJI are zilch. Even the pre-release promotion is extremely low-key. Also, the awareness is as good as nil. But CHINTUJI springs a pleasant surprise. It packs in a solid punch in those 2 hours. No, this isn't the best film made this side of the Atlantic. Nor does it boast of A-list stars or gloss and scale to catch our attention. But CHINTUJI works because it narrates a simple story of simple people in a simplistic manner. The township [Hadbahedi] is Utopian, but the characters are very, very real. Writer-director Ranjit Kapoor narrates the story of do-gooders, which only reinforces your faith in goodness and humility. Also, CHINTUJI wouldn't be what it is had it not been for a performer of the calibre of Rishi Kapoor. Take a bow, Chintuji! Write your own movie review of Chintu Ji Final word? CHINTUJI is a sparkling gem that deserves to be watched. Strongly recommended! Hadbahedi, a beautiful town, is forward looking but honest. The Hadbahedians believe that they have been totally neglected by the state and seek an identity of their own. Things brighten when they discover that Rishi/Chintu Kapoor was actually born in their town. They send an invite to him and he accepts as he is looking at politics to make a comeback in a big way and Hadbahedi could well be his constituency. Rishi arrives in Hadbahedi along with Devika [Kulraj Randhawa], the intelligent executive of the PR agency hired for Rishi's political dreams. Rishi is a nuisance at Hadbahedi and treats the innocent people of Hadbahedi with contempt. Tension erupts when Rishi gets a lucrative offer from a neighbouring town... Inspired by a play THE MAN WHO CAME TO DINNER, CHINTUJI abounds in humour and the comic sequences, sprinkled generously throughout the film, are truly funny. At times, hilarious. In fact, substantial footage is devoted to Bollywood and even those portions are beautifully integrated in the storyline. But the film slows in the second hour. Actually, portions linking Priyanshu with an act of terror were just not required. In fact, these portions only add to the length of the film. Besides, the pact between Rishi and Annu Kapoor [playing a power broker] could've been stronger as well. However, the end is simply brilliant. It moves you! Ranjit Kapoor is a director to watch. His writing, in most parts, is super. Camerawork [Sunny Joseph] is perfect. Rishi Kapoor is the soul of CHINTUJI. The veteran has essayed a wide variety of roles in his illustrious career, but CHINTUJI is special. This is amongst his most accomplished works. Priyanshu Chatterjee looks perfect for his part. Kulraj Randhawa is highly competent. Amongst the assorted characters, Grusha Kapoor and Saurabh Shukla are excellent. Kamal Chatterjee Shabnam, the septuagenarian who plays the dai, is very good. Sophie Choudry is alright. The remaining actors are also well cast. On the whole, CHINTUJI is a gem that deserves a watch. Yes, there's no awareness for this film, the pre-release hype is also zero and of course, it has to contend with a bombardment of new films week after week and chances are that this film may get ignored due to these reasons. But here's a request to all cine lovers and also multiplexes, from this writer. Give this film a chance. Let's nurture it well, so that genuine efforts like CHINTUJI don't go unnoticed.

Three - Love, Lies, Betrayal

2009-09-03 07:27:48

Thrillers have been Vikram Bhatt's forte and THREE - LOVE, LIES, BETRAYAL, scripted by Vikram Bhatt and directed by Vishal Pandya, takes the legacy forward. This time, it's a simple setting, involving three people. But it's not as simple as you think. The relationships are complicated, the characters are crooked and double crossing is almost a habit for this trio. Unpredictability is the strength of THREE. Also, the culmination should come as a jolt - that's a must that any suspense thriller - and the twist in the climax meets the requirements, catching you by surprise. But THREE is not without its share of hiccups. The writing is not consistently engaging and also, the length could've been concise. Yet, all said and done, THREE is a notch above the ordinary. THREE revolves around Anjini [Nausheen Ali Sardar], who is married, is also a violin teacher and runs the house with whatever she earns. Her husband, Rajeev [Akshay Kapoor], who has not been able to earn much, lives in her house and on her money, which is the reason for his anger and frustration. Rajeev finally gathers the courage and asks her to sell her house and give him the money to invest in the business; she refuses as her house is her only connection with her parents, who are no more. She decides to help her husband and give one portion of her house on rent so that her husband can use the money for his business. Sanjay [Ashish Chowdhry] comes to stay in her house as a tenant and reads the tension between the couple. He sympathizes with her and in the process, she falls in love with him. Is Sanjay's love for real? Not once do you feel while watching THREE that it's helmed by a first-time director. Right from the shot compositions to extracting the performances, the debutante director seems in control of the situation. But the writing could've been cohesive and more impactful. For instance, the wife is subjected to domestic violence at two vital points, but not once does she report to the cops. The women of today are well aware of their rights and wouldn't cow down to any abuse. Also, the game of one-upmanship towards the end gets a bit complicated and could've been simplified. Chirantan Bhatt's musical score is pleasant. Raju Rao's background score enhances the impact considerably. Pravin Bhatt's cinematography is truly arresting. The veteran DoP captures the beauty of Scotland on his lens admirably. The dialogues [Vikram Bhatt] deserve special mention. All three actors fit into their roles well. Nausheen Ali Sardar is a revelation. She's excellent all through. THREE should act as Ashish Chowdhry's showreel, frankly. He has gradually evolved into a fine actor and this film proves it. Akshay Kapoor enacts his part with complete understanding. He knows the grammar of acting right. Achint Kaur is first-rate. Wonder why film producers have ignored this talented actor for so long. On the whole, THREE - LOVE, LIES, BETRAYAL is a well-made thriller, but it remains to be seen how it fares in the Ramzan period and also how it competes with simultaneous multiple releases.

Daddy Cool

2009-08-28 06:00:25

Not all English films can be adapted for the Indian screen. Also, the remake may not necessarily be as interesting as the original. That's what you realize when you watch the Hindi version of DEATH AT A FUNERAL called DADDY COOL. Sadly, DADDY COOL is just not cool. Plenty of reasons why... One, this supposedly laugh riot fails to tickle your funny bone, barring in a scene or two. Two, the concept is more suited for a play. Setting an entire film on one location, with the story taking place in a span of a few hours, is not too exciting. Even otherwise DADDY COOL tries so hard to make you laugh, but falls flat on its face. The unfortunate part is, comedy in Hindi movies is now relegated to making faces on camera and that's what most actors in DADDY COOL do. Another factor that goes against the film is its humour. It's crass and crude. In this film, men roam around either in shirts, showing off their underpants [Chunky Pandey] or stand on a roof with just underclothes [Aftab Shivdasani] or tell people to remove their underclothes so that they can relieve themselves in a toilet [Prem Chopra asks Jaaved Jaffery to do so]. Really, what kind of humour is this? Chaos erupts during the funeral of Douglas [Sharat Saxena] when the grieved mourners are struck by drugs, romance, jealousy and a scandalous secret, all of which befall the family and friends. Director K Murali Mohan Rao has helmed several interesting films in the past, but what's this? Sure, DADDY COOL has a few entertaining moments, like the one when Rajpal Yadav reveals the secret [that Sharat Saxena was gay and Rajpal and he were lovers], but the remaining sub-plots fail to cut ice. Adding multiple sub-plots is fine as long as each sub-plot has something fascinating to say, but that's missing here. Even the end is so bizarre, with members of this detached family suddenly professing love for one another. There's just one song [Raghav Sachar] at the start [a tuneful number] and one towards the end. Dialogues are strictly okay. With a weak screenplay on hand, there's not much the actors can do. The ones who try hard and manage are Suniel Shetty, Jaaved Jaffery, Sophie Choudry, Chunky Pandey and Prem Chopra. On the whole, DADDY COOL fails to deliver what it promises - laughter and entertainment.

Kisaan

2009-08-28 03:51:14

Two surprises... One, KISAAN is the present-day interpretation of Manoj Kumar's classic UPKAR. With changes, of course. Two, going by the promos, the general feeling is that KISAAN is a shining example of regressive cinema. It isn't! With multiplexes spreading far and wide in the country, movies that ruled the roost in the 1970s - especially those depicting rural India - have disappeared from the face of Hindi movies. One of the prime reasons why UPKAR worked was because the conflict between two brothers was not so explored then, but post UPKAR, there have been dozens of movies that highlighted the conflict. Hence, KISAAN gives you the feeling of dÃ©jÃ vu at several points in the story. But despite the similarities, KISAAN works in most parts because it's engaging. The drama, even though predictable, is well handled and keeps you engrossed at several points. Final word? Try out this desi stuff. Dayal Singh [Jackie Shroff], a widower, raises two very different sons; Aman [Arbaaz Khan] is formally schooled to become a city-based lawyer, while Jigar [Sohail Khan], through lack of funds and inclination towards anything other than farming, is kept by his father's side. When Sohan Seth [Dalip Tahil], a shrewd businessman, convinces many beleaguered farmers to sell their land for his commercial interests, it shatters the harmony of the village and Dayal's family is jeopardized. Aman and Jigar are pitted against each other. The ground at their feet, is it motherland or simply property? Surprisingly, KISAAN catches your attention from the word 'Go'. The sequence at the panchayat [Sohail Khan's intro] only enhances your interest in the film, but the film actually takes off when Arbaaz starts drifting away. At the same time, KISAAN has its share of loose ends. Times have changed and the writers could've updated the content to suit the current times. Also, Arbaaz's change of heart towards the end looks like a complete compromise, from the writing point of view. Puneet Sira has handled many a dramatic scene well. This is his finest work thus far. Daboo Malik's music is of a mixed variety. A couple of tunes are nice - 'Humko Kehna Hai' and 'Neechhe Saari Duniya Hain'. However, the visuals in the remix version of 'Mere Desh Ki Dharti' look out of sync. The makers should've maintained the desi look. Neelabh Kaul's cinematography is nice. Action scenes [Mahendra Verma] are rustic, which gel well with the mood of the film. Jackie is in form after a long, long time. Arbaaz doesn't make much of an impact, but Sohail does. In fact, Sohail is only getting better with every film. Dia enacts her part well, while Nauheed is alright. Dalip Tahil is as usual. Sharat Saxena and Vishwajeet Pradhan don't get much scope. Romeo is passable. On the whole, KISAAN springs a pleasant surprise. At the box-office, the film is targeted at the Hindi belt and the single screens specifically. Also, this one deserves to be tax-exempted!

Y.M.I. - Yeh Mera India

2009-08-28 04:03:08

Certain issues continue to make waves and hit headlines. Issues like the influx of people from the Northern states to Mumbai, or the one where, allegedly, residential societies don't seem too keen to allot flats to members of a particular community... N. Chandra encompasses all this and more in YEH MERA INDIA. The style of narrating the stories is akin to CRASH, while the storytelling is similar to Chandra's accomplished works ANKUSH and PRATIGHAAT - two films that made him an iconic figure then. YEH MERA INDIA is sharp as a blade and yes, it does re-open old wounds. The film works in most parts because you identify with most stories, but how one wishes Chandra would've kept the length of the movie in check. Final word? YEH MERA INDIA has its heart in the right place. Here's a film that pricks your conscience and makes you think. Recommended! YEH MERA INDIA is an attempt to explore the real stories behind the headlines. These stories deal with racial bias, communal bias, caste bias, class bias, gender bias, lingual bias and immigrant bias that plague the society. It is a story of one day in the life of 12 people from different strata of Mumbai city, which is a melting pot of cultures. N. Chandra goes back to his roots - topical, hard-hitting themes - and picks up stories that the common man would relate to. These stories are connected to one another and some of them are disturbing, which only goes to prove that the storyteller has succeeded in drawing your attention to the problems. But what dilutes the impact is the way some of these stories are culminated in the concluding reels. In real life, not all stories have a happy end, but in this case, they do. Also, since Chandra has chosen to raise too many issues, it's sure to take a toll on the length of the film, with each story demanding a justifiable ending and that only makes the goings-on lengthy. Chandra is best remembered for his first two films [also TEZAAB] and in YEH MERA INDIA, the N. Chandra of yore is visible in several sequences. One only wishes the production values would've been superior. The film has an ensemble cast and the actors infuse life in their characters. In fact, every actor in YEH MERA INDIA leaves a mark, but the ones who stand out are Anupam Kher, Parvin Dabas, Vijay Raaz, Atul Kulkarni, Seema Biswas, Rajpal Yadav and Smilie Suri. On the whole, YEH MERA INDIA is a film that grows on you. It's a film that the aam aadmi would connect with. At the box-office, this film should show an escalation thanks to a strong word of mouth.

Sikandar

2009-08-20 19:30:40

There have been path-breaking films on the plight of children. Children affected by poverty/conflict. Films like THE CHILDREN OF HEAVEN, TURTLES CAN FLY and CITY OF GOD have left an indelible impression on millions of minds. These films, says director Piyush Jha, have also been his inspiration. Jha's SIKANDAR looks at the conflict in Kashmir, without taking sides. That's because the focus is on a kid who becomes a pawn in a dangerous game played by politicians and terrorists. One has often read in newspapers and also watched television programs that highlight the fact that kids are being used in wars waged in the name of religion. SIKANDAR tackles this theme as well. SIKANDAR has a refreshingly different story to tell, since themes like the one here have rarely been told on the Hindi screen before. But how one wishes the screenplay would do justice to the thought. For, the film holds your attention in bits and spurts, not in totality. Also, the culmination to this story falls short of expectations. In a nutshell, SIKANDAR had the potential to strike a chord, but it leaves your hand midway. Sikandar [Parzaan Dastur] is a 14-year-old schoolboy in Kashmir. Ever since his parents were killed by militants 10 years back, he has lived with his aunt and uncle, in a small town in Kashmir. One day, on his way home from a school football match, Sikandar finds a gun lying on the path. Despite admonishments by his newly-made school friend, the 14-year-old Nasreen [Ayesha Kapur], Sikandar picks up the gun and thus begins a journey into the darker side of his nature. The quiet yet strong Nasreen becomes Sikandar's conscience keeper. She tries to dissuade him from giving in to the lure of the gun. However, all is not what it seems. Sikandar gets embroiled further and further in situations beyond his control. As layer upon layer unravels, it becomes clear that Sikandar is the innocent victim in a game being played out between the militants, the peace bartering politicians and the religious heads of the little Kashmiri town. You realize that SIKANDAR is not the usual film on terrorism at the very outset, when a kid kicks a football and a bomb explodes. The story takes off the moment Parzaan finds a gun and the sequences thereafter keep the viewer involved, especially the scenes between Parzaan and Arunoday Singh [the terrorist]. The point at which the first half ends makes you look forward to the second hour, but it doesn't. The problem is that the story suddenly moves into the suspense-thriller genre and that robs the film of its originality. Even before you're told who the culprit is, you've guessed it already thanks to the been-there-seen-that kind of situations that this film relies on. Sure, a few sequences do leave an impact - like the one when a blast occurs during the pre-climax - but the screenplay isn't cohesive at this juncture. To cite an instance, the army officer hands a gun to Sikandar to avenge his father's death. Now this looks implausible. Also, the politician's daughter has a change of heart in the end, which is so difficult to absorb. What director Piyush Jha needs to be complimented for presenting the viewers the scenic beauty of Kashmir. The DOP presents some stunning visuals of Kashmir to the viewer and that's something you carry back home. Parzaan acts quite well, but Ayesha doesn't work. Also, the accent is hard to ignore. Madhavan does a decent job. Sanjay Suri underplays his part beautifully. This is amongst his finest works. Arunoday Singh makes an impressive debut. Also, he's blessed with a strong personality to carry off this role. On the whole, SIKANDAR doesn't quite hit the goal.

Kaminey

2009-08-12 16:04:12

Dhan Te Nan. Vishal Bhardwaj pays homage to cinema of yore and that's reason enough to go out and grab tickets for one of the most keenly anticipated films of our times. A few monsoons ago, Farah Khan paid homage to the cinema of 1970s with OM SHANTI OM. Now Bhardwaj picks up characters that we have witnessed on the Hindi screen before, but executes it like Tarantino and Guy Ritchie do. He creates a film that's so different from movies we've witnessed thus far. Let's say, KAMINEY is bold, stark, funny and unpredictable and that's what works in its favour. There're two more reasons: Shahid Kapoor and of course, 'Dhan Te Nan'. Okay, we've seen Shahid pitching in a sincere act in his earlier films, but KAMINEY should catapult him to superstardom. His double role in KAMINEY is exemplary. There's another star in KAMINEY and that's 'Dhan Te Nan'. Your heart starts beating faster every time you hear this in the background or also when Shahid breaks into the song. The track is as big a craze as 'Jumma Chumma' [HUM], 'Ek Do Teen' [TEZAAB] and 'Choli Ke Peeche Kya Hai' [KHAL-NAYAK] and will contribute enormously in attracting viewers in hordes. Having said that, I wish to add that KAMINEY is not the usual masala film. Sure, it's a well-made film, but there's no spoon feeding here. One has to be attentive, very attentive to grasp the goings-on and also the twists in the tale. It's not one of those lock-your-brains-at-home types, for sure. And that might not be too appealing a thought for those who swear by candyfloss or meaningless ha-ha-thons. To cut it short, KAMINEY is a film with an attitude. Like it or leave it, but you'd never be able to ignore it. Word from the wise: Go for this hatke experience! KAMINEY is about a pair of twin brothers, Charlie and Guddu [Shahid Kapoor]. Charlie lisps, while Guddu stammers. They are as different as chalk and cheese. And they can't stand the sight of each other. Till one fateful rainy night, their lives cross. Charlie gets mixed up in a deathly get-rich-quick scheme, while Guddu realizes that the love of his life, Sweety [Priyanka Chopra], has unwittingly put a price on his head. The brothers are sucked into a world of drugs, guns and money. Their lives collide head on with the lives of gangsters, rebel soldiers, rogue politicians and crooked cops. The brothers have to run to protect themselves, their dreams, their love. And most importantly, realize that all they have is each other. It takes time to get used to the world Vishal Bhardwaj wants us to enter. The characters, the relationships, the lingo, the tone and the settingâ¦ frankly, you don't take to KAMINEY instantly. But twenty minutes into the film and things start falling in place. From thereon, you're drawn into a different world completely. The interval point raises the bar and also the expectations. The story takes a dramatic turn at this juncture, but minutes before that, 'Dhan Te Nan' makes the proceedings exhilarating and stimulating. Right from the sequence after the interval to the finale, Vishal Bhardwaj peels off layer after layer, which erupts like a volcano towards the end. The end is long drawn and with so many characters in the film, it only takes time to give a culmination to each of those characters. And that gets tedious. The violent end might not find universal acceptance. Vishal Bhardwaj proves that he's a master storyteller. KAMINEY is a damn difficult film to conceptualize and execute and Vishal does it with gusto. Besides the soundtrack ['Dhan Te Nan'], the effectual background score only enhances the impact. The dialogues, also penned by Vishal, are super. At places, clapworthy. Tassaduq Hussain's cinematography is top notch. Shahid takes a really big leap with KAMINEY. Note how he handles the two characters, Guddu and Charlie, brilliantly. This film is a step to superstardom and also which will open new doors and vistas for him as an actor. Priyanka is first-rate. She's so much in sync with her character. Also, she gets the Maharashtrian accent perfect. Amole Gupte is outstanding. An incredible actor! Tenzing Nima and Chandan Roy Sanyal leave a solid impression. Shiv Subrahmanyam and Hrishikesh Joshi are perfect. On the whole, KAMINEY lives up to the hype associated with it. The film has three stars -- Vishal Bhardwaj [a name that's immensely respected by moviegoers], Shahid Kapoor and 'Dhan Te Nan' -- and this combo as also the crooked characters and a genuinely hatke subject should guarantee ample footfalls in cineplexes even after its initial weekend. The weekend business should be huge due to the holidays all through the weekend: Friday [Janmashtami], Saturday [Independence Day] and Sunday. Of course, the business is bound to be affected in parts of Mumbai territory due to Swine Flu, but the film should take off in a big way when theatres re-open.

Agyaat

2009-08-07 05:09:08

Ramgopal Varma thinks differently. This time too the maverick film-maker defies the stereotype and takes to the dense forests of Sri Lanka to meet an 'unknown' force. But let's clear the misconception at the very start. AGYAAT is no supernatural thriller [like PHOONK] or a horror fest [like BHOOT]. This one's more of an adventure thriller that doesn't scare you at all, but makes you a participant in a pulse-pounding journey. For any movie to succeed, it ought to keep the viewer engrossed first and foremost. AGYAAT succeeds in doing that, especially towards the second hour. You haven't witnessed a journey like the one in AGYAAT on the Hindi screen before. In the West, the most memorable film I can think of is THE BLAIR WITCH PROJECT. AGYAAT works for several factors. The dense jungle blows your mind away, the sound design and the background score are easily at par with international films, the camera movement is spectacular and of course, RGV's execution of the material is just right for a film of this genre. But, at the same time, the culmination to the film is debatable. Of course, one would be doing gross injustice to the film by revealing the end, but it's bound to have its share of advocates and adversaries. It might bring a smile on your face or a smirk, but the fact remains that the reactions would be in extremes. Final word? Take a trip! A film unit goes for a shoot deep into a forest. They settle at a place with bare minimal facilities run by a strange and quirky man called Setu [Joy Fernandes]. The hero of the film, Sharman [Gautam Rode], is a completely self-obsessed man with no other concern except for his muscles and the leading lady, Aasha [Priyanka Kothari]. The team consists of the director [Howard Rosemeyer], producer [Ishrat Ali], the superstar's spot boy [Ishteyak], cinematographer [Kali Prasad Mukherjee], action director [Ravi Kale], second assistant [Rasika Duggal] and an assistant director [Nitin Reddy]. It all begins when the camera conks off... They have two days waiting for the replacement to arrive and with no form of entertainment or communication, when Setu suggests a camping trip into the forest, they jump at the opportunity. As they settle near a pond for the night, Setu hears a strange sound. He goes to investigate and never returns. After a desperate search, they discover his dead body. Panic sets in among the unit members and they jump into the vehicle, but they being unfamiliar with the terrain results in an accident. Completely lost and trapped in the jungle as Setu, the only guy who knows the way out, is dead, they don't know which way to move to get out of the forest. The first 25 minutes of AGYAAT are very unlike an RGV film. In a majority of his films, RGV comes to the point at the very start, but AGYAAT begins with a dream song [so unlike RGV] and the next 20 minutes are devoted to introducing the characters. The film actually takes off when the unit decides to penetrate into the jungles and Setu is murdered. From that point onwards, the by-now-famous RGV stamp is visible in several sequences. The two deaths before the interval [Joy Fernandes and Ishrat Ali] are brilliantly executed, especially Ishrat's murder at the interval point. AGYAAT becomes an adventure ride in the post-interval portions. Though it rests on a thin story, it's the adventure element that drives the film to its destination. There are deaths galore, but it's not blood or gore that puts you off. The murders are depicted very, very differently, leaving a lot to your imagination. RGV experiments again, this time attempting an all-new genre. It must've been extremely difficult to shoot in the forests, that's the first thought that crosses your mind. As mentioned at the very outset, the sound design [Dwarak Warrier], background score [Amar Mohile] and cinematography [Surjodeep Ghosh] are top notch. Thee three names contribute enormously to RGV's vision. Now to the actors! Nitin Reddy [a star in Telugu films] makes a first-rate debut in Hindi films. He dances exceptionally well [the film begins with a dance] and his confident performance make him an actor to watch out for. Priyanka Kothari shows vast improvement over her previous works. She's good this time. Gautam Rode enacts the hot-headed superstar with conviction. Every actor in the film makes an impression, but Ishteyak, Kali Prasad Mukherjee and Rasika Duggal stand out. On the whole, AGYAAT has an absorbing second half, but the culmination to the film would meet with diverse reactions. At the box-office, the distributors have recovered a substantial chunk of their investment from its dubbed Telugu rights and the remainder should be recovered given its aggressive promotional campaign and extensive release [700 + screens in Hindi belt]. The low-cost film, therefore, should prove to be a profitable venture on the strength of its economics!