Bollywood Movie Review

Angel

2011-02-11 06:33:31

Hindi films have often depicted rare illnesses/disorders/disabilities... GHAJINI [Anterograde Amnesia], PAA [Progeria], MY NAME IS KHAN [Asperger Syndrome], TAARE ZAMEEN PAR [Dyslexia], BLACK [Alzheimer's], KARTHIK CALLING KARTHIK [Schizophrenia], GUZAARISH [Paraplegia]. Now Ganesh Acharya's ANGEL talks of Cerebral Palsy. Like his peers, Acharya isn't merely highlighting a disability. ANGEL is primarily a love story... a hatke prem kahani in filmi lingo. Love can happen anytime, anywhere, to anyone. It can happen to people who have arrived at the sunset of their life and also to those with serious disabilities. Though we talk about how love is the purest emotion, our society, very often, does not accept love when it doesn't fit into our perception of love. To cite an example, love between an elder person and someone half his/her age or love between members of the same sex or between disabled individuals may make us uncomfortable. We get judgmental at times, thinking that we are right, while others -- those who don't act according to what we feel is right -- are labeled as rebels, oddballs and misfits. ANGEL does that. It goes into the unconventional zone, depicting a love story between a social misfit and a woman suffering with Cerebral Palsy. var zflag_nid="585"; var zflag_cid="947"; var zflag_sid="36"; var zflag_width="300"; var zflag_height="250"; var zflag_sz="9"; There's talk that ANGEL is similar to GUZAARISH. It's not. Nor is it similar to SADMA. In GUZAARISH, Hrithik was completely paralyzed below his neck, while Madalsa's character in ANGEL can move and crawl. The fact is ANGEL borrows heavily from a South Korean film called OASIS, directed by the acclaimed Lee Chang-dong. In fact, if you've watched OASIS [it's one of my favorites], it has the quality to stay fresh in your memory even after you've watched incalculable films subsequently. But ANGEL fails as a film to strike a chord. The subject material is stunningly bold-n-beautiful, but the challenge lies in implementing it with conviction. Ganesh Acharya had handled the emotional moments with flourish in his directorial debut SWAMI, but he doesn't get it right this time. He had an opportunity to offer a convincing vision of what love actually means. But the writing lets him down and therefore, ANGEL doesn't come across as an intriguing human drama. The delicate love story lacks the sensitivity, feeling, compassion and understanding it deserves. Final word? ANGEL is just not a compelling human story! Abhay [Nilesh Sahay] flaunts society's rules, unaware of or unconcerned with the consequences of his actions. After serving his sentence for the manslaughter that he had committed, Abhay decides to meet the family members of the deceased man and apologize for his reckless act. When he arrives at the address, he finds a couple moving out of their room, handing their disabled sister, Sonal's [Madalsa] responsibility to a caretaker [Rakhi Vijan]. Sonal suffers from Cerebral Palsy, while her brother and sister-in-law cash on her disability. Abhay is attracted to Sonal and leaves behind his phone number. Sonal calls up Abhay one night. Slowly, a friendship begins to blossom between Abhay and Sonal. One fateful night, Sonal's brother and sister-in-law catch Abhay and Sonal making love. Abhay is arrested and it's up to Sonal to try to absolve Abhay, who is accused of raping her. The world is against them... ANGEL had the potential to move you with a compelling love story, but the writing is amateurish, while the execution of the material is equally childish. There are gaping holes in the screenplay and one wonders how it was okayed in the first place. For instance, the caretaker is never around when Nilesh visits Madalsa. Strangely, not even once do the neighbors living in this busy chawl spot Nilesh taking Madalsa out for an outing. That's not all, the songs are like the unwanted guests here that pop up at regular intervals. From the rustic chawl, the lovers suddenly start singing songs in Switzerland and are back to the chawl in Mumbai the moment the song ends. The climax takes the cake. It is most hurried and looks like a screenplay of convenience, with Nilesh being released from prison and cleared of rape charges so easily. The music doesn't work, except for the title track. But the placement of songs is a problem. Cinematography is good. Dialogue are below the mark. Given the poor script, there's not much the lead actors can really do. Madalsa does try hard and so does Nilesh. Both make a sincere attempt and the earnestness shows. The sole sequence which really appealed to me is when Madalsa feeds Nilesh; it's a touching moment. Aroona Irani is as usual. Manoj Joshi is loud. Kishori Shahane Vij doesn't get scope. Rakhi Vijan is passable. On the whole, ANGEL fails to impress.

United Six

2011-02-04 06:32:56

I often wonder why don't [Hindi] film-makers attempt chick-flicks with loads of dazzling action/stunts? Say, on the lines of CHARLIE'S ANGELS? In fact, way back in the 1990s, I vividly recall, there was an attempt by several film-makers to make action films with all-women star cast. But the projects fizzled out for reasons best known to those film-makers. The first impression that UNITED SIX evokes is that it's a mishmash of several Hollywood action fares that show the fists and curves of the fairer sex. But you are proven wrong as the story begins. Sure, UNITED SIX has six women essaying pivotal roles, but this is about the heist they carry out successfully. The concept is attention grabbing, but it's the screenplay writing that makes the effort partly engaging, partly so-so, partly amateurish, partly self indulgent. UNITED SIX is the story of six girls living in Bangkok. They are going through a tough phase in their lives. Their dreams are shattered, their aspirations crushed. Out of frustration and anger, they decide to rob a bank. One of the girls, Jia, who was fired from the bank for refusing to sleep with her boss, convinces the others and leads them. var zflag_nid="585"; var zflag_cid="947"; var zflag_sid="36"; var zflag_width="300"; var zflag_height="250"; var zflag_sz="9"; They rent a bakery adjacent to the bank and start digging a tunnel which would lead them to the bank. They soon realize that it's not as easy as it seems like. However, they continue with their mission, but one by one, on one pretext or the other, the girls start getting jittery. Jia continues to motivate them, but finds it getting more and more difficult with every passing hour. Eventually, they decide to call it quits. Next morning, they get the shock of their life when they learn that the bank has been robbed and the cops are hunting for them. The girls are caught in a perilous situation... There are two things that grab your attention while watching this flick. One, the film is well shot. Two, the interval point and also the culmination [the suspense aspect] catch you by complete surprise. First-time director Vishal Aryan Singh steps into the Abbas-Mustan territory, but being the captain of the ship, he should've ensured that the sequence of events leading to the finale is equally interesting. Like I pointed out earlier, the goings-on vacillate between engaging and non-engaging moments quite rapidly. Pritam's music is alright, although the placement of songs in the initial reels could've been better. Cinematography [Sugin Mamai] is striking. In fact, the film wears a slick look all through. The six actresses [Parvathy Omanakuttan, Daisy Bopanna, Mahi, Isha Batwe, Luna Lakhar and Pooja Sharma] are passable. In fact, all of them don't really get a chance to display histrionics since the screenplay is erratic. On the whole, UNITED SIX has a fascinating idea which entertains intermittently.

Toonpur Ka Superrhero

2010-12-24 03:12:05

Frankly speaking, there's zilch hype for TOONPUR KA SUPERRHERO. Even though its principal stars, Ajay Devgn and Kajol, have gone out of their way to promote their new film, even though Eros has left no stone unturned to promote the film, for some strange, inexplicable reason, the film isn't on the 'must watch' list of die-hard movie addicts. Sure, there's awareness for the film, but not the type that would compel you to watch it first day, first show. But never judge a book by its cover and never judge a movie by its poster. TOONPUR KA SUPERRHERO may not be the most satisfying and gratifying movie experience you've had, but the film at least makes an effort to go where Hindi films have been before. TOONPUR KA SUPERRHERO is not only India's first live action full-length animation feature, made on a lavish budget, it also has all the matinee masala that the other Friday offerings do. There's a hero, a heroine, a bunch of virtuous as well as wicked characters, a femme fatale and a baddie. The only difference is that this film has flesh and blood characters intermingling with animated characters. var zflag_nid="585"; var zflag_cid="947"; var zflag_sid="36"; var zflag_width="300"; var zflag_height="250"; var zflag_sz="9"; Twenty-two years ago, Robert Zemeckis gave moviegoers WHO FRAMED ROGER RABBIT, which is talked about to this date. It was one of the initial motion pictures that depicted animated film characters interact with human beings. But it took years of development, preparation, research and homework for the makers of TOONPUR KA SUPERRHERO to integrate animation with live action. Thankfully, the effort is worth it. The motive of animation films or films like TOONPUR KA SUPERRHERO is to entertain the entire spectrum of audience, from kids to adolescents to adults. So far, the target audience for our animated films has only been kids. But, hopefully, TOONPUR KA SUPERRHERO should change the attitude and outlook. It's a film for kids and adults alike, who may take away different things from the experience, but who will be united in their sheer excitement of this visually exciting experiment. Of course, the film lacks finesse at places, but at least director Kireet Khurana and the technicians who worked on the film have made an effort to charter a new path, which, in my opinion, is worth acknowledging. Final word? TOONPUR KA SUPERRHERO blends inventive animation with old-fashioned values to deliver a decent family adventure. This one's an underdog! Bollywood actor Aditya Kumar [Ajay Devgn] leads the perfect life: He has a doting wife in Priya [Kajol] and two adorable kids. But his children want him to be their hero not just on screen, but in real life as well. He can't do any of his own stunts, that's why gets stunt doubles, but he has to find a way which will make him look like a real-life hero in front of his children. Aditya finds an opportunity to become his kids' hero when he somehow lands in his kids' favorite cartoon show, Toonpur, where he must work with the Devtoons [good guys] to fight the Toonasurs [bad guys]. One doesn't take to TOONPUR KA SUPERRHERO initially. Right from the lifeless and flat commentary [by Sanjay Dutt] at the very commencement of the film, to the sundry animated characters one is introduced to, to the conflict that Ajay has with his kids, TOONPUR KA SUPERRHERO fails to take off the way one expects it to. But, gradually, the proceedings start making sense. Slowly and bit by bit, one gets a hang of things, although the impression that you hold at the intermission point is strictly okay. It's the post-interval portions that do a complete turnaround. In fact, the film actually takes off in this hour and I must add, it has several moments that keep your attention arrested. For instance, the song with Rubdoot is appealing and so is the confrontation with the villain, Jugaro. The climax leaves you with mixed feelings. It holds your interest in bits and spurts, not in entirety. TOONPUR KA SUPERRHERO could've been an invigorating experience from start to end if it was backed by a watertight screenplay. The writing just doesn't complement the animation, which, in my opinion, is path-breaking by Indian standards. The visual excellence aside, the film doesn't engage you in entirety and that's a shortcoming. The music [Anu Malik] is pleasant and easy on the ears. 'Jeetoge Tum' stays with you; it's a motivational track. However, the picturisation of the songs is better, with a good integration of live with animation. Ajay dares to accept a challenge yet again. It must've been most tough for this intense actor to don a character which involves working with imaginary creatures in an animated film. To act with cartoon characters is extremely challenging because it's almost like attempting a soliloquy or a monologue. He must have had no actor across for the action-reaction custom. But he delivers a convincing and credible performance yet again. Kajol doesn't really get scope, but she handles her part well. Veteran Tanuja appears in one sequence. Child artiste Amey does well. The animated characters, especially Bolly, Guppy and the villain's moll, are most noticeable. On the whole, TOONPUR KA SUPERRHERO is a delightful and endearing kiddie movie. It has an engaging narrative [second half mainly], neat performances and adorable animated characters. The real stars are the technicians [who created the animated characters], the director [Kireet Khurana] and of course, its lead man [Ajay Devgn] who pulled off a technically remarkable achievement of having humans and animated film characters interact with each other. Revisit your childhood while watching this one!

Band Baaja Baaraat

2010-12-10 11:39:23

The girl is strong-minded, unwavering and focused. The boy has no aspirations in life and is typically interested in having a ball. Two conflicting characters. BAND BAAJA BAARAAT parks its plot within the 'opposites attract' blueprint, a theme common to numerous rom-coms. These two characters are poles apart, diametrically opposite and therefore mismatched. But they end up falling in love with each other. There's talk that BAND BAAJA BAARAAT borrows heavily from THE WEDDING PLANNER. Perhaps, the allegation germinated because THE WEDDING PLANNER and BAND BAAJA BAARAAT talk of wedding planners. However, THE WEDDING PLANNER dealt with a female wedding planner falling in love with the bride groom, while BAND BAAJA BAARAAT tells the story of two youngsters who start a wedding planning business and who eventually fall in love. Sure, the background setting of the two films is slightly similar, but the stories are as diverse as oranges and apples. BAND BAAJA BAARAAT rests on two actors - a two-film-old actress [Anushka] and a rank newcomer [Ranveer]. It's a major task undeniably. They have to deliver, they have to keep the viewer's interest alive, they have to make the goings-on look convincing. If they fail in their endeavour, band-baaja baj jaayega. Thankfully, BAND BAAJA BAARAAT works on every level. The writing [screenplay: Habib Faisal] is crisp, the execution of the material [director: Maneesh Sharma] is worthy and the lead actors [Anushka, Ranveer] steer the film to the destination smoothly. Of course, there are minor hiccups halfway through the film, but the fact remains that BAND BAAJA BAARAAT is, without doubt, one of the most appealing films to come out of the production house. Final word? BAND BAAJA BAARAAT is honest, fresh, youthful and extremely entertaining. Recommended! Shruti [Anushka Sharma] is a 20-something no-nonsense girl from a middle class Delhi household. Focused and determined with pre-planned ambitions, her goals in life are well laid out by the time she reaches her final year of college. Bittoo [Ranveer Singh], on the other hand, has no real aim in life. As a final year college student of Delhi University, he whiles away his life having fun with his buddies. A chance and inopportune meeting brings the two of them together on a tumultuous journey where they become partners in their very own, "Wedding planning ka bijness." The rules, however, are clear: "Jisse vyapaar karo, usse kabhi na pyaar karo" [Don't mix business with pleasure]. Together, their friendship and business enters the ups and downs of the lavish Delhi weddings. And while trying to find themselves, Shruti and Bittoo discover each other and realize that they are made for each other. var zflag_nid="585"; var zflag_cid="947"; var zflag_sid="36"; var zflag_width="300"; var zflag_height="250"; var zflag_sz="9";

Rakht Charitra - 2

2010-12-03 04:42:12

Brutality has a new name and it's called RAKHT CHARITRA. The first part was gruesome. The second part, well, is not as violent, but is a bloodbath nonetheless. I don't think Hindi cinema has ever witnessed such gruesome murders, such manslaughter and such scenes of carnage ever. But beneath the blood and gore, slaughter and assassination lies the shocking story of enmity between two families. RAKHT CHARITRA undertakes to enlighten the story of vengeance in two parts. RAKHT CHARITRA 1 depicted the rise of Pratap and how he became a demigod for the poor and the exploited. The Part 2 unfolds a new story, although it's linked with Part 1. The challenge lies in making it more attention-grabbing than its precursor. Brutality, gore and violent behavior are indispensable attributes of RAKHT CHARITRA 2. The story in itself is nothing more than a customary vendetta drama, but what makes you connect compellingly with the narrative is the fact that Ramgopal Varma [RGV] has treated it like he was recounting a first-hand version of what really transpired between the adversaries. var zflag_nid="585"; var zflag_cid="947"; var zflag_sid="36"; var zflag_width="300"; var zflag_height="250"; var zflag_sz="9"; RGV is a veteran when it comes to making films on gangland or aggression and he proved his credentials in RAKHT CHARITRA 1. Frankly, RAKHT CHARITRA 1 wasn't a masterpiece, although it held your attention like RGV's accomplished works, mainly SATYA, COMPANY and SARKAR. However, you cannot refute the fact that RGV is a proficient storyteller. The characters in his films are passionately built and emotions are meticulously captured and there is the trademark agitation in an RGV film. RAKHT CHARITRA 2 has it as well. The storyline of RAKHT CHARITRA 2 can be elucidated in a few words, but RGV takes a strong grip of each sequence and absorbs the spectator into the goings-on. The screenplay techniques and shot compositions make him poles apart from the rest of his ilk and the flashes of brilliance can be observed at several points in RAKHT CHARITRA 2. Also, the film has a speedy pace and doesn't give you time to contemplate over the proceedings. Final word? Much more engrossing and gripping than RAKHT CHARITRA 1. Suriya enacts the role of Suriya, who is determined to settle scores with Pratap [Vivek Oberoi]. Suriya's decision to eliminate Pratap raises several questions. What was his [Suriya] background, what forced him to take this extreme step, what was the driving force behind his act, was it really justified? The Part 2 is based around the conspiracy theories enveloping the elimination of Pratap. The first part of RAKHT CHARITRA ended up creating enthusiasm for RAKHT CHARITRA 2. One discovered, in the final moments of RAKHT CHARITRA 1, that vengeance had a new face and his name was Suriya. The story of RAKHT CHARITRA 2, therefore, is crucial since those unaware of what actually transpired between the two warring factions would get their answers in this part. In fact, RAKHT CHARITRA 2 begins with a recap of the crucial moments of the first part and only after the lengthy summary concludes does the story of RAKHT CHARITRA 2 unfold. I genuinely feel that RAKHT CHARITRA 2 is amongst RGV's most significant works, not only because of how well he has implemented it, but also because of the subject material. The enmity and hatred between Pratap and Suriya is justified. The turning points in the tale -- Suriya's wife Bhawani contesting the elections and the subsequent assassination of Pratap -- take the drama to a new high. The screenplay writing [Prashant Pandey] is spellbinding; it completely sucks you into the proceedings. Conversely, there are times when you feel that certain scenes are too extensive and prolonged and should've been trimmed for a stronger impact. RGV's visual language is stimulating. His frames speak the unspoken. RGV's penchant for unusual camera angles have also come in for sharp criticism, but it makes his films stand out from the others. In fact, the cinematography in RAKHT CHARITRA 2 [Amol Rathod] also comprises of extreme close-up shots, unusual angles, erratic movements and complete 360 degree turn. But it works wonderfully well. I've repeatedly heard people condemning RGV for going over the top or getting loud in various departments, especially when it comes to the background score. In fact, I strongly believe that the riotous background score [Dharam-Sandeep] works very well in a film of this variety. Javed-Aejaz's action sequences are realistically gruesome with blood essentially written all over them. Splitting the throat open, stabbing the stomach and what not, everything seems so natural and so well choreographed. Being a vengeance saga, the dialogue need to stab both your mind and heart and the lines in RAKHT CHARITRA 2 are completely in sync with the theme and temperament of the film. Performances are unvaryingly of a high quality. Vivek Oberoi does complete justice to his character. He delivers an equally powerful performance in the second installment. But the focus is on South superstar Suriya in RAKHT CHARITRA 2. He delivers, without doubt, one of the most aggressive and forceful performances Hindi cinema has witnessed this year. I am sure, Suriya will woo not just his Tamil fans with his tremendous performance, but also find a new audience base with RAKHT CHARITRA 2: The Hindi movie-going audience. Southern superstar Suriya is a welcome addition to the ranks of A-list heroes in the Hindi film industry. Shatrughan Sinha doesn't really get much screen time in RAKHT CHARITRA 2. Sudeep, who didn't have much to do in RAKHT CHARITRA 1, is in top form now. Priyamani [as Bhawani, Suriya's wife] is first-rate, while Radhika Apte is superb in the sequence when she confronts Vivek. Zarina Wahab gets limited scope in this part. Anupam Shyam is satisfactory. On the whole, RAKHT CHARITRA 2 highlights the emotion called vengeance most convincingly. It is chilling, raw, revolting, crass and ghastly, the kind that is meant to repulse you. But let's face it: It's a true depiction of human emotions. It's a film which is easy to devour if you can absorb brutality. It is for those who don't wince easy. But I'd say, watch it for its audacity and valor. Watch it to experience the work of a rebellious film-maker who never takes a break from telling an innovative story in film after film.

Dunno Y Na Jaane Kyun...

2010-11-12 07:29:38

In an informal chat with me a few months ago, after watching DUNNO Y... NA JAANE KYUN at a private screening, director Sanjay Sharma enlightened me that his endeavour in making the film is to drive home the fact that there's nothing anomalous about being homosexual. "Through this film, I want to highlight and draw attention to the relationships between gay people. Their sentiments and emotions. The idea is not to poke fun at the gay community. In fact, the intent is to make a film that looks at the issue and the gay community in a very serious perspective," he remarked. Very noble intentions, I must pronounce, but do the gracious objectives of the director that he sets out to achieve come across effectively on celluloid? Does the film come across as an emotional, sensitive and a ground-breaking experience? Let me attempt to examine... var zflag_nid="585"; var zflag_cid="947"; var zflag_sid="36"; var zflag_width="300"; var zflag_height="250"; var zflag_sz="9"; Homosexuality is still taboo in India and DUNNO Y... NA JAANE KYUN attempts to tell a story that's shades different from FIRE and GIRLFRIEND or even BROKEBACK MOUNTAIN. Engaging at times, but amateurish at places, the film has the courage to go where most Hindi films have not dared to enter. The writing [script: Kapil Sharma] holds your interest in most parts. The storyline follows a gay model forced to compromise his morals for his career. He then forms an intimate relationship with another man, who is already married and lives with his family. It would be interesting to see whether our mainstream Indian audience is open to see a film on such issues, though the film also captures the multi-layered relationship within an Anglo-Indian family. Director Sanjay Sharma has handled a few sensitive sequences well, but the writing, which should've focused on the main plot, drifts into plots of the numerous family members. The songs are melodious. The Lata Mangeshkar track is soothing and the pick of the lot. Both Kapil Sharma and Yuvraaj Parashar come up with sensitive and daring performances. The film marks the return of Zeenat Aman [excellent] on the silver screen, besides an ensemble cast of Helen [good], Rituparna Sengupta [first-rate], Kabir Bedi [perfect], Maradona Rebello [confident], Aryan Vaid [okay], Tara Sharma [alright], Asha Sachdev [fair], Hazel [hardly there], Mahabanoo Kotwal [good], Viveck Vaswani [adequate] and Parikshat Sahni [wasted]. On the whole, DUNNO Y... NA JAANE KYUN is an honest attempt. Sure, it's not a perfect film, but at least it makes a sincere attempt to highlight the issue.

Hisss

2010-10-22 06:42:49

A lot of us who've grown up on masala cinema of 1970s and 1980s will vividly recall two films made on ichhadhaari naagins - Rajkumar Kohli's NAGIN [1976] and Harmesh Malhotra's NAGINA [1986]. Can we ever forget the revenge of the naagin? Can we ever forget the gripping plot, the spellbinding drama, the lilting music and of course, the unforgettable performances by Reena Roy and Sridevi, respectively? When a film-maker attempts to make a film on an ichhadhaari naagin in 2010, the viewer expects to watch all of the above, besides great visual effects of course. More so because HISSS is helmed by a Hollywood director - Jennifer Lynch. But, to put it bluntly, HISSS is a nightmare. The film has absolutely nothing to offer - no story, no screenplay, no songs, no performances... even the making is so tacky. Final word? If there were Razzies in Bollywood, HISSS would win hands down. The story is about the vengeance of an ichhadhaari naagin. George [Jeff Doucette], a ruthless American, travels to the jungles of India and captures her mate. She transforms into a woman [Mallika Sherawat] with absolutely no clue about contemporary civilization or the ways of mankind, and ventures into the city in desperate search for her lover with vengeance on her mind and venom in her fangs. Vikram [Irrfan Khan] is entrusted the responsibility of solving the murders and tracking down the mysterious killer. Films like HISSS make you realize what's going wrong in Bollywood today. On one hand we celebrate the new stories being told in our movies and on the other, we churn out a HISSS, which is badly scripted, poorly enacted and carelessly directed. Believe me, it's easy to solve the crossword puzzle in newspapers than it is to understand what exactly is going on in this film. As for director Jennifer Lynch, she needs a crash course in film-making pronto. The visual effects seem straight out of a B-grade Bollywood film. Actors often tell me that they choose films based on the script, so what exactly did Irrfan Khan see in HISSS? Mallika has no dialogue all through the film, she changes lenses, then changes into a snake outfit and also goes full monty. That's it! Divya Dutta is wasted. Raman Trikha is passable. The actress enacting the role of Divya's mother is okay. On the whole, HISSS is best avoided.

Rakht Charitra - I

2010-10-22 02:58:55

Welcome to the law of the jungle. Where there're no rules. Where the life of a human being is not worth a penny. Where goonda raj reins supreme. Where men are butchered and women abducted and raped. Where the police obey the orders of the goons. Where guns, swords, bombs, knives and sharp weapons are a man's best friends. Welcome to RAKHT CHARITRA, based on the true story of Paritala Ravi. Ramgopal Varma is known for dark and gritty cinema and RAKHT CHARITRA is not just the film-maker's, but also Hindi cinema's most violent film so far. Be forewarned, RAKHT CHARITRA is not for the lily-livered. Nor is it for those who love to visit cineplexes with their families, weekend after weekend, to watch that perfect family film. This one has just one song [not needed, actually], no romance, no comedy/humour, no phoren locations, no good looking faces, no family gatherings and no striking sets that are mandatory for escapist cinema. RGV is a rebel, he likes to make movies he believes in and RAKHT CHARITRA proves it yet again. Let me add, RAKHT CHARITRA is not one of RGV's most accomplished works. Perhaps, one of the reasons could be because he's now churning out gangster and crime-based films with amazing regularity and obviously, there's not much he can explore due to the limitations of this genre. But, yes, RAKHT CHARITRA has a fascinating story to tell and even if you aren't acquainted with Paritala Ravi, you might identify with RAKHT CHARITRA because the essence of the film is revenge. Final word? With a title like RAKHT CHARITRA and all the blood and gore in the film, it's certain that the film holds appeal for those who like to watch brutality in cinema, which, in turn, cuts off a sizeable section of the audience [ladies and kids]. However, from the content point of view, I'd say that RAKHT CHARITRA is the best bet of this week. RAKHT CHARITRA deals with emotionally volatile people and is set in a rural environment. It tells the story of Paritala Ravi [Vivek Oberoi], a soft-spoken person, who took law in his hands to avenge the murders of his father [Rajendra Gupta] and brother [Sushant Singh]. Paritala Ravi's name sent shivers up the spines of not only his rivals, but even the law enforcement agencies. He rose to become a minister eventually. The first part ends with his undertaking a mission to end goonda raj in the state. By now we've come to expect zany camera angles, tight close ups, a raging background score, power-packed performances and abstract stories from RGV's films and RAKHT CHARITRA is no different. Expect all this and more [read bloodshed] in RAKHT CHARITRA. Since RAKHT CHARITRA is based on a true story, there's not much one can comment on it, but the manner in which the incidents unfold keep you hooked. Of course, it's a vendetta fare, yet one is keen to fathom what essentially provoked a soft-spoken individual to transform into a killing machine. Barring the incidents in the initial reels, there's not much movement in the story in the first hour. In fact, there are killings and more killings. But the story gathers momentum when an iconic actor turned politician enters the scene and takes Paritala Ravi under his wings. The sequences between Shatrughan Sinha and Vivek are, frankly, the preeminent and most excellent parts of the enterprise. The post-interval is different because the killings reduce and Paritala now fights his opponent from the corridors of power. RAKHT CHARITRA gets lengthy in its second half and one genuinely feels that RGV should've curtailed the length of the film by a few minutes, although the introduction of Suriya's character at the end only raises the curiosity for the second installment. RGV has handled a number of sequences brilliantly, but the film leaves you with a sense of deja vu off and on. Glimpses of films like SARKAR and SARKAR RAJ, besides SATYA and COMPANY, though not remotely similar to RAKHT CHARITRA, flash across your mind. It's a little intricate to encompass all incidents in the screenplay, but writer Prashant Pandey makes a sincere effort. Cinematography [Amol Rathod] catches your eye. Action scenes are true to life. Background score compliments the mood of the film. All RGV films are embellished with powerful performances and RAKHT CHARITRA is no exception. Vivek Oberoi breathes fire and venom and comes across as the most appropriate actor to infuse life into the character he portrays. He's super efficient and his act in COMPANY and SHOOTOUT AT LOKHANDWALA pale in comparison. Shatrughan Sinha is remarkable. A powerful personality could've only been portrayed by a powerful actor and the veteran enacts it with amazing ease. Abhimanyu Singh is superb as the opponent. You hate him for being so evil and that only goes to prove how effective he is. Radhika Apte is good. Zarina Wahab is first-rate. Ashwini Kalsekar is excellent. Ashish Vidyarthi, Rajendra Gupta, Anupam Shyam, Sushmita Mukherjee, Vishwajeet Pradhan and Kota Srinivasa Rao shine in their respective parts. Sudeep and Darshan Jariwala get no scope. On the whole, RAKHT CHARITRA is not for the faint-hearted or the lily-livered. The violence, the blood and gore depicted in the film will shock and disconcert you, which only goes to establish as to how proficiently the subject material has been treated. The film is targeted mainly at those who love to watch aggression, violence, bloodshed, brutality and massacre on the silver screen, but a chunk of the movie-going audience [ladies and kids] will choose to stay away from this scene of carnage. The business in Telugu and Tamil versions is expected to be excellent, due to the strong identification with the subject material.

Crook: It's Good To Be Bad

2010-10-08 05:58:26

Mahesh and Mukesh Bhatt have often admitted that newspaper headlines citing a burning issue have sown the seeds of a film in their minds. And CROOK, directed by the talented Mohit Suri, deals with one such issue: Racism in Australia. Well, depiction of racism on the Hindi screen isn't entirely new, since I - PROUD TO BE AN INDIAN explored the issue several monsoons ago. In fact, the issue has only got aggravated across the globe post 9/11. A film like CROOK holds a lot of significance also because the plight of Indian students in Australia continues to hit headlines to this day. Known for high concept films, Bhatt brothers' new outing CROOK, unfortunately, tackles the issue half-heartedly. Sure, you expect more from the Bhatts since the makers of repute are known to call a spade a spade, but the problem with CROOK is that the message doesn't come across strongly. That's because it tries to strike a balance between a love story and the racism issue. In fact, it takes a really long time to catch the bull by the horns [read the racism issue] and when it does, it doesn't leave a stunning impact. In fact, it's all superficial. Also, the Bhatts are synonymous with lilting music in film after film, but unlike their earlier attempts, the music of CROOK lacks the quality to linger in your memory. In a nutshell, CROOK comes across as a half-hearted effort. CROOK tells the story of Jai [Emraan Hashmi], who has a knack of getting into trouble. His father was a gangster who wanted to reform, but was killed by the cops. When Jai grows up, Joseph [Gulshan Grover], a friend of his father, sends him to Australia - a land far away from his past. Almost immediately after landing, Jai meets Suhani [Neha Sharma], an Indian Australian. Her elder brother Samarth [Arjan Bajwa] is convinced that Australians have a one-point agenda to bring Indians down. Jai finds accommodation with a group of youngsters [Mashhoor Amrohi]. Jai knows that if he can make Suhani fall in love with him, he could eventually attain permanent residency by marrying her. Jai also flirts with Nicole, the stripper from a strip club. However, her brother, Russel, is against Indians and attacks them for a reason. Jai had left India to lead a hassle free life, but finds himself in the heart of a racially disturbed city. Frankly, you expect the writer to come to the point at the very outset. Instead, he tends to focus on the [lackluster] romance between the lead pair, songs and [forced] comedy, while the core issue [racism] takes a complete backseat towards the first hour. The writer ought to know that this one's an issue-based film and the romance-song-comedy routine cannot be the priority. However, the point that both Indians and Australians are racist and both sides need to introspect is indeed novel. CROOK redeems itself in the second hour, but it has more to do with Mohit Suri's handling of the subject than the subject itself. However, one fails to understand why the Australian guy has a change of heart, when he zeroes on Neha towards the end. There should've been at least one sequence to clear things up. But in this case, no explanations are forthcoming. There's no denying that Mohit Suri is capable of much more, but the ordinary script doesn't really provide him the wings to fly. Pritam's music is of the run of the mill variety, with 'Chhala' being the pick of the lot. Emraan Hashmi is competent, giving his all to the role. He looks aggressive when required and expresses helplessness well, when he turns his back on Neha at the interval point. Neha acts very well. The confidence is visible in several sequences. Gulshan Grover is hardly there. Mashhoor Amrohi leaves a mark. Arjan Bajwa is fair. Smilee Suri appears in a cameo. The Australian actors are nice. On the whole, CROOK has its moments, but they're few and far between. It lacks the power that one associates with an issue-based film.

Robot

2010-10-01 04:42:08

Two things... One, it's difficult to conceptualize and execute a film like ROBOT. Two, when Rajinikant's name comes in the credits, one cannot hear anything for the next two minutes. His name is greeted with a thunderous applause, whistles yells and cheers. Such is the charisma of this superstar. Rajnikant is the Boss. The real Badshaah. ROBOT, directed by Shankar, is a Rajnikant Express that transports you to a world you can't envision. Rajnikant's feats are legendary by now. In ROBOT, he goes a step further. The Robot in ROBOT not only follows orders of his creator, but also cooks, fights, romances and wonder of wonders, has a lengthy conversation with a mosquito and scan loads of books/magazines and an entire telephone directory in a second. Yes, you read it right! That's not all, this Robot is Superman + Spiderman + Terminator + Godzilla, all rolled into one. There's more to this Robot. It can replicate itself, wage a vicious battle, turn into an Anaconda or a monster ball and wipe off an entire army. Whew! Known for larger than life canvas, ROBOT is Shankar's most expensive and if I may say so, his most imaginative film thus far. And who better than Rajnikant for the pivotal role! Final word? A Rajnikant film is an event and this combo's [Shankar - Rajnikant] new outing ROBOT is sure to strike like Tsunami. Let me make it short-n-sweet. If you miss ROBOT, it's YOUR loss! Location: Chennai 2010. Mission: Creating a robot Chitti. Purpose: To help the society. Development time: 10 years. Special Features: A human who is not born, but is created. He can dance, sing, fight, is water and fire resistant. He can do all that a human can and more. He feeds on electricity. He takes instructions literally. Where a human can lie to save himself, this robot cannot lie. Where he has a razor sharp memory and can memorize an entire telephone directory by just running through the pages, he cannot understand human emotions. Dr. Vasi upgrades Chitti's processor and simulates human emotions without realizing the repercussions. Chitti gets transformed. He can now feel and the first feeling that he discovers is Love. Will this love come in the way of Dr. Vasi's purpose of creating Chitti? Will Dr. Vasi's own creation destroy him? A title like ROBOT automatically puts tremendous responsibility and pressure on the director's shoulders. And ROBOT is not merely a display of VFX, but it also has soul, a story to tell. At first, ROBOT comes across as a clash between the virtuous [Rajnikant] and wicked [Danny Denzongpa]. But ROBOT changes gears in its post-interval portions as the focus shifts to the creator [Rajnikant] and his creation [Rajnikant]. It's a Rajnikant film and it would be incomplete if his loyal fans don't get to watch his stylish actions and feats. Thankfully, ROBOT showcases it all. He can glide on the railway tracks, run horizontally on a moving train, transform into an Anaconda, can swallow helicopters and even fire at people with his fingers, without using a pistol. These are truly clap-trap moments! Even otherwise, the screenplay is really well penned and absorbing. While the film is a super ride from start to end, it's the penultimate 25 minutes that leaves you awe-struck and speechless. You can't imagine a Hindi film having such an out of the world climax. There will be pandemonium inside theatres when the climax unfolds, I am sure. Let me confess, it's the mother of all climaxes! Only thing, Shankar could've controlled the length of the film. It could've been shorter by at least 10 to 15 minutes, which includes doing away with a song or two. Of course, like all Shankar movies, the songs are filmed most imaginatively on exotic locales, but what's the point of having songs if they act as speed breakers? That Shankar ranks amongst India's best directors is well known by now and ROBOT only cements the fact. His vision and execution of the difficult subject deserves the highest praise, in fact distinction marks. He not only dreams big, but the outcome is incredible too. A.R. Rahman's music doesn't compliment the content of the film, but like I pointed out earlier, every song has been filmed exquisitely. The action and chase sequences are outstanding [Yuen Woo Ping, action choreographer in the MATRIX and KILL BILL sequels, was the stunt coordinator]. Visual effects are spectacular [Stan Winston Studio, the studio behind JURASSIC PARK, PREDATOR, TERMINATOR, IRON MAN, AVATAR, provided the animatronics technology]. Cinematography captures the grand production values with precision. The locations of Austria, Machu Picchu in Peru, U.S.A. and Brazil only enhance the visual appeal of the film. The sets are mind-blowing. Dubbing is near-perfect. ROBOT is a Rajnikant show from start to end. And no other actor, not from Bollywood at least, would be able to do what he does with such amazing ease. Aishwarya Rai Bachchan looks stunning and acts most convincingly. Danny Denzongpa is efficient, as always. The remaining actors enact their parts well. On the whole, ROBOT is a crowd-pleasing and hugely mass appealing tale of android revolution with a thrilling plot, rich and imaginative screenplay, super action, astounding effects and most importantly, Rajnikant, who is the soul of the film. It's the Big Daddy of all entertainers. Miss it at your own risk!

Dabangg

2010-09-08 09:34:00

The fight between good and bad has been the fodder of many a Hindi film of 1970s and 1980s. In fact, it wouldn't be erroneous to state that these films dominated the cinema of yore and a lot of us, who have grown up on masala films/wholesome entertainers, will vividly recall the serpentine queues outside cinema halls and a mad scramble to book the tickets of those films. Hardcore masala films were relished with glee by the audience then. However, for some inexplicable reason, masala films became extinct or should I say, disappeared from the face of Hindi cinema over a period of time. GHAJINI and WANTED revived this genre, bringing back memories of the bygone era. Now DABANGG takes this genre one step ahead. Be forewarned. DABANGG is rustic, has loads of action, harps on the age-old mother-son and varied relationships [half-brother, step-father], eventually turns into a vendetta fare, has a number of songs placed smartly in the narrative [including an item number]... but the packaging is slick and polished. Sure, it's old wine, but packed in a brand new bottle, with a new brand ambassador [Salman Khan] endorsing this masalathon. Most importantly, it has Salman like never before. Breathing fire and venom, Chulbul Pandey aka Robinhood Pandey taps Salman's star power like no film has and the result is sheer magic. In fact, DABANGG stands on three pillars - Salman's star power, smashing stunts and super music. Final word? Salman fans, rejoice! You walk in DABANGG with 100% expectations and you exit with 200% gratification. Entertainment guaranteed. This film will create a pandemonium of sorts, a mass hysteria, crushing old records and setting new benchmarks at the box-office. Set in Uttar Pradesh, DABANGG is a story of Chulbul Pandey [Salman Khan], a totally fearless but corrupt police officer with unorthodox working methods. But even the most fearless at times face a tough fight with their innermost demons. Chulbul has had a bitter childhood. His father passed away when he was very young, after which his mother [Dimple Kapadia] married Prajapati Pandey [Vinod Khanna]. Together, they had a son Makhanchan [Arbaaz Khan]. Prajapati favors Makhanchan, which does not go down well with Chulbul. He decides to take control of his destiny and detaches himself from his step-father and half-brother. His sole attachment is his mother. However, after his mother's demise and an unsuccessful attempt to mend wounds, Chulbul snaps all ties with his step-father and half-brother. Rajo [Sonakshi Sinha], with her unique perspective of life, enters his world and turns life upside down. Chulbul starts to see life more positively and also gets sensitized to the value of a family. But his detractors, especially the dubious Cheddi Singh [Sonu Sood], have their own vested interests and emerge as spokes in the wheels, putting one brother against the other. Makhanchan ends up carrying out an act oblivious to the consequences. When Makhanchan realizes he has been used, he turns to Chulbul. Will Chulbul take his extended hand? Will the brothers be able to thwart their detractors? The job of a promo is to give a gist of the film and prepare the audience well in advance about what to expect when they saunter into an auditorium. The promos of DABANGG have sent the right signals to the audience about it being a paisa vasool entertainer. Let's face it, DABANGG has nothing ground-breaking to offer as far as its plot is concerned. We've visited similar stories in the past, but what makes DABANGG shine, and shine brightly, is Salman's star power, which camouflages the aberrations wonderfully. The darling of the masses has been cast in a role that his fans love to see him in, which explains why this film works from start to end. Like I pointed out earlier, DABANGG is special for two more reasons: S. Vijayan's stunts and Sajid-Wajid's music, with an additional song by Lalit Pandit. Talking of action scenes, Salman's introduction at the start and the fight-to-finish in the climax will send the masses in frenzy. To state that the action scenes are outstanding, especially the fight in the finale, would be an understatement. In the finale fight, when Salman's shirt tears apart and the rippling muscles and the bare-chest fight ensues, mark my words, it will lead to chaos at mass-dominated centres, especially at single screens. The climax will be one of the prime reasons for repeat viewing, for sure. It's difficult to accommodate music in an action film, but Sajid-Wajid come up with a melodious score. The title track, 'Tere Mast Mast Do Nain' and 'Munni' [composed by Lalit Pandit] are the icing on the cake. Director Abhinay Singh Kashyap is in his element. He's made an out and out entertainer with an eye at the masses and he succeeds in his endeavour. Doing justice to vintage formula is no cakewalk, let's not forget. Besides, the director stays away from going overdramatic while handling the dramatic and emotional moments. This explains why you don't exit the theatre with a spinning head. Mahesh Limaye's cinematography is perfect. I'd like to make a note of the editing [Pranav V. Dhiwar], which is super-slick in action scenes. Dialogue, especially those delivered by Salman, will be greeted with claps and whistles. Especially the one 'Itne chhed karunga'. Salman Khan is the boss, when it comes to playing to the masses. This film reaffirms this truth. The role provides him ample opportunity to prove his star power and he does it with remarkable ease. Let me put it on record. DABANGG is yet another landmark film in his career, besides MAINE PYAR KIYA, HUM AAPKE HAIN KOUN, JUDWAA [tapping the funny side], TERE NAAM [tapping the emotional side] and WANTED. Sonakshi Sinha looks fresh, acts confidently and pairs off very well with Salman. Most importantly, she delivers the right expressions and is not overpowered by the galaxy of stars in the cast. Arbaaz Khan is efficient. He underplays his part well. Sonu Sood is electrifying, matching up to Salman at every step. In fact, the fight in the finale between Salman and Sonu is awe-inspiring. Vinod Khanna is excellent in a role that has grey shades. Dimple Kapadia is truly wonderful. Anupam Kher is, as always, good. Ditto for Om Puri. Mahesh Manjrekar doesn't get ample scope. Mahi Gill is alright. Tinnu Anand is effective. Murli Sharma is nice. Malaika Arora Khan sizzles in the 'Munni' track. On the whole, DABANGG is a full on entertainer with three aces - Salman Khan like never before, stylish action and super music. It's a foregone conclusion that DABANGG will open huge. As far as the business prospects are concerned, the film will set new benchmarks, so much so that DABANGG will be one of the yardsticks to gauge the level of business in times to come. Sure to fetch an earth-shattering opening, the film will create a pandemonium at the box-office, cementing the status of Salman Khan as the darling of the masses and making the distributors laugh all the way to the bank. It has Blockbuster written all over it!

Aashayein

2010-08-27 02:47:38

Practically every new-age film-maker wants to attempt a real story on celluloid. Stories which are straight out of life/newspapers/news channels. These stories, generally, strike a chord with the ticket buying audience if narrated convincingly and most importantly, narrated within commercial parameters. Nagesh Kukunoor has been a frontrunner as far as choosing and narrating real stories are concerned. AASHAYEIN too seems like 'our' story. Here's a man who suddenly discovers that he has a few months to live. The indomitable spirit of living life to the fullest, under all circumstances, is what you expect from him. But AASHAYEIN gets so bizarre and abstract that you feel anesthetized after a point. Sadly, you don't react to the characters, you don't react to the film either. Like Kukunoor's previous attempts, AASHAYEIN is sensitively told and has several poignant and heart wrenching moments, but the story strays from realism and ends up being a fantasy, which leaves a sour taste in your mouth. The entire RAIDERS OF THE LOST ARK track, with John imagining himself in Harrison Ford's boots, is weird. Final word? AASHAYEIN just doesn't meet the aashayein [hopes] of the viewer. At a party to celebrate his big win at gambling, Rahul [John Abraham] proposes to his girlfriend Nafisa [Sonal Sehgal]. Within minutes of announcing his engagement, he collapses on the floor. After a medical diagnosis, Rahul discovers that he has only a few months left to live. He is diagnosed with lung cancer. A distraught Rahul learns of a hospice and without sounding off his girlfriend about it, packs his bags and leaves in the middle of the night. He meets a number of people at the hospice, who may have failing health, but unfailing spirit. For millions of viewers worldwide, Hrishikesh Mukherjee's classic ANAND [Rajesh Khanna, Amitabh Bachchan] remains one of the best films on the matchless spirit of a person diagnosed with a terminal illness. The person in question [Rajesh Khanna] knows he doesn't have much time on hand and decides to spread light and cheer all around. Though AASHAYEIN has nothing to do with ANAND [although there's a reference to the film], the least Kukunoor could've done was to narrate the story without getting into the fantasy zone. When you talk of matters as serious as death, when you show people spending their last days in a hospice, you can't deviate from the topic. Even the hospice here looks more like a small-town resort where people have come for a vacation. The seriousness is clearly missing! On the brighter side, the sequences between John and Anaitha Nair are wonderful. Ditto between John and Farida Jalal. Salim-Sulaiman's music is in sync with the mood of the film. The song filmed on Shreyas Talpade is the pick of the lot. Sudeep Chatterjee's camera captures the outdoors well. But the writing is imprecise and like I pointed out at the outset, the culmination to this story is difficult to decipher. Kukunoor is a master when it comes to extracting performances and AASHAYEIN also boasts of sparkling performances by each and every member of the cast. John puts a whitewash on his previous works and comes up with an honest and sincere performance. In fact, this film makes you forget that he's blessed with a striking personality. Instead, you notice the fine actor beneath the good looks and that's what makes you relate to this character for most parts. Anaitha Nair is pure dynamite. Fiery, feisty, someone who can light fire in water. She's sure to make people notice her talent after this film. Sonal Sehgal is efficient. Girish Karnad, Farida Jalal and Prateeksha Lonkar are perfect. Ashwin Chitale [as Govinda] is natural to the core. Vikram Inamdar [as Xavier, John's friend] is alright. Sonali Sachdev [Doctor] is adequate. Shreyas Talpade appears in a song. On the whole, AASHAYEIN falters and fails on the writing level. Not much aasha [hope] from AASHAYEIN. Nonetheless, the film has been made on a shoe-string budget and therefore, the recovery from non-theatrical avenues would keep its distributors safe, although the returns from theatrical business would be disastrous.

PEEPLI [Live]

2010-08-10 05:15:14

When Aamir Khan produces a film, or is associated with any film in the capacity of an actor, be prepared for the unpredictable. Films like TAARE ZAMEEN PAR and 3 IDIOTS took pot shots at the education system in India and PEEPLI [LIVE], directed by Anusha Rizvi, is a tongue-in-cheek satire on the farmers' suicides and the role of vote-hungry politicians and the over-enthusiastic, TRP-seeking desperate electronic media jostling for eyeballs. Come to think of it, the concept [farmers' suicides] would instinctively translate into a serious, thought-provoking film. But PEEPLI [LIVE] takes a grim and solemn issue, turns it into a satire, garnishes it with populist sentiment and makes a far greater impact than a mere documentary, had it tackled the burning issue. In fact, like all Aamir Khan films, PEEPLI [LIVE] marries realism with a winning box-office formula most brilliantly. A sad fact of our society is that bad news attracts instant attention. In PEEPLI [LIVE], an impoverished man offers to commit suicide so that his family can benefit from a government grant - a dark subject matter which is dealt with in a delightfully humorous manner. In fact, it's a terrific satire about a troubled India, the shining India, the industrialised India that's rarely depicted on the Hindi screen. PEEPLI [LIVE] focuses on the poorest of the poor in India and it not only highlights the plight of a farmer in a tiny corner of a giant country, but also throws light on the varied people who exploit the situation to their advantage, right from the politicians to the bureaucrats to the television reporters to the local people. In fact, PEEPLI [LIVE] makes a scathing attack on the functioning of media in India and how media persons, depicted as vultures, generally stoop to the lowest levels to increase the ratings of their television channel/show. The best part is that at no point does the film gets preachy or starts offering solutions to the grave issue. It's a mere tool that the makers have used to discuss bureaucracy, the rural and urban divide and lack of concern of the administration. Final word? This tragi-comedy, a brilliant satire, is not to be missed. Natha [Omkar Das Manikpuri], a poor farmer from Peepli village in the heart of rural India, is about to lose his plot of land due to an unpaid government loan. A quick fix to the problem is the government's program that aids the families of indebted farmers who have committed suicide. As a means of survival, Natha chooses to die. His brother [Raghubur Yadav] is happy to push him towards this unique honour. Local elections are around the corner and what might've been another unnoticed event turns into a cause cÃ©lÃ¨bre, with everyone wanting a piece of the action. Political bigwigs, high-ranking bureaucrats, local henchmen and the ever-zealous media descend upon sleepy Peepli to stake their claim. Natha's mother [Farrukh Jaffer] screams at his wife [Shalini Vatsa], while his young son urges papa to go through with the suicide so he can use the money to become a policeman. One TV journalist, in a desperate search for a new angle, tries to examine Natha's faeces to determine his emotional state. Nobody seems to care how Natha really feels. PEEPLI [LIVE] tells the story of today: Rural society, the games politicians play, the bureaucracy and the manipulative electronic media. It's a well penned and well executed film that deals with a serious issue in a witty and entertaining manner. Although very real, it creates a world full of vivid characters and incidents and keeps the viewer engrossed throughout. First-time director Anusha Rizvi handles the subject material like a veteran. Her script is tight and witty and her handling of a difficult subject deserves kudos. What really sets the film apart is that it is unlike a typical Bollywood film. In fact, you can't draw parallels with any film, past or present. And that's what goes in favour of this film, since virgin subjects handled with utmost sensitivity and maturity is the order of the day. Even the finale is most appropriate and absolutely befitting the content of the film. In a nutshell, Anusha scores a sixer in her debut. The music, composed by multiple artists, is Indian to the core and borrows heavily from folk music. The hugely popular - 'Mehangayee Daayan' - is the pick of the lot, without doubt. Cinematography is appropriate. Dialogue, laced with expletives, are truly fantastic and most importantly, real. Manikpuri is brilliant as Natha. Raghubir Yadav shines as the opportunist brother. Malaika Shenoy [as the television reporter] is exceptional. Shalini Vatsa [as Natha's wife] is outstanding. Ditto for Farrukh Jaffer [Natha's bed-ridden mother]. In fact, the constant tu-tu-main-main between the saas-bahu is thoroughly enjoyable. Nawazuddin Siddiqui [as Rakesh, the local journalist] is natural. Vishal Sharma [as Kumar Deepak, the rival journalist] is top notch. Naseeruddin Shah is first-rate as the conniving, shrewd politician. The remaining cast - there're lots of actors in the film - pitch in believable performances. On the whole, PEEPLI [LIVE] is sure to ride initially on the strength and credibility of its iconic actor/producer Aamir Khan and once that is achieved, the powerful content is sure to speak for itself. PEEPLI [LIVE] is a film that would not only appeal to Indians, but is sure to reach out to audiences beyond India. Simply brilliant!

Once Upon A Time In Mumbaai

2010-07-26 07:59:49

The fascination with gangster movies has been immense worldwide. On this side of the Atlantic, several gangster films have left giant footprints on the sands of time. Films like DEEWAAR [Yash Chopra], DHARMATMA [Feroz Khan], NAYAKAN [Mani Ratnam], ANGAAR [Shashilal Nair], PARINDA [Vidhu Vinod Chopra], AGNEEPATH [Mukul Anand], SATYA and COMPANY [Ramgopal Varma], VAASTAV [Mahesh Manjrekar], GANGSTER [Anurag Basu], D [Vishram Sawant] and SHOOTOUT AT LOKHANDWALA [Apoorva Lakhia] have tremendous recall value to this day. ONCE UPON A TIME IN MUMBAAI recreates an era that so many of us have left behind and for those who arrived on this planet post 80s, I am sure, they must have visited the era through some medium or the other, mainly movies and internet or during their academic careers. ONCE UPON A TIME IN MUMBAAI is not part of history, but it attempts to portray on celluloid tales that are now considered legendary, that continue to make news to this date. Of course, the disclaimer claims that it bears no resemblance to a particular person, but you can't help but draw parallels with real-life characters. It could be a coincidence, though! ONCE UPON A TIME IN MUMBAAI is a fascinating story that talks of how the mafia came into force for the first time in Mumbai. A thriller that depicts the crime scenario in Mumbai during the 70s and 80s. The rise to power of two young boys, in different age-groups, who grew up to 'rule' the streets of Mumbai. Since there's tremendous speculation in the media that ONCE UPON A TIME IN MUMBAAI chronicles the lives of Haji Mastan and Dawood Ibrahim, the curiosity to watch the film increases manifold. Of course, I am no one to comment if it's actually based on their lives or merely borrows a few incidents from their lives or is pure fiction, but as a cinematic experience, I couldn't help getting transported to the bygone era, getting sucked into a world I had no clue of. Besides the gangster chapter, one enjoys this film also because of its riveting drama and the power play. It could've been set anywhere, in the corporate world, in politics, in the film industry. Anywhere. The rise and subsequent fall of the King and the emergence of the Prince as the super power is what makes this film a compelling watch. The icing on the cake is the magical and lilting song compositions that are juxtaposed so beautifully in the goings-on. On the sidelines of the power play, a game of hearts is being played and that's what makes ONCE UPON A TIME IN MUMBAAI a wholesome movie experience. Final word? ONCE UPON A TIME IN MUMBAAI is not to be missed. Set everything aside this coming weekend and watch this one. Strongly recommended! The film, set primarily in 1970s Mumbai, follows the rise of Sultan Mirza [Ajay Devgn] and the conflict that ensues, when his protÃ©gÃ© Shoaib Khan [Emraan Hashmi] challenges his supremacy and usurps power to rule the murky underbelly of Mumbai. ONCE UPON A TIME IN MUMBAAI is a power-packed drama that makes you thirst for more. You rewind to an era of romance, smuggling, cabaret and mafia, but director Milan Luthria and writer Rajat Aroraa ensure that there's no sleaze or bloodshed-n-gore. In fact, there's hardly any violent sequence in the movie, except for one when Ajay hammers a cop during a naaka-bandi. ONCE UPON A TIME IN MUMBAAI is not a biopic, but narrates the story through the eyes of a police officer [Randeep Hooda], who traces the changing face of the Mumbai underworld. The screenplay encompasses several moments that may compel you to draw parallels with real life, but talking strictly from the movie-going point of view, it satiates you completely. In fact, the writing is cohesive, smart and watertight and there's never a dull moment. Besides, there's no time to think whether it's factual or loosely based on someone's life or a work of fiction. As I look back and recall the movie, a number of sequences flash across my mind. Note the sequence when Ajay divides the city amongst gangsters... The train sequence at the very start... The introduction of Emraan Hashmi's character... Randeep Hooda's landing on a film set and confiscating the equipment... The subsequent sequence, when Randeep is framed for accepting bribe... The romantic moments between Emraan and Prachi in the jewellery shop... Emraan starting his business and the confrontation that ensues between Ajay and Randeep... The showdown between Ajay and Emraan, with Ajay slapping Emraan in full public view... The conclusion to the story is equally novel. It stays in your memory and sets you thinking. On the flipside, the story begins with Randeep attempting suicide, but the writer should've cited the reason that prompted him to take that drastic step. Sure, there's a mention at the start, but it doesn't register well. Also, you are keen to know the chain of events that drove Randeep to suicide. Also, the pace slackens in the middle of the second hour, but picks up dramatically when Ajay returns from Delhi and confronts Emraan. Besides, how I wish the film had a shorter, mass appealing Hindi title to attract more eyeballs and a big jump in footfalls [at single screens and smaller centres mainly] for a mass appealing subject like this. This is director Milan Luthria's best work to date, no two opinions on that. Recreating the bygone era is tough and the director, the writer and the art director [Nitin Chandrakant Desai] deserve brownie points for giving the film that authentic feel. In fact, the film wears a chic retro look throughout. Even otherwise, Milan's handling of the subject material is exemplary. This film is sure to catapult him to the top league. Rajat Aroraa's screenplay is powerful and engaging. The writer marries heavy-duty drama and subtle and delicate emotions beautifully. I would like to make a special note of the dialogue, also penned by Rajat Aroraa, which are simply fantastic. In fact, the dialogue writing is such it elevates even an ordinary sequence to great levels. One rarely comes across such potent dialogue in today's times. Pritam's music is another ace. Injecting songs and that too a terrific soundtrack in a gangster film is tough. He did it in GANGSTER. He does it again in ONCE UPON A TIME IN MUMBAAI. 'Pee Loon', 'Tum Jo Aaye' and the remix of APNA DESH track are super compositions, which are also placed appropriately in the plotline. Cinematography [Aseem Mishra] captures the look to perfection. Akiv Ali's editing is sharp. ONCE UPON A TIME IN MUMBAAI is embellished with fantastic performances. Ajay Devgn is splendid as Sultan. The actor had enacted a similar role in COMPANY, but it must be said that his interpretation is so different in ONCE UPON A TIME IN MUMBAAI. He adds so much depth to the character, which only goes to prove his range and versatility. This is, without a trace of doubt, Ajay's finest work so far. Emraan Hashmi is brilliant as the power greedy, wildly ambitious rebel. He plays the dark character to perfection. He's incredible in the penultimate moments of the film in particular. Besides carrying the look to perfection, Emraan is sure to break-free from the lover boy, serial kisser image with this film. Kangna Ranaut is extremely natural and performs very well. Also, she brings so much of sensuality and glamour to her character [an actress of the 70s]. In fact, Ajay and Kangna make a wonderful on-screen pair. Prachi Desai is a bundle of talent who proves her mettle yet again. She's proficient in emotional scenes and sizzles in the BOBBY song-sequence. Besides, the chemistry between Emraan and Prachi is exciting. Randeep Hooda is top notch. Even though the film belongs to Ajay and Emraan, Randeep makes his presence felt with a powerful performance. This film should prove to be the turning point in his career. Avtar Gill [as Home Minister] is good. Naved Aslam [as Patrick, Ajay's trusted lieutenant] is perfect. Mehul Bhojak [as Emraan's friend Javed] is competent. Ravi Khanwilkar [as Vardhan] is satisfactory. Gauhar Khan sizzles in the remix track. On the whole, ONCE UPON A TIME IN MUMBAAI is an extremely well-made film that lingers in your memory. The realism coupled with stellar direction, power-packed writing, exceptional performances and ear-pleasing tunes are its trump cards. An outstanding cinematic experience!

Red Alert - The War Within

2010-07-09 04:58:16

In most Hindi films, the first thing you notice at the very start is a disclaimer which states that the film is a work of fiction and bears no resemblance to any person living or dead. But RED ALERT - THE WAR WITHIN admits that it's based on a real story. Even otherwise, the issue it dares to portray -- the Naxalite movement -- is topical, piping hot and an issue that has been dominating the front pages of newspapers for quite some time now. Come to think of it, who'd be interested in knowing what happened in the life of a poor villager, living a hand to mouth existence in a hamlet in Andhra Pradesh? Aren't these stories covered on news channels and forgotten the next day itself? But the written material [screenplay: Aruna Raje] of RED ALERT - THE WAR WITHIN is so powerful and the execution of the subject so rivetting that you can't help but keep your eyes wide open as the story unfolds. You gradually realize that you aren't merely watching a film on the Naxal movement, but also the heart-wrenching story of a simpleton who gets embroiled in a mess only because he wants to feed his family and send his kids to school. Final word? Give this realistic film a dekho. It's worth it! RED ALERT - THE WAR WITHIN tells the story of Narsimha [Suniel Shetty], a farm labourer, who desperately needs money to fund the education of his children. He suddenly finds himself in the midst of Naxalites, when he goes to deliver the food in the jungles. From being a mere cook to actually training in weapons to being involved in shootouts and kidnapping, Narsimha finds himself in the thick of life he had never bargained for. A confrontation with the group leaders turns his life upside down; he is now on the run from both law and the militants. Almost a decade ago, LAAL SALAAM [2002], starring Nandita Das and Sharad Kapoor, tackled the Naxal movement quite effectively. RED ALERT - THE WAR WITHIN is real as well and though it stars well-known stars who're known for their work in hardcore masala films, immense care has been taken to present them as characters, instead of capitalising on their star status. This is evident at the commencement of the film itself, when Suniel Shetty, who has played a toughie in film after film, runs for cover and loses consciousness when the cops and Naxals indulge in gunfire. He's as helpless as you and I would be, if caught in a hazardous sitaution like that. That's not all, even Sameera Reddy is minus makeup and as shattered as any woman would be, after being gang-raped. The characters apart, RED ALERT - THE WAR WITHIN keeps you engrossed in most parts, more so towards its second hour. However, its ending, talking strictly in terms of impact, isn't as strong and impactful as the rest of the film. RED ALERT - THE WAR WITHIN is director Ananth Narayan Mahadevan's best work to date. It overshadows his previous works and proves that he has genuinely evolved into a fine storyteller. His handling of the difficult subject -- a complete contrast to what he has attempted earlier -- is simply first-rate. Aruna Raje's screenplay is watertight, save for the climax that tends to get predictable. Action scenes [Allan Amin] are as real as real can be. K. Rajkumar's cinematography is top notch. It must've been so tough to shoot this film in dense forests! Every actor in RED ALERT - THE WAR WITHIN delivers a splendid performance. Suniel Shetty delivers his most sensitive, most amazing performance that can easily be called his career-best. It makes you realize that there's a reservoir of talent that hasn't been tapped to the optimum. Sameera Reddy is a complete revelation, a complete shocker. She leaves a hammer-strong impact. Like always, Seema Biswas is excellent, while Ayesha Dharkar is supremely efficient. Ashish Vidyarthi is outstanding. Why don't we see more of him these days? Gulshan Grover leaves a mark. Bhagyashree is effective. Makrand Deshpande underplays his part very well. Zakir Hussain is super. Aditya Lakhia is perfect. Sunil Sinha and Ehsaan Khan are good. Vinod Khanna, in a brief role, and Naseeruddin Shah, in a lone sequence, are superb. On the whole, RED ALERT - THE WAR WITHIN is a well-made film that portrays realism effectively. It may not lure the audiences in hordes or set the box-office afire, like a typical entertainer generally does. Nonetheless, it will leave a strong, indelible impression on those watching it. Watch it for the sake of encouraging thoughtful, relevant and truly scorching content!