Cast: Minisha Lamba, Dino Morea, Koena Mitra
Direction: Anant Mahadevan
Music: Anu Malik
Director Anant Mahadevan returns this weekend with Anamika to complete the ‘A’ series trilogy after movies such as ‘Aksar’ and ‘Agar’. This time around not much has been said about the music of the film done by Anu Malik. Unlike Anant’s previous ventures the music played a key role in drawing the audiences to the cinema halls; but in this case does the movie survive without such mesmerizing music?
Here goes the synopsis…
When Jia Rao(Minisha Lamba), received a call for being an escort to Vikram Singh Sisodiya(Dino Morea) from the palatial Gajner of Bikaner, she hadn’t imagined that life would take a total turnabout. Her rendezevous with Vikram who had come to the city of Mumbai for a convention to turn his home into an international resort actually ended with Vikram proposing to her .She found herself hopelessly in love with him, despite the fact that Vikram was married and his first wife Anamika had died under mysterious circumstances.
Her arrival in Gajner wasn’t uneventful either. Mahajan the manager who seemed to know more than he should, Shekhar Rajput(Gulshan Grover) , Vikram’s brother in law a cop with an acidic tongue, Vikram’s doting sister, and Malini(Koena Mitra) the ever efficient governess were some of the characters who strangely influenced her stay in a place that hit her with its expanse, beauty and mystery.
And the biggest enigma was Anamika. Everyone seemed to be talking about her and how Jia could never step into the shoes of the charismatic socialite that Anamika was. Her efforts to live up to the foreboding image of Anamika ended up in creating a rift between Vikram and Jia .And the crunch comes when Jia is faced with the prospect of unraveling the secret of Anamika’s death…accident..suicide or murder?
Anant Mahadevan gets it entirely wrong this time. Firstly, ‘Anamika’ isn’t an untold story and is very much predictable. To add to all of that, there seems to be huge similarities between ‘ Anamika’ and Alfred Hitchcock’s ‘Rebecca’.
The flow of events in the movie are so dull and the pace just gets you annoyed. At the cost of being a so called suspense film, the events of the film are simply dragged on and on.
No doubt the film has been shot at splendid locales of Bikaner, Bangkok etc but all of it falls flat as these beautiful locales don’t come in as a saving grace for your storytelling.
On the acting front, Dino Morea isn’t at his best and delivers a weak performance. Minisha Lamba seems to be struggling with her Hindi and is a complete let down from her performance in ‘Shaurya’. Koena Mitra is a complete waste in the film. Her role offers no substance and she just hops in and out at any point in the film. Bunty Grewal is irrelevant. The only person who does his bit with ease and conviction is Gulshan Grover. He delivers the punch as the cop and carries the desired aura.
The music of the film by Anu Malik is such a let down. The only track worth listening to is ‘Shagufta Dil’. The tracks though shot in Bangkok etc are very poorly placed and composed which is the biggest drawback for an Anant Mahadevan film whose ‘Aksar’ and ‘Agar’ are still remembered for their music.
On the whole ,’Anamika’ is a poor one from director Anant Mahadevan and the movie is further going to be affected by the ongoing IPL cricket. Looks like the bollywood draught won’t end anytime soon.
Rating: ½
Courtesy:IndiaGlitz
Review Report:Anamika
Review Report:Pranali – The Tradition
Cast:Nargis, Upendra Limaye, Raman Trikha, Sudha Chandran, Dippsikha, Vinay Apte
Direction:Hirdesh Kamble
Music:Kailesh Kher
The story revolves around Pranali(Nargis) , a girl born in a small village and soon falls prey to the downtrodden systems of society. On the account of serving God, the child is offered as a Devdasi to the high priest in the village and soon becomes an object of lust.
Life becomes much tougher when Pranali gives birth to a girl and soon struggles to educate her daughter seeking a normal life for her. On grounds of being a sex workers daughter, the girl is refused admission in school.
Soon comes in an NRI (Raman Trikha) to do a research on Sex workers in India and soon engages Pranali and the gang of sex workers including Kanchi (Rohini Kapoor) , Salma (Vaidehi Singh) ,Chanda (Dipsshikha) and Akka (Sudha Chandran) into the battle for legalization of prostitution by the government.
Sounds interesting huh? Hmm…. Well , that’s what many believe and expect it to be one of those hard-hitting films. Though the movie tackled relevant issues, the execution and direction by Hirdesh Kamble is pretty poor. The story, screenplay and dialogues by Hirdesh Kamble and Manoj Pandey literally kill the entire film.
The movie is tremendously vague and the so called journey of the devdasi leads you nowhere. The movie starts off with the little Pranali and her encounter with the high priest , minister and from there to being a sex worker and from there moves to being a mother and then fighting as a social worker etc and finally the book release makes it a complete boring and vague mix of events.
To add to it all is the boring and dull Bhaigiri sequences including Upendra Limaye as the taxi driver which makes it completely pathetic. Upendra tries to carry the film off as the solo made lead in a film overloaded with women. Upendra even gets to swing to a song sung by Kailash Kher being a complete out sync track.
The movie keeps on dragging and truly becomes a never ending journey for the audiences. On the performance scale Nargis does show us that she has immense potential but the script in this case makes us overlook all performances even that of Sudha Chandran and Dipsshika.
Music of the film by Kailash Kher and his Kailasha band members Naresh and Paresh is such a letdown and the addition of songs in the film make you yawn. No comments on the other aspects of the film.
To conclude, Pranali comes across as a very poor launchpad for Harward Entertainments. With a movie being tremendously a never ending dull, boring journey; let’s hope that their next few ventures are worth a watch. Nargis no doubt is talented but needs to select her flicks carefully.
Rating : 1/2
Review Report:Tashan
Film:Tashan
Banner:Yash Raj Films
Cast:Anil Kapoor, Akshay Kumar, Saif Ali Khan, Kareena Kapoor
Direction:Vijay Krishna Acharya
Production:Aditya Chopra
Music:Vishal, Shekhar
Tashan marks the debut of Vijay Krishna Acharya , the man behind the scripts of Dhoom and Dhoom2. Vijay Krishna Acharya aka Victor, who has been associated with the smash hit status of both Dhoom’s, tries his bit at direction. So, is it as enthralling as Dhoom?
What happens when you throw two guys who hate each other together...
A cool call center executive Jimmy Cliff (Saif Ali Khan), a desi wannabe gangster Bachchan Pande (Akshay Kumar) add for good measure a beautiful girl Pooja (Kareena Kapoor) who can't be trusted... on a journey across spectacular India... a journey which will alter the course of their lives in more ways than one... a journey where even enemies need to trust each other if they want to be alive...
Trouble is, in this world no one can be trusted ever!
And to top it all there is the evil eye of Bhaiyyaji (Anil Kapoor)... a maverick gangster who enjoys killing people as much as he enjoys speaking English...
What you get is... TASHAN
Firstly, Victor truly does a fine job at making Tashan live up to its title. The movie is sleek and high on style. Right from the colours , costumes , hair styling , cars , dances , guns etc everything has got its style quotient. Don’t look for similarities between Dhoom and Tashan cause the only similarity lies in the syling which in turn vary in terms of an urban look in Dhoom to a rural,semi-urban,urban look in Tashan.
Victor does well at imbibing humour in a script that involves high action and rivalry amongst various characters in the film. The lacuna comes in the form of the storytelling and screenplay done by Victor himself. The brain behind Dhoom fails to tell a story that grips the audience. The storytelling particularly in the 1st half seems dragging and gets a lift only on the introduction of Bachan Pande (Akshay Kumar) .
The proceedings in the movie tend to get vague as the movie moves ahead right from the hollywood style road chase for treasure to a typical Hindi formula film of revenge and lost love etc. Nevertheless, the action and comic sequences keep you entertained.
The cinematography by Ayananka Bose is splendid capturing the locales of Greece, Rajasthan , Kerala etc in its true essence. Editing by Rameshwar S. Bhagat and art direction by Sukant Panigrahy is what further enhances the Tashan(style) of the film.
Music by Vishal Shekar and Choreography by Vaibhavi Maerchant are definitely entertaining and foot tapping enough but tend to barge into any portion of the film making the film’s Tashan take a dip.
On the technical front, the action by Peter Hein is supreme. Peter does a splendid job at making the action look no less than any Hollywood flick (atleast close to some of the finest action flicks). For those who love playing the’ Counter Strike’ game on their PC or Playstation will surely see the resemblance in the sequence where the prime characters in the film take on the team of cops.
On the acting front, Anil Kapoor as Bhaiyya Ji , The bad guy trying to learn English is funny but only at the initial stages of the film and eventually gets monotonous and boring. But, Anil does a good job as the villain from Kanpur.
Kareena Kapoor is ok as the smart, cunning Pooja but isn’t at her best. She does very little to prove her acting credentials and more to beat the likes of people who believe that she can never dawn a Bikini.
Saif Ali Khan really struggles to make a mark in this film. Just like any other Yash Raj Film, Saif relies on his antics of being a flirt etc. Saif does his bit of action, dance and shows off his biceps but after watchin Saif in Race , one would hardly find the character of Jimmy impressive except for his looks. P.S.-One gets to see Saif’s cute little son Ibrahim as Jimmy junior in the film.
The man who steals the show and elevates the film is none other than Akshay Kumar. Though he comes in much later on in the film, he impresses with immediate ease. He makes you giggle right through with his Bachchan Pande dialogues and leaves you awestruck with his acton sequences. It’s been a long time since Akshay has done a film that involves his forte-action and indeed the action comes as a complete treat. Whether it is Akshay jumping over barrels and climbing a building or whether it is Akshay simply running about in slow motion to the howling theme of Bachchan Pande, he rocks!
On the whole, the action, styling, and a few witty lines with a superb performance by Akshay Kumar makes Tashan a movie worth watching. Though the IPl has forced producers to push their release further ahead, no doubt a movie like Tashan is sure to find audiences specially the youth who are fed up of being at home glued to cricket and the subsequent ads that come along with it.
Rating : ***
Review Report:KRAZZY 4
Cast: Irrfan Khan, Arshad Warsi, Rajpal Yadav and Suresh Menon
Director: Jaideep Sen
A film like KRAZZY 4 is easy on your brains. It rests on a thin plot, but the makers have tried to package the proceedings with entertaining stuff from Scene A to Z. Sometimes it works, at times it doesn't. But the pros outweigh the cons in this case. Also, let's get one thing straight. This isn't path-breaking or ground-breaking cinema by any chance. It's targeted at the aam junta, not connoisseurs of cinema.
Also, one of the trump cards… sorry, make it two, are the dance numbers filmed on the two superstars -- SRK and Hrithik. Just these two numbers are enough to satiate the hunger of an avid moviegoer. Even the Rakhi Sawant track is an asset, since it's hugely popular with the desi junta [like 'Main Aayee Hoon U.P.-Bihar Lootne' and 'Beedi'].
In a nutshell, KRAZZY 4 isn't the kind of cinema that would invite debates or discussions. Its intention is to make people leave the cineplex with a smile and it succeeds in its endeavour.
Arshad Warsi is Raja: Truly the angry young man! His blood boils, his fists clench and he's ready to beat the daylights out of anyone who upsets him in some way.
Irrfan Khan is Dr. Mukherjee: He has decided that he's the Captain of the team! But so obsessed is he by the need to be in control of a situation, he doesn't realise he's totally lost control of himself and his mind.
Rajpal Yadav is Gangadhar: He's marching to a beat only he can hear; he's fighting for a cause that's long over. But in his mind he's still fighting for Swaraj.
Suresh Menon is Dabboo: He's everybody's pet and however far gone the rest may be, when it comes to Dabboo, everybody's protective. Even if he can hear and understand, Dabboo refuses to speak. And nobody knows why!
Dr Sonali [Juhi Chawla] treats them all. She has faith that all it needs is a little time and lots of patience to make them part of the mad, mad, mad world out there…
Rakesh Roshan's story takes a leaf out of ONE FLEW OVER THE CUCKOO'S NEST, while Ashwani Dhir's screenplay tries to pack everything that's available on the shelf. The first hour is quite entertaining, with a few sequences compelling you to flex your facial muscles.
But the problem lies in its second hour. More specifically, the writing relies on the age-old stuff to reach the finale. Too many cinematic liberties have been undertaken in this hour, just to reach the culmination and it doesn't really work at times. Even the end outside the hospital looks contrived.
Jaideep Sen shows a flair for comedy, but had the debutante director opted for a slightly novel screenplay, it would've taken the film to another level. A few comic scenes are well executed and in terms of execution, Jaideep knows the grammar right.
Ashwani Dhir's screenplay may lack novelty, but the dialogues penned by him are witty and enjoyable. Cinematography is nice. Rajesh Roshan's music is up to the mark. The two tracks, filmed on the superstars, are top notch and what enhances the effect are the choreography and production design [of SRK track] and the visual effects [in Hrithik track].
Arshad Warsi is the best of the lot. His character is bound to work with the moviegoers. Irrfan's role doesn't offer him that much scope. Yet, the actor enacts his part with precision. Rajpal Yadav is quite funny at places. Suresh Menon is a surprise. He hardly utters one word in the film, but he delivers with expressions.
Juhi Chawla doesn't get ample opportunity. Dia Mirza is efficient. Zakir Hussain is okay. Rajat Kapoor is relegated to the backseat.
On the whole, KRAZZY 4 is slightly above the average mark, but the brand [Rakesh Roshan] coupled with the presence of the two superstars in its songs and of course, some great actors in comic roles should ensure positive returns at the box-office.
Review Report:U Me Aur Hum
Cast: Ajay Devgan, Kajol, Divya Dutta
Director: Ajay Devgan
Let's come to the point right away. Devgan needs to be lauded for choosing a daringly different theme in his debut film and most importantly, doing justice to it, handling it with extreme care. We know him as a powerful actor, now there's yet another designation added to his name -- avant-garde director.
Let's move on to the next query! Is the real-life couple -- Ajay and Kajol -- as dynamic yet again? The answer is, they're electrifying. Both pitch in bravura performances, reaffirming the fact that this jodi is amongst the finest of this generation.
One of the prime reasons why U ME AUR HUM works, and works big time, is because it's aimed at the heart. Anyone who's into relationships, anyone who believes in love, anyone who thinks from the heart, anyone who has watched his/her partner grapple a grave disease, will identify with a film like U ME AUR HUM.
To cut a long story short, U ME AUR HUM marks the birth of a powerhouse of talent. Watch U ME AUR HUM for various reasons, but most importantly, watch it for a new director who respects your 2.30 hours and the hard-earned bucks that you invest on watching his movie. It's time to fall in love with love… again!
The first time Ajay [Ajay Devgan] saw Pia [Kajol], she served him drinks. She affected him more than the alcohol, it was love at first sight. The first time Pia saw Ajay, he had a drink too many. She watched him make a fool of himself and was relieved when he passed out.
Ajay is on a cruise with his friends -- Nikhil [Sumeet Raghavan] and Reena [Divya Dutta], unhappily married, and Vicky [Karan Khanna] and Natasha [Isha Sharwani], happily unmarried. Ajay is having a wonderful time dealing with martial strife, lots of bad language and huge hangovers, when he finds Pia and time stands still.
After a disastrous first meeting, Ajay tries everything to woo her. He wants her, by hook, crook or even her little private notebook. She's not an easy catch at all, but finally, by sheer perseverance, he dances his way into her heart. Ajay and Pia develop a strong and special bond.
Happy marriages begin when we marry the ones we love, and they blossom when we love the ones we marry. And Ajay-Pia love each other dearly, but no marriages can be complete without problems, and Ajay and Pia have also have to face hurdles. Kajol is diagnosed with Alzheimer's. How does the couple face the crisis?
The one thing you must carry when you set out to watch U ME AUR HUM is a kerchief. For, this film makes you shed a tear at times, cry at places and weep in at least two vital sequences. But it's not just rona-dhona that you get to see in U ME AUR HUM.
The first hour, strictly average in terms of writing, has several sunshine moments. It's breezy, funny, at times silly, but interesting. What also catches your eye is the eye-filling cinematography [Aseem Bajaj in top form, yet again] on the cruise. The songs, the glam look, the subtle humor… you don't take to the film instantly, but you know for a fact that a volcano is brewing.
And the volcano does erupt in the second hour! Ajay Devgan, the director, shows his expertise in this hour as the story does an about-turn, exposing the delicate, sensitive and fragile relationships. Devgan reserves the best for the concluding reels and you finally get the answers in the end.
U ME AUR HUM is more of a director's film, than anyone else's. A theme like the one projected in this film could go dangerously haywire if entrusted in inept hands, but Devgan seems to have done his homework well. The only glitch is the length in its second hour. A shorter narrative would've only helped!
Robin Bhatt, Sutanu Gupta and Akarsh Khurana's screenplay casts a hypnotic spell in the second hour. Sure, the germ stems from THE NOTEBOOK [2004; James Garner, Gena Rowlands, Rachel McAdams], but the writers have altered the screenplay keeping Indian sensibilities in mind. It works! Ashwani Dhir's dialogues touch the core of your heart. Every spoken sentence has a meaning. Vishal Bhardwaj's music may not be a chartbuster, but it alternates between soulful and melancholic beautifully. Aseem Bajaj's cinematography is topnotch. Monty Sharma's background score is effective.
Now to the performances! U ME AUR HUM is like a medal that glimmers on Ajay Devgan's body of work. He's exceptional! Kajol, well, what can you say of an actress who has proved herself time and again? That she's undoubtedly the best has been proved yet again. Sumeet Raghavan is first-rate. Divya Dutta gets into the groove in the subsequent portions. Karan Khanna and Isha Sharwani are okay. Sachin Khedekar does a fine job. Aditya Rajput and Hazel get minimal scope.
On the whole, U ME AUR HUM is a well-made, absorbing love story that's high on the emotional quotient. And that holds tremendous appeal for ladies/families mainly. At the box-office, it's the kind of film that will gather more and more speed with each passing show. Its business at multiplexes should be fantastic. Overseas too should be excellent.
Review Report : 'Shaurya'
Film: 'Shaurya';
Cast: Rahul Bose, Javed Jaffrey, Kay Kay Menon, Minissha Lamba, Deepak Dobriyal;
Director: Samar Khan;
Rating: *** 1/2
It takes vision and courage to make a film about the de-escalating valour and plummeting morale of the Indian Army. 'Shaurya' is about the army, but it isn't a war film. The battles are all fought at the level of individual conscience. But never does it get preachy.
It's a film about the Indian Muslim's identity. But it steers miraculously clear of taking sides or becoming hysterically passionate on the subject. There have been significant films on the isolation of the Indian Muslim as seen through the eyes of a persecuted individual. One can immediately think of John Matthew Matthan's 'Sarfarosh' and Raj Kumar Santoshi's 'Khakee'.
In 'Shaurya', Deepak Dobriyal as Javed Khan, the Muslim army man accused of terrorist activities, reminds you of Atul Kulkarni in 'Khakee'.
There's even a predictable sequence where the mother of the accused comes visiting the lawyer's home in the dead of the night. Seema Biswas' cameo as Javed's mother is surprisingly lacklustre.
She demonstrates unnecessary restraint where a more dramatic pitch for the distraught mother would have carried the theme of persecution and isolation further.
Samar Khan seems exceptionally shy of emotional display. The relationships that grow within Joydeep Sarkar's intricately plotted courtroom drama seek solace in silences rather than dramatics.
Even the relationship that grows between the hero Major Siddhanth Chowdhary (Rahul Bose) and the journalist (Minissha Lamba) resonates with restraint rather than rhetoric. Buddies Bose and Javed Jaffrey, we are told, are inseparable. But that level of camaraderie isn't evident in the film.
The cloudbursts are saved up for the entire climactic interlude. The last 45 minutes are so stunningly honest that you wonder if the dormant spirit of the rest of the narrative was meant to mislead us.
The wake-up call - how a certain section of the government-sponsored agencies look upon the Indian Muslim - is hurled into our face with a ferocity that leaves us in state of stunned incredulity.
Credit must go to the writer, director and the dialogue writer (Aparna Malhotra) for telling it like it is about the alienation of a community.
More than Rahul Bose, who's remarkably in-sync and uniformly vibrant in playing his character, it's Kay Kay Menon as the biased army officer who imbues a compelling credibility to Samar Khan's honourable and brave intentions.
It would be no exaggeration to say that 'Shaurya' and its theme of the Indian Muslim's self-worth would not have worked without Menon's vital presence.
In the courtroom, when he spews venom against the community for 'polluting and poisoning' the country, Menon sounds frighteningly Hitlerian.
Again, we must stress that the director doesn't try to get fashionably polemical in addressing the sensitive issue of communal angst. Samar Khan mostly remains non-judgemental in his treatment of characters and their blemishes.
The trial of the silently smouldering Muslim is punctuated by bouts of humour between Bose and his screen-friend Javed Jaffry.
'Shaurya' reveals sparks of master storytelling and doesn't hide away from uncomfortable truths - from its opening titles, when on a wet, windy, and slippery night out in Srinagar, Javed Khan pulls the trigger on his senior, to the stunning finale when Shah Rukh Khan's voice recites poignant poetry defining valour and courage not as we see it but as the conscience knows it.
But the director could have easily avoided the limp pockets in the narrative, those telltale breathers when the buddies bond, lovers sing and the fringe characters try to get a face from the edges.
Forget the humbug. Just watch 'Shaurya' for its compelling and positively gripping insight into the heart and mind of the average Indian who hides his subconscious biases in the garb of fashionable liberalism.
The film's army backdrop is authentically captured by Carlos Catalan's panoramic cinematography. It captures the feelings and failings of the characters as fluently as the cascading tranquillity of the Srinagar backdrop.
Review Report:Bhram
Bhram
Cast: Dino Morea, Milind Soman, Sheetal Menon
Direction: Pawan Kaul
Rating: *
If this wham-Brahm-thank-you-ma'am cross-hover effort will go down in the annals, tunnels and funnels of Indian cinema history, it's simply for the fact that it has more ‘eff' words than you'd find in a country bevda bar.
Anyway, Morea (dentist's delight), Soman (call good old Nalini-Yasmin for an immediate shear) and newcomer Menon (with beer mug eyes), go on that f-and-butt spree. Oof, eff, such pelf.
Surely Kaul could have made a straight, slick whodunit, instead of making you gasp at the lingo, endless shots of a lady looking through a monsoon glass, and heavens, Simone Singh delivering angry Bachchanesque dialogue while moving around in a satiny night gown. Clown frown.
More: two lines of dialogue might actually make you fall out of your chair. Asks Dino of Menon, as saltily as Eno, "Do you like your eggs fried or fertilised?" And a reluctant cab driver is howled at, "Then just sit there and sh.." Honestly, the cabbie could have just said eff eff. For Finland, of course.
Review Report:One Two Three
Movie
One Two Three
Director
Ashwani Dheer
Producer
Kumar Mangat
Music
Raghav Sachar
Cast
Sunil Shetty, Tusshar Kapoor, Sameera Reddy, Neetu Chandra
You’ve seen films with hip, classy proms promising you the same quality through the three hours in the theatre, only to be met with biting disappointment; 123 is exactly the opposite. The tacky promos on TV make you expect another no-brainer comedy with dead jokes, but this film surprises you with its originality and wit.
The film’s writing tries to marry the lowest denominator-catering comedy with the more refined humour, which is why perhaps no one will be entirely unhappy with the film. Add to that some spirited performances and you have a decent watch.
Three protagonists, apart as chalk, cheese and chana, share the same name – Laxmi Narayan. One is an aspiring supari killer (Tusshar Kapoor), another a small-time businessman dealing in undergarments (Paresh Rawal, marvelous) and yet another is a gentlemanly executive (Sunil Shetty, surprisingly adept) who’s all out to please his dominating boss.
Jia (Esha Deol) is an undergarments designer who needs the cash bad to save her late father’s hotel from being taken over. Laila (Sameera Reddy) runs a used-cars showroom and then there’s Chandni (Tanisha Mukherjee) who works in Laila’s workshop along with boyfriend Chandu (Upen Patel).
There’s also a priceless diamond that everyone’s after and underworld kingpin Bhai (Manoj Pahwa reveling in some fantastic one-liners) sends Laxmi Narayan (Kapoor) to bump off a hilarious don D’Mello (Mukesh Tiwari) for the diamond. A lady cop (Neetu Chandra) doing a Haryanavi accent adds to the fun; identities get crisscrossed and sweet confusion maintains over next few sequences.
Note the humour high-points – wannabe supari killer Laxmi Narayan’s aged mother in typical Hindi Mom style yearns for her son to “settle in life” and prays he gets his first murder soon so his career is set before she dies. Then there’s the scene where D`Mello wants Laxmi Narayan (Sunil Shetty) to tease a woman to create a diversion. He suggests he go up to a lady and ask – `Aati Kya’. But compelled by his good manners Laxmi wants to say `Aati Kya…err…Ma’am?’ Out of excess politeness, he’s used to asking too many questions (should I sit on the chair or sofa; the left or the right one?) that he’s branded `question paper’ by D` Mello’s henchmen. The film is dotted with other witty one-liners galore that pop up at the impossibly funny circumstances.
Yes, some dialogues are extremely offensive and should have been done away with. But by and large, thanks to reasonably intelligent writing and endearing performances, you tend to grit your teeth and sit through them to enjoy the better humour. For example, the premise of an avuncular man selling men and women’s inners has the potential for unlimited lewd and risqué jokes, and one cannot imagine the level of insanity another writer would have taken this. But here, thankfully, the lines here are teasing and often sweet.
Disappointingly, the drone of gay-bashing continues in this film with the standard – `Main Vaisa Nahin Hoon’ line repeated all the time. One did expect more subtle comedy from Ashwani Dheer (Office Office), but it’s obvious that commercial compulsions have won the battle many times in the script here.
Oddly, the technical aspect of One Two Three is abysmal, dating back to a decade or more. The first song that begins the story is shockingly tacky and unimaginative. Ditto goes for production value all over. Another grouse is the hurriedly wrapped up and abrupt ending, that could have been more interesting.
Songs are immensely enjoyable, even the forcibly insinuated Gotta Rock Mahiya and the title song One Two Three. Music by Raghav Sachar is above average and lyrics by Aditya Dhar and Munna Dhiman are excellent. Cinematography ranges from the unbearable, where several shots are out of focus, to just about ok.
The cast is the sparkler here – Paresh Rawal is supremely funny and carries off, what could have been a very offensive character, as an endearing one. Sunil Shetty is fabulous and this is, possibly, his most spirited performance so far.
Esha as the Tamil-spouting hotel owner is fantastic as is Sameera as the loan EMI bunking showroom owner. Even Neetu Chandra as the feisty cop is entertaining. Mercifully, unlike most mainstream comedies, here, the women characters are treated with relative respect and you can see the actors revel in their interestingly written roles. Manoj Pahwa, Sanjay Mishra, Vrijesh Hirjee, Mukesh Tiwari are all at their comedic best.
This is multi-award winning serial Office Office writer Ashwani Dheer’s directorial debut and he does fairly well. Don’t expect a comedy of the level of Office Office and you won’t be disappointed. One Two Three is a fun ride, with some dips and some highs.
Verdict: 2 stars out of five
Review Report : RACE
Film: RACE
The director duo’s latest offering RACE, which packs glitz, glam and style with A-listers [on and off screen], carries the baggage of tremendous expectations. The stars, the stunning locales, the breath-taking visuals, the mesmeric songs, the electrifying chase, the chic styling -- everything you see on screen resembles an international flick.
But the million dollar question is, does it live up to the humungous expectations? Does it have its heart in the right place? Thankfully, it does!
RACE is Abbas-Mustan’s most accomplished work, after BAAZIGAR. Any thriller works if and only if the story has the edge-of-the-seat moments and which catches you unawares as the reels unfold. RACE has that quality. The story moves in a serpentine manner, there’s a twist every fifteen minutes and it’s impossible to guess what the culmination would be.
In a nutshell, RACE is a first-rate product all the way. It’s not just style, but there’s substance as well. It has the merits to get catapulted to the Bests of 2008, when you reflect on the year. Bravo!
Ranvir [Saif Ali Khan] and Rajiv [Akshaye Khanna] are step-brothers who own a huge stud farm in Durban, South Africa. They breed horses on their huge ranch house and are also the biggest bookies in the horse racing circuit. Ranvir, the elder of the two, is known to be a very shrewd man. He is very aggressive and is always on the move. Rajiv, on the other hand, is very laidback and is also a chronic alcoholic.
Sophia [Katrina Kaif] is Ranvir’s personal secretary. She adores her boss and loves him. Ranvir is totally unaware of her feeling and regards her adoration as her efficiency. Sonia [Bipasha Basu] is an upcoming Indian ramp model in Durban.
Sonia loves Ranvir, but through a twist of fate gets married to Rajiv. When she discovers that Rajiv is a chronic alcoholic, her world is shattered. Ranvir too is disturbed as he has sacrificed his love for his younger brother because Rajiv had promised him that if he gets married to Sonia, he will leave alcohol forever.
After marriage, Rajiv breaks his promise and the story starts getting complicated. In a weak moment, Ranvir and Sonia come very close to each other and an affair starts between the younger brother’s wife and the elder brother. When the younger brother starts suspecting his wife, all hell breaks loose.
A murder is committed, a contract killing is issued, double crossings become the order of the day… A sharp-tongued investigative officer R.D. [Anil Kapoor] starts an investigation with his brainless assistant Mini [Sameera Reddy].
Director duo Abbas-Mustan are in complete command this time around. Everything is so well synchronized that the end result leaves you awe-struck. The 2 + hours of your precious life that you’ve spent on this film are absolutely worth your while. In 36 CHINA TOWN and NAQAAB specifically, one disagreed with the climax. But the penultimate reels of RACE are foolproof.
Abbas-Mustan get it right this time. Right from the choice of subject, to the choice of actors, to the thrilling moments, music and locales, this thrill-a-minute saga works big time. The game of one-upmanship indulged by the two brothers is electrifying and easily the hallmark of the enterprise.
Writer Shiraz Ahmed’s screenplay has several moments that merit a mention. The best part is, the writing is full of energy and surprises, not once does it take the been-there-seen-that route. It would be foolhardy to single out a few sequences since the film gathers speed from its inception itself. One of its USPs is that every character is out to double cross the other, each character has grey shades and the dangerous games they indulge in make it an exhilarating cinematic experience.
Ravi Yadav’s cinematography is topnotch. The stunning locales of Durban, Dubai and India are captured lucidly by the DoP. But, most importantly, the movement of the camera at several places deserves the highest praise. Note the very start of the film [the aerial view, right till the gruesome accident] or the car chase in the climax [never seen before on the Hindi screen], the camerawork is stunning.
Pritam’s music rocks. Generally, in most thrillers, the music takes a backseat, but not here. ‘Allah Duhai Hai’ [foot-tapping], ‘Pehli Nazar Mein’ [with soulful rendition by Atif Aslam], ‘Touch Me’ [very saucy] and ‘Sexy Lady’ [the new track; trendy] are terrific compositions all and their filming and choreography are masterly. The fact that the yuppie crowd has taken to the songs in a big way, says it all. The race at the start and the chase in the climax [Allan Amin] are fantastic. You haven’t witnessed something like this ever before on the Hindi screen, that’s for sure! Hussain Burmawala’s editing is razor-sharp. It’s one of the best edited works!
Dialogues [Anuraag Prapanna, Jitendra Parmar] are excellent. Styling [Anaita Shroff Adajania] is superb. Background score [Salim-Sulaiman] has the international feel. Choreography [Bosco-Caesar and Ganesh Acharya] is top class.
Every actor in RACE puts his/her best foot forward. Saif has been coming up with sparkling portrayals and films like KAL HO NAA HO, EK HASINA THI, HUM TUM, SALAAM NAMASTE, OMKARA and EKLAVYA – THE ROYAL GUARD portrayed the actor’s acting skills to the fullest. Now add RACE to his illustrious repertoire. He’s marvelous all through and the bearded look suits him very much.
Akshaye is so perfect. To carry off a difficult character like this is a Herculean task and the supremely talented actor handles it with aplomb. He’s like a chameleon; he slips into various roles with remarkable ease. But the fact cannot be denied that Abbas-Mustan bring out the best in Akshaye. Watch his body of work and you’d agree that Akshaye’s performances in the director duo’s films have always stood out.
Anil Kapoor comes at the interval point, but takes charge in the post-interval portions. With such serious characters in the film, Anil’s role comes as a big relief. Sure, the viewers may find some of his dialogues crass, but the masses will take to his performance in a big way.
Bipasha looks stunning and delivers her best work so far. She’s superb. Katrina is a complete surprise. The actress looks gorgeous, but most importantly, her character gives her ample opportunity to shine in the latter half. Sameera excels as the dumb girl. Actually, it’s a tough job and she does it well. Johny Lever is there for one sequence and his role is aimed at the hoi polloi.
On the whole, RACE is a superb entertainer all the way. It’s not just style, it has substance as well. At the box-office, the tremendous hype coupled with the holidays in the opening week as well as the extensive release will ensure huge numbers in the initial week. But, most importantly, the film has legs to enjoy a spirited run at the box-office. Smash Hit!
Review Report :BLACK & WHITE
Subhash Ghai is synonymous with larger than life movies. Movies that cater to the popular tastes. With BLACK & WHITE, Ghai changes lanes. Deviating from the large canvas, extravagant sets and soulful-music-with-lavish-settings, he comes up with a film that’s real, that pricks your conscience… a film that’s in sharp contrast to his earlier accomplishments.
It truly requires courage to swim against the tide. With BLACK & WHITE, Ghai enters a lane not many master storytellers would dare to venture into.
BLACK & WHITE signifies the coming of age of a seasoned storyteller. Sure, he has made great entertainers that have tremendous recall value, but BLACK & WHITE is a gutsy step. It’s realistic, it’s thought-provoking, it’s topical, but not dark, depressing or preachy.
As a storyteller, Ghai has handled the subject with maturity and a few scenes do leave an indelible impression. But BLACK & WHITE could’ve done with a shorter length and a tighter screenplay. Yet, all said and done, Ghai deserves marks and praise for this courageous step. Watch it for a different experience!
Rajan Mathur [Anil Kapoor] is a Professor in Urdu literature. He resides in Chandni Chowk with his activist wife Roma [Shifaali Shah].
Professor Mathur comes across Numair [Anurag Sinha], who introduces himself as a victim of communal riots in Gujarat. But, in actuality, he is a suicide bomber commissioned by a Muslim fundamentalist group to detonate a bomb near Red Fort on 15th August.
During his fifteen-day journey, Numair manages to take shelter in the Professor’s house and wins the trust and fondness of the couple. While helping Numair to get an entry pass for 15th August celebrations at Red Fort, Professor Mathur introduces him to the warm and loving people of Chandni Chowk.
Amidst all the tension, he is caught in an emotional dilemma whether to go ahead with his mission. Despite his deep-rooted fundamentalist beliefs, he sees this as one of the most colorful and loving areas. Nevertheless, he moves on with his mission. But something is disturbing the mind of this young lad…
The story of BLACK & WHITE [Varun Vardhan] is one of its USPs. BLACK & WHITE tries to peep into the psyche of a human bomb, a fanatic who has a change of heart gradually. The transformation of a heartless, cold-blooded murderer to someone whose inner voice tells him to revolt against his ‘masters’, the change is well depicted on screen.
But BLACK & WHITE is not without its share of hiccups. The romantic track, for instance, stands out like a sore thumb. It could’ve been avoided. Also, the reasons that change the fanatic’s thinking aren’t powerful enough. To be specific, the portions from Shifaali’s brutal murder, to her last rites, to Anil and Anurag entering the Red Fort premises, to the cops arresting the terrorists – the sequence of events should’ve been more dramatic and convincing.
But the last few minutes, when Anurag confronts Milind Gunaji and assaults him brutally, is simply outstanding. One of the finest sequences ever filmed in this genre!
Directorially, Ghai rises beyond the script and has canned a number of sequences well. The portions depicting Afghanistan as also the pre-climax [Anil’s emotional breakdown] are exemplary. Sukhwinder Singh’s music has a soothing effect. ‘Jogi Aaya’ and ‘Main Chala’ are melodious compositions. Somak Mukherjee’s camera captures the bylanes of Delhi well. Dialogues are well worded.
BLACK & WHITE belongs to new-find Anurag Sinha. The newcomer carries the cold, murderous look with gusto, living the role with his electrifying presence. Ghai has been instrumental in carving the careers of several names in the past. Now add Anurag to this illustrious list.
Anil Kapoor proves his versatility yet again. In his last outing [WELCOME], he enacted the role of a person who was on the other side of law. In BLACK & WHITE, he’s a law-abiding citizen and Anil is memorable in this film too. This performance should occupy a coveted place in his impressive repertoire.
Shifaali Shah is excellent. Although the length of the character isn’t substantial enough, the actor stays in your memory thanks to a highly competent performance. Aditi doesn’t get much scope. The senior citizen is first-rate. Aroon Bakshi is efficient. Milind Gunaji does a good job.
On the whole, BLACK & WHITE is a fine effort from a master storyteller who dares to change lanes with this film. In that respect, an effort like BLACK & WHITE needs to be lauded. Targeted at the thinking viewer, the makers and distributors have rightly released the film at multiplexes primarily and the multiplex junta should appreciate the effort, at big centres mainly. It will have to have the backing of a strong word of mouth to climb the ladder.
More than anything else, a film like BLACK & WHITE deserves to be tax-exempted, so that it reaches out to a wider audience across the length and breadth of the country.
Review of Apna Asmaan
Movie: Apna Asmaan
Director: Kaushik Roy
Producer: Kaushik Roy,Umang Pahwa
Cast: Shobana,Irrfan Khan,Anupam Kher,Rajat Kapoor
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It's difficult to strike a balance if you sail in two boats. Apna Asmaan tries to do that and ends up being neither here (appealing to lovers of serious cinema), nor there (appealing to those with an appetite for commercial fares).
Debutante director Kaushik Roy chooses a serious theme to begin with and you expect him to stick to realism as the story unfolds. But somewhere, in between, the film changes lanes and moves away from the core issue. What it sets out to narrate (a moving story of a young boy) and what it eventually narrates (the ills of wealth) come across as two different stories packed in one film.
In a nutshell, it's the writing that lets the film down, yet again. How one wishes Roy would've stuck to the serious issue, instead of spicing up the proceedings in the second hour.
The movie is about today's urban aspirations, as represented by a young couple living in Mumbai. The wage earner (Irrfan Khan) works in the field of plastics. His wife (Shobhana), gives up her early promise as a classical dancer, in order to settle into marriage, which is threatened when their only son (Dhruv) turns out to be autistic.
His condition distances the parents, the father torn with guilt and the mother craving success points from him. But a drug works wonders on the boy, but at a severe cost.
Apna Asmaan mirrors certain truths. You identify with the goings-on initially. The portions involving the child and the anxiety of his parents are captivating. The sequence of events that lead to an angry Irrfan Khan injecting the 'Brain Booster' to his son is the highpoint. But things deteriorate the moment the son opens his eyes and become a genius within minutes. Now what was that?
That's not all! He becomes a great mathemagician and starts indulging in all kinds of vices. He even disowns his parents. That's where the writing goes haywire. How and why does he get such negative traits are left unexplained.
The end too is bizarre. The culmination to Anupam Kher's character, plus the son being administered the antidote and the sequences thereafter are difficult to absorb. Actually, it seems quite bizarre.
Director Kaushik Roy knows the technicalities right, but it's the writer in him that lets the director down. Music is strictly okay. Cinematography (Barun Mukherjee) is alright.
Irrfan Khan is good, not excellent.Nonetheless, he's brilliant in the sequence when he loses his temper and injects the booster. Shobhana does a fine job. Anupam Kher's character is half-baked. Rajat Kapoor is sidelined. Dhruv is loud.
On the whole, Apna Asmaan has precious little to offer.
Review of Dhamaal
Movie: Dhamaal
Director: Indra Kumar
Producer: Ashok Thakeria,Indra Kumar
Music: Adnan Sami
Cast: Sanjay Dutt,Arshad Warsi,Javed Jaffrey,Ritesh Deshmukh,Aashish Chaudhary
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It started with Partner eight weeks ago. Then Heyy Babyy three weeks back. It's Dhamaal now. Hilariously funny, Indra Kumar's latest outing completes the hat-trick of laughathons, that succeed in entertaining you from start to end. Like its predecessors, Dhamaal is abundantly rich in humor and most importantly, has the right set of actors to carry off those roles with aplomb.
Dhamaal lives up to its title. It's non-stop dhamaal for the next two hours. Sure, there're inane situations and jokes that cater to the popular tastes, but when did Indra Kumar and his team of writers (Paritosh Painter, Balwinder Suri, Bunty Rathore) ever set out to challenge Einstein? The mantra is simple: Let the auditorium reverberate with laughter.Dhamaal succeeds in its mission!
Any hiccups? The post-interval portions aren't as funny as the first hour. More on that later! But the film works in totality and that's what matters at the end of the day. With Masti, Indra Kumar proved that he knows how to tickle the funny bone. With Pyare Mohan, he tripped and ended up bruising himself. With Dhamaal, he sprints back to the junta's hearts.
So what's the final word then? Go, watch Dhamaal and have dhamaal. But do carry a rumaal since this madcap comedy is quite kamaal in parts. You'd cry laughing!
Roy (Riteish Deshmukh) believes that he is the best detective in the world. Manav (Javed Jaffrey) actually happens to be the biggest idiot in the world, but is blissfully unaware about it. His brother Adi's (Arshad Warsi] half knowledge about everything only adds to the great expertise of this group. The final component is Boman (Aashish Chowdhary), who's Mr. Scared.
These four idiots live and work together. Their idea of work? Doing small-time con jobs! The thought of earning an honest living has never even crossed their minds. One day, while trying to save a dying man, Bose (Prem Chopra), they get their big break. Their life is made! Unfortunately for them, Inspector Kabir (Sanjay Dutt) has been chasing Bose for the last ten years. He finally finds him. Only dead!
Desperate for his promotion, he questions the suspicious-looking foursome he finds next to the body. Inadvertently, they blurt out the secret before managing to escape. Now begins a marathon chase.
Dhamaal begins with gusto. The introduction of the four characters at the very start makes the viewer aware of what to expect from each of them. The sequences that follow (taking the horse painting at condolence meetings) are rip-roaringly funny. Ditto for the sequence when they're mistaken as gangsters and arrested by the cop (Murli Sharma). Another sequence that's sure to bring the house down is Asrani's vintage car going up in flames and also Sanju tying the four to a tree. The first hour rocks big time!
The writers continue to inject humor in the second hour as well. Only thing, the jokes work at times, but look forced at places. Take, for instance, the track of the robbers inside a bus and their interaction with Ritesh. Non-happening! The aircraft portion (Asrani, Aashish) is excellent, but one should know where to end a joke. Never stretch it beyond a point, but the writers do. Resultantly, the impact gets diluted. Sanju's accident and the entire cliff track, again, is mediocre. The search for the 'Big W' in the park, beneath which lies the treasure, is funny, not hilarious.
Directorially, Indra Kumar is in form. Opting for a new team of writers this time around, he gets it right on most occasions. The two songs at the very start (Adnan Sami) are interesting. Vijay Arora's cinematography is nice. Dialogues are excellent.
The one performance that stands out from the rest is that of Javed Jaffrey's. He's magnificent in a role that seems tailor-made for him. What timing! The viewers are sure to go into raptures. Arshad Warsi is not in his element. Also, why is he looking so tired? Ritesh Deshmukh is dependable yet again, although his track suffers in the second hour because it lacks meat. Aashish Chowdhary is a revelation. Confident and easygoing, he shows a flair for comedy. Sanjay Dutt is alright. Asrani is mind-blowing. It's a treat to watch this veteran in a meaty role again. Suhasini Mulay, as the landlady, is first-rate.
On the whole, Dhamaal is one joyride that should keep its investors smiling!
Review of movie Darling
Movie: Darling
Director: Ram Gopal Varma
Producer: Bhushan Kumar,Krishan Kumar
Music: Himesh Reshammiya,Pritam Chakraborty,Prasana Shekhar
Cast: Esha Deol,Fardeen Khan,Isha Koppikar,Zakir Hussain,Kota Srinivasan Rao,Upyendra Limaye,Pubali Sanyal
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Last Friday, RGV received flak from all and sundry for attempting a remake of Sholay. The venom spewed in views, opinions, reviews, sms-es… everywhere. RGV has lost it, was the unanimous feedback.
Yet another RGV offering hits the marquee this Friday, Darling, but this one is no remake, although it does bring back memory of two films mainly, Ghost (which, in turn, inspired a slew of Bollywood movies) and Bhatts' Raaz. Though dissimilar, flashes of Bhoot also cross your mind as you watch Darling.
It's difficult to slot Darlingin any one category. It's eerie, it's humorous, it has the song-n-dance routine (well knitted in the plot), it doesn't belong to any particular genre. Actually, Darling is a novel experience since Hindi films have rarely combined horror and comedy, two diverse ingredients, in one film. Trust RGV to think out of the box and fortunately, it works!
The eerie moments before the ghost appears don't make you break into a cold sweat, but they do make your heart beat faster. Similarly, there're ample moments in the narrative (Fardeen, Isha visiting the hospital to meet Zakir Hussain; also Isha wanting to make love to Fardeen on their anniversary and the ghost is watching it all) that are thoroughly interesting. The final scene, of course, is a brilliant stroke, with the viewer not being prepared for the turn of events.
In a nutshell, RGV can heave a sigh of relief this weekend. Last weekend was dark and depressing, this weekend should bring in sunshine for this maverick film-maker.
Aditya (Fardeen Khan) is living every man's dream. He's got a beautiful, traditional wife (Isha Koppikar) at home and a stunning wildcat girlfriend (Esha Deol) at work. Balancing the two women with clever lies, he gets to experience the best of both worlds.
The going is good. Till his girlfriend shocks him with the news that she is pregnant. Aditya is cornered. He has to confess to her that he cannot leave his wife, as he has been promising her all along. His girlfriend is devastated. She flies into a rage. A brutal fight ensues, in which she accidentally dies.
Terrified, Aditya disposes off her body and returns home, thinking that the worst is behind him. But he couldn't be more wrong. For the nightmare has only just begun. His wild girlfriend is back as a ghost…
The USP of Darling is its unpredictability. Had it been an out-and-out horror flick, you'd have guessed the sequence of events sooner or later. Had it been the story of a man torn between two women, again, it wouldn't have taken much time to guess what's in store next. But RGV steers clear of predictable stuff from the start itself.
Although the screenplay is captivating and keeps you hooked to the proceedings, the only time it takes a dip is in the post interval portions. Otherwise, the sequences involving the cop (Upendra Limaye) and his colleague (a character called Malati) are excellent. Also, the sequence when Esha's father breaks down in front of Fardeen is incredible.
Darling may not be amongst RGV's finest works, but it does rank among his better films. With a music company (T-Series) producing the flick, it ought to be embellished with a good score and at least two songs have already grown popular, Tadap and Aa Khushi se Khudkhushi Karle. Amit Roy's cinematography is splendid yet again. The background score (Prasanna Shekar) is effective.
Fardeen Khan is a revelation. The actor catches you with complete surprise as he enacts a difficult role with panache. Esha Deol is excellent, in a role that's nothing short of a challenge. It would've boomeranged had it been entrusted to any inferior actor, but Esha is in terrific form here. This should be the turning point in her career. Isha Koppikar doesn't have much to do in the first half, but more than makes her presence felt in the second hour.
Upendra Limaye is fantastic and so is his colleague (a character called Malati). Zakir Hussain is superb.
On the whole, Darling is a well-made product that will find flavor with the multiplex audience mainly. Has the merits to grow with word of mouth!