kathuria_nidhi Reviews

Sherni (2021)

#Sherni #Avni #AvniTheTigress (This is not a film review)

[8/10 · 25 June 2021]

Thank you #AmitMasurkar for making such an important film. No, it was not entertaining, or holds the same thrill as Steven Spielberg's Jaws did. This was not an ideal weekend film that I expected. And I also couldn't be more thankful that I didn't end up watching it on the big screen. Fifteen minutes into the film, it seemed familiar... it was pulsating with the same core as Swades did. I remember walking out of the theater disappointed as I didn't understand what had I just watched. But the film kept haunting me. I couldn't get the image of Shahrukh crying in the train when he was returning from some village, out of my head. The music, the unconventional odd village characters, the theme of transformation and acceptance, everything about the film started to unsettle me. In days to come, the movie completely shook me from my myopic center of understanding life and things around me. Swades overwhelmed me with its anti-cinematic, life approach. And I know just like Swades, Sherni will also keep disturbing me for days to come. But this time round, I already know why this film has made me restless and exposed some old wounds.

Sherni is based on true events (disclaimer: the film doesn't say that, this is strictly my personal observation); the murder of tigress Avni also called T-1. The plea of thousands of animal rights activist were rejected. The Supreme Court ordered that the animal be tranquilized and transported elsewhere, failing which the authorities were given permission to kill her. The mother of two ten-month old cubs was brutally murdered in the Yavatmal region of Maharashtra on November 2nd, 2018.

The 2021 World Press Freedom Index produced by Reporters Without Borders (RSF), a French NGO, has again placed India at 142nd rank out of 180 countries. If things were different in India, I am sure the director's narrative would have included Adanis and Birlas who bought Avni's home; her jungle from the government to build their commercial plants, and that's the main reason (what popular mainstream Indian media will not say) why the poor animal had to be eliminated. Yet, I want to sincerely applaud Amit V. Masurkar for attempting an endearing and brave social satire.

There will always be people who won't fight for tigers or other animals, there will be those who will not care if the forests are cut or burnt, or habitats of thousands of species destroyed for metro, or sprawling multi-storied malls. Yet, we need films like Sherni to shake us up, until we realize that nature, animals, human beings, are all interconnected. Nothing and no one can exist in isolation.

In 2019, Swedish activist Greta Thunberg at the age of 16, gave a very angry and emotional speech to hundreds of world leaders at the United Nations in New York City. If we can't learn from this pandemic, or appreciate the intent of films like Sherni, and fail to raise our voice against the cruelty and atrocities to the nature and animals, we will have no place to hide our faces. Our children will also ask us the same question as Greta did. "How dare you?"

Rab Ne Bana Di Jodi (2008)

Hadippa...Three Cheers!!!

[8/10 · 13 December 2008]

Rab Ne Bana Di Jodi is a sweet love story that sweeps you away with its earnest emotions and imperfect characters that vouch of their virtues and vices just like you and me. The plot may be something you would be if not hugely, yet slightly skeptical about, but it works because of these very characters who breathe the same air, eat the same food, and dream a little dream just like you and me. The hero is an 'aam aadmi' who could be your neighbor, someone you see everyday on train or bus on your way to work. He wears sports shoes with dull color shirts and timeworn pleated pants; he is a man with ordinary looks almost like sarkari babus, shopkeepers or sales men from old Delhi or here more specifically, Amritsar. He is a man of mediocre stature and boasts of only unambitious common-man material needs. He is no 'Rahul' that thanks to recent breed of cinema is symbolic of rich chocolate boy image. But Surinder Sahni a.k.a. Shahrukh Khan can't resist the temptation to be 'Raj' 'naam toh suna hoga', again, the name and portrait he has immortalized since DDLJ. He is not Jim Carrey in The Mask who aspires to be a superhero to his alter ego. Garish in his makeover, with unsteady and unsure steps, Raj dances with his dream girl to make her laugh and fall in love. You don't see a black and white distinction between Suri and Raj and that's what transpires into a masterly screenplay and brilliant direction. There is a little Raj in Suri and vice-versa. Without fearing to give away much in this review, even though the story is largely predictable, the film exhibits an array of heartfelt scenes. There is a scene where Suri contemplates leaving a red rose with the breakfast he prepared for his wife. It's a beautiful scene that is suggestive of the protagonist's love that is throbbing to express itself. But Suri being what he is must contain his love where Raj is able to take it a leap above its counter self and voice his love from ridiculous to sublime. Another scene where a victorious Raj surprises you by crying for Suri who is slacking behind him in winning the same lady-love, gives you a tug in your heart. Music-wise 'Haule Haule' is one of the best songs to come out of Bollywood in a long time. It's earthy, colorful, with lyrics that describe the whole mood of the film. The pace of the film is tolerable, if not fast. Dialogs are not as good as Aditya Chopra's other films like DDLJ or Mohabbatein, but still they work because they are mouthed with sincerity and passion. But yes, the number of times the word 'Pyar' is used in the movie, pushes it over the borderline for high or too much sugar. May be as a promotion, the producers could have quizzed the audience on how many times the characters mouth that word! Vinay Pathak as Bobby; Suri's childhood friend is very effective. The newcomer Anushka Sharma was a brilliant choice. She is a complete natural but kudos to Aditya Chopra for sketching her character with subtlety and not making the audience suffer any melodrama by making her erratically jump into her sad past at every given opportunity. Finally, why Rab Ne…will really work? One word, which is also the final word-SRK.

Don (I) (2006)

Don vs. Don. And the Winner is...

[5/10 · 27 October 2006]

AMITABH BACHCHAN. The new age Don is equipped with sleek laptops, swanky Mercedes and Bond like watches. The canvas has switched to Malaysia. Clearly Farhan Akhtar's Don is laced with the right ingredients to mousetrap all three- AB, SRK and Kareena Kapoor generations. The cheese looks inviting enough but unlike wine that only gets better and more intoxicating with time, the Farhan Akhtar brand of Don Cheese only leaves you with a bland taste in your mouth. It was indeed very daring of the filmmaker to attempt a remake of the film, revered to date for its slickness ahead of its time, plot that took speedy turns without making you giddy and most remarkably, it created the characters, whether that of Roma, Kamini, Vardhan, Desilva and of course Don that immortalized themselves even when layers of time shrouded them. This is one of the inherent reasons why the daredevil in Akhtar in-spite of his earnest intentions failed to even pierce, forget breaking the mold of those immortal ones. Does the new Roma redefine the feline like distinction that the older Roma stealthily leapt with? Is the seduction dance of new Kamini as spine shivering as was the old Kamini's, or did the new Kamini not simply sway away on a lifeless singing of Sunidhi Chauhan's version of 'Yeh Mera Dil'? The original Don was the cult film. Even if nobody admits it but desired to make a bigger film than that or slyly wanted a free joyride hanging onto its coattails, the convenience or the effort doesn't pay off. Why? Because you can either make a film inspired by the original or let your version be an absolute tribute paid to it. You cannot have your cake and eat it too! The new Don reprints the characters, lyrics, dialogues, theme, etc. but forgets to revive them with the real 'Don' soul! Even with the noblest of intentions, it was blasphemous on the filmmaker's part to switch characters, render a visually weak song like the ever-popular 'Khaike Paan Banaras Wala' and most unapologetically distort the story and the plot. No one can forget Dev Anand's classic 'Jewel Thief' and no one would want to remember its gross sequel 'Return of the Jewel Thief'! Ring a bell? The movie in the second half stumbles and fumbles when the director tries to do an 'abracadabra' and throws pigeons and rabbits one after another at the audience for the assumed results. When Amitabh essayed the role of Don, he almost wore 'the mask' of Don, like Jim Carrey physically and innately wore, imbibing the mask's own meanness and personality in the film. Unfortunately, SRK despite his most arduous efforts, failed to capture the depravity that was the apotheosis of the real Don. The film will have the decent run at the box-office for its obvious star value and hype. But this is a lesson for all of those filmmakers who think they have the hit formula up their sleeves. Weather its Dutta brand of Umrao Jaan or Ramu ke Sholay, remember that when ambition exceeds ability, the likelihood of success is limited.

-Nidhi Kathuria

Darna Zaroori Hai (2006)

Darna Zaroori Hai or Darna Mana Hai Part-2 ??

[3/10 · 9 September 2006]

Ram Gopal Varma is indeed a filmmaker who likes to juggle hats when it comes to film-making. It's hard to slot him as a director of single or specialized genre. From underworld mafia gang-wars to 'rangeela' musicals, he has proved himself to be the demigod of experimental cinema. The Indian cinema seems to on an upswing and the golden era is not too far, as our optimism grows with a row of hits and different films like 'Zinda', 'Rang De Basanti', 'Gangster' or even the film that boasts of a rustic comic streak 'Malamaal Weekly'. In the light of being uncommonly charitable to most of the recent Indian films, what do we think of 'Darna Zaroori Hai'?

When you read the label on the bottle that says 'POISON' in red color, you won't dare to meddle with it, unless you are on a suicide mission. But when you read the title 'Darna Zaroori Hai', you want to be SPOOKED with the capital S. So, does the film manage to scare you? The answer, 'NO'! An ensemble of quite predictable seven short stories, the film proves to short circuit right after the first story, directed by Sajid Khan; intelligent story line, great acting by Manoj Pahwa, sharp camera work and sound recording. To be fair, another story worth mentioning is the one directed by Chakravarthy (of Satya fame), starring Randeep Hooda as the man possessed. Ram Gopal Varma, the man who claims to love the world of horror and directed spine-chilling 'Bhoot' in the past, ironically tells the story in this film, which is perhaps the weakest of the seven stories. Though ironically again, the acting by Amitabh Bachchan in that piece, as a man intimidated by an invisible entity, is top notch, as the man delivers the expressions of trepidations with the most natural ease. Riteish Deshmukh, his co-actor also delivered a pro-reactive set of emotions, with brilliance. A story that seemed like revenge onto life insurance agents again, had powerful acting by Rajpal Yadav. But was it scary? No. Comparing the sequel to Varma's first, 'Darna Mana Hai', this one has weaker story lines and yet scarce punch of the ghost factor. Our verdict: Good for a DVD scare. -Nidhi Kathuria

Lage Raho Munna Bhai (2006)

Munna Meets Mahatma Gandhi!!

[10/10 · 2 September 2006]

The second innings of Munna Bhai and Ciruit in 'Lage Raho Munna Bhai' is one cracker of an innings! It's better than the first one, extracts more laughs and punches and the characters have a more humane temperament that explores the other side of 'bhaigiri'. The plot is truly the winning card of the movie, not to discount the effective casting, dialogues that are a mix of funny and introspective, a rib-tickling screenplay, enjoyable situational songs and a first rate direction. Sanjay Dutt as Munna Bhai and Arshad Warsi as Circuit wear their characters as their second skins, more comfortably, more snuggly and are more lovable than their avatars in the earlier Munna Bhai MBBS. Ditto for Boman Irani who dons the role of Lucky Singh, a sardarji builder; a meanie with a heart. Vidya Balan also puts her best foot forward as a radio jockey who makes Dutt's heart goes hmmm... Dia Mirza and Jimmy Shergill justify their cameo appearances. A surprise element during the climax is a thoughtful addition and cheers the audience, specially the female audience threefold. Though the film is not a sequel to Munna Bhai MBBS, Lage Raho Munna Bhai retains the characters of Munna and Circuit in the lead roles and their nontoxic, almost childlike idiosyncrasies. This idea also gives an unlimited scope for possibilities the hit pair of Munna and Circuit can indulge into in future. Lage Raho Munna Bhai is a story about Murli Prasad Sharma aka Munna who meets Mahatma Gandhi and undergoes a heart transformation. For Munna, breaking bones and abducting people at the snap of his fingers was easier than the courage it required to walk on the path of non-violence and truth. Hesitatingly and unwittingly he takes the road less traveled, which is thorny and full of obstacles in return for self revelation and a guilt-free conscience that fears nothing and no-one. The 'Gandhivad' is turned into 'Gandhigiri' by self proclaimed Professor Murli Prasad Sharma for its practical implementation in the present day, without sounding preachy or heavy-duty. There is a similar 'offering the other cheek' when someone slaps you, confessions of truth and also the 'satyagrah' for a bunch of old people who lose their house called 'Second Innings' to the manipulative and greedy Lucky Singh. Sad but true that our nation won freedom but lost its people, Murli tries to revive faith, courage, truth and justice in people from different walks of life. With his new found ideology or the chemical 'locha' in his brain, he triumphs over the cynics or the lost souls and also wins the love of his life. An interesting observation can be made between Rakeysh Om Prakash Mehra's 'Rang De Basanti' and Rajkumar Hirani's 'Lage Raho Munna Bhai', the fact that though the theme of both films is more or less the same, the approach to resolving the conflict is in complete contrast with each other, like two ends of the same thread. Yet both films succeed in their own unique ways and deliberate the depths of human emotions and reflections in an identical manner. In the end, hats off to Vidhu Vinod Chopra for producing a film that is a wholesome entertainer and succeeds in giving a heartfelt message in the times where films are made merely to fulfill the whims and fancies of egoistic filmmakers.

-Nidhi Kathuria

Shikhar (2005)

Reaches No Glorious Heights

[2/10 · 2 August 2006]

The director John Mathew Mathan had gone into oblivion after his directorial debut 'Sarfarosh' that came in 1999. Everybody remembers the film simply because it was a fantastic film. As one watched the socio-political thriller unfold, not even once did the audience remind itself that this was a greenhorn director and perhaps if need be, not to be too harsh on him. So after 5 years when he decided to make Shikhar, it's not an exaggeration to say that the same audience expected the film to be if not more, at-last 5 times more powerful and impact making than Sarfarosh! But to make a film like 'Shikhar', seems nothing but a crude joke on the sensitivities and patience of the people. The memory of Sarfarosh is as fresh in the minds of people as it would have been after ten years, in other words, had Mathan taken even an eternity to bring to his loyal audience a quality film, they would have welcomed it with open arms. But Shikhar…just seems like an execution in Mathan's worst nightmares! There is nothing redeemable about the film, except Shahid Kapoor who has a reflection of youthful Shahrukh Khan when it comes to projecting honesty, passion and dedication. So when you take portions of 'Swades', 'Bas Itna Sa Khwab Hai' and possibly scrapes of 'Guide' or 'Raju Ban Gaya Gentleman' and churn them together, you would have manufactured Shikhar! Not produced, created or even re-created, purely manufactured! The film has not even an iota of pseudo-realism in its theme, plot, characterization and is exceedingly synthetic. The music is uninspiring, dialogues are sloppy and even the premise of the film seems insincere. Story: Shikhar revolves around the issue related to builders, landlords and their tenants who are being pressurized under the superior people of society. How far can greed take a man? Ajay Devgan portrays the character of 'Gaurav Gupta' (GG), who is highly ambitious builder (not to mention-dresses like an MTV star) who wants Guruji (Jawed Sheikh) to evacuate Rishivan-the orphanage to build a magna city called Golden Gate. This shall have multiplexes, golf course, housing, amusement park etc. Guruji actually is an industrial magnate and believes that wealth means nothing if not utilized for the betterment of the society. He wants his wealth to be utilized for the upliftment for the tribal in the area. In the tug-of-war between GG and Guruji, Jaidev Vardhan (Shahid kapur) a fresh graduate and the only son of Guruji, falls in the trap designed by GG and his girlfriend Natasha (Bipasha Basu). Madhavi (Amrita Rao), who genuinely loves Jaidev observes her love being carried away by the world of wealth, wine and women. Will GG succeed in his vicious plans? Will Jaidev discover the fiend behind the mask of friendship GG wears? Wait for the DVD release to find out, this one is definitely not for tarrying away your time at a theater.

Salaam Namaste (2005)

Three cheers for Salaam Namaste!

[10/10 · 2 August 2006]

Indian Cinema has undeniably conquered new frontiers in world cinema with Salaam Namaste. It's freshness is reminiscent of the times when the tested and tried formulae, which were of' course repackaged timelessly in the genre of romantic comedies were consciously thrown out of the window with an innovative and truly 'hatke' Dil Chahta Hai. It's another matter that after brilliant opening, just like the middle order collapsing in the Indian Cricket team, the filmmakers failed to sustain the trend or even ape the story intelligently and only managed to come up with romantic comedies more useless than the other. Salaam Namaste has indeed raised the bar and the credit goes to its brilliant direction by Siddharth Anand, ace production by Yash Raj, almost dreamy photography, fast paced screenplay, sharp dialogues and a plot without much hoopla. Nowhere during the movie do you feel that the film is attempting to imbibe a paradigm that you have been exposed to in Hollywood movies. The subject of a live-in relationship seems a natural part of the story and does not appear as a forceful modus operandi by the filmmaker to draw attention or even ignite a controversy from orthodox groups for cheap publicity. The story of Nick and Amber seems as real as Shahrukh and Rani in Chalte Chalte or as surreal as Amitabh and Rani in Black. The relationship the protagonists share is beautiful and logical. The issue of morality or character seems redundant when you accept the ideology 'to each his own', become a spectator and enjoy life without indulging too much into rights and wrongs. One thing worth mentioning is the lovemaking scenes, which are so unadulterated and non-dramatic that it will run a wave of tingling sensation throughout your body and will hold you in awe of its purity. This is Preity Zinta's most glorious performance of her career and Saif took his character in the story to brilliant heights too. The editing, which is razor sharp in first half of the movie, slightly fumbles in the last fifteen minutes of the climax. Music is melodious and lyrics are fun to hum. The supporting actors including Arshad Warsi and Javed Jaffri also support the film remarkably. Story: Ambar (Preity Zinta) is a radio jockey hosting the show called 'Salaam Namaste' in Melbourne. She hates unpunctuality and is also annoyed by people who get fidgety about their being Indian. Nikhil Arora aka Nick (Saif Ali Khan) who is a chef in an Indian restaurant and also dreams of having his own restaurant rubs Amber the wrong way and starts the war of wits over live radio. The two come face to face at a beach wedding and sparks begin to fly. On coming to know the truth about each other, they want to run as fast as they can from each other in opposite direction but turn around and come to a mutual decision. Ambar moves in with Nick to know if the love is real. They are stark opposite in personalities but cheerfully take deviations and make sweet compromises. Nick gets up in the mornings to fix Ambar hearty breakfasts; Ambar keeps her surroundings clean, amongst other things. Trouble starts when the couple discovers that Ambar is pregnant. What happens to Nick and Ambar? Do they separate and decide that their priorities are different or does the film boast of another happy reunion…or…does Abhishek Bachchan in special appearance has a card to pull? Watch Salaam Namaste to find out!

Paheli (2005)

Truly A Director's Cut!

[8/10 · 2 August 2006]

Folklore set in Rajasthan in warm and colorful hues of emotions, fancies and temptations; Paheli captures the desires of a newly wed woman who must submit her ripened youth to a ghost and bask in the glory of her womanhood. She steals away 5 years of unbridled moments of love, lust and fulfillment for herself. Paheli is a stream of consciousness, which must follow its natural flow and will not be abruptly bent or change its course towards the end by the director, to satisfy and uphold the moralistic aspirations of the society. More than anyone else, the one who walks away with the top honors for this film is not Shahrukh Khan or Rani Mukerji, but the director Amol Palekar! For long, Amol Palekar has made films, which are made on thin budgets and only see the light of the day in film festivals. Labeled as an 'Art' filmmaker, Amol yet again attempts an arty treatment to the subject, and this time to the advantage, which he gains over mainstream film-making. No filmmaker in the mainstream cinema has ever been able to consummate the subject of falling in love with another man with such palpable simplicity and solution. Amol Palekar, aided with an exceptional Rajasthani folktale in hand- 'Duvidha' an interpretation by Vijaydan Detha, gives a true director's cut in Paheli that is gripping and delightful. In poetry that is simple and touching, Shahrukh explains

to his beloved what he is and why he is, his existence an excuse for clouds to pour, a reason for sun to rise…Dialogues are a happy mix of Hindi and Rajasthani that support a powerful narration and screenplay. Magical rain scene on the terrace, conjuring of the gold coins, scene where the ghost directs a playful sea of rose petals to keep his lover from going and the use of ghost puppets as the voice of reason, is enchanting. The location and sets add depth to the story and cinematography captures its novelty in the colors, the director paints on screen. Costumes are elaborate and fit well with each character's get-up and personality. Music by M.M. Kreem portrays the emotional turmoil of the characters, not obstructing the story in any way. With lyrics for films as distant from his personality like Bunty Aur Babli, Gulzar has yet again proved his versatility and creativity in Paheli. Amitabh Bachchan, Anupam Kher and Rajpal Yadav in cameo performances do justice to the characters the writer etched and infuse much animation and excitement to them. The ever-beautiful Juhi Chawla slipped into her role with subtle charm, grace and vitality, although one can't help feel sorry for Suniel Shetty in such an inconsequential role, where not much scope of leaving lasting impressions is present either. Other supporting cast as Shahrukh's kaka and two servants were well placed in the story and delivered good performances. Rani Mukerji is constantly raising the bar for her contemporaries with the complex characters she plays with utmost natural ease.

Shahrukh Khan in a double role is a double powerhouse of throbbing passion and sensitivity, playing his part as a ghost and a man of average vices and virtues with conviction that will continue to haunt you, long after you have walked out of the theater with a smile on your face. Lachhi (Rani Mukerji) is married to Kisan (Shahrukh Khan) who is more interested in giving the accounts of marriage expenditure to his typical baniya father (Anupam Kher). He leaves his trembling, crying and yearning new bride on her nuptial bed to pursue material gains to please his father. A ghost who had briefly witnessed Lachhi's beauty and attracted her in its many magical forms falls in love with her. The estranged bride is feeling hurt and betrayed. She is vulnerable but not naive and makes a conscious decision of taking the ghost as her companion, who assumes the appearance of her husband. What happens when the real Kisan comes back? Does she go back to him or does destiny has other plans for her? Watch Paheli to find out!

Mangal Pandey (2005)

Aamir Khan-Last Man Standing

[5/10 · 2 August 2006]

A commendable effort when someone decides to document an important chapter in history and bring forth to patrons of 'cinema of substance' Aamir Khan in and as Mangal Pandey. But the director Ketan Mehta has only managed to scrape the dust off the episode in history, ravaged by time and failed to extract its vibrancy that would emulate the similar desire and passion in those watching it. Neither does the film keeps you on the edge of the seat where you let the warm squall of adrenalin sweep over the thousand thoughts bombarding the mind. Some of them being, why is the film following the same pace from beginning to end or why am I not getting charged? I love my country and I want to do something for my country, like for the record there was a recruit for Kargil war after the young boy fresh from college watched J.P. Dutta's Border. Why is Mangal Pandey not telling me to take some action or even do an honest introspection? Whose fault is it? Certainly, the flaw lies in the insipid direction. In the past, films like Shaheed, Kranti or even Raj Kumar Santoshi's Bhagat Singh have scored better when it comes to audience empathy. Any accosting to the director will have to be half guarded because of the vagaries that are like eye-sores including female characters, which tip from crude to unconvincing, average music and poor screenplay among other things. Films like Lagaan was not a one-man show and bigger than Aamir Khan as the actor. All characters etched out properly, like in the cricket team even when you have your favorites in Sachin Tendulkar, you would also care when Harbhajan throws a googly or when Yuvraj comes in for a fantastic cameo inning. But like Mangal Pandey in history who was passionate and overzealous and took the cause of struggle for freedom on his shoulders, in the film, Aamir Khan the actor consciously or subconsciously projects himself as the last man standing. What Shahrukh couldn't do for Swades, Aamir does for Mangal Pandey. The gamble pays off because the film despite a shaky structure and narrative will be a crowd puller thanks to the long exile of Aamir Khan and his reputation of being the perfectionist and the untouchable, but the truth…the film lacks the soul and an ability to stir any sentiments of patriotism or even connect the audience on an emotional level. The Story-Mangal Pandey (Aamir Khan) is one of the many sepoys of the 5th Company, 34th Native Infantry Regiment, Barrackpore. Loyal to his superiors in the army of British East India Company, Mangal Pandey is the man with exceptional skills and bravery; and has also befriended an officer called William Gordon (Toby Stephens). Toby Stephens performed his part of an officer pulled between his white man's burden and friendship and empathy for Mangal Pandey and his cause, delivers a powerful, credible and sensitive performance. On learning that the new cartridges are greased with animal fat, a widespread resentment breaks amongst Indian soldiers fostering Hindu-Muslim sentiments. Mangal Pandey leads the mutiny and turns it into the first war of independence, becoming the first rebel and first martyr in history. There are two love stories in the film, one between Gordon and Jwala; (Ameesha Patel) a Sati he rescues and the other between Mangal and Heera; (Rani Mukerji) a prostitute. Both Ameesha and Rani played their parts with desired vulnerability and passion. Aamir Khan did justice to his role and as reiterated, indeed is the last man standing in the film.

Looking for Comedy in the Muslim World (2005)

Funny, but a Microscopic Vision of Albert Brooks

[6/10 · 2 August 2006]

'Looking for Comedy in the Muslim World' provides a stimulating and a ludicrous observation of America's approach towards other cultures, Muslim world to be precise, that has become an acute point of focus and attention especially post 9/11. The writer-director Albert Brooks has a noble and rather innovative idea when he attempts to understand the Muslim population in India and Pakistan better by understanding what makes them laugh! One can't help but speculate if it were not just Brooks as the protagonist who fails in his mission but also the writer-director Brooks who is unable to break the ice when it comes to portraying honesty or realism in his script. Brooks playing himself, overshadows the script so much that he almost fulfills the prophecy of his own character that mouths, "comedians don't like to talk about other comedians!" Perhaps that is the reason why none of the other characters stand out or manage to exhibit their own personal strengths or weaknesses. When Brooks travels to India, the world that the audience sees through Brooks' interactions is monotonous. There is no flavor or variety and only targeted at a class of people that may or may not be literate, knows some English, but on the whole shun comedy or are unmoved by it. Most of them are boorish and uptight, and one is forced to think if it were the conscious decision of the egoistic Comedian to stand against these chalky extras for a purpose- simply to look better or taller in his profession or temperament…Or, when the writer actually wrote these scenes, what was he thinking? Why did he not make his protagonist do more research, talk to more people from different social and economic backgrounds in various professions, or venture into lounges or night clubs or may be pick up a few Indian funny movies with English subtitles to begin with, to at-least know what he is dealing with? Actress Sheetal Sheth plays a very goody-goody urban educated Indian girl character, but a local actress from India perhaps would have been a better option. On the whole, the film would certainly have scored better with audience who will not trade a vegetarian 'alu tikki' (potato patty) burger for a vegetarian 'soy patty' burger! Why watch the film? It's really funny, in parts though, great dialogues, pompous story idea, nostalgic sights of Chandni Chowk, Connaught Place and Taj Mahal-Agra and yes, Albert Brooks and his quirkiness is a treat to watch. Story: Comedian Albert Brooks, who is looking for a decent gig and doesn't have much options on his side, gets summoned by politician/actor Fred Dalton Thompson to come to Washington D.C. to help in a new diplomatic effort. Brooks has to spend a month in India and Pakistan, write a 500 page report, and tell the U.S. government what makes over 300 million Muslims in the region laugh. While Brooks isn't sure he's the man for the job, the possibility of a Medal of Freedom proves irresistible and he accepts. With the aid of two government agents, Stuart (John Carrol Lynch), Mark (Jon Tenney), and a lovely assistant, Maya (Sheetal Sheth), Brooks starts the interviewing process, as soon as he lands in India, asking everyone, "What makes you laugh?" Since people aren't as forthcoming as he would like, and when he discovers there are no comedy clubs in India or Pakistan that would help him observe, he decides to put on The Big Show, the first comedy concert in New Delhi. He figures by what the audience laugh at, he'll get what he needs for his important government assignment. He figured wrong. Undaunted, Brooks continues his quest, doing everything from a clandestine meeting with a group of Pakistani comedians, to a business meeting with Al Jazeera, all in the hopes of achieving his goal.

Ek Ajnabee (2005)

Stylish but lacks Substance

[3/10 · 2 August 2006]

The first thing that comes to your mind after watching 'Ek Ajnabee' is that what on earth is Amitabh Bachchan doing in this film? This is the film where the actor is bigger than the film itself, whereas, it should ideally be the other way round. Courageously, Bachchan carries the whole film on his shoulders; too bad the film wasn't worth his magnanimous sincerity he lent to his character. The film is an adaptation (more appropriately, scene to scene copy) of Denzel Washington starrer 'Man on Fire'. The director Apoorva Lakhia (director Mumbai Se Aaya Mera Dost) also did not forget to add the clichéd Bollywood elements in form of one- two wanton songs, complicated and a senseless climax, though thankfully, there is no model turned actress playing the love-interest in the film. The characters are almost like cardboard characters, mere caricatures, are weak, unrealistic seem to accidentally erupt from nowhere and fail to infuse any empathy from the audience. The child artist Rucha Vaidya did justice to her character and Perizaad Zorabian also sustained the part chosen for her. Arjun Rampal in leather, tattoos and long hair simply had to look good. He was nothing more than a sidekick in the film and if it was any consolation to him, his role in the scheme of things as the climax unfolds, given some grace. But, again, the pointlessness of the sub-plot only makes it more of the same. Though the director managed to give the film a glossy Hollywood look, the style and look element is taken too far. The scenes fail to weave any effective screenplay together. There are too many special effects that only hamper the story telling in the film. This film does remind of a young Sanjay Gupta whose films had style, sheen but no substance. Collectively actors like Abhishek Bachchan, Lara Dutta and Sanjay Dutt in guest appearances will also not be able to give extra battery life to this film. High points of the film are fast pace, background music, realistic action sequences and Amitabh Bachchan.

The Story: Suryaveer Singh (Amitabh Bachchan) was a Colonel in the army. His friend Shekhar (Arjun Rampal) invites Suryaveer to Bangkok where he owns a security firm. In order to get his life back into order, Shekhar gives Suryaveer a job as a bodyguard. Suryaveer accepts only to find out that it is to protect an 8-year old girl Anamika (Rucha Vaidya), daughter of rich parents played by Perizaad Zorabian and Vikram Chatwal. Suryaveer Singh is cold to Anamika and refuses to accept her friendship as the ghosts of his past life traumatize him. But slowly and steadily he forms a bond with her as she gives his life a new meaning. ? ? But his life takes a shocking turn once again when Anamika is kidnapped and Suryaveer wows to avenge her death. The struggle to do so also unleashes another horrifying secret. Watch 'Ek Ajnabee' to find out!

Taxi No. 9 2 11: Nau Do Gyarah (2006)

Meter Down. Let the Joyride Begin

[8/10 · 2 August 2006]

It seems that Hindi Cinema is finally waking to the need of the hour. Of late, good and 'paisa vasool' films like Bluff Master, Zinda and Rang De Basanti have succeeded in reviving hope and faith in film buffs who were ready to throw in their towels on big names and brands like Aamir Khan (Mangal Pandey) or Raj Kumar Santoshi (Family). Another great film to make it to the all time A-list of the Hindi films is Milan Luthria's Taxi No. 9211. Aren't we glad that John Abraham and the audience think alike? As a passenger in rush, he wants to complete a 30- minute journey in 3-minutes. The audience also likes to take their joyride in least time possible. The director sensed that, the writer wrote that and the editor tailor cut that to everybody's desire. The film keeps you on the edge of your seat with its fast pace, one of the most innovative action sequences seen in Hindi Cinema and the rubber-band trick of both actors Nana and John pulling each other's extreme end to deliver a wickedly awesome twosome performances. Sonali Kulkarni and Sameera Reddy do justice to their roles and in a cameo Kurush Deboo shines bright. The film has also steered its way into the Library of Academy of Motion Picture Arts & Sciences for its script-screenplay collection. The director Milan Luthria hadn't evoked too much confidence or promise in the audience with his earlier films like Kachche Dhaage, Chori Chori or Deewar, but with Taxi No. 9211, he seems to have entered body and soul into a new avatar of a director who truly knows his art. One feels a renewed sense of respect for him after watching this film and only wishes that he take steps higher and higher on the ladder to where the galaxy of chosen few live, carefully, or take a flight up if his creativity allows him. The background score complements the tempo of the film and an occasional song or two doesn't take the journey off-track. Adnan Sami sings with his usual unbridled energy and last but not the least, the film is also a come back vehicle for 'I am a disco dancer' Bappi Lahari. The Story: Raghav Shastri (Nana Patekar) who is an Insurance Salesman to his wife and son, but a caustic, impulsive and bigmouth cabbie in reality, needs thirty thousand rupees by the end of the day to pay off his taxi owner. Jai Mittal (John Abraham), the equally acidic heir to a formidable business family, needs a bit more than him, three hundred crores to be precise! Jai also needs to contest his father's will in court on time and sits in Raghu's cab to get there. What happens when two very distinct brands of humor meet and the egos that clashes? Watch Taxi No. 9211 to find out!

Bluffmaster (2005)

Abhishek Bachchan-Yeh Dil Maange More!

[8/10 · 2 August 2006]

Bluff Master is a fantastic piece of cinema with just the right amount of emotions, drama, comedy, thrill and about Abhishek Bachchan…yeh dil maange more! The star has finally become the actor with this film! When Abhishek started with his career, he seemed to have teething problems because of the mammoth surname attached to his name. Not only did his screen presence improved tremendously with each and every film, he has also let go off any inhibitions he might have suffered from when he began. If Yuva was the film, which brought him the critical acclaim and Bunty Aur Babli and Sarkar had moments where the son outshone the father, Bluff Master is definitely the film, where Abhishek comes of his own! Produced by Ramesh Sippy (Sholay, Seeta Aur Geeta, Shaan, Saagar, Shakti), Bluff Master is a brilliant piece of writing by Shridhar Raghavan, who is also credited with stories of films like Apharan and Khakee. The editing is razor edged by Amitabh Shukla and never loses its pace. Cinematography by Himman Dhamija is gripping and catches the right hues and colors of what is needed of a comic thriller like Bluff Master. Full marks to director Rohan Sippy (Debut-Dhai Akshar Prem Ke) for his dedication, passion and focus to make a product, which is not just good in few areas but excels in totality. Sippy's hard work shows in not letting the structure of the story fall apart like a pack of cards like the film made on a similar subject- Bunty Aur Babli. The plot is interesting and the climax keeps you on the edge of your seat guessing. The audio cd of the film may not be a collector's item but songs go well as audio- visual pieces choreographed with much punch and fervor in the film. The rap song ' Right Here Right Now' sung by Abhishek Bachchan rocks! The background score does justice to the screenplay. The costumes are carefully designed keeping the profile of each character. Talking of characters, the writer seems to have put extra time and efforts in shaping the characters, whether primary or secondary. The film has quite a few interesting con jobs, which do not strike as odd and on the contrary lends realism to the film and an instant identification with its characters. The dialogues are not rhetoric, and carefully mouthed, again to affirm the honesty with which the film is made. Associating people from different classes with different types of fish was refreshing and innovative work in dialogue writing. There is no unnecessary brooding over Roy (Abhishek) who is a professional at bluffing people as to why and what circumstances led him to join this line, neither does he let himself go ballistic over a vainglory accomplishment he achieves as a bluff master. There is a thin line between a con artist and a bluff master. Roy is a cool dude Bluff Master, lives in a swanky apartment and drives a chic car. Actors Ritesh Deshmukh, Boman Irani, Nana Patekar and Priyanka Chopra did full justice with their roles. The film is well crafted, and distinguishes itself from a buffoonery or slapstick, and is rather a sensible comedy that provides a much- needed comic relief, after absolute nonsense and trash films like Shaadi No. 1, Garam Masala and Home Delivery. Story: Roy (Abhishek Bachchan) is a professional conman, who has raised his work to the level of an art. He loves Simmi (Priyanka Chopra) who is unaware of his dark side. When his past catches up with him, she cannot forgive him for the deceit their relationship is built on and dumps him. That's when Dittu (Ritesh Deshmukh) enters his life. Dittu takes Roy as his mentor and wants to learn the tricks of the trade from him. As circumstances take turn, Roy must do one single most important thing in his life, which is to help Dittu get revenge from Chandru (Nana Patekar). What happens when the Bluff Master who wears so many masks is left with no alternative but to take them all off and finally reveal his real self? Watch Bluff Master to find out!

Apaharan (2005)

Realistic Cinema with an unbeatable punch of Nana and Ajay!

[8/10 · 2 August 2006]

Apharan is a story set against the milieu of Kidnapping, which is a booming industry in Bihar, India. The writer and director Prakash Jha has tactfully captured the pulse of the crime city and translated it realistically and most effectively in the movie. The business of kidnapping is so mechanized that even the smallest part of the machinery, which is a 'pan wallah' performs his part in crime with precision. From a middleman to a police officer, to a high profiled politician behind the crime, kidnapping is the name of the game everyone likes to play for high cuts and speedy gains. The protests are curbed, lives are taken without a thought and the city is on the one-way road to becoming a 'jungle-raj', where the whole process of raising voice for the victim and the protector assuring them of solving crimes, is nothing but a facade. It is difficult not to feel revulsion and empathy at the same time for the generation that is fast becoming the victim and perpetrator of such racket. Apharan is also a story of a complex father-son relationship that falls out because both see each other as the culprit to the ideals and values they hold high. There are no black and whites when one views their relationship from outside, but the director in Prakash Jha chose to conclude the story where the poetic justice must be met. This however, leash the creative genius what the film was capable of becoming. It's a great film nevertheless, and a must watch for Nana Patekar's fans that would like to see him in the same element as the thespian was in Parinda. Prakash Jha after Gangajal has again managed to extract simply breathtaking performance by Ajay Devgan as Ajay Shastri who once dreamt of becoming a police officer. He refused to live like a failure and switched lanes that only led him to the path of success, power and eventually self-destruction. The item number in Apharan is quite weak compared to 'Babuji Zara Dheere Chalo', which shot model Yana Gupta to instant fame in Gangajal. Because of a herd of characters that are not all essential to the plot, film loses its pace after the interval. The climax could certainly have been more heroic. Actors Mukesh Tiwari in the role of honest police officer Anwar Khan and Yashpal Sharma as Tabrez Alam's (Nana Patekar) key kidnapper who operates from jail, are simply brilliant and actors to watch out for. Mohan Agashe, Ayub Khan, Murali Sharma, Mukul Nag and Ehsaan Khan also did justice to their roles. Bipasha Basu as Megha Basu, playing Ajay's ladylove didn't come across very naturally, though her performance was satisfactory. Why watch Apharan? Because it's an undeniable eye-opener, boasts of realistic acting, effective cinematography, fitting premise and production, and has almost a flawless direction.

The Story: Ajay Shastri (Ajay Devgan) aspires for a job in the police force, which is his ticket to a future of power, respectability, social status and a secure life with his childhood sweetheart Megha (Bipasha Basu). And he hopes it will make his father (Mohan Agashe) proud too. Ajay is prepared to do anything to meet this end. Tragically, his desperate attempt at success is snapped by the choices made by his father. Dejected and disillusioned, Ajay is drawn into a dark world from which there is no return…Under the aegis of self-proclaimed minority political leader Tabrez Alam (Nana Patekar), Ajay soon tastes success and power.

What happens when power and ambition clash with ideals and values? Is there a way Ajay's repentance can lead to his redemption as well? Watch Apharan to find out!

The Warrior (2001)

Blending Realism with the classic tale of Morality

[7/10 · 2 August 2006]

Inspired by a Chinese fable as the writer-director Asif Kapadia admitted, the film progresses through rich imagery and metaphors suggestive of the human mind scape that is put through the test of tolerance, resolve and will. And just as a dull mind or an infant mind must go through a stream of experiences that must rip open the layers of dreary or steady existence, similarly it was essential for the story teller to envelope the snow-capped terrain of earth which must be climbed by a traveler who has sweat for the reasons he never challenged before, burnt his skin and bled too, both in his body and soul. There is almost a ghost-like resemblance with King Ashoka who goes through a change of heart and denounces blood- shed and war after the famous battle of Kalinga. One can't help notice similarity between the warrior hero and the character from Indian mythology Shravan who carries his blind parents. Even after initiating these referral points in his journey, the warrior-hero does not follow his crusade to the end, thus proving that he is not a superhuman, neither has any inclination to accept the role of Job from Christianity. He belongs to this era, where a man when pushed to his limit will break, or more appropriately, react. But the warrior-hero is not here to prove any fallacies or be put on a pedestal by those who look upon him as the one with a spine. He must take his own course, take responsibility for his actions and be the heir to the destiny misbegotten when he opens the gates of hell to please his tyrannical lord. It is the rule of the jungle that as soon as your shield is dropped by trick or by your own accord, the tyrants who live for nothing else, will attack you. Referring to the mythology again, in Mahabharata, Karan, who came into the world out of benediction of Sun God, was born with a shield, which no human sword could pierce. Tricked into removing it and offering it to the enemy in disguise, Karan didn't give up his other weapons, mainly his resolve, mental strength and pledge. Once again, coming back to our warrior-hero, who tends upon the path covered with thorns that shall pierce his bare feet and also make his soul bleed, he assumes the emotions of a human being contrasted with that of a warrior that almost led an animal like base existence. Through his transformation from a warrior to a human being, he realizes the simple pleasures of love, caring and life itself. The warrior-hero also gains the redemption pact when he chooses not to whet the appetite of his bloodthirsty sword. But the deal is only struck when his son must lose his life and pay for his father's deeds. The film is about Lafcadia (Irfan Khan) who lives in a violent world, but on his journey he seeks the strength to turn his life around – to become a much better person and, in a sense, a better father. The film is gripping until last half an hour, where it begins to drag. What is unique about this film is that with least dialogues or any verbal communication, the characters succeed in portraying pain and turmoil the writer chose for them. Irfan Khan is one of the superlative actors of the Indian film industry today, who uses his body and expressions most effectively and adds a new dimension to his character. Here too, Irfan puts his best foot forward in this realistic war saga woven with the morality tale in a film made by a visionary director from UK. Kapadia found a true street urchin who had been living on a train station platform since the age of 7 –Noor Mani, who reminds Lafcadia of his son in the film. He plays his part to the perfection and not even once gave an impression that he is acting. Damyanti Marfatia also played her real life handicap of blindness in the movie infusing some heart wrenching emotions with her realistic portrayal.

The Story: Irfan Khan stars as Lafcadia, a skilled and deadly Rajput warrior, who works at the behest of a brutal local warlord (Anupam Shyam) who regularly sends Lafacadia to carry out such savage punishments as be-headings and pillaging raids of entire villages. Then one day, Lafcadia decides to go straight. In the middle of a massacre, a mystical encounter with a young girl brings about a moment of transformation in which the warrior drops his sword and vows never to kill again. Gathering his only son Katiba (Puru Chhibber), Lafcadia hits the road and heads for his native mountain village. But the warlord who controls Lafcadia will not let his warrior go. The warlord soon dispatches a second warrior, the ruthless Biswas (Aino Annuddin), to hunt down Lafcadia and bring back his head. Still Lafcadia will not be deterred. Challenging the strict codes of the warrior life, he will sacrifice more than he could imagine in his quest for a peaceful existence.

Omkara (2006)

Saif Reigns Supreme

[7/10 · 1 August 2006]

Based on the Shakespearean tragedy 'Othello', 'Omkara' is an imaginative adaptation by director Vishal Bhardwaj, enriched with rustic characters in a politically simmering village setting. Though the film is titled 'Omkara', the character that truly calls the shots and drives the meaty, yet lethargically paced plot is Saif Ali Khan playing Langda. The foul-mouthed Langda, a loyalist turned traitor and a schemer who must manipulate the hand of chance when it favors his inferior, with innocent lives and streams of blood. Saif truly is the backbone of the film and has delivered the most smashing performance of his career. Unflinching in plotting revenge against his offenders, the original character created by the bard has been magnificently recreated by Vishal and its villainy comes to life only because Saif Ali Khan spewed it with unassuming poison of the proverbial snake that takes the form of man. And it's no exaggeration to state that no other actor could have played that part better than Saif. Moving onto other actors, Kareena Kapoor is the other top runner in performances. She acts with staunch realism and credibility, her face and eyes ooze with a flood of unambiguous emotions that simply take your breath away. Her character beams with a brighter shining spark as she performs the part of Dolly than was last seen in 'Dev', 'Yuva' or even 'Chameli'. Konkona Sen Sharma also wins brownie points, transforming from the character of urban educated girl in her previous films like 'Page-3' or most recent 'Yun Hota To Kya Hota' into an unsophisticated, almost boorish yet headstrong woman who mouths unflattering expletives with a natural ease. Ajay Devgan hangs tough in an effort to take his character to the next level, but only succeeds marginally. The character which is perhaps the weakest on writing board as well as in execution is that of Viveik Oberoi playing Kesu Firangi. Other characters that are half-etched are that of Naseeruddin Shah and Bipasha Basu. A good screenplay that unfolds the plot effectively is always supported by compelling dialogues. This is where 'Omkara' glaringly falls short. The dialect is difficult to comprehend even for the audience that has in the past appreciated films like 'Gangajal' or 'Apharan' for their dialogues. The editing of the film also suffers and the length of the film renders some of the scene ineffective making them lose their sheen or the razor edged drama that was infused in the original play. The unimaginative camera work and background score also neglects a stronger need for creating a sense of drama and mystery required for an adaptation of this stature. The song 'Bidi' is the only one with the recall value for its music by Vishal, raunchy lyrics by Gulzar and for newly crowned Goddess of oomph Bipasha Basu. In a nutshell, 'Omkara' is not everyone's cup of tea and will have more efficiency in the film festivals and for those with a seriously cultivated taste. In other words, for 'Omkara' to touch the finishing line at the end of the race at the box-office is highly wishful.

What If? (2006)

Mr. Naseeruddin Shah, what is your excuse for making Yun Hota To Kya Hota?

[1/10 · 22 July 2006]

In an interview, Dr. Amitabh Bachchan in all his modesty answered that he doesn't know direction and is happy being an actor. Mr. Naseeruddin Shah, the master of realistic acting and the God of theater after a long yearning to direct, finally had an opportunity to don the director's hat with this film. First question-why this film? What is so great about the uncooked, haywire script in the first place? Just like Nagesh Kuknoor's film 'Teen Diwarein,' which was based on parallel stories meeting the same fate in the end or bound by sheer coincidence, an attempt has been made in 'Yun Hota To Kya Hota' to converge four stories to a common fate. But unlike Kuknoor's stories, these stories are weak in narration and characters (except Konkona Sen Sharma) and fail to evoke any empathy or identification. There is no justification why Irrfan Khan is obsessed with a woman who is his mother's age. The idiosyncrasies are added to the characters for a superficial effect and don't really reveal any character strength or weakness or why a person is the way he or she is. Almost all characters seem unrealistic and dwell in suspended animation. What is the message the climax is trying to give out? Fails me! 'Yun Hota To Kya Hota?' Kaisa Hota to kya hota? Did you want us to fantasize about the whole film? What if all those people loved their Swades and gave up their dreams to go to US? Would things have been different? But really are their lives so great or so curiously dramatic to ponder and waste our time over? What if they all had missed their flights? What if those Indian passengers had turned heroes and averted the tragic fate? I really wish there was any, even the remotest conclusion or a resolution at all...The 9/11 incident in the climax is just used and abused and fails to even slightly wrench the muscles of the heart. The dialogues are very lame and imagine a brother even jokingly telling his sister "You want to see my exploitation tool?" The camera-work is shoddy, even the B grade movies that manage to shoot a song or two in New York do justice to exalt its glory unlike this film. A line-up of fine actors in obliging guest roles leave much to be desired like Boman Irani, Makrand, Tinu Anand or even Rajat Kapoor who recently gave a smashing performance in the very sleek Madhur Bhandarkar's 'Corporate'. Second question to Mr. Naseeruddin Shah- How could you make such a lousy film? With a lifetime of experience, soulfulness and passion which infused life into your many characters, one would have thought directing a film is something you could even do while you are sleeping! I don't have any other question to ask you, but I really hope you are surrounded by some honest friends who would have courage to tell you the truth when and if at all you decide to make a comeback as a director.

Krrish (2006)

Krrish- Watch Out Superman!

[8/10 · 27 June 2006]

When you watch Krrish, you deeply feel the passion, effort and honesty the father-son team invested in the film. Over two years in the making, Krrish is indeed the fruit of labor that manages to reap the sweetness and some true spellbinding moments for its viewers too. The movie is finely structured so that there is no conflict with its prequel 'Koi Mil Gaya' and runs with a fine pace, barring the songs that are a big dampener compared to earlier two Hrithik films, including the mega one 'Kaho Na Pyar Hai'. The director Rakesh Roshan should be applauded for not getting carried away with fatherly love, lest it jeopardize other crucial characters that push the story forward. Priyanka Chopra has a meaty role of almost a parallel length with the superboy. Rekha had her screen moments too. Naseeruddin Shah as the bad man has a good entry point and animating short & crisp monologues of a notorious newsreader. Preity Zinta is surely missed but her exclusion was perhaps essential for the sequel and likewise for the friendly alien 'Jadu'. Once again, the screenplay is skillfully penned by a brigade of writers including Rakesh Roshan and Honey Irani to name a few. Hrithik- Priyanka introduction scene is one of the most stirring love-scenes in the present Hindi cinema, rendered with innocence and 'love is in the air' magical moments. The comedy in the first half is not brash but rather the one with connectivity at the grass roots with the flavor of modernism. The stunts are awe-inspiring and antithesis to pre-release film speculations of a hybrid between a Superman and Spiderman. The expected flights are replaced by giant grasshopper leaps over skyscrapers and the clichéd cape is also dropped for a reversible black long cloak; not very impressive, but effective. The cinematography is top notch capturing Kullu Manali and Singapore in exciting and adventurous frames as the playground for our superhero, who is also the man of the moment; Hrithik Roshan. The overnight superstar of 'Kaho Na Pyar Hai' has once again warranted his stardom amongst the equals a.k.a. the Khans. A sane head over strong shoulders, jutting almost superhuman jumbo biceps, the man of steel has put tantamount pains in his character portrayal projected with realism and conviction. Why watch Krrish? In a nutshell, Hrithik Roshan! But to give devil his due, watch Krrish because it boasts of great acting, tight screenplay, seductive cinematography, enthralling stunts, effective story telling, bull's-eye direction and because you loved 'Koi Mil Gaya' and Hindi Cinema is ready for sequels! Phir Hera Pheri, Darna Zaroori Hai…many more to follow

Phir Hera Pheri (2006)

Phir Hera Pheri- Phir Paisa Vasool!!

[11 June 2006]

There are always advantages and disadvantages when a filmmaker decides to make a sequel to a film. A. The identification factor is good enough to bring in the repeat loyalists who were there to cheer the original film the first time. B. There is always a potential for a better (wackier in this case) chemistry amongst the lead stars the second time around. C. The filmmaker already has the blueprint for success. Priyadarshan's 'Hera Pheri' laid a milestone in rustic urban comedy of middle-class. Director Neeraj Vora had a mammoth task of bringing his film to a higher notch than the original or at-least in the same league. So does 'Phir Hera Pheri' cash in on the success of its predecessor 'Hera Pheri'? Yes and No. With the obvious free lunch coming in with the sequel, there is always the fear of the zesty Turkey lacking the home-cooked seasoned taste. 'Phir Hera Pheri' is nevertheless a brave attempt in terms of story, dialogues and direction. The first half is brilliant and chances are that if you don't hold on to your seat tight enough, you might just fall of your seat! After the interval though, the bubble is bust and the comparison between the original and the sequel run subconsciously and markedly in your head. There are too many sub-plots that confuse you and too many characters of the similar dimension or scope, of the same flock that slacken the pace and the plot of the film, not to mention giving only a non-contrasting and blur canvas to the primary characters to display their character strengths. The climax is too long and after a point it starts to annoy you. If you have kids under 10, this is surely a circus time for them with the bonus King Kong attraction. Women in this film are treated even less than glorified extras and the songs are a good time for a quick dash to the washroom. Why watch Phir Hera Pheri? Rib-tickling dialogues, visionary direction, master comic deliverance by Paresh Rawal and the champion of comic expression, body language and comic timing Akshay Kumar. Sunil Shetty also does justice to his role. One actor from the original film whose absence clearly hurts is Om Puri. But by all means, this is a film you don't want to miss, and in a nutshell, is total Paisa Vasool!

Fanaa (2006)

Why Watch Fanaa?

[27 May 2006]

There are only two ways that meet the film's fate when a volatile can of unsavory saffron chemical mix is punctured. Fanaa unfortunately victimized by political parties in the name of 'Narmada Dam' managed to create a phenomenal hype and public scrutiny, as if Kajol's comeback or pairing of Aamir-Kajol wasn't enough! A rock-solid film will be a winner, land safely and travel a great distance with all that intrinsic and extrinsic thrust and give a befitting answer to its antagonists. So does Fanaa make a safe landing? After a smooth take off, this shaky flight does make a safe landing. Though the enthusiasts hovering around the runway where they expected it to make a victory lap will be disappointed.

A potent story that had the capacity to churn a sure blockbuster, ends up in a flimsy screenplay with glaring character flaws, insipid music, shoddy structure, painful length and a demystified direction.

Why watch Fanaa?

A. Despite inconsistencies in character sketches, Kajol, (slightly more than Aamir) and Aamir battle the (lost) cause of the film to the end and come out unscathed and glorious as if baptized by fire. B. Breathtaking cinematography capturing Delhi, throbbing with life and colors. C. Aamir Khan, the common man of Democratic India who raised his voice NOT against the Narmada dam but FOR the rehabilitation of poor tribes and farmers of Gujarat.

It's shameful that the political parties and its directionless youth have taken the protests against the film to the streets, burning Fanaa posters, breaking Coke bottles (endorsed by Aamir) and depriving the intelligent and 'Aamir-loving' public of Gujarat from watching the film that once gave its all-embracing love and support to their beloved Aamir while the making of historical Lagaan. As Indians living abroad, let's show our solidarity for Aamir Khan- the common man, for the entire team of Fanaa because the film is the product of teamwork, not one man, which supports the livelihood of hundreds of people involved in its making and watch Fanaa. And if you are a Gujarati, watch it twice!

Zinda (2006)

Double Impact: Story & Style

[8/10 · 30 January 2006]

The perpetual limbo faced by one man, held in captivity for fourteen years, without the knowledge of his crime; is enough to make the audience feel the rush of warm blood in their veins, and feel 'zinda' or alive in every sense of the word. Sanjay Gupta is always on the wrong side of the critics for plagiarism. But, to give the devil its due, he does it most effectively and stylishly. And the masses wouldn't have opted to see the Korean film from where the subject is lifted. So, what is the fuss all about? It's a great movie, with a tight screenplay, heart wrenching background score, awesome cinematography and realistic action sequences. Sanjay Dutt portrays his character with utmost sincerity, so painful that you can almost touch it and John Abraham gives him an honorable fight. Lara Dutta's acting skills have tremendously increased with this film and Sanjay Manjrekar in a cameo also pulled it off with a mean streak the character demanded of him. The Story: Set in the backdrop of Bangkok, Balajeet Roy (Sanjay Dutt) who is a software engineer leads a happy married life, with his wife Nisha (Celina Jaitley). But their happiness was very short lived. In an unsuspecting moment, Bala is locked in a dungeon from which there is no escape. He is on the verge of insanity but he collects himself. His self-defense weapons are his thoughts, determination and a television set. He prepares himself for 14 years physically and emotionally so that whenever he comes face to face with the one responsible, he can tear him apart. After a while, the wait itself gives him much needed reason to live and charges him up mentally. Then the moment arrives. After 14 years, he is set free. He has 4 days to find out who is his tormentor and why did he set him free. He comes across a cabbie Jenny (Lara Dutta) to help him in his mission and is also reunited with his old friend (Mahesh Manjrekar). But the irony is that every moment of Bala's so-called freedom is also scripted by his tyrant, a big business tycoon- Rohit Chopra (John Abraham). What is his motive, whose pain and suffering is greater, will Balajeet avenge the loss of 14 years of his life and his wife's murder? Watch Zinda to find out!

Rang De Basanti (2006)

Film Review- Rang De Basanti- India Awakens

[10/10 · 30 January 2006]

Film Review

Rang De Basanti

India Awakens

By Nidhi Kathuria

Rating *****

'Rang De Basanti' gratifies you with uncomplicated, almost melodious humor; it fills any void that Hindi films altogether may have left inside you dry. From the word 'go', this is one film that grips you one hundred percent. It is a film that every Indian should watch. The film simply flows like poetry where characters have the magical ability to bounce into different periods in time and the past and the present conjoin beautifully like a reverie. And in this moment lies the strength that transforms a common man into an uncommon man. He truly becomes an Indian. 'Rang De Basanti' is not a cliché patriotic film. And thank goodness for that! One really needed a break from J.P. Dutta and Anil Sharma brand of films. No more over the top acting, melodrama, reckless display of uncontrollable emotions and forced tear jerker deshbhakti songs. It was about time for a novel storytelling, for someone as passionate a director like Rakeysh Omprakash Mehra to tell and for us to hear and see and become. The actors simply glide through with the story and the screenplay by Kamlesh Pandey, which is the USP of the film. Not to take away any credit, Aamir Khan, Atul Kulkarni, Sharman Joshi, Kunal Kapoor and Siddharth really got into the skin of their characters of ones they are and ones they turn into. Even Soha Ali Khan has given her career's best and her unconventional looks proved only advantageous for the character she plays. What 'Mangal Pandey' couldn't do for Aamir Khan, 'Rang De Basanti' does and more. Madhavan in the cameo gives a true to life performance. Om Puri and Anupam Kher didn't have much to do in the script. Kirron Kher on the other hand was exemplary in her 'pucca Punjaban' character. Veteran actor Waheeda Rehman also did justice to her role. One actor who deserves a special mention is debutante Alice Payton who plays the role of Sue, a filmmaker from London, who wants to make a documentary in India called 'Young Guns of India' based on heroes of Pre-Independence era. Sue wants the boy band to don the roles of Bhagat Singh, Azad, Bismil, Rajguru etc. that only act as a baptism of fire, by virtue of which they find courage and strength that was needed when a cyclone behest their lives and demanded of them to raise their voice; a blast that could be heard by our generation, to shake their souls and have a one voice. And hence the film is beautifully titled 'Rang De Basanti'. The dialogues and lyrics by Prasoon Joshi take the film to another level. While Art Direction and Cinematography of the film almost makes you speechless. Every frame of the film is shot with precision and perfection. Needless to say, the editor has also done a super fine job. And now for the music- A.R. Rehman after the wishy- washy music of 'Mangal Pandey' completely absolves himself. A musical journey that takes you on a roller coaster ride that ends in an Awakening. Well, that's what the film hopes to achieve on some level, without being preachy or affected. Salutations to Rakeysh Omprakash Mehra for giving to our generation a renewed faith and hope, for making us believe that there is a fire kindling in all of ours' souls and no matter where we are and what we do, we love our country.

The Story: A young English filmmaker, Sue (Alice Payton), arrives in Delhi to make a film on Indian revolutionaries and their struggle for independent India. She is supported in her venture by her friend Sonia (Soha Ali Khan). After grilling auditioning sessions, when Sue is almost disheartened and doubts if she will be able to find her heroes at all, she comes across DJ (Aamir Khan), Karan (Siddharth), Sukhi (Sharman Joshi), Aslam (Kunal Kapoor) and Lakshman Pandey (Atul Kulkarni) and she knows she has found what she was looking for. From sheer playfulness, the group gradually starts to feel the pathos the revolutionaries must have experienced in their battles. All these individuals have a different outlook when it comes to sentiments on Nationalism. Ajay (Madhavan) who is an Air Force and plays Sonia's fiancé is instrumental in igniting the fire in them and the events that follow, uproot their indifference towards their country and change their lives forever.

Rating Scale: * Average **Good ***Very Good****Excellent*****Outstanding