By Bollywood Hungama News Network
When love is not madness, it is not love…
Haal-e-Dil is about the same neurotic madness that one suffers from when stuck in the maze called love. It’s a young love story of people who’d go any lengths to loose themselves as smoke loses itself to the sky. They’d go any lengths to fuse that they’d not know where one ended and another began.
It’s the story of Sanjana for whom love is chaste and sacred. For her love is not part of life but life itself. It’s the story of Shekhar who keeps tripping for every second girl and loves to be in the perennial state of love not realizing that soon he is going to meet a girl who’ll change his existence. It’s the story of Rohit who would fall so deep in love that resurfacing would be not possible and he will stop at no barrier and boundary from achieving the love of his life
Sanjana suddenly discovers herself in the crossroad of life where she has to choose between her perfect love and a perfect stranger. What will you do when you find yourself falling for a man who is completely wrong for you and what if you are already in love with someone else?
Haal-e-Dil is about ordinary people about to do extraordinary deeds in the name of love.
By Taran Adarsh, IndiaFM
Some rules you need to follow before you embark on a journey called FOOL & FINAL? One, don’t wear your thinking caps. Here’s why: The film defies logic. Two, don’t ask questions. Here’s why: It’s all about entertainment, not enlightenment. Three, don’t look for answers. Here’s why: The motive is to keep you in splits.
FOOL & FINAL is all about transporting you to a world of make- believe. The sole intention is to offer you loads of entertainment in those 17 reels / 2.20 hours.
But, wait, there’s a hitch!
The execution of the material is done most stylishly, it’s akin to watching a comic book on screen. But the effort falls flat since there’s no script in the first place. The film packs in too many characters and too many incidents in those 17 reels. No issues with that, but director Ahmed Khan and his team of writers [Umesh Shukla, Abbas Hierapurwala] should’ve mixed, merged and unified the assorted characters and incidents skillfully so that the entire experience would be worth cherishing. Unfortunately, what happens here is that you root for a few individualistic sequences only, not the film in entirety.
What redeems FOOL & FINAL are the portions between Johny Lever and Paresh Rawal and a few splendid stunts in the narrative — Shahid’s bike chase at the start or Sunny’s fight to finish combat in the finale. But as you walk out of the auditorium, you strongly feel that Ahmed hasn’t utilized the golden opportunity of creating a paisa vasool entertainer.
To sum up, FOOL & FINAL disappoints!
FOOL & FINAL is all about a diamond that’s robbed by Chunkey Pandey in Mumbai and smuggled to Dubai. Chunkey’s uncle [Gulshan Grover], a don based in London, asks Chunkey to sell the diamond to his accomplice in Dubai, Asrani.
Arbaaz Khan, a don based in Dubai, gets to know of the diamond and also of Chunkey’s weaknesses — guns and gambling. Arbaaz asks Paresh Rawal to get on to the job. Paresh plans to carry out the robbery with his niece [Ayesha Takia], her boyfriend [Shahid Kapoor] and a cabbie [Johny Lever].
Viek Oberoi owes money to a don [Zakir Hussain], who conducts illegal boxing matches in Dubai. Meanwhile, Chunkey cannot resist the urge for guns and calls Arbaaz, who in turn asks Chunkey for a favor: Chunkey should bet on his behalf at Zakir’s illegal den. On Arbaaz’s instructions, Paresh, Shahid, Ayesha and Johny decide to kidnap Chunkey.
Sunny Deol has an altercation with Vivek’s fighter. Zakir asks Vivek to bring Sunny for the big fight. Sunny knocks down Zakir’s fighter. Zakir is seething with anger. In the meanwhile, Arbaaz walks away with the diamond. Subsequently, Zakir walks in and demands the diamond from Paresh and gang. Gulshan and Asrani also land up at Paresh’s place with Jackie Shroff and ask for the diamond.
FOOL & FINAL is meant to be a laughathon, but it excites in bits and spurts. The first half offers rich visuals and a few interesting gags, but the entertainment quotient isn’t high enough. It’s only when Johny Lever enters the frame that things intensify. The sequence in the car, with Ayesha’s dog swallowing the mobile, is hilarious and every time Paresh and Johny interact with one another, the smile on your face only widens.
But too many cooks spoil the broth. In this case, with so many characters around and so many stories running concurrently, the writer duo hasn’t been able to do justice to each of them. As a result, the viewer feels dejected because every sub-plot isn’t as interesting as the Paresh - Johny track.
Director Ahmed Khan tries to pack just about everything in those 2.20 hours. His fundas may be, let’s give the viewer a dash of everything that they expect from a masala movie. It’s like offering twenty well-garnished dishes to a foodie, but [a] most of the dishes [read, sub-plots] aren’t delicious and [b] the appetite doesn’t permit you to relish each and every dish in your plate.
Himesh Reshammiya’s music is in sync with the mood of the film. ‘Yeh Dooriyaan’ and ‘Tere Layee’ are visually enticing as well as superb in terms of choreography. Cinematography [Johny Lal] is excellent. The D.O.P. does complete justice to the eye-filling, glamorous locales of Dubai. Dialogues are witty at places.
FOOL & FINAL has a host of actors, but the ones who stand out are Johny Lever and Paresh Rawal. No two opinions on that! Johny is in form after a long, long time and the funster is the soul of the enterprise. The masses will simply love him. Paresh is excellent yet again and together with Johny, elevates the film to a major extent.
Shahid Kapoor is noticeable because he’s with Johny and Paresh all through. Even otherwise, he leaves a strong mark in dances. Ayesha Takia pairs off well with Shahid, but doesn’t have much to do really. Sunny Deol is okay, although his mukka will be liked by the hoi polloi. Vivek Oberoi hams in the little role that he has.
Sameera Reddy has no role either. Sharmila Tagore is wasted. Om Puri deserved a better deal. Jackie Shroff is hardly there. Chunky Pandey is passable. Ditto for Arbaaz Khan. Zakir Hussain does well. Gulshan Grover, Asrani, Vijay Raaz, Razzak Khan and Suresh Menon are mere gap fillers.
On the whole, FOOL & FINAL is all gloss, no substance. At the box -office, given the hype for the film as also the fantabulous promotion embarked by the magnanimous producer [Firoz A. Nadiadwala], the film will attract footfalls in the initial days, but the weak content will tell on the business in the initial weekend itself. Its sustaining power at the ticket window, therefore, is doubtful.
BollywoodEntertainment.com.au Rating: 2
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By Taran Adarsh, IndiaFM
Till the ‘multiplex culture’ came to India, a majority of Hindi movies packed multiple stories in those three hours. The stories were connected to one another and would culminate into one climax. But, of late, diverse stories are packed in those two hours. These stories run parallel, but have one common end.
In 2007 itself, SALAAM-E-ISHQ and HONEYMOON TRAVELS PVT. LTD. tackled six stories at one go. Director Milan Luthria treads a similar path as he handles three parallel stories in HATTRICK, using cricket as the setting.
HATTRICK is pretty much like the sensex. The graph of the film is erratic. It goes up and down at regular intervals. There are interesting moments in the film, especially in the first hour, but the film stagnates just when you think everything is going fine.
The dilemma of the characters is well depicted. Nana’s khadus nature [no smile, no emotion, he’s completely detached from the simple pleasures of life], Danny’s cricket addiction [it’s cricket and only cricket for him], Kunal and Rimi’s rocky relationship [since the wife is attracted to cricketer Dhoni] and Paresh Rawal’s stubborn attitude [dreams of acquiring the British citizenship] seems straight out of life. All this is fine till the intermission card flashes on screen.
Fine, Milan Luthria has executed a number of sequences with panache, but the film is not as invigorating in totality. Problem? The writing lacks the meat in the second hour. And that takes the film a few notches down.
All said, HATTRICK isn’t great cinema. It isn’t bad either. It floats in between. It’s plain average!
HATTRICK is the story of five chaotic characters…
The caustic Dr. Satyajeet Chavan [Nana Patekar] hates everything good in life, especially cricket. David Abraham [Danny Denzongpa], a veteran cricketer, is obsessed with cricket. David falls ill and is admitted to the government hospital. That’s where Dr. Satyajeet and David meet.
On the other side of the planet, London, is Hemu Patel [Paresh Rawal]. A janitor, a cricket maniac and an illegal immigrant! His single pre-occupation in life is acquiring a U.K. citizenship. He longs to return home from U.K. after years of fooling himself that he’s happy living a second-rate life in a foreign land.
Saby [Kunal Kapoor] is a cricket addict, so much so that his television set is better company than his seductive wife Kashmira [Rimi Sen]. The problem begins when Kashmira gets obsessed with Dhoni.
In HATTRICK, the three stories proceed simultaneously. The Nana-Danny nok-jhonk at regular intervals or Paresh’s stubborn attitude or Kunal-Rimi’s blow-hot-blow-cold relationship is beautifully depicted. In fact, the humor in the first half compels you to flex your facial muscles quite often. But the film faces roadblocks thanks to the half-baked screenplay [Rajat Aroraa].
Nana’s decision to go that extra mile and organize a mock World Cup match is so far-fetched that it takes this episode far from reality… Kunal and Rimi’s unstable relationship is back on track without any heart-to-heart talk between the two of them. Kunal’s striptease in the end looks amateurish too… Paresh’s track is straight out of life, but the writing loses its balance as it reaches its culmination. Why does the English officer have a change of heart?
Milan Luthria’s direction is satisfactory, but it’s the writing that acts as a spoke in the wheel. Pritam’s music is strictly okay. You watch the songs on the big screen without exhibiting any emotion, but forget all about them once the movie ends. ‘Wicket Bacha’ is the only track that stands out, partly due to its zany filming. Cinematography [Nirmal Jani] is lucid.
The performances are up to the mark. Nana carries his part with precision. There’re certain roles he excels in and this is one of those. Danny is extremely likable. All you want to ask the veteran is, Where have you been all this while? Paresh gets a serious role this time and the actor proves his versatility yet again.
Kunal Kapoor is highly competent. He has the potential to make it big! Rimi springs a pleasant surprise this time around. She’s efficient. The actors enacting the role of Paresh’s wife and daughter are first-rate. Pratiksha Lonkar [Nana’s wife] gets minimal scope.
On the whole, HATTRICK is an average product at best. At the box-office, it won’t score a century, nor will it be clean bowled at the start. It would somewhere be in the half-century range.
BollywoodEntertainment.com.au Rating: 2.5
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By Taran Adarsh, IndiaFM
Never judge a book by its cover. That holds true for films as well. A stylish promo or a fascinating billboard could raise your expectations and compel you to rush to a nearby movieplex to watch the film. But, alas! All that glitters is not gold.
RED – THE DARK SIDE has generated tremendous hype over the weeks due to its eye-catching promotional teasers. Unfortunately, watching the film is akin to flying in an aircraft that’s run out of fuel midway. It starts off well, you are hooked to the goings-on, the game begins… But the fizz settles down sooner than expected.
What’s wrong with RED – THE DARK SIDE? Plenty of things! Most importantly, the writing [story-screenplay: Manoj Tyagi] is outright tacky. It vacillates between komsi-komsa to amateurish to confused.
But the reason why RED – THE DARK SIDE falls like a pack of cards is because you know that the lady is playing games. You know that she has a hidden agenda. You know that she’s out to use Mr. Millionaire. You realize all this because you’ve witnessed similar themes in the past.
So when the cat is out of the bag, you aren’t shocked. On the contrary, you break into a big yawn. Also, the way the writer rushes up things — demystifying the shadyantra — you wonder if he knows the basics of screenplay writing. The climax is the lifeline of any thriller, but in RED – THE DARK SIDE, the culmination to the story acts as a spoilsport.
To cut a long story short, RED – THE DARK SIDE disappoints!
Neel [Aftab Shivdasani] is a billionaire. Diagnosed with a fatal heart ailment, Neel’s life comes to a screeching halt. Only a miracle [heart transplant] can save him. As luck would have it, the doctor [Kishori Shahane Vij] gets a donor. It’s Anahita’s [Celina Jaitley] husband, who has died in a road accident.
Anahita is a gorgeous lady. After her husband’s demise, she leads a lonely life. Neel is drawn into a passionate affair with Anahita. Suddenly, things take a turn…
Anahita informs Neel that her husband had been murdered. And Ria [Amrita Arora], Anahita’s best friend, is the culprit. She had an affair with Anahita’s husband and since she couldn’t marry him, she decided to eliminate him instead.
Neel murders Ria’s friend Rocky [Amin Hajee], who had murdered Anahita’s husband. But Neel loses his watch while committing the gruesome act. The investigation begins and the cop [Sushant Singh] is on the trail of those who had committed the heinous act.
Anahita now wants Ria out of her way. Neel is ready to commit the second murder…
Certain stories sound interesting on paper, but run out of steam as the reels unfold. RED – THE DARK SIDE shows promise as it takes off. The characters are well established at the very outset. Everything is going fine. Suddenly, the writer applies brakes. It gets into a predictable mode. Everything that happens thereafter only takes the graph of the film down.
Thrillers work for one vital reason. The moviegoer shouldn’t be able to guess the identity/motive of the killer till the penultimate reel. In this case, you know that someone’s playing games. The lead man doesn’t know, but the viewer senses it and that’s why the film falls off the cliff.
The climax is so silly, so juvenile that you actually want to ask Vikram Bhatt, how did he okay this kind of inept writing in the first place?
Vikram Bhatt tries hard to keep the show going, but the substandard writing proves a roadblock. Himesh Reshammiya’s music is interesting, but not at par with his earlier works. Without doubt, ‘Aafreen’ is the pick of the lot. The lip-locks in a couple of songs make the tracks appear steamy. Pravin Bhatt’s cinematography is eye-catching. The lighting deserves special mention.
RED – THE DARK SIDE belongs to Aftab Shivdasani, who’s matured into a dependable actor. Looking suave in formals, the actor has also worked on his physique by shedding unwanted fat. He handles his part extremely well. Celina Jaitley is better than her previous films. She looks alluring and plays a calculating woman with conviction, except for one particular sequence when she makes a call to Aftab from a phone booth.
Amrita Arora has no role whatsoever. She’s hardly there. Hello Ms. Arora, what did you see in this role? Sushant Singh is the atypical cop we’ve watched in hundreds of Hindi movies before. Kishori Shahane Vij and Amin Hajee are alright.
On the whole, RED – THE DARK SIDE stands on a weak script. At the box-office, it stands no chance!
BollywoodEntertainment.com.au Rating: 2
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By Taran Adarsh, IndiaFM
Take a bow, Deepa Mehta.
Deepa Mehta’s body of work includes several noteworthy films, notable among them being EARTH and FIRE. But she reaches the pinnacle with WATER, her most accomplished work so far. Okay, WATER didn’t really win the coveted Academy Award, but film aficionados have given their mandate, showering it with accolades. That, to put it bluntly, is a far bigger achievement than winning the coveted statuette.
In the past, reputed names such as Shakti Samanta [KATI PATANG, ARADHANA], Yash Chopra [DAAG], Ramesh Sippy [SHOLAY], Raj Kapoor [PREM ROG], Rituparno Ghosh [CHOKHER BALI] and Ravi Chopra [BAABUL] depicted the plight of widows. Sometime back, SHWET – WHITE RAINBOW [Sonali Kulkarni] also revolved around widows and their journey to overcome the societal stigma.
WATER is an exquisite drama that works because it encompasses so much in those 2 hours — life, laughter, tenderness and tragedy. Despite its simplistic plotline, it manages to stir your soul, grip your heart and transport you to an era which many of us haven’t experienced. Also, not once does the film meander into sub-plots or take you away from the core issue. At the same time, it’s not preachy, nor does it get melodramatic.
To sum up, WATER is a remarkable piece of cinema. It’s a must-see for all those who appreciate qualitative and refined cinema. Without doubt, the final chapter in Deepa Mehta’s trilogy [FIRE, EARTH] is her best!
Narayan [John Abraham], a Gandhian, falls for the beautiful Kalyani [Lisa Ray], a widow in Madhumati’s house. Chuyia [Sarala], an 8-year-old widow and Shakuntala [Seema Biswas], a middle-aged woman are the other residents of the ashram.
Narayan proposes marriage to Kalyani. Kalyani decides to revolt against Madhumati’s dominance. Madhumati reasons that they will go to hell if Kalyani re-marries, but Kalyani has already made up her mind. Narayan decides to introduce Kalyani to his parents. But when she spots the house they’re heading towards, she insists they turn the ferry around.
Narayan is confused, but Kalyani tells him to ask his father the reason. When Narayan learns that his father had sexually exploited Kalyani, he feels disgusted. The end is tragic: Kalyani commits suicide, while Madhumati and Gulabi pimp out the little Chuyia.
WATER touches your heart on several occasions. The film begins with Chuyia being told that she’s a widow and her heartbroken father drops her at the ashram. The subtle romance between Narayan and Kalyani is another interesting aspect. The understanding between Gulabi and Madhumati raises eyebrows. But the finale is what catches you by complete surprise. Kalyani’s suicide and the innocent Chuiya being thrown to a pervert shakes you up completely.
WATER is, without a shred of doubt, Deepa Mehta’s finest work to date. The director handles the complex relationships with dexterity. Although the pacing is slow, given the theme of the film, not once do you feel uneasy because the drama that ensues has the power to hold your attention. Even the tragic finale has been handled in a classy manner.
Besides, Deepa Mehta raises several pertinent questions through Chuyia. Questions like ‘For how long will I be a widow’, ‘When will I return home’ or ‘Where do men who’ve lost their wives go’ are brutally honest. Mahatma Gandhi’s appearance in the end is another masterstroke. The final sequence, when Shakuntala hands over Chuyia to Narayan, is akin to a ray of hope.
Another remarkable feature is its cinematography [Giles Nuttgens], which captures the era with precision. Surprising, the film wasn’t nominated in this category! Dialogues are wonderful. The background score [Mychael Danna] as well as the songs [A.R. Rahman] injected in the narrative are appropriate. However, the film could’ve done without songs even otherwise. Costumes [Dolly Ahluwalia] reflect the detailing that has gone into the film.
Every performance in WATER is mesmerizing. But the one who really stands out with a remarkable portrayal is Sarala, who enacts the role of Chuyia with rare maturity. She is incredible! Seema Biswas proves yet again that she’s amongst the finest talents India has produced in recent years.
Lisa Ray looks stunning as always and emotes with flourish. John Abraham is perfect for the part. Known for his handsome looks all the while, you notice the maturity in his performance in WATER. Manorama returns to the big screen after a long gap and you’re bound to hate the lady — so effective is she!
Raghuvir Yadav is first-rate. Vinay Pathak is believable. Kulbhushan Kharbanda stands out in a brief role. Waheeda Rehman [as John’s mother] suits the part.
On the whole, WATER is Deepa Mehta’s finest work to date and will win unprecedented critical acclaim in the Indian media. At the box-office, the film caters to a niche audience — those who appreciate qualitative cinema. Therefore, its business at multiplexes of big cities will be better.
BollywoodEntertainment.com.au Rating: 4
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By IndiaFM News BureauAKSHAY KUMAR as ARJUN
Akshay Kumar is Arjun, whose joy knows no bounds when he marries the beautiful and sophisticated Jazz. But the joy soon turns to despair when he realizes this marriage means nothing to her and she is determined to marry her British boyfriend. As a man who is forced to watch his wife romancing another, as the determined lover who will go to any lengths to make his beloved happy, Akshay’s sensitive but strong; helpless but determined Arjun will win everybody’s hearts. Will stubborn Jazz be the exception?
Katrina Kaif is Jasmeet Singh (Jazz). Born and brought up in London, you understand why she loves and wants everything that’s western, including a husband. You also understand her anger and rebellion when he father forces her to marry a stranger. But does Jazz realize the folly of her stubborn behavior? Or will she wake up too late? Only Katrina with her mix of western sensibility and eastern vulnerability could have pulled off this role of a confused girl, with her soul intact but her heart leading her astray.
RISHI KAPOOR as MANMOHAN SINGH
Rishi Kapoor is Manmohan Singh. This ‘angrezi beti ka desi baap’ is horrified to discover how obsessed his only daughter is with everything western. He does what any other Indian father would do – gets her married to a boy of his choice, without realizing the repercussions. As the loving father who will go to any lengths to safeguard his daughter’s happiness, Rishi Kapoor’s Manmohan Singh will strike a chord immediately with all those who have faced a similar situation in their lives.
UPEN PATEL as IMRAN KHAN
Upen Patel is Imran Khan. He is a Pakistani, but born and brought up in London like Jazz. Naturally if their fathers are best friends, so are they. He completely identifies with Jazz’s obsession for everything British as he himself has a Brit girlfriend. But when push comes to shove, when his very identity and religion are at stake, he realizes how much he ha wronged by giving Jazz the wrong advice.
JAVED SHEIKH as PARVEZ KHAN
Javed Shaikh is Parvez Khan. This talented actor returns to his ethnic roots by playing a Pakistani taxi driver, whose best friend happens to be an Indian, Manmohan Singh. He loves his son to death but cannot accept his live in relationship with a British girl. As the anguished father of a wayward son, the pathos and dignity he brings to his role must be seen to be believed.
What happens when you transplant an English rose to a countryside in Punjab and expect her to thrive in an alien environment? The rose will either die or rebel. That’s exactly what Jazz, rather Jasmeet does when her father Manmohan Singh brings her to India and gets her married to Arjun, a rough and tough farmer who can barely speak English. But Jazz too is equally determined to marry Charlie Brown her British boyfriend. Caught in this emotional tug of war between father and daughter is poor Arjun, who is helplessly and hopelessly in love with his beautiful but unyielding wife.
In Namastey London, this emotional and dramatic tug of war will determine whether love is more about giving or taking? Whether Indian values must surrender to Western culture? Whether Jazz will win or Jasmeet!
By IndiaFM News Bureau
The subject of ‘Apne’ is born out of the most important aspect of Indian life – Family. Indian men have time and again sacrificed their dreams of winning the world over to keep their families intact.
An ex-boxer Baldev Choudhary (Dharmendra) has had a stain in his boxing career. He wanted to wash it with his son Angad’s (Sunny Deol) success, but times were hard and a financial crunch kept him from achieving this dream. Though Angad pulled through fine, Baldev never forgot who ruined his chance to wash the stain.
An opportunity strikes Baldev in the form of a T.V. Show. He trains a local boy to get into this media hyped boxing show, but is ditched for a better coach at the last minute. Baldev’s younger son Karan (Bobby Deol) has just launched his first music album. Realizing his father is in crises of his life, he gives up his dream of a musical career to get into the game of boxing.
Karan works hard and wins all through thinking that his victory will bring the two pillars of his family together. After winning within the nation, he wins all over the world. The final match is with the current world heavy champion. The match goes fine, but Karan is tricked and he ends up paralyzed in a hospital bed.
Baldev, who wanted to wash a stigma is now about to loose his son. He feels like killing himself. Angad steps in to turn the game upside down and bring his father the happiness of a lifetime.
By Subhash K. Jha, Indo-Asian News Service
Film: “Eklavya: The Royal Guard”; Cast: Amitabh Bachchan, Saif Ali Khan, Vidya Balan, Sharmila Tagore, Boman Irani, Jackie Shroff, Jimmy Shergil; Director: Vidhu Vinod Chopra; Rating: ** 1/2
Can form, no matter how glorious, be a substitute for content? In “Eklavya”, lack of content isn’t a problem. It’s the tense and dark nature of the content that proves to be a dismaying impediment to enjoying the virility of Vidhu Vinod Chopra’s storytelling.
How do we define the plot of “Eklavya”? It partly borrows the dark, indefinable pathos of Shakespeare’s tragedy and partly reverts to the palatial pathos of the Mughal Empire where patricide frequently collided with complex Oedipal equations. “Eklavya” takes us into a territory totally unexplored and designed to create an ethos of infinite resonances.
Some stories are better left unsaid. “Eklavya” tragically seems to belong to that rare genre of stories that lose their relevance in their rendering. The characters, all ruefully rooted to a decadent and dying aristocracy, are either neurotic, manic or self-destructive.
All the people who crowd the tightly cordoned stratosphere of “Eklavya” are grandly wedded to destructive forces. Unwittingly they end up looking preposterous in their self-conscious postures of assumed dignity.
In their inability to see beyond their own hefty hunger for self- assertion, the characters often mimic, rather than replicate, the Shakespearean tragedy.
Chopra is undoubtedly a master craftsman. At times he becomes self- indulgent in his visual panache. In the sequence where “Eklavya” slaughters Jimmy Shergil, the recurrent pigeons-leitmotif (seen earlier in “Parinda”) are classic Chopra embellishments best left behind in a film that in many ways crosses the boundaries of mainstream conventions.
Indeed, if Vishal Bhardwaj’s Omkara was more Ram Gopal Varma than Shakespeare, Eklavya is more Virginia Woolf than Shakespeare.
Chopra is brilliant at capturing neurosis through the lens of the camera. At times he makes room for tenderness. Watch Bachchan’s expression of tender nostalgia as Vidya Balan sings the ancestral lullaby.
You often see the characters framed frantically as wounded, scarred mortals hurtling towards their ruin - they do not connect with us in any significant way.
Reciting Shakespearean sonnets on death-beds, sobbing into the night, stabbing each other in their aristocratic backs, playing mind games that echo the travesties of titular existence, Chopra’s people come alive more through their externalities rather than his efforts to internalise their angst.
Chopra spares no efforts to penetrate the steely wily hearts of these bereft souls. Rajasthan is captured in telltale silhouettes as the stately royal guard Eklavya (Bachchan) forms a fertile bond with a family of doomed aristocrats.
The narration begins as a mother-son story and builds with magical volition into a father-son tale of clenched trauma. By the time Eklavya points a gun at his own heir-apparent, we are left looking at a family that doesn’t need redemption. It just needs to be buried in the slinky sand dunes of time.
The performances by Bachchan and Saif Ali Khan - the royal heir who finds out that the family guard is actually his father - lift the tale to luminous heights. Boman Irani, as the infertile royal patriarch, plays his character with just that shadowy hint of mischief that puts him a cut above the routine slime-ball.
“Eklavya” is a chronicle of defeat. People who belong to no specific time zone seem to be manoeuvring their lives beyond the rhythms of the rationale.
There’s poetry in the soul of the movie. But the lines do not represent any significant symbiosis of form and content. With its unforgettable images of elemental forces, “Eklavya” is a film that was probably as hard to make as it is to profile and define.
At the end, it remains an honourable failure, lifted to distinction by Bachchan’s stately performance.
BollywooodEntertainment.com.au Rating: 2
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By Taran Adarsh, IndiaFM
Sometimes, interesting concepts evaporate into thin air thanks to inept writing. That’s one of the prime reasons why KUDIYON KA HAI ZAMAANA suffers!
The premise — borrowed from the popular TV series SEX AND THE CITY — can easily be redesigned into an interesting cinematic experience, but the writing is so excruciatingly weak that you want to ask debutante writer-director Amar Butala, Yeh kya ho raha hain?
Sure, KUDIYON KA HAI ZAMAANA boasts of some entertaining moments, but the lows outnumber the highs in those 16 reels. The writing lacks the power to keep your attention arrested, to put it bluntly.
Director Amar Butala could’ve explored newer horizons with a chick flick. Unfortunately, what comes across is neither inventive nor engaging. A terrible waste of a terrific opportunity!
KUDIYON KA HAI ZAMAANA revolves around four friends — Mayuri [Rekha], Natasha [Vasundhara Das], Kanika [Kim Sharma] and Anjali [Mahima Chaudhary]. Even though they aren’t of the same age, they have grown to be the best of friends. They keep meeting at a beauty salon where they go to pamper themselves. In between the facials, manicures and pedicures, they have become the best of friends.
Anjali is the cause of much envy for the remaining three. Carefree and fancy-free, Anjali dates men all the time and has a lot of fun. Another habit of Anjali that really annoys her friends is that she always bets with them, on almost anything and everything under the sun. And she always wins! The three want to beat her just once.
Anjali had once bet that she would never marry till she’s 25 and so Mayuri, Natasha and Kanika decide to find a man for her and win this one bet. But things go topsy-turvy when each of them decide to outdo the other and find a man for Anjali. Meanwhile, Anjali meets Amar [Ashmit Patel] and falls in love with him.
Anjali now has not one, two but four men wooing her. A dramatic confrontation tears the friends apart when Anjali realizes the game plan.
With an innovative concept on hand, debutante director Amar Butala could’ve worked wonders by balancing the hilarious and emotional moments beautifully. Sadly, barring a handful of scenes, neither do the light moments evoke mirth nor do the emotional moments make you moist eyed or tug at your heart strings.
The light moments are far from funny. Right from the start — the three ladies [Rekha, Kim, Vasundhara] zeroing on guys of their choice [Sanjit Bedi, Nikhil Chinappa and Ashwin Mushran, respectively] and the method adopted by the three bachelors to woo Mahima — looks completely farcical. If the intention was to make you laugh, sorry, it doesn’t!
The second hour goes on an altogether different track. Ideally, the film should’ve ended when Rekha realizes her folly and sorts out the problems. Instead, the narrative starts focusing on Rekha’s failed relationship with her fourth husband [Sachin Khedekar] and what follows is one lengthy scene and an unwanted ‘Din Dhal Jaye’ song [rendered by Rekha herself], which adds to the boredom.
Even the surrogate advertising [Lays Wafers] is crudely handled. Whether Vasundhara is having her pedicure done in a beauty parlour or having dinner with Mahima in a restaurant or being rushed to a maternity home [she's pregnant], she seems to be clutching on to the wafer packet all the while, holding the wafer packet right into the camera. Irritates big time!
Climax too is weak. In fact, Ashmit’s idea of bringing in the baraat at the dot of 12 so that Mahima wins the bet is very filmy.
Amar Butala’s direction is passable, but it’s the writing that spoils the show. Iqbal Darbar and Yasin Darbar’s music is truly melodious. Besides the catchy title track, the two romantic songs [Ashmit-Mahima] are easy on your ears. A.K.N. Sebastian’s cinematography is inconsistent. Dialogues are witty and at times, saucy and spicy. But why this generous dose of English at several places?
Rekha does an okay job, but goes over the top in the second hour. Mahima Chaudhary’s outfits are only getting skimpier and outrageous with each passing year. Dressed in skimpy outfits and indulging in a passionate lip-to-lip kiss with Ashmit is what you remember most of Mahima in this flick. Kim Sharma needs to take lessons in acting. Vasundhara Das is equally wooden.
Ashmit Patel is strictly functional. Sachin Khedekar is natural. Nikhil Chinappa, Gaurav Kapoor, Sanjit Bedi, Kabir Sadanand and Ashwin Mushran are mere gap fillers. Upasana Singh screams her lungs out in the lone hospital scene.
On the whole, KUDIYON KA HAI ZAMAANA is a poor show with a lame script as its main handicap. At the box-office, this one’s a non-starter!
BollywoodEntertainment.com.au Rating: 1
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By Taran Adarsh, IndiaFM
Cinema- going experiences, like culinary encounters, can either stimulate you or put you off completely. When you enter a cineplex to watch Arjun Rampal’s first outing as a producer, I SEE YOU, you expect to watch a soft-on-your-senses, feel-good multiplex movie since the promotions have been very specific, very direct on that front.
I SEE YOU, directed by debutante Vivek Agrawal, is targeted at the multiplex junta, but right intentions don’t necessarily translate into right films. The problem with I SEE YOU is that it works in bits and spurts, not in entirety.
It’s not blasphemous to be inspired by a Hollywood film [JUST LIKE HEAVEN; starring Reese Witherspoon, Mark Ruffalo], but writer Suresh Nair and director Vivek Agrawal should’ve ensured that the desi adaptation appeals to Indian sensibilities and is captivating enough from start to end. Sure, I SEE YOU has its share of interesting moments, but the recipe [screenplay] used for cooking this dish lacks a few vital ingredients.
To sum up, I SEE YOU is the kind of film that works best on the tube or DVD circuit. As far as its theatrical business is concerned, it might find its share of advocates in a handful of multiplexes of Mumbai, Delhi, Kolkata and Bangalore mainly, but even that segment of viewers would be minimal.
Story: Raj [Arjun Rampal] is the star attraction on the TV show British Raj. One evening, Raj finds an unexpected visitor in his house — Shivani [Vipasha]. Is he dreaming? Is she for real? At first Raj thinks his friends are out to make a bakra. But he realizes that Shivani is a spirit.
Shivani breezes in and out of his home and office whether he likes it or not. Unfortunately, Raj is the only one who seems to be able to see her or talk to her. His friend Akshay [Chunky Pandey] thinks it’s an alibi and also arranges for a meeting with a shrink [Boman Irani] on his wedding anniversary.
Gradually, Raj falls in love with Shivani. But Shivani and Raj have to find answers to questions that led to Shivani’s current state.
I SEE YOU is a ghost story, but it doesn’t belong to the BEES SAAL BAAD or BHOOT variety. It’s not on the lines of Ramsay productions either. A love story revolving around a spirit and an ordinary mortal, the plot focuses more on humor and romance than spine chilling or tense moments.
Although the premise is refreshingly different for Indian audiences, the manner in which writer Suresh Nair and director Vivek Agrawal open the cards is what gives you hiccups. In the first place, no explanations are offered as to why Arjun alone can see Vipasha. Also, she can’t touch a telephone, but the twist in the tale has her opening the door of the room where her comatose body lies. How did she manage that? Chalo, maan liya, spirits in Hindi movies can even break into songs and dances, but the opening of the door is like double crossing Arjun since the cop [Michael Maloney] is already at the doorstep.
Even the finale — the mystery behind Vipasha’s accident is solved and the doctor is arrested — is far from convincing. A few minutes earlier, didn’t we see the doctor and a nurse entering Vipasha’s room in the hospital and even injecting a drug to put her to sleep forever? So how did the cop [Michael Maloney] reach there from the BBC Studio [he’s being interviewed ‘Live’] and how did Vipasha suddenly come alive? It’s a screenplay of convenience!
In a nutshell, I SEE YOU tries too hard to appeal to the heart, but it forgets that moviegoers have thinking minds too.
On the plus side, a few individualistic sequences are well executed. The initial portions — Arjun refusing to believe Vipasha is a spirit until he visits the hospital — are interesting. The humor-laden sequences involving Chunky Pandey also keep you in splits. The finale — Vipasha disappearing from Arjun’s arms [faulty writing] — is well handled too. Ditto for the end — Arjun introducing himself to Vipasha at an eatery — is worthy of note.
Vivek Agrawal had the opportunity to play with special effects since the protagonist is a spirit, but the storyteller doesn’t utilize this aspect in the narrative. Also, his choice of the story is perfect, but not the screenplay. How could he okay a faulty script in the first place? Vishal-Shekhar’s music is pleasant. ‘Subah Subah’ and ‘Halo’ are two noteworthy tracks in the narrative. In fact, the set décor and choreography [Shiamak Davar] of the ‘Halo’ track is superb. Ashok Mehta’s cinematography is delightful. Dialogues [Niranjan Iyengar] are strictly kaam-chalau.
I SEE YOU rests on Arjun’s shoulders. Arjun is efficient in a role that doesn’t really demand histrionics. He has proved his credentials in the past and his performance in this film is at par with his earlier works. He works best in the dramatic portions. Vipasha may not be gorgeous to look at, but she’s a decent actor.
Chunky Pandey is only getting better with every release. He registers an impact. Kirron Kher gets very little screen time. Boman Irani tries hard to make you laugh. Sonali Kulkarni also has a miniscule part. Sophie Chaudhary adds to the glamour quotient. Her scenes with Arjun [especially the one at the start, when Vipasha lands up at the studio] are truly funny. Michael Maloney [the Hindi-speaking angrez cop] is good.
Shah Rukh Khan and Hrithik Roshan make fleeting appearances in the ‘Subah Subah’ song. While SRK is strumming a guitar, Hrithik breaks into a small jig.
On the whole, I SEE YOU could’ve been an interesting fare, but is letdown by a lopsided screenplay. At the box-office, the lack of face- value and an inopportune release period [people don’t like to spend New Year in a cinema hall] will only add to its woes.
BollywoodEntertainment.com.au Rating: 1.5
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By Taran Adarsh, IndiaFM
Priyadarshan has attempted varied genres over the years. His body of work includes some thought-provoking films as well as films that defy logic but nonetheless cater to the hoi polloi. Of late, the supremely talented storyteller has trained his sights on one particular genre — comedy.
BHAGAM BHAG, his new outing, charters a similar path. At least that’s the impression you get when you look at its qualitative promos. After a breezy first half, you realize that there’s more to BHAGAM BHAG. It’s not just a comic fare. It transforms into a murder mystery.
Nothing wrong if Priyan packs two diverse genres in one film, but the problem is that the comedy works and the whodunit doesn’t!
Let’s examine the two halves of BHAGAM BHAG minutely. Analysis of Part 1 first:
* Lock your brains and throw the key in the sea as the curtains go up and BHAGAM BHAG unfolds. Remember, don’t look for logic, don’t ask questions.
* The escapades of Akshay-Govinda-Paresh are truly entertaining. In fact, howlarious at times. A number of comic scenes are the mainstay of the enterprise. The first half, to put it rightly, is paisa vasool entertainment!
* The climax is the biggest culprit. The identity of the murderer and the motive behind the murder should come as a shock if the whodunit has to have a solid impact. In BHAGAM BHAG, the end result is not as impactful.
To sum up, BHAGAM BHAG may not be Priyadarshan’s finest effort in this genre, but it provides ample laughter and entertainment in the final tally. Had the second hour been as captivating as the first, it would’ve been a different story altogether!
Champak [Paresh Rawal] has a theatre group in India and he performs shows all over the country. Bunty [Akshay] and Babla [Govinda] along with others are actors in the group. Both are naughty-natured guys who never miss a chance to flirt with girls, even with girls in the group.
At the completion of one show, an organizer [Asrani] offers Champak’s group to perform shows in England. Unfortunately, the heroine of the play [Tanushree Dutta] opts out due to Bunty’s misbehavior.
They reach London and through Gullu [Rajpal], a taxi driver, Bunty and Babla try to find a girl for their play, but it leads to many misunderstandings. In this process, Bunty and Babla fall into trouble involving a drug baron [Manoj Joshi].
Thereafter, Bunty and Gullu discover a girl Minni [Lara Dutta], who suffers from amnesia, to act in their drama and just as Bunty and Minni fall in love, she regains her memory and reveals that she’s married to a U.K.-based entrepreneur [Arbaaz Khan].
Comedy is serious business and Priyadarshan has explored this genre with flourish. In BHAGAM BHAG, there are ample moments that tickle your funny bone. But it’s the writing in the second hour [screenplay: Neeraj Vora] that acts as a spoilsport.
* The Shakti Kapoor-Rajpal Yadav track raises a few laughs in the first hour, but stands out like a sore thumb in the next hour. Ditto for the drug baron [Manoj Joshi] and his sidekick [Sharat Saxena]. It hardly evokes mirth!
* The murder mystery is just not convincing. The Arbaaz-Lara-Jackie tracks are poorly etched out. And as pointed out at the outset, the climax — very similar to the one in David Dhawan’s SHAADI NO. 1 — manages a chuckle, but is far from being hilarious.
Given the fact that Priyadarshan is saddled with an ordinary screenplay, there’s not much he can do to elevate the goings-on. Yet, there’s no denying that his handling of the comic scenes is superb. Pritam’s music is strictly okay. ‘Signal’ is the best track of the enterprise, while ‘Afreen’ appeals more due to its choreography and the colorful set [Sabu Cyril] than its tune. The music composer is just not in form here. Jeeva’s cinematography is topnotch. Dialogues [Neeraj Vora] are excellent. Vora knows where to give the right punches!
Akshay does his part well, but why is the actor getting typecast in similar roles? Compare his character in DEEWANE HUYE PAAGAL, GARAM MASALA and PHIR HERA PHERI with the one in BHAGAM BHAG and it’s the same Akshay in all the films. Hello Mr. Kumar, why this act of monotony?
Govinda doesn’t get it right in his comeback vehicle. Known for his impeccable sense of timing vis-à-vis comic films, he’s just not in form this time around. Also, he’s looking older and obese in the film. Paresh Rawal is competent, while Rajpal Yadav is superb, but is sidelined in the second hour.
Lara Dutta lacks the talent to carry off a challenging role. She looks pretty, that’s it! Jackie Shroff is mechanical. Arbaaz Khan doesn’t get much scope. Shakti Kapoor is in true form. Asrani, Sharat Saxena, Manoj Joshi, Razzaq Khan and Amita Nangia are okay. Tanushree Dutta looks glamorous in the ‘Signal’ track.
On the whole, BHAGAM BHAG will be loved for its comedy in the first hour, but the whodunit in the second hour tapers the impact. At the box-office, the pre-release hype will ensure a bountiful first four days [Monday is Christmas, making it a 4-day weekend], thereby adding to the booty. Even otherwise, the holiday period in the coming days and lack of a mass-appealing entertainer since DHOOM 2 will benefit BHAGAM BHAG, making the film a safe bet for its distributors.
BollywoodEntertainment.com.au Rating: 3.5
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By Taran Adarsh, IndiaFM
More than a decade ago, Sohail Khan was planning to turn director with a script that would star Jeetendra’s nephew Abhishek Kapoor in the lead. The project didn’t materialize; Sohail made his directorial debut with AUZAAR [Salman Khan, Sanjay Kapoor], Abhishek too got launched as an actor by someone else. Now, Sohail and Abhishek team up in different roles: Sohail is the actor, Abhishek the director.
Let’s face it! On face value, ARYAN doesn’t generate curiosity, like one of those biggies around the corner. But the film, starring Sohail Khan in the lead and directed by actor turned director Abhishek Kapoor, takes you by complete surprise as the reels unfold.
If the promos of ARYAN give an impression that the film is all about boxing, you’re partly right. Boxing is an integral part of the storyline, but the film has much more to offer. It’s also about the relationship between a husband-wife and the ups and downs in their relationship.
In most cases, you do notice some raw edges when you watch a film directed by a first-timer. But Abhishek Kapoor seems to have done his homework pretty well and the deft handling of the subject matter deserves highest praise. In fact, his handling of the emotional, tense and thrilling moments in the film will leave you spellbound.
Aryan [Sohail Khan] was born to fight. He is the college champ and under the tough training of Coach Ranveer Singh [Puneet Issar], he dreams of winning the nationals. His love, Neha [Sneha Ullal], is more than just his better half. She is his support system, his strength. He needs her to be around every time.
Life takes a turn and Aryan chooses to give up his dreams and marry his love instead. They have a kid and start living a common man’s life. Life moves on and so does Aryan. He takes up a job as a sports commentator, but life is never the same for him. He hits a low professionally, as well in his married life.
One day, his ex-coach asks him to get back into the ring and gives him the courage to face the world head on. Aryan decides to follow his dreams again, but he isn’t the man he used to be. His support system, his wife, has left him. Will Aryan be able to achieve his dreams?
The Sylvester Stallone starrer ROCKY has had its share of admirers in Bollywood. Years ago, Raj Sippy captured the sport on celluloid in BOXER and now, Abhishek Kapoor does so in ARYAN. While Sippy’s version of BOXER was well shot too, the film lacked a strong emotional side that would balance the combat in the penultimate reels. That’s where ARYAN really scores!
ARYAN starts off as a routine love story, of a rich girl and a poor guy, but the emotions come to the fore as the husband and wife go separate ways. And the rift in the relationship is very well depicted here.
Another highpoint of the film is its penultimate 30-minute climax fight, where the protagonist not only has to crush his opponent in the boxing ring, but by winning the match also earn respect in the eyes of his wife and son. The fight-to-finish boxing sequences are outstanding and a never-seen-before experience on the Hindi screen.
Anand Raaj Anand’s music is soulful. ‘Jaaneman’ and ‘Chhuna Hai Aasman Ko’ are two tracks that stand out; the former for melody and the latter for the overpowering spirit. Ranjit Barot’s background score is electrifying. Cinematography [Neelabh Kaul] is topnotch. In fact, the cinematographer along with action co-ordinators Chris Anderson and Mahendra Verma and editors Renjit B. Vattakattu and Shakti Hasija deserve distinction marks for the penultimate fight. Something like this has rarely been seen on Bollywood screen before!
ARYAN gives ample scope to Sohail Khan to portray the gamut of emotions and Salman’s youngest brother proves that given an opportunity, he can rise to the occasion. He gets to portray three diverse shades in the film — lover boy, husband and frustrated man — and his performance stands out all through.
Sneha Ullal, who made her debut in LUCKY, shows improvement over her debut performance. However, she looks too young to carry off a mature role. Puneet Issar [excellent], Satish Shah [effective], Supriya Karnik [vicious to the core] and Inder Kumar [menacing to the hilt] compliment the lead characters. Farida Jalal is okay. Suved Lohia has the trappings of a natural actor. Fardeen Khan, in a special role, is first-rate.
On the whole, ARYAN is a well-made film that combines style and substance beautifully. Unfortunately, the box-office will sing a different tune altogether! Reasons: [i] Not-too-attractive face-value, [ii] Delayed release and [iii] Oppositions in KABUL EXPRESS this week and BHAGAM BHAG next week. To sum up, despite strong merits, ARYAN will be knocked down in the box-office ring!
BollywoodEntertainment.com.au Rating: 1.5
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By Taran Adarsh, IndiaFM
Let’s clear the myth pertaining to KABUL EXPRESS within the film industry!
Nasty naysayers have been text-messaging that KABUL EXPRESS is a documentary, a dry film that talks of post-Taliban days in the battered Afghanistan. Also, those looking for some cheap naach-gaana kind of entertainment in this Yashraj enterprise are bound to be disappointed since KABUL EXPRESS may star known names in its cast, but debutante director Kabir Khan, a known documentary maker, believes in enlightenment, not entertainment!
After having watched KABUL EXPRESS, all you want to do is hit the blokes hard for spreading malicious stories about the film. Agreed, KABUL EXPRESS traverses a different path and Kabir Khan is a documentary maker, but KABUL EXPRESS is not a documentary at all. It’s a ‘proper’ Hindi film — a thriller to be precise — that dares to tackle a difficult and different theme.
Besides the subject matter that’s its USP, the film takes you to Afghanistan — a country most of us haven’t visited, as tourists or as moviegoers. Yes, DHARMATMA and KHUDA GAWAH did visit Afghanistan, but the post-Taliban Afghanistan hasn’t been witnessed on the Hindi screen. That makes KABUL EXPRESS a novel experience indeed!
KABUL EXPRESS is a film with different sensibilities. It’s not one of those films that depict two Indians taking on the Taliban and bashing them to pulp. It narrates the story of two Indians, one American, one Afghani and one Pakistani and what transpires in the next 48 hours. It’s straight out of life and certain moments do make you get into an introspective mood.
A film like KABUL EXPRESS is more for the elite and the thinking viewer than the aam junta. While the theme of the film is anything but stereotype, the sequence of events that lead to the climax as also the liberal usage of English and Afghani languages will restrict its appeal to multiplexes mainly. In the single screens, KABUL EXPRESS will find few takers!
Another factor that goes against the film — in Overseas territory at least — is the conflict between the Afghanis and Pakistanis in the film. Although director Kabir Khan may argue that he’s tried to be authentic, you cannot overlook the fact that Pakistanis — who form a major chunk of movie-going audience in U.K. and U.S.A. — may not give KABUL EXPRESS their mandate or whole-hearted approval because of the anti-Pak flavor.
KABUL EXPRESS is set in post 9/11 Afghanistan where the American bombing has destroyed the Taliban regime and the Taliban soldiers are trying to escape to Pakistan to avoid the wrath of the Afghans. Against this turbulent backdrop, Jai [Arshad Warsi] and Suhel [John Abraham] — two Indian television reporters — have entered Afghanistan and their aim is to somehow get a rare interview with a Talibani. Helping them in their pursuit of a Talibani is their Afghan guide, translator and driver Khyber [Hanif Hum Ghum] in his Toyota Jeep called Kabul Express.
The trio is having their share of adventure as they go from being blindfolded and taken to secret hideouts in the mountains to interview Taliban prisoners to nearly getting trampled by horses while shooting a game of Buzkashi. They are saved from getting trampled by an American photo-journalist, Jessica [Linda Arsenio]. Despite all their attempts, the Taliban remains elusive. But unknown to them, these hunters are being hunted down themselves…
One cold winter morning in Kabul, they get kidnapped at gunpoint by a Taliban fugitive who wants to escape to the Pakistani border. The kidnapper, Imran [Salman Shahid], is a Pakistani army soldier who was part of the Taliban. He knows that as journalists, Jai and Suhel’s movements in the country will not be questioned and posing as their local guide, he can reach the safety of his country.
From here on begins the two-day journey from Kabul to the volatile Afghan-Pakistan border. Jai and Suhel’s mission becomes a nightmare as they are taken hostage aboard the Kabul Express and made to drive across the most dangerous country in the world. Jessica sees their car driving away from Kabul and mistakenly thinks that they are onto a big story. She begins to chase them. Before she knows it Jessica gets stuck in a bizarre situation and inadvertently, also gets taken hostage by Imran.
By the end of the journey, Jai, Suhel and Jessica actually help Imran reach the border of Pakistan — his country that he is very proud and patriotic about. But the turbulent political situation at that time has a surprise in store for all of them.
KABUL EXPRESS is director Kabir Khan’s first foray into feature films and you have to acknowledge the fact that the director knows what he’s talking. A storyteller is only successful if he’s able to narrate a story with utmost conviction and the listener/viewer listens to every word with rapt attention. Kabir succeeds in his mission of not just narrating an unadulterated story, but also making you travel to a country that’s hit headlines for all the wrong reasons.
The film has several poignant moments, but Kabir reserves them for the penultimate reels. The relationship between the kidnapper and the hostages, which changes from mistrust to trust, is carefully handled. As also the banter involving Indian and Pakistani cricketers. The highpoint of the film is the Pakistani’s reunion with his daughter and his subsequent killing by the Pakistani soldiers. Kabir deserves full marks for taking the film to an appropriate finale.
Kabir also gets ample help from the locations and the cinematographer, Anshuman Mahaley, takes full advantage of it. Not only are the locales of Afghanistan breath-taking, the lensman also captures them with dexterity. Without doubt, this ranks amongst the finest works [cinematography] of this year!
You walk out of KABUL EXPRESS with two actors in mind — Arshad Warsi and Salman Shahid, the Pakistani. Arshad has an amazing sense of timing and it’s very difficult to compete with him. The actor is lovable yet again and in fact, contributes to the light moments in the thriller. Salman Shahid is excellent. He enacts his role with precision and his sequences, more towards the concluding reels, will win him ample fans in India.
John Abraham doesn’t really get a chance to exhibit histrionics, but gets two major scenes — one, when he talks to the Pakistani about his daughter and the other, when the Pakistani is offering prayers. John handles them with supreme confidence. Hanif, the Afghani, is first-rate, while Linda, the American journalist, does an okay job.
On the whole, KABUL EXPRESS is aimed at the elite and the thinking audience. A well crafted thriller, the film has better chances at multiplexes mainly. However, the liberal usage of English and Afghani languages will restrict its appeal to urban centres in India. At the single screens, the film will find the going very, very tough since there’s nothing for the aam junta.
Also, its ride in the Overseas territory will be bumpy thanks to the depiction of the conflict between Afghanis and Pakistanis in the film. The Pakistanis form a major chunk of movie-going audience in U.K. and U.S.A. and they might not give KABUL EXPRESS their whole-hearted mandate due to the anti-Pak flavor in the narrative.
BollywoodEntertainment.com.au Rating:2
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Films depicting social themes were extremely popular in the 1960s and later, in the 1980s. But, of late, paarivarik themes are relegated to the small screen and even if a film-maker dares to tackle such a theme for the big screen in this era of urbane themes and multiplex films, a section of moviegoers [read critics] are quick to label the efforts as ‘outdated’ and ‘regressive’.But VIVAH, four weeks ago, and BAABUL, this week, prove the detractors wrong!
BAABUL tackles the issue of widow re-marriage, an issue the late Raj Kapoor successfully raised in PREM ROG [Rishi Kapoor, Padmini Kolhapure]. But comparisons between PREM ROG and BAABUL wouldn’t be right, except that both talk about the rehabilitation of a young widow.
In terms of genre, BAABUL tackles a purely Hindustani issue, like the recent VIVAH. But let’s quickly add that Sooraj R. Barjatya and Ravi Chopra’s storytelling techniques are as diverse as chalk and cheese. While Barjatya adopts a desi approach for just about everything, Chopra takes a desi theme and gives the film an urbane feel. But the commonality is that both Barjatya and Chopra cater to the same set of viewers: Families.
Also, any film that raises a pertinent issue ought to rest on a solid foundation — its writing. While Achala Nagar’s writing isn’t tight, it isn’t trite either. Agreed, the writing could’ve been far more convincing and cohesive, but you cannot deny that there are ample moments in the film that make you moist-eyed.
To sum up, BAABUL is a competent follow up to BAGHBAN. After attempting diverse genres from ZAMEER onwards, Ravi Chopra gets it right with BAGHBAN first and BAABUL now.
Balraj [Amitabh Bachchan] is a rich businessman with progressive modern outlook towards life. For him, family, culture and values are of utmost importance. Shobhna [Hema Malini], his wife, is more than his better half. Together, they dote on their only child Avinash [Salman Khan]. For Balraj, Avinash is more of a friend than just his son. After spending many years in the U.S., Avinash returns home to his parents. Their lives light up!
Avinash meets the pretty Millie [Rani Mukerji], a painter. They fall in love and get married. They are blessed with a lovely child named Ansh. Rajat [John Abraham], a young musician and Millie’s friend, has feelings for Millie, but never reveals it to her. He is now happy for Millie and Avi. He decides to settle in Europe, pursuing his musical career.
Fate plays a cruel game and on Ansh’s birthday, Avinash meets with a fatal accident. Life without Avinash is unbearable for Millie. Meanwhile, Balraj and Shobhna try to find the love of Avinash in Ansh.
Balraj cannot bear to see Millie’s colorless life. He decides to find Rajat and asks him to marry Millie and help him bring the colors back into her life. But Balwant [Om Puri], Balraj’s elder brother, objects to Balraj’s plans. Even Shobhna is not with Balraj this time.
Will Balraj be able to fulfill his plans? Will he prove to be a father [Baabul] rather than being a father-in-law?
An issue-based film has to be tackled with kid gloves, with utmost care, efficiency and sensitivity. And Ravi Chopra does just that! Although there are several emotional moments in the film, at least three sequences strike a chord…
* Hema requesting Rani to wear colorful clothes, after Salman’s demise.
* Salman and Rani’s son feeling the presence of his father by sitting in the closet.
* Rani dancing with Salman’s pullover amidst heavy rains.
Any shortcomings? Oh yes! The pace drops in the second hour. While the first half focuses on light moments, songs and romance, the emotional track in the post-interval portions unfolds at a lethargic pace. In fact, the film can easily do with a 15-minute trimming to spruce up the goings-on.
Aadesh’s music stresses on melody and the score is quite pleasant. ‘Come On Come On Chalo Jashn Manaye’ is peppy, while ‘Baawri Piya Ki’ is soft and soothing. ‘Bebasi’ [rendered with feeling by Kunal Ganjawala] is melancholic. Barun Mukherji’s cinematography is appropriate. The frames are vibrant with colors. Dialogues [Achala Nagar] deserve special mention. They are fantastic!
BAABUL rests on two actors mainly — Amitabh Bachchan and Rani Mukerji — and both emerge trumps. Bachchan is in top form yet again and proves for the nth time that he’s the ‘Big Boss’ as far as histrionics are concerned. He is simply superb in the climax! Rani takes her character to a new level altogether. HUM TUM, VEER-ZAARA, BLACK, K.A.N.K. and now BAABUL, you can well imagine how impressive she is if one clubs her work in BAABUL with her earlier accomplishments.
Hema Malini looks gorgeous and acts her part with amazing grace. Salman is natural and provides ample light moments. He’s cute when courting Rani. John is perfect, although the dashing guy is looking pale and tired at times. What happened, John? Om Puri is loud, but that’s the demand of the character. BAABUL stars a host of characters and those who stand out in brief roles are Sarika [tremendous], Sharat Saxena [very good] and Smita Jaykar [competent]. Rajpal Yadav doesn’t get much scope. Aman Verma and Parmeet Sethi are forced characters.
On the whole, BAABUL makes a statement in a convincing manner. The film rests on three aces — emotions, performances and execution — which will attract the family audiences in large numbers. At the box-office, the strong theme has all it takes to make its target audience [families] cry with joy and its distributors laugh all the way to the bank!
BollywoodEntertainment.com.au Rating: 3
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By Taran Adarsh, IndiaFM
Cut the crap… Cut the gyan… Let’s come to the point straightway: Is DHOOM 2 as big as its hype? Does it meet the monumental expectations? Or is it a gas balloon with a leak?
Yes, DHOOM 2 works big time and here’s why…
* Very rarely do you come across Hindi films that marry form and content so beautifully. DHOOM 2 is cool, but beneath the sheen there’s substance too.
* Mounted on an extravagant scale, the film is a visual delight. The film travels from one breath-taking locale to another in those 16 reels, often making your jaw drop to your knees thanks to the sweeping impact it makes.
* For any sequel to score high marks, it ought to be embellished with pulse-pounding moments. DHOOM 2 is a hi-octane thriller and the thrills, stunts and pace — vital for any thriller to strike a chord — are sure to keep you on the edge from Scene A to Z.
* Most importantly, DHOOM 2 delivers what it promises: Escapist cinema at its best!
Any hiccups? Not really, but the music could’ve been better. That’s about it!
In terms of business, DHOOM 2 is bound to create dhoom at the ticket window. It’s a box-office triumph all the way. Time for Yash Raj to pop champagne yet again!
Ali’s [Uday Chopra] dream of becoming a police officer has come true. He is now ACP Jai Dixit’s [Abhishek Bachchan] right hand man. Together, they are trying to keep a tight leash on the crime in India. Little do they know what they are going to be up against.
Enter Aryan — Mr. A [Hrithik Roshan]. A hi-tech international thief. After pulling off a series of impossible heists all over the world, his next target is Mumbai, India. The case is given to ACP Jai and Ali. Helping them put the pieces of the puzzle together is ACP Shonali Bose [Bipasha Basu], Jai’s college mate, now a police officer in her own right. For the last two years, Shonali has been tracking these amazing thefts and is now an expert on this thief, who no one has seen.
Once in Mumbai, Mr. A finds his match in Sunehri [Aishwarya Rai], a petty yet clever thief. She makes him an offer he finds very hard to refuse. A partnership! Aryan accepts. And so the game begins, a game of cat and mouse, a game of good v/s bad.
The cops — Jai, Shonali and Ali — are after the robbers — Aryan and Sunehri. From the deserts of Namibia to the backwaters of Goa, the mean streets of Mumbai and the ancient forts of Rajasthan and finally to Rio, Brazil.
DHOOM 2 is modeled on the lines of the chor-police sagas that Hindi films specialized in the 1970s and 1980s. In essence, it’s not a path- breaking/inventive story, but what takes the film to dizzy heights is the sequence of events that unravel at a feverish pace. Right from the start of the film [Hrithik's first heist in Namibia; the robbing of a crown from a moving train] to his next target [robbing a precious diamond from a museum in Mumbai] to the theft in Jamnagar [Hrithik and Ash come face to face for the first time], the film whets your appetite from the word ‘Go’.
If the first hour focuses on the cat-n-mouse game, the second hour changes tracks as it transforms into a love story. While the scenes between Uday and Bipasha [in a dual role] are cute, the ones between Hrithik and Ash build up slowly. The pace drops intermittently in this hour since the thrills are reserved for the penultimate reel, but a number of worthy sequences in this half conceal this tiny blemish.
Note the turning point in the tale — the revolver sequence between Hrithik and Ash and the lip-to-lip kiss that ensues; it’s an outstanding sequence from the writing, execution and performance point of view. The pre-climax — the robbery of man-made gold coins — as also the climax chase are breath-taking as well.
The end is distinctive and will have its share of advocates and adversaries. Yet, in all fairness, it’s one of the highpoints of the sequel. Any scope for the third installment? Oh yes, there is. Don’t be surprised if Abhishek and Uday embark on their third mission. As for the climax shot vis-à-vis John Abraham’s surprise appearance, it’s an unfounded rumor!
DHOOM 2 is director Sanjay Gadhvi’s finest effort so far. The execution of the subject is such, you just can’t help get transported to a world of make-believe. Gadhvi has handled a number of sequences with aplomb. The Hrithik-Ash sequence mentioned above is one of them. The dialogue between Hrithik and Abhishek — after they’ve known each other’s true identities — is another. The final scene of the enterprise [it would be unfair to reveal it here!] is yet another sequence that indicates that the director has done his homework well.
Pritam’s music is fair. Barring the ‘Krazy Kiya Re’ track and the title track [filmed on Hrithik], the score is outright mediocre. However, the saving grace is the vibrant and energetic picturization, which takes the songs to another level. The choreography of the title track by Shiamak Davar is outstanding. Vaibhavi Merchant’s choreography of ‘Krazy Kiya Re’ is admirable as well. Salim-Sulaiman’s background score is highly effective.
DHOOM 2 is peppered with good looking visual effects [Tata Elxsi], besides a stylish décor/look. The action sequences as also the stunts [Allan Amin] do complete justice to the genre and the Indian audiences are bound to gasp with disbelief. Cinematography [Nirav Shah, Vikas Shivraman] is impeccable. The camerawork can easily match international standards. Dialogues [Vijay Krishna Acharya] are wonderful. Costumes [Anaita Shroff Adajania] are upmarket. In fact, the styling of Hrithik and Ash [the tanned look et al] deserves distinction marks.
Hrithik’s casting as the antagonist can be accurately called a masterstroke. He’s the actual star of DHOOM 2, the real scene stealer. In fact, you can’t imagine any other actor enacting the cool robber with such precision. If there’s anyone who’s bound to benefit the maximum from DHOOM 2, it’s Hrithik. No two opinions on that!
Abhishek in DHOOM 2 is what Shashi Kapoor was in Amitabh Bachchan starrers. Important yes, but relegated to the backseat. Abhishek does a fine job nonetheless. Only thing, he needs to take care of his appearance and posture when he’s pitted against someone with a personality like Hrithik.
Aishwarya evolves into a different person in DHOOM 2. Her tanned makeup, her styling, her performance, it’s a different Ash here. It’s a complete departure from what Ash has done in the past. Does it work? Of course, she is in form!
Bipasha is just about okay as the cop, but is lively as the twin sister. Uday irritates at times, but handles a few scenes well. His portions with Bipasha’s twin sister in Rio are sure to bring a smile on your face. Rimi Sen is hardly there.
On the whole, DHOOM 2 is a winner all the way. At the box-office, the film has already embarked on an earth-shattering initial and with multiple shows being conducted at multiplexes [16/18] with inflated ticket rates, the film will set new records in days to come. For Yash Raj, who’ve not only produced but also distributed the film, DHOOM 2 should emerge as one of the biggest hits of their career. Blockbuster!
BollywoodEntertainment.com.au Rating: 3.5
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Renowned heart specialist Dr. Viren Goenka (Rajit Kapoor), his wife Sanjana (Konkona Sen Sharma) and their seven year old daughter Anishka (Jhanak Shukla) are a happy family in Mumbai. Their joys have just multiplied with Viren being honoured with a prestigious award for his contribution to the medical world.Viren is all set to visit New Delhi to receive this award in a grand function. He promises his daughter to take her for a fabulous family vacation once he returns. But fate had something else planned for Viren and his family.
Destiny strikes hard against them and Anishka is kidnapped under Sanjana’s nose. She is startled with the presence of a creepy man named Krish in her house. Krish tells her that Anishka will be fine as long as Sanjana and Dr. Goenka follow his instructions.
While Krish keeps Sanjana in the house, his partner Roohi keeps Viren confined in his hotel room and their third associate Kabir holds Anishka at a remote location. The kidnappers keep strict half-hour checks with each other by cell phones, and if all goes as planned, the whole act would take only 24 hours. The kidnappers set the ransom to a whopping amount of Rs 3 Crore.
It doesn’t take much for Viren and Sanjana to realize that abiding by the kidnappers’ rules is the best thing that they could do to save their daughter’s life. Viren mortgages everything possible, including his dream hospital project and his house and somehow manages to collect Rs 3 Crore in just 24 hours, an act next to impossible being trapped at one place.
Viren wants his daughter back at any cost and thus he tries to exploit all his resources. Entire police force is on move to search for any clues of the kidnappers or Anishka but they can’t discover anything significant.
As clock ticks away, a series of incidents take place and the turmoil almost changes each life. What happens next is the harsh reality that crosses a thin line between life… and death.
“You find love in the strangest places”
What do you do when you find a stranger in your house and she tells you that the house belongs to her? Should you send her to a psychiatrist? Consult one yourself?
Or do you believe in her?
I See U is the love story of a woman who is out there in spirit and a man who doesn’t believe in them!
When they first meet, confusion reigns supreme. Raj Jaiswal (Arjun Rampal), star at the India Shining TV channel with a show named British Raj, is all set to make a conquest of the new co-anchor on his show. But all hell breaks loose when he finds an unexpected visitor in his bedroom – a woman who claims to be merely an apparition who has finally found someone who can see her, feel her and hear her!
That is the dilemma Raj faces when he discovers Shivani Dutt (Vipasha) in his apartment. He is the only person who can see her, hear her, talk to her; no one else even senses her presence.
But Raj dismisses their first meeting as a bad dream until the next morning when it becomes slowly – and at an embarrassing cost to his ego and sanity – clear to him that Shivani is actually what she claims to be – a wandering spirit whose body is in the twilight zone between life and death. Caught between a scorned co-anchor, a disbelieving friend and a spirit who’s eager to be his friend, Raj tries to make sense of a situation that leads him to a hospital where Shivani’s comatose body is in danger at the hands of a racketeering doctor.
So when the doctor prepares to end Shivani’s physical care – and destroy the magical bond she and Raj share – he must find a way to save her. For it is only her love that can save him in return.
As their unusual friendship develops and deepens, Raj is determined to save Shivani’s life at all costs – even if it means breaking the law and attracting the attention of London’s only Hindi-speaking cop!
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