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Movie Review : Chandni Chowk to China

2009-01-22T22:34:00.000-08:00

Producer: Mukesh Talreja, Ramesh Sippy, Rohan Sippy
Director: Nikhil Advani
Cast: Akshay Kumar, Deepika Padukone, Mithun Chakraborty, Ranvir Shorey
Music: Kailash Kher, Shankar-Ehsaan-Loy, Naresh, Paresh, Bappi Lahiri, Bohemia

This film about of ‘maar-saala’ arts, not to be confused with martial arts, which Bruce Lee and Jackie Chan practise with such splendid and subtle skills on screen.

Akshay Kumar cannot be accused of the sins of subtlety. Not at all. He goes from a sweaty cook in Chandni Chowk in Delhi (India) to a cheesy fighter in China with hammers, tongs and indecipherable tongues. What lies between the extremities represented by the two oriental cultures has to be seen to be believed… or not.

When Jackie Chan kicks ass, man… he really kicks! No two ways about it. Akshay divides his time between being an action hero and a comic virtuoso, tripping over the line that divides the two genres with little or no scope to contain the fall as the screenplay plunges lower and lower into the depths of inanity.

Writer Sridhar Raghavan, known for his smart slick cerebral takes on formulas, spins a web of incidents chronicling the journey of Sidhu (Akshay), a cook in Chandni Chowk to the satirical samurai in Shanghai, which is littered with laughable incidents and episodes that appear more to be part of a clumsy sitcom lampooning the Chinese than a purported large-screen spectacle bringing China to Bollywood.

Honestly, if this film had been shot anywhere in the world, it would’ve been just as bland and fatuous. What compounds the woefully inadequate narration is the abject lack of connectivity between the protagonist and the audience.

Not even for a second do we feel a rush of empathetic adrenaline for the culturally-displaced Sidhu who encounters all kinds of emaciated goons, terrorised by a suited, booted and largely-uprooted villain named Hojo (Gordon Lieu), who is no Gabbar Singh or Mogambo. Just an ageing goon in a black suit who doesn’t know it’s bad manners to pee in public, specially in the hero’s face.

The internationally-renowned action directors who pool in their might seem unsure of where to position the action. Perched on the Great Wall Of China, Akshay and his fellow fighters - and that includes the desi Lucy Lieu Deepika Padukone - slug it out like drunken revellers on a rowdy spree.

Elegance is in short supply in the film, except when Deepika, playing twin sisters, waltzes in with a light step and twinkling eye. She seems to have fun. We don’t. And that’s mainly because the scriptwriter forgot to include the audience in his circle of entertainment.

Large chunks of this ‘Adventures Of Sidhu in Blunderland’ saga leave us cold and unresponsive. And when the final fight between the hero and the villain occurs, Akshay decides to turn it into a comic romp. We are more dazed than dazzled by the baffling mood swings in the plot.

Yes, there are moments that hold your attention. Sidhu’s martial arts training with twin-Deepika’s Chinese father are superbly orchestrated.

Most of the time you are looking at a film that does appalling things to Indo-Chinese relations. Not to mention our traditional perception of mainstream ‘masala-maar ke’ entertainment.

Martial arts are turned into ‘maar-saala’ arts. And you leave the film wondering what it was meant to be. A bird, a plane or just a pathetic parody of Jackie Chan’s comic vendetta sagas.

Salman Khan

2009-01-01T00:01:00.000-08:00

Salman Khan just celebrated his birthday as he turned 43. He remainder Bellwood’s most eligible bachelor still. He’s confident of the advancing years, of turning grey, the solid and muscled body losing its tone, appear and sex appeal.

Excerpts from an Interview:

You have prepared it a habit on your birthday to run for 20 kilometers at a stretch.

This way, I confirm to see if my ankles, knees, back and other body parts are fit and well,” revealed the actor who will perform that health test today.

Have you planned anything about your marriage?

You are unmarried awaiting you actually perform the nikaah or pheras.

Don’t you fear getting old?

You have heard about your hair dye. I have always had a little grey strands and I am completely fine about that. With age, the hair turns grey, the face gets lined. But if people still have love and respect for you... that’s a realization. I have an great quantity of that to keep me going. It’s natural to understand things in a broader perspective as you grow old but I live by the heart, I never have any regrets, and I work towards retaining my child-like innocence. It’s beautiful to be child-like, not childish.

What’s new in your life?

Maybe it’s time for me to pick up stuff from the others. Aamir and I have been good friends since Andaaz Apna Apna. There’s no insecurity, no malice and competition between us and that makes the base of our dosti strong. Over the last five years,we have also started hanging out more than often.

Movie : 'Hello'

2008-10-18T04:10:00.000-07:00

Producer: Atul Agnihotri
Director: Atul Agnihotri
Cast: Amrita Arora, Gul Panag, Isha Kopikar, Katrina Kaif, Salman Khan, Sohail Khan
Music: Sajid Wajid, Salim-Sulaiman

Hello, hello, hello? What is this, boss?

Chetan Bhagat's bestseller "One Night @ The Call Centre" is converted on celluloid to 'One Excruciating Night At A Call Centre'.

The six much-loved characters have a past before they gather at a call centre run by boss Dalip Tahil who dreams, sings and performs bodily functions based on his migration to Boston.

The call centre resembles a large Ekta Kapoor set for a saas-bahu serial. Those at least are less dead at the centre.

Crammed into this word space of telephonic babble are a betrayed wife (Amrita Arora), a girl (Gul Panag) who's being forced by her singing-dancing-demented mother to marry an NRI, a mixed-up frazzled neurotic chick (Isha Koppikar), a senior citizen (Sharad Saxena) who's been deserted by his son and two guys -- Sharman Joshi and Sohail Khan -- who don't seem to know what they want.

Frankly, neither does this film. The filmmaker seems to be confused about the characters faster than we can keep up with their mind space.

What works within a novel's format need not work as a film. The characters seem thoroughly scattered and go every which way that the woozy screenplay takes them. After a while, we just give up trying to make sense of the jumble of characters and their problems.

Sohail as always is what keeps us from walking out.

Staging a walkout would be the mildest form of protest for this urbane atrocity. What Anurag Basu achieved effortlessly in "Life... In A Metro" is here reduced to a mocking pantomime of urbane angst.

The film goes from fretful episodes mimicking the saucy witticism of the American series "Friends", to a cheaply ironic shot at "Conversations With God" when our group of muddled call centre suburban nearly topple over and plunge to their death and are rescued by, ha ha, god.

God saves these ginks. But who will save this weird look-see at longings and eccentricities of people who would rather be unhappy than happy?

A few redeeming moments (like the time when Amrita connects with her long-distance husband and finds out about his extra-marital affair) cannot salvage this hip-and-non-happening disaster, probably the worst film you'll see this year.

Movie:'Welcome To Sajjanpur'

2008-09-25T22:00:00.000-07:00

Producer: Ronnie Screwvala
Director: Shyam Benegal
Cast: Shreyas Talpade, Amrita Rao, Ravi Kishan, Rajeshwari Sachdeva, Ravi Jhankal, Ila Arun, Divya Dutta, Yashpal Sharma
Music: Shantanu Moitra

Welcome to Shyam Benegal's world of enchanting social comment. Every character in this village of the damned, the doomed and remarkably redeemed is a stereotype. And yet, miraculously, every character is an individual, eccentric, quirky, blemished and yet so full of vitality vigour and energy that you wonder which came first...life, or life as seen through the eyes of Benegal's camera of innocence, candour and credibility.

This isn't Benegal's first broadly-designed, warmly-panoramic ensemble film. Earlier, the prolific director excelled in depicting the life of a specific community in 'Mandi' and 'Suraj Ka Satwan Ghoda' as a microcosm of a larger reality.

Bad karma nudges delicious satire in 'Welome To Sajjanpur' as a closet-author whiles away his time writing letters for the illiterate, misguided villagers in a sleepy village that comes alive only at election time when a spirited eunuch takes on a local gangster at the elections.

The spirit of the missives, some sad, some satirical, others a bewildering Benegalesque blend of both, comes across in episodic overtures that lead us gently but persuasively from one issue - of widow remarriage (Ravi Kissan giving coy glances to Rajeswahri Sachdeva is a paisa-vasool sight) to another issue of rural migration.

Amrita Rao, in loud parrot-coloured saris and mannerisms suggesting an unspoilt naivete, is the bride-in-waiting whose husband has been gone to Mumbai for four years.

Shreyas Talpade is the letter writer given the task of informing Amrita's husband that the bride can wait no more. In a spurt of blinding self-interest, Talpade goes from detached letter-writer to attached Romeo and then to the penitent martyr with an ease, fluency and sauciness that the actor seems to muster up with a magician's flourish.

In a film flush with accomplished performances, Talpade holds the plot together like a voluminous book's spine - giving his bucolic character heart, charm and chutzpah.

This is Talpade's coming-of-age film. You really can't imagine any other leading man achieving the same level of connectivity with the character, plot and audience.

All the Benegal regulars - from Ila Arun to Rajit Kapur - show up in Sajjanpur with gratifying humility and warmth. Ravi Jhankal as the election-contesting eunuch and Yashpal Sharma as the eunuch's uncouth opponent stand out, if 'stand out' is the right term for a film where the actors become one with the characters in a seamless design celebrating life's most recognisable and basic emotions.

The costumes (Pia Benegal) tend to get a little touristy at times. And the dialogues (Ashok Mishra again) sometimes lean towards the lewd to salute the boorish rustic ambience. These are not traits you would expect in Benegal's film. But then he needs to keep up with the times. A fact that seems to have bypassed the soporific slumber-dwellers of Sajjanpur as they battle between hand-written postcards and sms communications, finally allowing the former to rule the roost until further notification.

This is a film where every character - big or small - stands tall in his or her naive insularity from forces of corruptibility that threaten to break down their doors.

Sajjanpur echoes a 1977 film 'Palkon Ki Chaon Mein' where Rajesh Khanna played the village postman trying not to get too involved with the local people's domestic problems. Talpade doesn't try that hard.

This is not Benegal's most subtle work of his prolific career. But it is one of his warmest, funniest and raunchiest pieces of cinema - where every character is a human being you'd bump into if you visit a Sajjanpur. Not too many films do that these days.

Movie:'Saas Bahu Aur Sensex'

2008-09-25T21:59:00.000-07:00

Producer: Jayshri Makhija
Director: Shona Urvashi
Cast: Tanushree Datta, Ankur Khanna, Kirron Kher, Farooq Sheikh, Masumi Makhija, Lilette Dubey
Music: Randolph Correa, Bipin Panchal, Blaaze

To be fair, putting together saas-bahu sagas and the sensex seems a good concept, but director Shona Urvashi fails to use it effectively in her film.

In recent years, Bollywood has been generous to directors who experimented with novel concepts and the audiences too accepted their films. 'Saas Bahu Aur Sensex' dares to be different as it tells the story of middle-class housewives playing the stock market.

The director inter-weaves a love triangle into the main plot.

Nitya (Tanushree Dutta), Binita's daughter, shifts to Mumbai with her mother and meets Ritesh (Ankur Khanna) who helps her in getting a job at a call centre. Ritesh is in love with Kirti (Masumeh Makhija) who lives in the same society. But Kirti has other plans, she wants to marry a millionaire.

Despite the presence of the two veteran actors, Kirron and Farooque, the film fails to hold the audiences' attention. The reason being that the director fails to execute the story deftly and characters aren't properly etched.

Farooque, who had almost disappeared from the big screen, chose a wrong movie to make his comeback. As far as Kirron goes, in the recent past she has chosen all the wrong films and her talent is not utilised in this film either.

Movie:'1920'

2008-09-25T21:57:00.000-07:00

Producer: Amita Bishnoi, Bhagwati Gabrani, Surendra Sharma
Director: Vikram Bhatt
Cast: Adah Sharma, Raj Zutshi, Rajneesh Duggal, Vallab Vyas, Vipin Sharma
Music: Adnan Sami

After 'Phoonk', you'd think the possessed woman was a thing of the past. But wait, it's time for another lady to elevate far beyond her bed in a horizontal high that gives you a crick in the neck.

'1920' is 'Phoonk' in Scotland (or whichever foreign scenic spot), where the devil catches hold of the leading lady as she rests her head on the rattling bed, moved back by almost a century.

Screenwriter Vikram Bhatt attempts to thrust a weight over the theme of exorcism by taking the supernatural theme to British India. So we have soldiers, mutineers, rebels and renegades popping into the Scottish scenario like random guests at a outdoor masquerade party.

And then we have a doctor mentioning a certain 'Dr Sigmund Fried' who is doing research somewhere far away from this film's horrific domestic tussles, researching on the human psychology.

There's something terribly artificial about implanting a historical element into a tale that essentially wants to tap the most primitive and primeval fears of the audience. Rather than going into a tale of betrayal during times of cruel colonialism, Bhatt's narrative should have just stuck to its gory guns.

Then maybe, just maybe, the B and C centre audiences who got the jitters watching 'Phoonk' would've trembled at the diabolic toss and turn that the love birds experience in a verdant castle that is supposed to be situated somewhere in India in the year 1920.

So panoramic and National Geographic is the view that we often want the lead pair (both wooden and uninspired even when the ghouls provoke them into animated retaliation) to just move out of camera range.

Alas, '1920' has a scary story to tell.

We are scared all right. Though for reasons other than the ones Bhatt would want us to be.

Movie:'Ru Ba Ru'

2008-09-25T21:44:00.000-07:00

Producer: Percept Picture company
Director: Arjun Bali
Cast: Randeep Hooda, Shahana Goswami
Music: Sameeruddin, Satyadev Burman

The most unreliable thing in life is life itself. This, the protagonist of this sweet little concoction discovers when he wakes up one morning to find that his live-in girlfriend, perfect in manner and devotion, might have to die.

A simple premise based on the theory of deja vu, 'Ru-Ba-Ru' derives its slender strength from the conversational tone that the the debutant director brings to the romantic comedy, a genre that remains largely over-used and under-sensitised in Hindi cinema, thanks to the florid dialogues, over-the-top performances and incessant flow of song-dance.

Here the exuberance of the melodramatic melee that crowds the love in our (e)motion pictures is kept at a believable and urbane decibel. The couple, Randeep Hooda and Shahana Goswami look like a well-matched if strife-torn couple. Their chemistry is certainly not strained.

Randeep confers a casual colloquial sardonicism to the role of a man who has seen tomorrow and would rather enjoy today. Shahana, who gets to smile and giggle after frowning and complaining her way through 'Rock On', provides Randeep with ample scope to refurbish and revise the rituals of romance as they go from dream to a nightmarish reality where we know death is the evitable finale.

Though the plot and its negotiation through a labyrinth of well-charted courtship games are interesting enough, the film finally crumbles under the weight of lightness that comes from portraying love as excessively fleeting, fugitive and fragile.

And to believe that the man who knows he'll lose his beloved at the end of the day would go around joking, dancing ang playing the saxophone as the clock ticks away is stretching the frontiers of romance to the brink of parody.

Nonetheless the narration done in that wispy twinkle-eyed tone that suggests a deep bond between cinema and Elizabethan poetry does prod us gently into watching Randeep and Shahana portray a very contemporary couple bustling through a day of seduction and strife, eventually thrown into a situation that psychiatrists would enjoy analysing on the couch.

Borrowing generously from films like Peter Howitt's 'Sliding Doors', 'Ru-Ba-Ru' makes it a notch above mediocrity for its subtly superior performances and production design.

But the second half is too loose-limbed to qualify as compulsory deja vu. The nadir of storytelling occurs when Randeep and Shahana visit the former's estranged mom (Rati Agnihotri) and stepfather (Jayant Kriplani). In about 10 minutes of playing time here the director makes every father-son reconciliatory gesture prescribed in the book of social etiquette.

Still, the Thai locations and the generous display of stealth in the man-woman relationship redeem what would otherwise have been a film that never crosses the realm of sweet possibilities. While Randeep and Shahana hold up the lead with much casual realism, sturdy support comes from Jeneva Talwar as the heroine's best friend and Kulbhushan Kharbanda as a mysterious angel of death driving a taxi.

'Ru-Ba-Ru' has a delicious subtext to its romantic surface - don't leave the task of displaying emotions to a later time. You may never get there. 'Ru-Ba-Ru' barely does. It just about makes it through the 'Sliding Doors'.

Movie:'A Wednesday'

2008-09-05T22:24:00.001-07:00

Producer: Ronnie Screwvala, Anjum Rizvi, Shital Bhatia
Director: Neeraj Pandey
Cast: Naseruddin Shah, Anupam Kher, Jimmy Shergill, Aamir Bashir, Deepal Shaw, Gaurav Kapoor, Chetan Pandit
Music: Sanjoy Chowdhary

First things first. "A Wednesday" is not about the train blasts that rocked Mumbai in 2005. It isn't so much to do about terrorism and counter-terrorism as it is about making these grim socio-political facts into digestible riveting cinema.

And that's where "A Wednesday" scores over "Mumbai Meri Jaan" and other recent films on the wrath of extremism.

Debutant director Neeraj Pandey turns the grim reality of terrorism into an engaging cat-and-mouse game played between a master blaster (Naseeruddin Shah) and a senior cop (Anupam Kher).

Just the pleasure of watching Naseer and Anupam against the backdrop of a teeming bustling sinisterly jeopardized Mumbai city is ample reason to discard all our other misgivings about the sheer feasibility of the plot.

Cleverly the narration manoeuvres all the physical action away from the two aging protagonists to a couple of hot-blooded young cops played effectively by Jimmy Shergill and Aamir Bashir, who hurl into camera range in a meteoric rush of adrenaline to remind us that the streets of Mumbai have always created a flutter in the clutter in our films. Just go back to every film from "Satya" to "Aamir" and see what we mean.

Cinematographer Fuwad Khan captures the blood on the roads of Mumbai with a disaffected relish. A lot of the film has been shot in stylish top-shots where the terrorists and counter-terrorist manoeuvrings appear larger than life and yet miraculously shrunken in the cosmic scheme of things. Violence in this way is made both comic and cosmic.

By the time Naseer's eruptive enthusiasm climaxes, the narration goes into the realm of the improbable, contriving to create an atmosphere of utter escapism in a film that you thought was stubbornly wedded to reality.

But that's where Pandey has been heading all along. His narrative hurtles towards a photo-finish where the newspaper headlines are swallowed up in a swamp of thriller-rituals that take the plot aback to create an aura of unstoppable suspense.

Sanjoy Chowdhury's background music over-punctuates every sequence. But then that's precisely what this out-of-the-box terrorist-thriller was looking for.

The humour, when it strikes, is like the bomb blasts. Sudden and unexpected, though a little on the grimmer side.

Veejay Gaurav Chopra as a shit-scared film star getting extortion calls is mousy enough to remind us that heroes don't come out of the movies. But heroic movies surely do come along once in a while from the movie industry. "A Wednesday" is certainly one of them.

Watch it to see how cleverly the director subverts the real-life headline-driven genre of cinema into a riveting race to the finish line.

Most of all it's the performances of the two principal actors that holds "A Wednesday" together. Moving away from his recent comic antics, Anupam delivers a controlled performance as a cop who has seen it all. He happily allows Naseer to take over many scenes giving his co-star some riveting reactive cues.

Naseer is back in full form after a rather embarrassing gap of cameo-commitments. Naseer in his element is an experience that needs no definition. He plays the jaded but spirited bomb-planting anonymous caller with a wry blunt and edgy sardonicism creating for his character a space that pitches his angst in the wide open loosely defined crowds of desolation in Mumbai.

"A Wednesday" is not quite the seamless little masterpiece on terrorism that you expected. It resorts to many wild swipes in the plot. Some characters like the dude-like computer hacker and the TV journalist, played by Deepal Shaw, give embarrassing single-note performance.

Watch Naseer and Anupam to know how a one-to-one drama works when two actors provide a psychological and emotional equilibrium from the two ends of the moral spectrum.

Movie:'Chamku'

2008-09-04T22:17:00.000-07:00

Producer: Dharmendra
Director: Kabeer Kaushik
Cast: Bobby Deol, Priyanka Chopra, Arshad Warsi, Ritesh Deshmukh, Irrfan Khan, Danny Denzongpa, Rajpal Yadav, Arya Babbar
Music: Monty Sharma

First things first - what kind of a name is 'Chamku'? Is it the name of a detergent or a whitener? No, it's the name of a Maoist-turned-government-assassin who later becomes an avenging angel.

This is director Kabeer Kaushik's second film and he had raised hopes after his gritty 'Seher'. One went to see the film with serious reservations about the name of the film and really nothing else.

One thought maybe Kaushik could turn around the luck of Bobby Deol, who is desperately in need of a hit. But soon you realise that Bobby, who plays the protagonist Chamku in the film, is luckless.

Then Chamku is encountered and lies in the hospital with the same depressed look as a government agent Irrfan Khan, dependable as usual, makes him an offer.

He's now trained to kill, we're told. So he goes around killing, till he meets lovely Priyanka Chopra, who is wasted in the film.

Here the director lets go of a potential comic sequence when Bobby is about to introduce himself to the girl.

Eventually love happens, songs happen, even pregnancy happens. So much happens and Chamku looks even more depressed. By then, so are you.

It doesn't take you long to understand that the Maoists and the government-assassin- looking-to-get-out angle is just a guise for an often repeated revenge drama.

Danny's character should have been etched out with better imagination. The action sequence set in a train is handled well, but it isn't enough to redeem the film.

Honestly, there's little shine in this 'Chamku'.

Movie : 'Ugly Aur Pagli'

2008-08-25T19:52:00.001-07:00

Producer: Rangita Pritish Nandy, Pritish Nandy
Director: Sachin Kamlakar Khot
Cast: Ravir Shorey, Mallika Sherawath, Manish Anand, Tinu Anand, Sushmita Mukherjee, Vihang Nayak, Bharti Achrekar, Sapna Bhavnani
Music: Anu Malik

A romantic comedy that starts with a fart and a puke joke can only get better as it progresses. Sure enough, 'Ugly Aur Pagli' brings us a kind of detoxicated sex comedy where the gender war is telescoped into a vivacious tongue-in-shriek war of words between an outwardly mismatched pair.

Suparn Verma's dialogues have a lived-in quality. Yup, two young people who are in love but don't know it would speak this language and probably feel some of the emotions too.

If 'Ugly Aur Pagli' looks so believably all-there, it's because of Ranvir Shorey's ability to remain normal and wimpish even when the world around him is exploding into little amusing atoms of undefined chemistry between the lead pair.

But lead pair is more like the 'misled' pair. Often you wish Ranvir and Mallika wouldn't get into those sweaty pubs and dance floors, which have become a staple diet of all 'hip' and 'cool' films in recent times.

A lot of the scenes - some clever, others not quite - are held in place by Ranvir's amazing ability to make the mundane look super-interesting.

Here's the ideal effortless working-class hero. An Amol Palekar with a lot of chutzpah and world weary charm. Ranvir steps back to watch Mallika cavort at the highest shrillest pitch and makes sure she doesn't stumble over and fall.

And we aren't just talking about the character's constant state of inebriation. Ranvir holds up a lot more than his co-star's drunken ceaselessly slumping figure.

The film is a series of well-crafted chance encounters between two Mumbaiites who are in search of companionship. The sequences are shot with a kind of unobtrusive flamboyance(if that isn't a contradiction in terms). Mumbai doesn't look different but it sure looks indifferent to the feelings of the sensitive. That's the whole idea of a familiar metropolitan backdrop, right?

Ideally a romantic comedy should converge only on the two love birds. This one takes the rule too its extreme limit. Ranvir and Mallika are so much at the centre of it all, you wonder if the rest of the world is on a sabbatical. But watch out for Ranvir's encounter with Mallika's parents - played by Tinu Anand and Sushmita Mukherjee.

Though this sequence belongs to the two character actors, again, it's Ranvir who gives character to the ambience. Would this sometimes sassy, sometimes sensitive, constantly searching romantic comedy have worked without Ranvir's penchant for producing pyrotechnics out of pedestrian working-class impulses? Hard to say.

But then who can say what 'Ugly Aur Pagli' has in mind? By the end of it all we don't even know who is ugly and who is mad. 'Ugly' Ranvir even wears a petticoat for one sequence and cycles all the way to pagli's home.

Care to solve the mystery of the man-woman equation? This film has a go at it. Albeit in swipes of talkative satire that make the film resemble an American sitcom.

Movie: 'Maan Gaye Mughal-e-Azam'

2008-08-24T23:08:00.001-07:00

Producer: Champak Jain, Ganesh Jain, Ratan Jain
Director: Sanjay Chhel
Cast: Rahul Bose, Mallika Sherawat, Paresh Rawal, Kay Kay Menon, Pawan Malhotra, Zakir Hussain, Manoj Tiwari
Music: Anu Malik

This film means to be quirky, cute and comical. It ends up being a crashing bore. And the sound of the crash that you hear could be those plaster-of-paris props that adorn the stage where the cast enacts the worst version of K. Asif's imperishable romance 'Mughal-e-Azam' ever conceived.

As often happens, the film must have sounded so much better on paper. All the accomplished actors who constitute the vast cast must have got the joke and agreed to do this intended satire about the goofy adventures of a stage troupe during the week of the 1993 Mumbai blasts.

Alas, Asif weeps in his grave. And so do we.

This is a political satire combined with a naughty comment on theatrical infidelity with Paresh's sexy wife Mallika being wooed by a smitten Rahul (suitably wide-eyed and far removed from his Mallika-driven affections in 'Pyar Ke Side Effects').

Is this a theatrical film on play-acting? Or is it meant to be a cinematic interpretation of theatrical hi-jinks? Be that as it may, while Kay Kay goes from 'Black Friday' to goofy Friday, Mallika (god bless her costume designers) goes from 'Murder' to blue murder. Watching her do a re-mix of 'Pyar kiya to darna kya', Madhubala must be smirking in her grave.

If Mallika's 'Murder' on infidelity was a path-breaker (at least as far as sexual audacity goes) her attempts to flirt from the pokey stage with her besotted spectator right under her suspicious husband's watchful eyes can at best be described as 'Pati Patni Aur Woh' gone to the dogs.

Chhel has always been a capable wordsmith. As a director, he had his polished moments in 'Khubsoorat' where Sanjay Dutt turned ugly duckling Urmila Matondkar into a swan.

One is never sure if Mallika is the duck or swan in 'Maan Gaye Mughal-e-Azam'. All one knows at the end of this horrifically hammy ode to a hammy theatre company's outrageous attempts to save Mumbai from the underworld (yeah, but who saves us from this film?) is that there is no more than perhaps seven minutes of bonafide humour in the entire tale.

The dialogues are either dreadfully double-meaning or primary school gags. RDX and R.D. Burman are equated for laughs. But the film has neither Burman's melodiousness now the explosive quality of RDX.

Movie:'Singh is Kinng'

2008-08-20T21:31:00.000-07:00

Producer: Vipul Shah
Director: Anees Bazmee
Cast: Akshay Kumar, Katrina Kaif, Neha Dhupia, Javed Jaffrey, Ranvir Shorey, Kamal Chopra, Singh, Om Puri
Music: Pritam Chakraborty

Burp re burp! At last a thali filled to the brim with spicy, pickled, 'ghar ka khaana' fried in the sinfully calorie-filled desi ghee prepared in the heartland of Punjab and then imported to the West. Crocodile Pug-Dundee, anybody?

At last, a blast. Dunno if Singh is king with two 'n's or not. But he sure is entertaining. Damn entertaining. This film is one of those feasts of flurry that leave the on-the-run characters and the audience breathless. Chalk up another winner for Akshay Kumar.

As the 'happy-go-looking' Happy Singh who leaves his village in Punjab to look for a colleague who has disappeared into Australia, Akshay is a revelation. He is strong and vulnerable, funny and tragic. He's Charlie Chaplin and Jim Carrey rolled into one.

'Happy' Akshay Kumar's mission is simple. Get Lucky. And boy, does he!

As Lucky Singh, Sonu Sood - all spruced up and dapper-dolled in Australia - has to stay risibly inert for half the film as he goes into a coma and is replaced by fellow villager Happy Singh as the new underworld don.

The film, its plot and characters are a crazy, adrenaline-induced rush of caricatures and other spaced-out creatures.

To his credit, writer-director Anees Bazmi retains the broad raillery of his earlier hit 'Welcome' but abandons the slapstick and ribaldry to style one of most disarming comedies in recent times.

The plot is cluttered with the most elementary action and adventure in the incredulous tone of 'Crocodile Dundee' goes from Punjab to the land of the Aussie-rans. Akshay takes care of the rest.

Adapting his comic stance to a patently comic-book mood and attitude, Akshay swims through the tittering tides of zany humour to emerge with one of his most finely-tuned comic performances in recent times.

It wouldn't be wrong to call 'Singh is Kinng' a showcase for Akshay's vibrant virtuosity. He goes from being a buffoon in a Punjab village to a native-abroad (with a nubile broad as arresting arm candy in the romantic songs) with the cheerful fluency of a trapeze dancer who knows his territory but still manages to make it look challenging for the onlookers.

Akshay's bravura performance is punctuated by moments of bridled subtlety such as the one where our incredulous hero informs Katrina's nerdy suitor (Ranvir Shorey, wasted) why the lady they both adore must be treated in a special manner.

Bazmi treats his audience as special as Akshay's gentle, caring affections for Katrina. The narration is a pulsating patchwork of goofy crime and culturally-challenged adventure where anything can happen.

A 'rose lady' (Kirron Kher as engagingly broad in her matronly ministrations as ever) pops up in the middle of an Australian suburbia offering 'khana' and 'maa ka pyar' to the 'pyar ka bhooka' Sardar hero.

In all fairness, certain portions of the film are insufferably edited. What in the name of maudlinism are those sequences showing the Sikh dons' benevolence and charity towards Black Australians? Post-colonial Asian snobbery at its slapdash-worst.

Keeping the pretensions out of the plot and focusing on the multiple mirthful masquerades that motivate the amusing plot would have done the general health and wellbeing of this pleasantly-diverting entertainer a wealth of good.

The supporting cast, specially Om Puri is in splendid form, adding fuel to the funny-lines with just that right dash of devilish bravado. Akshay is effortless. The film is not.

What we see here is a big, broad Bollywood entertainer celebrating screen heroism in all its giggling, grunting, groaning glory.

Movie: 'Bachna Ae Haseeno'

2008-08-20T05:23:00.000-07:00

Producer: Aditya Chopra
Director: Siddharth Anand
Cast: Ranbir Kapoor, Katrina Kaif, Deepika Padukone, Bipasha Basu, Minissha Lamba
Music: Vishal - Shekhar

Let's get real. Commitment phobia is endemic among 20-something urban yuppies, especially in the metros. Siddharth Anand, a master at depicting urban mores - 'Salaam Namaste', 'Tara Rum Pum' - this time pulls out all stops to expose the suave urbane heel who cannot feel above the waist.

Raj (must Ranbir Kapoor be called that every time?) is a man on the path to redemption. That of course comes later, much later in this elaborate but tightly-edited and engaging comment on the prowling dude's demoniacal insensitivity towards girls who give him the chance to dance into their lives.

Ranbir inadvertently turns the whole concept of romantic love as propagated by Shah Rukh Khan in 'Dilwale Dulhaniya Le Jayenge' and its zillion spin-offs on its head. Love now can easily be taken to bed. Though no one is thinking of sleep. Not the characters, not the audience.

The first episode with the starry-eyed Mahee (Minissha Lamba, suitably starry-eyed) is a rather diverting homage to Aditya Chopra's 'DDLJ'. That's a pretty auto-erotic thing to do considering Chopra is this film's producer. But then, you win some when you try to be winsome. Ghar ka khana served up with affection is not unacceptable.

Ranbir and Minissha are pretty much taken through the same Swiss terrain as Shah Rukh and Kajol in the earlier film. Even the circumstances created to bring them together can't be told apart. Except that this boy-man is out to have a 'good' time with the girl who lives in a bubble.

Some of the sassiest, sauciest and smartest lines come in the second overture of this anti-romantic comedy when Ranbir, now 20-something and suitably hormone-driven courts and mates Bipasha with ferocious intensity.

Ranbir has been there, done 'em all. He lives the characters to the 'jilt', swathes the character in the cruelly cool quirks that make utter self-centredness a fashion statement in contemporary societies.

One of the film's most stirring moments is when Bipasha is shown sitting on the steps of her marriage venue in her bridal finery waiting for her bridegroom to turn up, her mehndi getting washed in the rain.

A very Raj Kapoor thing to do in a film that's all about being cool and finally falling flat on one's face when the hero meets his match.

Deepika Padukone as the statuesque but spunky cabbie in Sydney has the shortest feminine presence in this made-to-order Ranbir vehicle. She gets to mouth the best throwaway lines and to hit the commitment-phobic hero where it hurts the most. And we don't mean below the belt.

The director has the guts to show his hero as a man thoroughly exposed in his self-seeking egocentricity. Ranbir doesn't spare the character. He penetrates Raj's nerve-centre and portrays him as a smooth-talking charlatan who's looking for trouble in shapely places.

Ranbir plays the Casanova with just the right dollops of dips and curves. The fact that he has already done it all in an abundant flourish in 'Saawariya' doesn't take away from the sincerity of the performance. Watch his surprise when he sees himself cry after Deepika rejects him. No one has done this before.

There are any number of scenes displaying inspired cinema in this work of cyber-art. The characters are etched with a contemporary air without making them overly illustrative. Bipasha's turn as a wannabe supermodel ready to chuck it all for marriage only to be jilted at the altar is notably powerful.

What the script says about a career women is that sometimes male insensitivity forces their true metier out of a woman. An interesting thought, and one that the narrative holds in place with grace on Bipasha's expressive face.

But the most interesting female character is Deepika's. A self-willed, humorous and gritty cabbie, she drives the Casanova round the bend and beyond. Deepika exudes a reined-in grace. She is the future of Bollywood.

Hiten Paintal, playing that age-old thankless part of the hero's friend, joins the ranks of the natural-born scene-stealing supporters like Ninad Kamath, Kabeer Sadnah and Vishal Singh.

The film has been beautifully shot. The azure blue oceans of Italy form a telling contrast to the bronzed, tanned and probably tattooed actors who clutter the Swiss, Italian and desi locales.

Cleverly crafted and structured to contour the severely flawed characters, 'Bachna Ae Haseeno' is not meant to be a mammoth social comment on love and marriage. But in its own tongue-in-cheek manner it manages to say plenty about life in the fast lane.

How Preity Zinta prepared for 'Heaven On Earth'

2008-08-04T22:11:00.001-07:00

The spunky and outspoken actress had to do a lot of preparation to play a character that is in contrast to her real self. In Deepa Mehta’s Heaven On Earth , Preity plays a meek, submissive Punjabi wife who is physically and psychologically assaulted by her husband in Canada.

Now, even though Preity is the owner of Punjab’s IPL team, the actress admits she can’t speak Punjabi fluently. But all her dialogues, including long monologues, in the film required Preity to speak the language. So Preity slogged hard, took a crash course in Punjabi, and learnt to speak her dialogues properly after a practice of over one-and-a-half months.

However, this was only half the battle won. Preity, who hasn’t experienced domestic violence in real life, had to get an insight into the lives of wives who suffer violence at the hands of their husbands.

So she read the relevant books (including ‘The Woman Who Walked Into Doors’ by Roddy Doyle). She also saw a documentary by Deepa Mehta in which the director interviews kids that saw domestic violence in their homes.

Preity says going through all this material gave her a reference point for her character.

And Preity’s performance has been so terrific in the film that Deepa Mehta has unhesitatingly said that Preity is the most talented actress she has worked with so far. That’s certainly a great compliment coming from a director who has worked with the likes of Shabana Azmi , Nandita Das and Seema Biswas in her past films.

Movie:'Mission Istanbul'

2008-08-02T05:27:00.000-07:00

Producer: Ekta Kapoor, Shabbir Boxwala, Shobha, Sunil Shetty
Director: Apoorva Lakhia
Cast: Vivek Oberoi, Zayed Khan, Nikitin Dheer, Shabbir Aluwalia, Shreya Sharan
Music: Anu Malik, Shamir Tandon, Chirantan Bhatt, Mika Singh

Mission Istanbul has some superbly skilful editing. The editor's scissors snip through the material on international terrorism demonstrating a tailor's tight command over size and measurement.

In fact, editor Rajesh Singh's work is so exemplary in the first half, you sort of brace yourself for something grander in the second.

Alas, the pace and sheer velocity of the first half slackens. Post-intermission the plot becomes just another 'two heroes fighting the baddies' film that we have been watching from the time when villains were smugglers and then gangsters. Now they are tycoons in Saville Row suits!

Terrorism goes international with a screenplay that's blessedly free of the amateurism that we have come to associate with cinema on terrorism in our country.

Lakhia and his co-writer Suresh Nair get the politics of terrorism dead-on. And the virility of the Turkish outdoors lends credence to the volatile goings-on.

But one surely can't take such silly liberties in a film that seems to have researched international terrorism with some attention before plunging into the project.

Lakhia knows how to handle vast crowds caught in terrifying insurgent violence. The canvas though crammed with exploding guns and ricocheting power games never loses its vision, momentum and humour.

In a bizarre sequence of comic violence, Vivek Oberoi wrenches off a victim's hands and uses them for hand-print entry into a forbidden area of the terrorist headquarters - the TV channel.

Zayed Khan as a newsreader clearly gets to cross all boundaries of duty. He tackles terrorists and alongside makes room to shake a leg on the dance floor.

The attempt to bring in conventional song-and-dance into a rigorous film on Islamic terrorism is not quite misplaced. Lakhia pulls off the coup with energy and elan. Full credit goes to the film's super action sequences orchestrated by Javed and Aejaz.

Amar Mohile's over-emphatic background score slams in the mood of danger and intrigue.

'Mission Istanbul' works big time as an action thriller. The director creates a mood that swings dangerously between a Hardy Boys adventure and a 'Barkha Dutt in the war zone' kind of news story. That Lakhia pulls it off with a near-effortless outflow of energy is a miracle of sorts.

There is nothing dreamy about this mission. But the subplot about the estranged journalist couple with a romantic song thrown in is as convincing as a devotional song in a beer bar.

There's a time and place for everything and 'Mission Istanbul' gets it right most of the time. The boys are all fully clued into the mood.

Zayed Khan shows remarkable restrain in the most outrageous of situations like the one where Viveik and he share colas and kisses with a 'desi' Lara Croft who may or may not be from the enemy camp.

Vivek Oberoi, with his flowing hair and full-on body language, proves himself a pro at the pyrotechnics. He has a real blast.

Not for the squeamish and certainly not for lovelorn dreamers, 'Mission Istanbul' is a rollercoaster of action, terrorism and revenge that seldom pauses for breath.

Movie: Money HaiTo Honey Hai

2008-07-29T23:31:00.000-07:00

Producer: Kumar Mangat
Director: Ganesh Acharya
Cast: Manoj Bajpai, Celina Jaitley, Aftab Shivdasani, Ravi Kishan, Upen Patel, Kim Sharma, Govinda, Hansika Motwani, Isha Koppikar
Music: Vishal Bharadwaj

Give this film a chance. 'Money Hai To Honey Hai' has a certain sincerity of purpose and a rather sturdy narrative that serves the comic purpose until interval.

But that's when the pace slackens, the interest-level droops and the chuckles drop drastically to make way for a touching and simple climax that tells us it's okay to be ordinary and that living is about letting your dreams run free.

Choreographer Ganesh Acharya's earlier directorial effort 'Swami' was a well-intended narrative gone awry due to a story-telling inertia. But this time Acharya is on surer ground. And it's got little to with the Mauritian outdoors and the sun-kissed beaches the film boasts of.

'Money Hai...' soaks you in its warmth, but it's finally a failed comedy - albeit an honourable failure.

Seldom have you seen a less noisy comedy in recent times. The background sounds are kept at a minimum and for once the characters don't scream inanities and double meanings at one another.

Hansika's hammy acting is so purposely pitched at an extravagant decibel you can't but laugh.

Upen Patel's toy-boy act with Archana Puransingh is also hilarious. The rest of the comic act swings from rib-tickling to drab.

A remarkable aspect of 'Money Hai To Honey Hai' is the choreography - a field where Ganesh Acharya excels. The music and dances in this film have a frisky and flighty flavour - very outdoors, very sexy and different.

And it's not just Govinda who gets to shake a leg to an original beat. Every actor swings in to a freewheeling groove.

Upen and Hansika pull out all stops. And Celina Jaitley, who plays a fashion designer who dreams of making clothes for the working class, tugs at the heart.

The story is basically of dreamers coming together to assert their yearnings in ways that are sometimes interesting and sometimes listless.

Interview :Vivek Oberoi

2008-07-24T21:29:00.000-07:00

Vivek Oberoi is out on a mission! After ‘Shootout at Lokhandwala’ he is now set for another action packed thriller’ in which he will don the role of Turkish commander. His new film will be arriving at the theatres this Friday. There are lots more happening in his life.

Excerpts from an Interview:

Shootout at Lokhandwala has bagged you laurels. You must be having high expectations from Mission Istanbul?

That is sure. I am definitely looking forward to the film to succeed. For one year I have been working really hard on the film. I just expect that people like my character like my former film. I hope my fans would go out to watch the film and like the action in the film. It is a whole machismo and attitude loaded stuff.

You’ve been doing lots of action stuff from Shootout at Lokhandwala to Mission Istanbul.

In one year I have just done two films. I am going the slow way as I wanted to do different kinds of scripts. I would prefer doing films that I like. Probably those kinds of offers have started pouring now. Now I’m doing another huge solo film South Africa with Tips. It is also a very different kind of film for me. The film I am doing with Karan Johar is with Saif and Kareena. For the film I have cut my hair. I've been learning a martial arts called Parkour from Dean Alexandrou from London. I'll be doing a lot of stunts, flying through the air without cables for the film. I'm also working with a Thai trainer in Muay Thai, a mix of Thai kickboxing and Akido.

You’ve also signed a romantic film 7G Rainbow Colony, which is a Hindi remake of a Tamil hit.

Mani Ratnam wanted me to see the film.His assistant Selvaraghavan directed the original and will be doing the Hindi remake too for UTV.

Will you ever work with Aishwarya Rai again?

As a professional I have no problems working with anyone. But I work with directors, not with actors and actresses.

You were spotted on the sets of Aladdin. Did you go there to meet Mr. Bachchan?

Director Sujoy Ghosh is a close friend of mine and we have done Home Delivery together. He invited me to the sets. Jackie Shroff and Riteish Deshmukh were there too and we got chatting. Then I heard that Amitji was there as well and I went to his van to say hello.

Interview : Shilpa Shetty

2008-07-19T02:18:00.000-07:00

Shilpa Shetty is enjoying a good time traversing into varied things at the moment. While Bollywood films remain her priority, she is also getting into production and has launched her own production house under which she will be making films. Not only her professional life is going great guns, but also her personal life is rocking. In this candid interview she lets out many things that you didn’t know before.

Excerpts from an Interview:

There are talks doing the rounds that you are in a relationship with Raj Kundra. Is it true?

I have never come out in the open about it. How can you assume that I would do that now?

We are optimistic to hear something from you?

You want to hear it from the horse’s mouth? (laughs) Well, Raj is very much a part of my life. And yes, I am in a relationship with him.

That means your personal life is rocking.

Well to say, at this moment I am satisfied and in a peaceful state of mind. There is someone special in my life who also keeps me happy. So yes, I’m happy! Also in the professional front things are going right.

Are you planning marriage with Raj?

The day I decide to get married, I will make an official announcement.

What are the films on floors?

Right now, I am doing only one film, The Man. in the film I have to play the violin. And to make it look real, I have appointed a professional teacher to learn this instrument. It’s a difficult task to play a violin. My hands are totally numb and my neck aches too.

What will you be doing after the film?

I will start my home production with a multi-starrer. There will be two heroes and two heroines. I will play one of the female leads. The rest of the cast is yet to be finalised. Right now, I don’t have much time. I will also need time for the two shows in the UK, a part of The Unforgettables, Bachchan’s upcoming world tour.

Interview:Vidya Balan

2008-07-17T00:23:00.000-07:00

It’s hard to believe actress Vidya Balan has been around for three years only since her debut with ‘Parineeta’. Flying high on success, she is today esteemed as one of the talented and most sought after actress in Bollywood. In the meantime she has wooed the audience with her variety and range and can anybody miss that charm on her face. Here she answers question on her upcoming film ‘Kismat Konnection’ making to the theatres this Friday.

Excerpts from an Interview:

What genre does Kismat Konnection belong to?

I would say Kismat Konnection is a love story and not a proper comedy. It’s a very light-hearted film and not emotionally high on content. The romance is very breezy, young and vibrant, and this is a love story that is very different from what I've done so far.

How would you sum up the three years you’ve spent here?

I still feel I am a newcomer. I’m lucky to work with established and experienced people. But there are so many things that still make me feel like a novice.

You started your film career with Vidhu Vinod Chopra doing three films with him. Anything more on the cards?

Vinod Chopra Productions is like a home ground for me. If he finds something suitable he would certainly call me. However it is no so that I’ve to be a part of his every project.

What different are you doing in Kismat Konnection?

Shahid Kapur is a brilliant dancer and I made up my mind while signing the film that I woun’t get nervous thinking about it. It’s not possible to match steps with Shahid and Hrithik ever. The kind of dancing that I do in the film is something I’ve never done before. I enjoyed dancing and hope the audience will like it. When I started with Kismat Konnection, it was a new unit for me and generally we do a short schedule in India before heading abroad for the shoot. But here we directly went to Toronto for two month outdoor. I was wondering how I would get along with everybody. I would listen to my iPod to keep myself busy and by second or third day, everyone had their iPods out and we started exchanging our iPods and sharing the music we were listening to. That helped all of us bond on the sets.

What made you sign a film with Shahid Kapur?

I choose a film by the story, my role, and the director. I had always wanted to work with Aziz Mirza and that’s the reason I signed the film. I believe in his kind of films. Shahid Kapur is such a good actor. Shahid is on his way to become a star. Post Jab We Met, he has become a rock star of sorts. As my co-star in the film was Shahid I didn't think twice. In the future I'd love to work with him again.

The media is agog about some special connection between Shahid and you, is it true?

The story is just figment of someone’s imagination. After listening to it so many times I'm quite used to it. We share a great onscreen rapport and offscreen we get along with each other really well. But still if people are interested in such stuff what can I do. I'm here to build a career and not some relationship.

Love Story 2050

2008-07-13T21:36:00.000-07:00

Producer: Pammi Baweja
Director: Harry Baweja
Cast: Archana Puran Singh, Boman Irani, Harman Baweja, Harsh Vasisht, Priyanka Chopra
Music: Anu Malik

A star has most certainly been born. There are no two ways about it. After watching Harman Baweja sing, dance, emote and entertain in this Adlab presentation for a full three hours, one wonders if there is anything that this Baweja boy from Bollywood can't do.

Yes, maybe there is something Harman can't do. He can't make us forget for even a minute that he knows every component of the camera although he has never acted before. The confidence level stops just short of being cocky and overdone. He is never short of a positive and productive attitude.

It is clear that producer-director Harry Baweja has made 'Love Story 2050' as a showcase for his son's aptitudes. To that extent, the film works wonderfully, creating repeated opportunities for the debutant to shine.

The script - sprawling across two time phases and three hours of playing time - is a simple love story of two very good looking people coming together in the svelte, sweltering, simmering climes of Sydney, moving apart and then going into a futuristic mode without alienating themselves from the romantic genre that this uniquely-designed film inhabits.

Harry Baweja happily avoids the pitfalls of pedestrianism even when the boy-meets-girl plot gets into a trite and repeatedly-tested mode.

The protagonists share a precious, fragile and tender chemistry. A butterfly perches itself on the girl's trembling hands and manoeuvres her heart into places where there're no tell-tale signs. The butterfly becomes a likeable leitmotif in the plot. The courtship and romance is done in shades and words that leave us smiling. The initial scenes are actually far more interesting than they appear.

The boy tells the girl to do something that she has never done before. How about shop-lifting? He suggests. She suggests he recite some poetry for her. Javed Akhtar does the rest.

By the time Harman and Priyanka sing their first two duets (Anu Malik at his soft and tender best) we're convinced that they care deeply for each other. It's in their eyes. No kisses and cuddles needed. Only cuddly robots. For the first time in a Hindi film, two robots serving as the protagonists' companions are given prominent places in the plot. And they aren't just props. They are entities with a mind and personality of their own.

The entire courtship game stretching into two time zones is played out with an endearing innocence, and a focus and finesse that re-define the boy-girl formula in a language that's sassy and trendy without ever lumbering into the lurid.

Towards the second half, when Harman flies into a futuristic Mumbai to retrieve lost love, the flying cars, the humane robots and the psychedelic dance numbers tend to overpower the basic romantic structure of the plot.

Harry Baweja could have avoided the extravagant excesses in the sky. How long can you watch flying cars and talking robots? After a while you restlessly begin to search for that romantic core which, blessedly, is never too far away from the narrative's range of interests.

The second half, when a zany scientist (Boman Irani in a weird wig and silly smirk) transports the lovers and the audience into the future, has been done with an elan and flamboyance that leave us enthralled.

Vijay Arora's camera work is extraordinarily rich in colours and style. The same goes for Priyanka's sartorial grace. Her two roles are brilliantly defined by the clothes. Fortunately, Priyanka goes deeper in search of her characters' core. The repressed poetic persona in the first half and the brassy red-haired rock star in the second-half are two different entities.

But make no mistake. 'Love Story 2050' belongs to debutant Harman from first frame to the last. And all his co-stars know it. They all sort of move back to let the Baweja boy take centrestage.

Harman demonstrates an endearing all-purpose showmanship. He dances like a dream and gets gooey-eyed and sentimental in love scenes as though Romeo had just fallen off the balcony while serenading Juliet, bruising more than just his heart. This newcomer is to the camera born.

Wisely, the narrative restricts itself to the 'love' part of the love story, creating pockets of asexual passion (not even a peck between the actors) without making cuteness a fetish and a fad.

A whole lot of visible and intangible effort has gone into building this colour-consumed atmospheric world of sights sounds and melodies that represent the harmony of the spheres in optical splendour.

Finally though, the effort doesn't overpower the heart content and intent of the plot. This is actually a far better film than its genre and lavish budget would suggest.

Avoiding the vulgarity of overstatement but focusing on Harman and Priyanka to the point of making other characters appear largely redundant, 'Love Story 2050' offers a world where dreams and fantasies have a properly-designated place. We aren't in it just for the pleasure-ride.

Interview : Abhishek Bachchan

2008-07-10T21:40:00.000-07:00

Abhishek Bachchan has just got back to Mumbai. He has been away for a long spell of schedule in Miami of Tarun Mansukhani's ‘Dostana’. Hereon he goes to resume shooting for Rakeysh Mehra's ‘Dilli 6’. Abhishek winds up telling what’s more happening in his life – there’s lot, with movies and music holding his concentration at present!

Excerpts from an Interview:

How is the shooting of Dostana going?

It is a young and energetic romantic comedy. It is new kind of genre that I’m trying my hands in. Priyanka, John and I had fun filled time. We were off to Miami for work purpose and it held our concentration most of the time. We balanced fun and also did many hours of hard work.

How did the Cannes schedule go along with Aishwarya?

Like always it was very engaging. Last year Aishwarya and I had gone to Cannes for the first time together. This year the whole family was there. It was a delight to be there with the whole family. Most of the time I’m away from home and to be in some other part of the world with your family is a delight. Also we tried to catch as many films as possible.

Wyclef Jean in Miami did a full hip-hop album with you.

I had a great time recording a song with the super-hip hopper Wyclef Jean in Miami. I had already done a hip-hop song before. Aadesh called me one day and requested me to be a part of the song. Aadesh is a close friend and it was wonderful to finally sing with him. Wyclef is a musician I have admired for a long time and have great respect for him. It was a treat to record with the two of them. And loads of fun. When I was recording with Vishal-Shekhar for Bluff Master I was equally petrified. I love to sing. But I'm not a singer and I have only done this track as a personal favour to Aadesh.

Tell us about your non-film album with Vishal-Shekhar.

It is also a hip-hop album. Dad will also be around as a guest vocalist. The album has been delayed. The album with Vishal -Shekar has been in the making for the last two years and isn't released. I'd have loved to have premiered it during our World Tour in July. But it's not ready. When it is ready we'll release it. Dad has a great singing voice. Mine is nowhere near his. I don't think I have the ability or talent to do what all he has done.

Interview : Celina Jaitley

2008-07-07T21:46:00.001-07:00

Actress Celina Jaitley is spending most of her time in work. She is shooting for her upcoming film Money Hai To Honey Hai and will also be doing an item track for Ekta Kapoor’s forthcoming film C Kkompany. All the time she has also been busy rubbishing rumours that keep her on her toes all the time.

Excerpts from an Interview:

You’ve not been seen around for sometime now.

I’m not a party animal and don’t get into every parties. I just prefer the music release and premieres of my films. Other than that I prefer to keep myself away from events. Since past few weeks I’ve been working a lot. I have just come from Bangkok and then I’m away for another outdoor shoot. The last couple of months have been very stressful as my brother had an accident. It was shocking for us.

Coming to films, one hears that there has been problem between you and Hanssika Motwani on the sets of Money Hai To Honey Hai because she was trying to copy your costume designs?

There was never an argument about the issue. I got to hear from people that Hanssika's mother was always interested to know what I was going to wear. I had no problems with that and rather it is a compliment that others want to copy what I wear. You know, even if they copy my outfits, they won't be able to carry them off. For that you need a personality, body and height. I had no problems with Hanssika. But I feel that her parents were always nosey about others on the sets. I'm not complaining about such things as I prefer to do my work and leave.

Were you friends with Kareena Kapoor and Amrita Arora on the sets of Golmaal Returns?

I don't have too many scenes with them. My track is different. We did work out together once. Kareena and Amrita are friends anyway. I get to hear that I don’t get along with my female colleagues. But that’s not true. During No Entry, Lara, Bipasha (Basu), Esha (Deol) and I became the best of friends. We're in touch over the phone. Riya (Sen) and Neha (Dhupia) are two of my other friends. In general, I can't deal with the insecurities of women. I'm into gizmos, play stations, the works but not into gossip. I've always been more comfortable with boys maybe because I'm from a family where there were more boys than girls. I've had more male cousins than female. I do get along with girls but when I sense bad vibes I back out. Also I can't handle the mummies and aunties-pressure at work.

Interview : Imran Khan

2008-07-03T21:38:00.000-07:00

Imran Khan, 25-year-old debutant is arriving this Friday with his first film ‘Jaane Tu... Ya Jane Na’. He comes from the legacy of films, bring the grand child of Nasir Husain, uncle Mansoor Khan and Aamir Khan. Being Aamir Khan’s nephew it’s a tough task to prove himself in the shoes of his mamu. But this new entrant is confident about his take and has already created a stir even before the film’s release. The film is directed by Abbas Tyrewala.

Excerpts from an Interview:

Your first film is about to release. How are you feeling?

People have set high standards, but I’m not thinking about it because if I do, I’ll get paralysed. The best part is I’m not stressed at all. AK (that’s Aamir) was telling me that during his QSQT days, he too wasn’t stressed.

You are on your way to stardom. Comments.

When I see my promos or read about myself, it seems like I’m seeing someone else. My girlfriend Avantika keeps clippings of my articles but gets upset if anyone writes negative stuff about me. I have to keep telling her, ‘Chill baby, it’s ok’.

Have you made any friends?

I don’t like partying as I’m a very reserved person, but I like to go to friends’ homes and chill with them. My friends are mostly assistant directors and actors like Minisha Lamba and Kunal Kapoor, and there’s Shruti Hasan who is more like my sister. I’m doing Soham’s Luck with her. There is also Sanjay Ghadvi’s Kidnap lined up.

Jaane Tu has been in the making for three years. Did that make you impatient?

It was frustrating but I also learnt in the film industry hardly anything happens on time. From the scripting stage to direction there are always delays.

How much did you enjoy working with co-star Genelia?

Both of us gotalong from day one as we understood our styles of working together.

What about working with Abbas Tyrewala?

He is very cool and doesn’t push his opinions on others. We have become like brothers and have become very close in the process of making the film. Abbas and I went to Aamir Khan Productions to ask them to produce the film. I always thought of myself as Abbas' partner. I would hang around with Abbas, and also learn from him.

How much do you resemble the character of Jai Rathore, your character on screen?

Jai is flamboyant up to a certain amount which I am not. Being a reserved person it was quite a task to appear flamboyant on screen. Abbas suggested me to play Jai as though I was one drink down. He also convinced me to wear a sari and that was really funny.

Interview : Emraan Hashmi

2008-06-30T03:03:00.000-07:00

Emraan Hashmi has a penchant of treading the unconventional route. The roles he chooses or the film’s he does are very different from a typical hero’s take. He doesn’t mind taking risks and this is what sets him apart. Many call it arrogance, but he is not bothered as only he can make a film hit during the IPL season when the others faltered.

Excerpts from an Interview:

You did gamble isn’t it with Jannat releasing it during IPL?

But that was because I was confident about the film. Filmmaking itself is a gamble and there are lots of risks involved. The film was minimised by hit music, a topical issue and a modern-day love story. The timing to release the film was risky no doubt, but it paid off at last.

Your upcoming film is Raaz 2, what is your intuition about the film?

I’m as much confident about the success of the film as Jannat. It’ll be a spooky film and the audience will get a treat watching the horror stuff. The film has to live up to the original and expectations are sky high.

You are pricing yourself up in the market.

My price is nothing unreasonable and it wouldn’t burden the project. I come from a film family and have a running production company, I’ve knowledge about the trade.

But you’ve opted out of Bhatts film because of your price tag.

The actual reason that I did not do the film is because Bhattsahab is making films on the lines I’ve already done before. Murder was in essence a love triangle too with a murder thrown in. I prefer not to repeat myself.

Are you doing Kunal Deshmukh’s next?

It will be a bigger film than Jannat. The script is being processed at the moment.

Are you doing the Metro sequel?

I’d love to be a part pf the film. I’ve told Anurag Basu to approach me if he has a role for me. I’m ready to sign the film without reading the script and might also sign it for free. Also I’m working with Subhash Ghai and we’ve a three-film deal. Waiting for a good script to come through.

You are a loyalist of Vishesh Films?

It’s not that. I’ve worked with outside banners too and delivered hits. But with Vishesh Films, it’s not just a professional relationship. I’ll work with anybody who has a good offer.

Movie Review : 'Haal-e-Dil'

2008-06-26T21:43:00.000-07:00

Producer: Kumar Mangat
Director: Anil Devgan
Cast:Nakuul Mehta, Tanuja, Sanjay Mishra, Amita Pathak, Adhyayan Suman, Mukesh Tiwari
Music: Anand Raj Anand, Raghav Sachar, Vishal Bharadwaj

First thing first - the film lacks originality as several sequences are copied from the 1990s hit 'Dilwale Dulhania Le Jayenge'. From the rain song to the train scene, it reminds one of the Shah Rukh Khan and Kajol starrer.

Although producer Kumar Mangat made 'Haal-e-Dil' to launch his daughter Amita Pathak, it is TV star Shekhar Suman's son Adhyayan who takes the cream out of the cake in this badly handled love story.

It is also Adhyayan's debut film, but his performance is being appreciated because of his originality. Usually new actors imitate big stars in some or the other way, but Adhyayan seems to be himself throughout the narration.

As a cute chocolate-boy hero, Nakuul might woo the college-goers, especially the girls. Amita's performance is tolerable, but she fails to strike a chemistry with either of her co-stars.

The triangular love story revolves around Sanjana Sharma (Amita Pathak), Rohit (Adhyayan Suman) and Shekhar (Nakuul Mehta). Sanjana and Rohit study in the same college and are in love. Then Shekhar enters Sanjana's life. The two meet on a train and for Shekhar it is love at first sight. He starts following Sanjana and tries to woo her.

The script is weak and it drags. Despite the presence of Ajay Devgan, Kajol and Tanuja, the film fails to hold the viewers' attention.

One wonders why Kumar Mangat and Anil Devgan chose the two guys who look younger than Amita to play her love interest in the film?

Interview: Mika’s Singh

2008-06-25T21:55:00.000-07:00

Singer Mika is more popular for his infamous episode with Rakhi Sawant. However things have started looking positive for him, with Mika delivering hits with the Bollywood tracks. This Punjabu nasal singer is creating furore with hit tracks like ‘Aye Ganpat’ and ‘Mauja Hi Mauja’. After his successful stint with chartbusters, he now changes direction to star in a film. Wanna know more about Mika, read on!

Excerpts from an Interview:

Alike Himesh Reshammiya, it seems that the acting bug has also bitten you.

Films are happening and that’s good. I’ve already completed shooting for Loot. The sequel to Tom Dick and Harry is also on the floors. I’m doing Loot for Suniel Shetty as he is a close friend. When he asked me to do the film there was no question of giving a ‘no’ back. Tom Dick and Harry sequel happened quite interesting. I was supposed to render a track for the film. The director offered me a role and I accepted it.

Will that mean that music has taken a backstage in your career?

It’s not that. My top priority as the shows. Even top actors like Akshay Kumar, SRK, Saif Ali Khan do one or two films a year and concentrate on shows. I’m doing the same. For a role I’m offered Rs 30 lakh for for which I need to shoot for at least 20 days. I can make the same money through five shows, which means only five days of work!

You are all over the place with chartbusters and now your track Saawan mein lag gayi aag has got a second life with Woodstock Villa.

That’s great isn’t it? I remember eight years back, Sanjay Gupta called me wanting to use the song in his film. But he met with an accident and things went haywire. So, again when he made a move on that front, I was floored. He approached the company, bought the rights, made Anu Malek do the music and spent the same amount of money that went into making my whole album! Now, what stands out in the flick is my song. Even if it’s not meant to be, my songs end up becoming the title tracks.

Movie Review: 'Mere Baap Pehle Aap'

2008-06-18T20:28:00.000-07:00

Producer: Raman Maroo

Director: Priyadarshan

Cast: Akshaye Khanna, Paresh Rawal, Om Puri, Genelia D'souza, Shobhana

Music: Vidyasagar

At last a Priyadarshan comedy that warms the cockles of the heart even as it makes you cackle in glee.

'Mere Baap Pehle Aap' is a deftly-scripted piece of quirky and cryptic concoction on role reversal. And if you take away all the humbug and fringe characters, at the core of this cool comedy is a father-son relationship where the father is often caught behaving like a truant child.

Paresh Rawal's guilt-stricken expressions and Akshaye Khanna's finger-wagging exasperation are simply superb. Hats off to Manisha Korde's wildly witty words that colonize the characters' comic world.

Breathe easy. There are no risque or double-meaning jokes and no vulgar shots of women. Priyadarshan's film is clean and clever in parts and makes you forgive all the excesses of his recent films like 'Bhool Bhulaiya' and 'Malaamal Weekly' where the characters were constantly in a state of distress.

In 'Mere Baap...' we see some restraint and subtlety in the narration and the locales are exquisite and refreshing. Sabu Cyril's art work suggests an endearing link between our cultural heritage and the rituals of laughter. The Kerala sequences are adorably quaint.

Throughout the story of a father and son finding marital bliss at about the same time, we are caught in spaces that are filled but not overbrimming. Like his earlier films, Priyadarshan's people this time go from laughter to a social message with a virile fluency.

Does a middle-aged man have the right to seek a companion when he has a child of marriageable age?

Paresh is at the receiving end of social taboos. After wasting himself in not-so-good comedies in recent times, Paresh comes into his own here as the surly, child-like dad who keeps getting into embarrassing positions for no fault of his.

If Paresh sparkles, it's because he has a screen son who shines with immense confidence. Akshaye's comic timing and his little nuances and gestures bring forceful humour to a film that may otherwise have ended up looking a little limp and unmoored.

The rest of the cast, barring the brazenly over-pitched Genelia, give winsome comic performances. It's a surprise to see the beautiful Shobana show up as the spinster that widower Paresh wants to marry.

The wedding song and dances are almost exquisite. This touch of the quasi-classical, also seen in the closing interlude of 'Bhool Bhulaiya', gives the comedy a touch of refreshing grace.

Interestingly, Mohan Joshi, who's a regular in Priyadarshan films, gives a completely non-comic performance here. And Archana Puransingh, as a brassy lady cop, once again displays a penchant for parody.

Om Puri as a leery, ageing bachelor is appropriately grotesque. But one can't tell whether it's the character or the performance that makes one squirm.

The film works mainly because Paresh and Akshaye look so delightfully compatible as a father and son who have lived so closely together that they don't know which is which.

Another asset is Ranjit Barot's background music, which is surprisingly tender and strong in fits and starts.

Producer: Raman Maroo

Director: Priyadarshan

Cast: Akshaye Khanna, Paresh Rawal, Om Puri, Genelia D'souza, Shobhana

Music: Vidyasagar

At last a Priyadarshan comedy that warms the cockles of the heart even as it makes you cackle in glee.

Paresh Rawal's guilt-stricken expressions and Akshaye Khanna's finger-wagging exasperation are simply superb. Hats off to Manisha Korde's wildly witty words that colonize the characters' comic world.

Does a middle-aged man have the right to seek a companion when he has a child of marriageable age?

The wedding song and dances are almost exquisite. This touch of the quasi-classical, also seen in the closing interlude of 'Bhool Bhulaiya', gives the comedy a touch of refreshing grace.

Om Puri as a leery, ageing bachelor is appropriately grotesque. But one can't tell whether it's the character or the performance that makes one squirm.

The film works mainly because Paresh and Akshaye look so delightfully compatible as a father and son who have lived so closely together that they don't know which is which.

Another asset is Ranjit Barot's background music, which is surprisingly tender and strong in fits and starts.

Interview: Amita Pathak

2008-06-17T21:47:00.000-07:00

Amita Pathak wanted to be an actress from a very young age. Though her father producer father Kumar Mangat never took her aspirations seriously, she was determined about it. She had to wait for it, but her dream is turning true finally. Her first film, ‘Haal-e-Dil’ with newcomers Adhyayan Suman and Nakuul Mehta will arrive at the theatres soon. She talks about the film and more.

Excerpts from an Interview:

What is the film all about?

The story revolves around three people who tell each other their Haal-e-Dil. It’s about their first love and when they get it and they go ahead to prove it. My character in the film is called Sanjana and she is close to both these guys in her own way. But she loves them differently.

When did you decide that you have to do acting?

I was three years old when I watched Khilaaf, starring Madhuri Dixit and Mithun Chakraborty. Fans were going crazy over them, asking for autographs and pictures and I wanted to undergo the same experience. I tried acting in front of the mirror. My dad saw it and asked what was I doing and I told him that I wanted to act. He did not tale it much seriously at that time. After I turned 18 he understood that I was serious about my aspirations. He has been very supportive and got me scripts and read them to me.

What kind of preparations have you taken for your debut film?

I have done an acting course from Kishore Namit Kapoor Acting Academy. I have also attended a three-month acting workshop with Om Katare and worked on my dance moves with Shiamak Davar. I know Kathak, western dance, salsa and jive. I've assisted in a couple of movies, like Omkara.

With your dad producing this film, how was the experience?

It is not easy to get a breakthrough in the industry and there are many strugglers out there more capable then me. With my father around I consider myself fortunate. But like all other actors I auditioned for the film in front of all the writers and the director. This film wasn’t specially made for me. I wanted to debut in a romantic comedy. But I did not get script of that kind. I decided not to read any script for a while as I got frustrated. I was in Punjab and my das got Haal-e-dil. My dad told director Anil Devgan that I would be apt for the film. Anil uncle was not sure if I would be interested in the role. He hardly recognised me when I met him at the auditions.

Interview : Katrina Kaif

2008-06-15T22:24:00.000-07:00

Katrina Kaif is on the roll! She had a great start to the year with the superhit film ‘Race’. She had also joined the league of highest paid actress in the industry. Katrina has also been voted as the sexiest woman by a prominent men's magazine. Her tall and curvy structure with an angel like face definitely makes her the most attractive women of the industry. Certainly she is very happy with the good things happening in her life.

Excerpts from an Interview:

You have been voted as the sexiest women alive. How do you feel about it?

(pause) I feel any poll done by audience or public, is always flattering. If it's a magazine which goes overseas it's certainly significant. Tomorrow when I would be a grandma, in my 60s, it would be great to look back and read I was the sexiest woman once.

What’s your definition of being ‘sexy’?

I think it’s about the whole package. It is has more to do with the fans relating to the person. Someone who is not too intimidating or maybe someone who you are not embarrassed to walk around with.

Do you cherish being in this industry?

Certainly. My career was almost doomed when Kaizad Gustad's Boom flopped and I was planning to pack my bag and return. Now with a string of hits like RGV's Sarkar, Partner, Namastey London, Welcome and Race, I feel this is my second home. There were abundant roles which would begin with the word ‘s' and end at ‘y'. But I cautiously stayed away from such roles. I guess it has paid off well.

How do you manage to look good every time you are on screen?

There's a very thin line between being an attractive woman and overtly sexy. I had always kept my preferences intact. For me it's important to be attractive to the family audience. At the same time, it's crucial to have my young fans too.

What are your forthcoming films?

There will be four biggies releasing in the next 14 months. There is Vipul Shah's Singh is Kinng, Subhash Ghai's Yuvraj and an untitled from the Yashraj banner. There’s a Yash Raj film to be directed by Kabir Khan of Kabul Express fame

Interview : Paresh Rawal

2008-06-12T20:55:00.001-07:00

Paresh Rawal is among the best actors one can witness in recent times. He has excelled in the spheres of comedy, emotion, drama and what not. Also he has the fear of getting stereotyped and frequently keeps on experimenting with his roles. He has carved a niche as a comedy actor with films like Hera Pheri, Hulchul, Hungama, Malaamal Weekly and others with Priyadarshan. Once again he is set to work with the director in the new comedy flick ‘Mere Baap Pehle Aap’. In this film releasing this Friday he plays the baap in question while his son Akshaye Khanna, tries to marry him off. About the film and more, let’s find out from him.

Excerpts from an Interview:

The promos of Mere Baap Pehle Aap look interesting. We are eager to learn more about the film.

It is an out and out Priyadarshan film, a complete family entertainer. The film carries a nice story. The shooting was enjoyable as I got to work with Akshaye Khanna after a long time.

You and Priyadarshan seem to have become inseparables!

There is nothing such. He is a very good human being and that’s why I prefer to work with him. He is also successful. He can make films with newcomers. I’m an actor who wants to keep growing with every film. I feel a film is a team effort and one cannot just take away the whole credit. Good script, dialogues, direction, chemistry, everything is important. The audience becomes happy when someone makes them laugh, people feel nice to see me and they smile. That’s why comedy films are so popular. In that way you become popular.

We don’t see you doing much drama now. Why?

There is no category for me as such. My serious roles have earned me respect if comedy has fetched me popularity. I want both. I want commercial success as well as acclaim. Currently I’m doing more comedy because such films are being made. But alongside I also do Yun Hota Toh Kya Hota, remember that. I’m also open to play villain, like I played formerly. People offer me to play Sardar Patel because they know I’m a good actor. I love to work.

Interview : Akshaye Khanna

2008-06-11T22:08:00.000-07:00

Akshaye Khanna had a good start to the year with ‘Race’. He is once again geared to deliver another power-packed performance in his soon to be released ‘Mere Baap Pehle Aap’. This talented actor, although shy and reserves, opens his heart out when it comes to acting. And no wonder why the industry fellow swears up to his name. We had a quick chat with him about the film and more.

Excerpts from an Interview:

With Mere Baap Pehle Aap nearing release, how do you feel?

I’m feeling jitters and bit on the edge. But that’s a part pf business and Friday definitely gives us shivers. All associated with the film feel impatient and anxious to see audience reaction. Taare Zameen Par was a very good film and this one is also a genuinely feel-good film. I hope the audience will enjoy it.

How was it shooting with Paresh Rawal in the film?

In this film I’m playing his son. We genuinely like each other and get along very well. Our chemistry will reflect onscreen. We’ve done almost six films together and it has been an enjoyable experience throughout.

How is your equation with your dad? Did you take any real life instance for the film?

My father has always allowed us to live our life according to our will. But again he has never imposed anything on anybody. He is very much a ‘live and let live’ kind of a guy. We are like friends. In this film also, my relationship with my father is very open.

Do you take failure on your stride as well?

I don’t know how to deal when a film flops and neither do I know how to deal when one is successful either. For me success is more difficult to deal than failure. The bigger the success the more it is difficult to handle. How one deals with it speaks about the person. Success can corrupt you. Upbringing, maturity all plays a role how you deal with both success and failure.

Movie Review : 'Sarkar Raj'

2008-06-11T04:59:00.001-07:00

Producer: Pravin Nischol, Ram Gopal Varma
Director: Ram Gopal Varma
Cast: Amitabh Bachchan, Abhishek Bachchan, Aishwarya Rai Bachchan, Rajesh Shringhapure
Music: Bapi - Tutul

Dark, sinister, sinewy and rugged - 'Sarkar Raj' is Shakespeare on cocaine. Or the lacerated life of a Thackeray-like family with the concept of spatial harmony becoming meaningless because of the disembodied camera movements.

Ram Gopal Varma just doesn't let the characters be. In 'Sarkar', he observed, studied and pondered on the compelling contexts of political powerplay in the Nagare family.

Here he drags the uneasy relationship between patriarch Subhash Nagare (Amitabh Bachchan) and his son (Abhishek) into an arena of exacerbated emotions. You just can't get away from the noise.

Amar Mohile's background score doesn't help the cause. Every discernible space in the soundtrack is saturated with tempestuous sounds straight out of a B-grade horror movie.

In contrast, the three main characters maintain a poise and serenity that defiantly move in a direction opposed to the one Varma has chosen to take this time.

'Sarkar' was a film screaming silences. 'Sarkar Raj' can easily be rechristened 'Sarkar Rage'. Characters bark orders, scream grievances and rave about a socio-political system that fosters inequalities. This is an angry film about an angry young man and his uneasily-calm father who define and demonstrate power in different ways.

Varma cuts across the life and times of the Nagare family, slicing their emotions into messy portions of writhing anguish. The camera seems as restless as the characters, stopping only long enough to capture one of the three protagonists in evocative close-ups.

The Nagares seem determined to bring prosperity to Maharashtra by allowing an NRI entrepreneur (Aishwarya) and her ruthlessly acquisitive father (Victor Banerjee - who is wasted completely) to build a dam that threatens to destroy a cluster of villages.

The film's frames scream for attention and the plot is tense, tactile and non-derivative. The narrative displays a rugged grit, though not much grip. What it tragically lacks are those introspective moments that would have made these wounded, betrayed characters more dense and believable.

Don't blame the actors if the characters just don't connect with the plot - it's not their fault. Blame it on Varma's characteristic uneasiness with emotions. The women are either on silent mode or bumped off quickly. Or in Aishwarya's case, 'the only man in the cabinet'.

'Sarkar' and its sequel are essentially emotional father-son stories.

The emotions in 'Sarkar Raj' converge entirely on Aishwarya's divine face as she becomes the recipient and beacon of all the pent-up resentment, anger and misery that the Nagare family has nurtured.

Aishwarya weeps for the Nagares and for all those dynasties of the world whose heirs have been brutal casualties of power-play and politics. She weeps perhaps for the film's lost cause too.

'Sarkar Raj' could have been what Coppola's 'Godfather 2' was to 'The Godfather'. Instead, Varma shrouds the characters' grief and angst in a cryptic chaos.

What compounds the sense of claustrophobia is that every frame looks cramped.

In two hours of playing time there is not one light moment that one can recall. The two turning points in the plot - the vicious slaying of the characters played by Tanisha and Abhishek jolt us although the movie prepares us for anarchy from the first frame.

The actors do make some interludes very special. Amitabh's sequence with his dying son or the hesitant father-son embrace in the study just couldn't go wrong. They don't.

But you wonder what sort of a mind would script such abject tragedy for a man who lost his first son in 'Sarkar' and his only surviving son in the sequel.

Aishwarya, as the chic industrialist coming to grips with a soio-political order where corruption is a given, could well be seen trying to come to terms with a disembodied world of perverse politics and fragmented family values that Varma has built.

At the end we see Subhash Nagare's sighing wife (Surpriya Pathak) going towards the phone to call their grandson to join the family business - another sequel in the offing?

Interview : Neetu Chandra

2008-06-09T20:36:00.000-07:00

She came as one of the promising actors in the industry doing films like ‘Garam Masala’, ‘Traffic Signal’, ‘One Two Three’, and the likes. But now she is making her debut as an item girl in the forthcoming film ‘Summer 2007’ and vows that it’ll be a number worth a watch! It would be very special she says. According to her it would change the definition of item tracks as it arrives as the mother of all item numbers. Summer 2007 arrives on 13th June and before the film hits the theaters, Neetu's item song would be on the air.

Excerpts from an Interview:

We’re surprised that you’re doing an item track. Now that you’re doing it, tell us about it.

In Summer 2007 I have performed on this item number called 'Baali Main Sone Waali'. Now this is what I would call as a hardcore dance number. It is a number with a 'desi' feel to it and is in the same lines as that of Madhuri Dixit's 'Humko Aaj Kal Hai' from the film Sailaab. When I talk about 'Baali Main Sone Waali', I am talking about comparisons with the kind of item numbers that we see today. Now this one is truly different because it shows that how a song can be hot and sensuous even without any cleavage show.

But we haven’t seen you dancing much yet!

Somehow I have been unlucky when it comes to 'real dance'. But now with 'Baali', I see the ice breaking. I have waited long for this opportunity and now when it has finally come my way, I have given it my all to ensure that my dancing 'keeda' is satisfied.

Do you any training in dancing or this was just for fun sake?

See, I am a trained dancer and it was nothing short of being criminal on part of my filmmakers not to have utilized my dancing skills. (she jokes) However, producer Atul Pandey and directed Suhail Tatari thought that I would fit in well as an item girl for Summer 2007. Well, it's their gain!

What do you expect would be the audience reaction?

My producers have promised me that they would bombard the song all over to make a sudden impact. We all understand the power of the song. Now the ball is going to be in the audience's court, who I am sure would make a beeline for the song. Written by Vibha Singh, 'Baali Main Sone Waali' is sung by Sunidhi Chauhan and composed by Gourov Dasgupta of Dus Kahaniyaan fame.

Interview : Emraan Hashmi

2008-06-08T20:43:00.000-07:00

With the audience hooked to IPL, it was almost certain that Bollywood releases would get a miss. But Bhatt’s ‘Jannat’ fairing amidst this situation is a surprise. Emraan Hashmi, who has been lying low all this while, has made a great comeback with the success of the film. And like a wise man he has wasted no time in hiking his price from his regular 1.5 crores to 5 crores.

Excerpts from an Interview:

Posing Jannat against IPL. Weren’t you nervous about the film’s release at a hour when nothing has been working literally?

We were definitely notified not to mix Jannat with IPL when a big film like Tashan had failed. But I was very confident about Jannat and see we managed to get a phenomenal opening. A film stands on its own, and the promos helped. I was having a low phase in my career and I counted on Jannat. It would have been frustrating if the film had failed. Jannat was a do or die situation for me. If it wouldn’t have worked nothing else would have.

You’re joining the big league of actors charging such a fee.

For us equations change with every release, every Friday makes our fate. After a dull phase, the sun has now started shining for me. When only Akshay Kumar and the Khans can manage to woo the audience, I’ve managed to deliver a solo hit.

But your price hike is very significant, isn’t it?

I would say that my price has gone up but again not drastically. I’ve my justification to quote a high price. There has been celebration going in my home. The day Jannat released I bought a BMW, as I was certain about the success of the film.

At this point why did you back out from Warner Brothers film?

I backed out of the project as serious negotiation was on. The only thing remaining to be done was I signing the contract. But they were waiting to see how Jannat would fare. The situation is in my favour now and I’m in a negotiable position now. I’m not ready to sign a film in my old price. It’s my turn to act pricey.

You’re a regular with the Bhatts. What kind of professional relationship you share with them?

Though we are relatives, we share a professional relationship first. But its not that I sign each and every film they offer me. I sign the film only when I’m convinced about it. I don’t accept every film as I’m choosy and I’m even choosier now. A film stands on its own, no matter who makes it. My price rise will be applicable for everyone. I haven’t spoken to them yet, but they are fair when it comes to such matters. I do get offers outside the Bhatt camp and after Jannat, I’m getting better films to do. I would say this is the best time of my career.

Interview : Abhishek Bachchan

2008-06-06T21:27:00.000-07:00

Abhishek Bachchan will once again reprise in the role of Shankar Nagre, in the sequel ‘Sarkar Raj’. This Ram Gopal Verma film is making to the theatres today. Also this happens to be the first film of the Bachchan couple, Abhishek and Aishwarya after marriage. About the film and more, let’s find out from Abhsihek in this exclusive interview with him.

Excerpts from an interview:

The promos of the film imply that you’re rendering a serious and sombre character.

Yes my character requires me to be intense, calculating as it is an intense film. The film reels with strong characters and some crucial decisions.

How was it shooting for the sequel of the film?

It’s truly a great opportunity for me to work again with RGV, dad, Aishwarya and the entire crew of the film. Once again rendering Nagre family made me nostalgic. It is a film that makes me proud doing.

As the shooting of the film started soon after your marriage, was Aishwarya nervous during the shoot?

Though it is the first film after marriage, we’ve done many films together and were very comfortable on the sets. It was being the family, chatting and eating together. But in front of the camera Ash became Anita Ranjan and I became Shankar Nagre. She is a wonderful, forthcoming and extremely helpful colleague and it is a delight working for her.

With three Bachchans holding the centre stage at this moment, how do you feel?

All of us have worked very hard in the film and have put on our honest and sincere effort. Sarkar Raj is very entertaining and I hope people will appreciate our work in the film. On the set everybody was an actor. After the wrap is called, we get back to being family. The best part was that we got a lot of quality time together.

When other actors in the industry are jumping into fitness regime, what are you doing?

When everyone gets six-packs, I will be the only one who doesn't have it and it will make me unique. Honestly, I am happy with my one-pack and would like to keep it as long as possible.

Movie: 'Dhoom Dadakka'

2008-06-04T21:26:00.000-07:00

Producer: Shashi Ranjan

Director: Shashi Ranjan

Cast: Sammir Dattani, Shama Sikandar, Shaad Randhawa, Arati Chabria, Anupam Kher, Satish Kaushik, Gulshan Grover

Music: Roop Kumar Rathod

Everyone uniformly hams through this painful piece of cinematic travesty. There is so much screaming and ranting across the length and breadth of this outrageous ode to idiocy that you wonder if the producer-director Shashi Ranjan intended to provide earplugs for all those brave hearts who would sit to the end of this haphazard comedy of terrors.

No earplugs, what we get are shrill banshee ring-tones of risque ragas sung at an ear-splitting pitch, and phallic jokes.

Comedies can't get any baser or brainless than 'Dhoom Dadakka'. The gags make you gag. The items and innuendoes are embarrassing not because they try hard to be vulgar, but because they fail miserably to be sexy.

Vulgarity in this comedy of disembodied context depends completely on how many of the characters are crammed in one line of vision in every scene. They all stand making faces and gesticulating as though trying to attract the lifeguard's attention from a sinking boat.

The double meanings flow is in abundance mostly from the moist painted trembling lips of Deepshikha, who keeps referring to the size of 'big' things every time she spots a male member of the cast in her vicinity.

Before you fall of your creaky bed in comic splendour, let's move on to the main 'coarse' in this pickled over-spiced platter in a hotel that's probably named Romp Teri Giggle Maili.

The two guys, Sammir and Shaad grimace and giggle, roll their eyes and suck in their cheeks to indicate lies buried too deep for jeers. Add two girls - Aarti Chabria and Shama Sikandar trying so hard to be glamorous it's pathetic.

The characterisations take the cult of one-upmanship down to the level of a 'nukkad nautanki', what with every actor getting lost in the confusion of their mistaken identities.

Eventually, the confusions that dominate the plot overpower every sense of aesthetic decency. In the end game where the entire cast runs around an amusement part looking for amusement, the two heroes get into drag to tease laughter out of an audience that's long since ceased to be entertained or amused.

In one chase sequence Shaad pees copiously on a street of Bangkok. You get jailed for dirtying the streets of Bangkok. Alas, there are no laws for desecrating the rules of aesthetics in cinema.

Movie Review : 'Jaane Tu Ya Jaane Na'

2008-06-03T21:25:00.001-07:00

Producer: Aamir Khan
Director: Abbas Tyrewala
Cast: Imran Khan, Genelia D'Souza, Karan Makhija, Alishka Varde, Pratiek Babbar, Ratna Pathak, Manjari Fadnis, Ayaz Khan, Sugandha
Music: A.R. Rahman
Singers: A.R. Rahman, Rashid Ali, Vasundhara Das, Benny Dayal, Satish Chakravarthy, Sukhwinder Singh, Naresh Iyer, Swetha Bhargave and Darshana

"Jaane Tu...Ya Jaane Na" is the launch pad of Aamir Khan's nephew Imraan and to play it safe, Aamir has roped in A.R. Rahman for the music. Set against a campus backdrop, the film's music gives us an insight into the other side of the composer.

Newcomer Rashid Ali can thank Rahman for a great debut as he croons to "Kabhi kabhi aditi", a romantic fun piece. The track doesn't sound much like a Rahman composition, but is nevertheless an enjoyable song as Rashid's vocals gives it a youthful touch. Lyricist Abbas Tyrewala ensures sure his lyrics don't disappoint either.

"Jaane tu mera kya hai" helps the album pick up once again. This track has a repeat value and can pull anyone into its sombre mood. Sung by Runa Rizvi and written by Abbas, the sad and emotional number revolves around the female protagonist and will definitely find a place among listeners.

Sukhwinder Singh renders the second version of the track that revolves around the male protagonist. In spite of being a regular with these kind of songs, he doesn't sound repetitive. Lyrics are touchy and poetic, courtesy Abbas.

The long list of newcomers that forms part of the album finally gives way to the composer himself. Rahman croons another very-unlike-himself track, "Tu Bole Main Boloon", yet the song doesn't upset. It belongs to the genre of jazz with saxophones, violins and pianos thrown in. It carries with it a very contemporary, western feel.

Rahman dives into Indi-pop next for "Kahin to". Listeners get a breather in the form of Vasundhara Das, whose brilliant voice is being heard after a long gap. A slow paced number, the song also has Rashid's voice and encompasses the ingredients of a slow-moving, romantic track. However, Abbas's lyrics are not so impressive.

Rahman's attempt at experimenting with new and different sounds for the album may not have resulted in chartbuster hits, but the attempt is worth hearing. Like Naresh Iyer in "Rang De Basanti", the surprise package of this album is Rashid.

Interview: Kareena Kapoor

2008-06-02T21:15:00.000-07:00

It’s Kareena Kapoor who is stealing the attention at the moment. There are lots of new things happening for her - zero size figure, arm candy boyfriend Saif Ali Khan and many news about her is making the media frenzy. One of the top list heroines, in terms of popularity, remuneration and glamour, Kareena’s name can sell a film. She is currently in Melbourne speaking to us.

Excerpts from an Interview:

You’ve in Melbourne for pretty sometime now.

Yes it has been 25 days already and I won’t be back to Bombay until August. From here I’ll go to IIFA at Bangkok where I’ll be performing. I’ve been invited there as I’ve suggestion for Jab We Met and I’m getting a good amount to perform there. I've been to all the award functions and I didn’t want to miss out on IIFA.

You along with the Bachchcans at the IIFA, that’s news?

I’m a professional. It’s a different thing altogether that we don’t want to work with each other.

Your zero size figures are garnering lots of attention.

I’ve also been hearing that it's zero-point-five centimeter and all that stuff. I have no idea why my figure is becoming a national issue. Even my weight issues are being monitored, phew! For Tashan I lost six kilos. So the weight loss was obvious. I attained it through yoga. But now I’ve gained some weight. I'm into Thai food, desserts, Chinese; I'm not dieting any more. I'm eating and exercising, I'm a healthy Kapoor.

But you become anorexic.

I've never been anorexic. These are just stories about me. I’m not the kind to faint on sets.

How is the relationship between you and Saif going?

We’re madly in love. We are trying to spend as much time together. At the moment I’m doing five films and he believes in doing one at a time. Marriage is in cards but not before three years. Mum and Saif are in touch through SMS and they get along very well. His parents are also okay with the relationship, we’ve had meals together.

How have you taken Tashan?

I’ve liked my bikini shot and Akshay Kumar. Tashan is particular because I met Saif there.

Interview : Rani Mukherjee

2008-06-01T22:32:00.000-07:00

Bollywood queen Rani Mukherjee stood up to her name sometime back. But with a series of flops in her past releases, Rani soon slipped down. Her last three film released in 2007 has not met with success. Now the actress is desperately wanting a hit. And what better, she can cash on than some magic at the box-office with her forthcoming film 'Thoda Pyar Thoda Magic'. Produced under Yash Raj banner jointly with Kunal Kohli, Rani will be seen playing an angel in the film. In this interview lets's find out about the film and more from her.

Excerpts from an Interview:

Thoda Pyar Thoda Magic is a sweet name. Tell us do you believe in angels and magic?

I do believe in god, angels and good soul. Also I believe that everyone has a guardian angel.

You were enjoying a good time in your career. But your 2007 releases brought a halt to it. Comments.

Certainly last year was not good for me as far as my career was concerned. Though I had some cruial releases they did not meet with good fate at the box office. Thoda Pyar Thoda Magic is my first release of 2008. It's a nice and sweet film. I get an opportunity to work with Yash Raj banner again. With Kunal Kohli and Saif Ali Khan my association continues.

Do you blame the media for giving too much focus on your private life?

There were too many rumours doing the rounds in the media about my relationship and marriage. But I prefer not to speak about them. I'll speak to the media only about my professional life not private.

What are your expectations from Thoda Pyar Thoda Magic?

Let's wait until the film's release and see if the film is able to create magic at the box office. (smiles)

Interview : Rimi Sen

2008-05-30T21:08:00.000-07:00

Rimi Sen has been trying to make a mark and finally did manage to leave a mark with 'Johnny Gaddaar'. She is gearing up for another remarkable film of her career where she would be seen playing her first double role. She has bagged a double role in Rakesh Sarang's 'Horn Ok Pleassss'. More about it lets find it from her.

Excerpts from an Interview:

Would you please tell us about your character in Horn Ok Pleassss?

For the first time in my career I'll be seen playing a double role in the film. There are two actors in the film Nana Patekar and Muzammil and I'm paired opposite both of them. More or less the characters are quite similar.

Doing double role is not easy. How was your experience?

The only problem I faced in doing the role was different bodylanguage of both the characters. Other than that there was not much difficulty involved as both the characters are very much alike.

What was it that made you accept the film?

I would say it is the story as it is very interesting and different. There was no question of saying no to Rakeshji as I loved the script.

How did you accept your roles in the initial stage of your career?

Earlier I did not give much importance to roles. I only used to see the banner, who is the hero and the director. Because at that time I thought I won't get recognized if I do experimental films. So I looked for big banners with good star cast. But now I'm tired of doing guest appearance roles. I'm interested to work in thriller kinds of films as they have stories.But I have not got such offers yet.

Interview : Priyanka Chopra

2008-05-29T20:59:00.000-07:00

Priyanka Chopra was out of scene in 2007 and we definitely missed her a lot. Though one expected to see more of her after Krrish and Don, she was missing from the limelight.But she is going to make up for that and more with releases flooding in 2008. Her futuristic 'Love Story 2050' is what holds our attention at the moment with 'good friend' Harman Baweja followed by more half a dozen films lined up.

Excerpts from an Interview:

You've out of scene for quite sometime. What were you doing all this while?

I was very busy shooting for films. I was shooting back to back and finished two mega films. I have completed Love Story 2050 and Drona which will release shortly.

Love Story 2050 looks like something different from what we've encountered so far. Tell us about it.

You are correct in judging that it is a different kind of film. It's first of its kind. This is the first Indian sci-fi film. The effect is one to see from the quality of production, the visual effects and everything.

How was the experience doing the film?

I'm playing double character in the film but was comfortable with the storyline and knew what I had to do well. It was challenging and fun filled as well. It was no trouble switching from one chracter to the other but I hated dyeing my hair red. (laughs) But it was rewarding. There were things involved like you're flying or looking at the sky though you are not and so conceptualising it was not easy. The technology in Love Story 2050 is amazing and I'm floored by the outcome.

What are your other releases?

There's Dostana, Chamku, God Tussi Great Ho, Drona. After Love Story 2050 the next release will be Vijeyata Films' home production Chamku with Bobby Deol. It's a sweet film. There is also Drona which is a fantasy film based of today's time. Then there arrives Fashion, which again has lots of expectations. It is the story of a model, her rise, her fall, her victory, her failures.

Interview: Soha getting bold and beautiful

2008-05-27T21:15:00.001-07:00

You’ve seen cutesy lass Soha Ali Khan in conservative and innocent avatars till now. But with her new oomph pose for a fashion magazine she has truly become the talk of the town. Soha has created quite a stir with her take. We take a look as what is in Soha’s mind about the whole take.

What is your family’s reaction?

We haven’t spoken about it. I would never have any in-depth discussion with him about the matter. He has already seen the photographs. Thanks to the media, everyone has seen the photographs by now.

Excerts from an Interview:

Is your take of this avatar change motivated towards your image makeover?

There is no conscious intention of any image makeover. I’m not trying to get a readymade route to success. The photographer was very nice and made me comfortable during the shooting process. I didn’t feel awkward wearing the outfits I’d spent hours choosing.

My mother is a sensible and progressive lady. I got compliments from her and she said I looked good.

Would you like to say what Saif Ali Khan had to say about it?

I’ve not discussed the subject with him either.

There is rumor that you’re going to tie the knot with southern superstar Siddharth by the end of this year. Comment.

I would not like to say anything about it. For me, the only important relationship is marriage and since I am not married yet there is nothing to talk about.

Turning to films, what are you doing nowadays?

My work is keeping me busy. I’m doing Dhoondte Reh Jaaoge opposite Kunal Kemmu and Mumbai Meri Jaan where I’ll be seen as a news reporter.

Hrithik Roshan

2008-05-26T21:16:00.000-07:00

One hasn’t seen much of Hrithik Roshan after Ashutosh Gowariker’s ‘Jodhaa-Akbar’. However his fans needn’t disappoint, as the actor is now all set to bounce back to the big screens with his next home production attempt ‘Kites’, to be directed by Anurag Basu. As Hrithik Roshan gears up for the shooting of his new film, to commence on this July, we catch up with him and find out more about his life and newly blessed papa-hood.

Excerpts from the Interview:

We haven’t seen much of you lately. Where have you been?

Well, I was a bit engaged with my personal commitments, as my second child was due in May. So I chose to spend some time with my family rather than making public appearances.

So how does it feel being a dad all over again for one new time?

Oh, it’s just amazing. Today I can’t just imagine my life without my family and two sons. They are absolutely dear to me.

What do you have to say about this on going blogging rage that has stirred up quite a many heated controversies of late?

Well, I wouldn’t like to comment much on this. But as for me, I speak only when I feel the need to communicate something. But I simply can’t go around talking just for the heck of it.

How do you deal with your brand name now that you are the ambassador of the Mumbai IPL team?

That’s pure hogwash. I have just no clue from where does this kind of news stem up. If the script warrants any such scene, why would I or anybody else have any issue, for that matter.

Aadesh Shrivastava’s Large Responsibility!

2008-05-26T05:13:00.000-07:00

The rocking winner of ‘Hanuman Chalisa’ has its musician, Aadesh Shrivastava on moon. And now, this smart musician is all set to collaborate with none other Amitabh Bachchan himself, for his most ambitious musical getaway, apparently a musical rendition of ‘Bhagavad Gita’ penned down by Amitabh Bachchan’s father, the late poet Shri Harivanshrai Bachchan.

Discussing this musical venture, Amitabh Bachchan said, “Aadesh Shrivastava and I will now be collaborating over a new interpretation of the ‘Bhagavat Geeta’. It’s one of my father’s unknown and unacknowledged masterpieces, of immense literary and religious value. We’ll be doing a musical version of my father’s ‘Bhagavat Gita’, which he had translated into the language and meter of the ‘Ramayan’. In this, the centenary year of my father’s existence I can think of no better tribute.”

Aadesh who on the other hand is excited as well as nervous says, “It’s one thing for me to collaborate with Bachchan Saab who’s like an elder brother. We’ve done every kind of song from love ballads to hip-hop to bhangra to Bhajans. But now we’re talking about his distinguished father. And that makes my responsibility increase several times.”

Movie: 'Shaurya'

2008-05-22T21:33:00.000-07:00

Producer: Moser Baer India

Director: Samar Khan

Cast: Rahul Bose, Minissha Lamba, Kay Kay Menon, Rozza Catalano, Javed Jaffrey, Seema Biswas, Deepak Dobriyal,

Amrita Rao

Music: Surendra Sodhi, Adnan Sami

Singers: Adnan Sami, Sunidhi Chauhan, Udit Narayan, Abhijeet, Shah Rukh Khan, Kunal Ganjawala

Adnan Sami, who would rather be referred to as a singer than a composer, is back to making music for 'Shaurya' and presents six tracks for the film. While the track is nowhere close to being a sensation, the efforts put into the album are noticeable.

Another thing that stands out is that lyricists Javed Akhtar and Jaydeep Sarkar have done a much better job than the composer.

'Dheere dheere' is a slow, serene and romantic number. Adnan Sami croons this sentimental love track with Sunidhi Chauhan and both have done a pretty good job. The track is well thought out, but lacks retaining quality.

'Dosti kya hai' comes next with a slight resemblance to the previous number. But the renditions turn out to be definitely different as Udit Narayan and Abhijeet tune in next. At a time when new talents are thronging the music industry, Udit and Abhijeet fail to sound fresh. The lyricist sticks to the theme though and comes out with some good lines.

The title track, 'Shaurya', comes next. The track is a theme number that talks about bravery of all sorts. Although it comes as a relief after the previous two tracks, yet this number is likely to fade out as well and it won't be able to hold the audience's interest for too long.

A lyrical beauty is what 'Shaurya' could be called. The lyricist has done a superb job and his innovativeness is worth mentioning. What comes as a surprise is Shah Rukh Khan who delivers the lines in an inspiring way. 'Shaurya kya hai' could be adjudged the winner of the lot.

Sami has been unable to cut an out and out chartbuster album in the recent past and this trend continues with 'Shaurya'. The album will be remembered for noteworthy songs like 'Shaurya Kya Hai' and 'Dheere Dheere', giving the composer some relief.

Movie: ‘Cycle’

2008-05-21T21:34:00.000-07:00

Producer: Sunny Kuruvila, T N Thilakan, Viswanathan

Director: Johny Antony

Cast: Vineeth Sreenivasan, Vinu Mohan, Sandhya, Bhama

Music: Mejo Joseph

“Cycle” is scriptwriter James Albert’s second film. He shot to fame with his first film “Classmates”. The film is directed by Johny Antony, who has made slapstick comedies “CID Moosa”, “Thuruppu Gulan” and “Inspector Garud”.

The film is distinct as far as the oeuvre of Antony is concerned. “Cycle” is an intriguing and suspenseful film laced with humour and youthful energy.

“Cycle” is also important for its casting as it marks the debut of Vineeth Sreenivasan, son of veteran actor Sreenivasan. Vineeth has already established himself as a playback singer.

The film’s story may appear very old, but it is told in such a way that it connects with Gen Next. Credit should go to Albert, who has taken a tale from the duo Siddique-Lal era of mimicry and placed it in the current scenario.

This is a rarity considering that filmmakers still seek to emulate the 1980s, as if the key to success is just a replication of the decade-old formulas.

The tale is about two friends, Roy (Vineeth) and Sanju, played by Vinu Mohan of “Naivedhyam” fame, struggling to make both ends meet with their low salaries, working respectively as a cashier in a private finance company and as a salesman in an electronics goods shop.

Vineeth does his best to be like his father. His mannerism and dialogue delivery are the same as his father’s. Vinu Mohan handles a sober role deftly.

The music by Mejo Joseph, who was first noticed in “Notebook”, is entertaining if not enchanting.

It is surprising that Antony can handle such stuff after being tagged as a slapstick comedy maker, but credit should go to scriptwriter Albert who delivered a sound script.

Movie : 'Mussanje Maathu'

2008-05-20T21:51:00.000-07:00

Producer: Suresh Kumar Jain

Director: Mahesh

Cast: Sudeep, Ramya, Ramesh Bhat, Sumithra, Mandya Ramesh, Anu Prabhakar

Music: V Sridhar

Good performances by lead actors Sudeep and Ramya, debutant director Mahesh's deft handling of an offbeat subject and melodious music by first-time music director Sridhar take 'Mussanje Maathu' to great heights.

While Sudeep and Ramya outshine each other with strong performances, director Mahesh ensures that the film is a touching drama with a high degree of sensitivity and emotions.

On one of his shows, Pradeep interacts with Tanu, an emotionally-disturbed girl. She changes her attitude in life on Pradeep's advice and the two become good friends and later fall in love. The gripping climax scene is the highlight of the film.

The songs are catchy and the melodious tunes of 'Ninna Nodalentho', 'Enaagalee Mundhe' 'Saagu Nee' and 'Kaddalu Manasanna' will linger in the minds of listeners. Sridhar has not only composed good music, but also written excellent lyrics for the song 'Enaagalee'.

Veteran cinematographer Sundaranath Suvarna and editor Seenu have done good work too.

Sudeep's body language, looks and new hair-do fit the radio jockey's role well. And this can be termed one of Ramya's best performances.

Movie Name : 'Bhram'

2008-05-20T03:14:00.000-07:00

Producer: Nari Hira

Director: Pawan Kaul

Cast: Simone Singh, Chetan Hansraj, Dino Morea, Milind Soman, Sheetal Menon

Music: Siddharth-Suhas, Pritam Chakraborty

Singers: KK, Sonu Nigam, Richa Sharma, Shaan, Siddharth Suhas, Earl D'Souza, Suraj Jagan, Sunaina, Khushboo Jain

The fate of Dino Morea-Sheetal Menon starrer 'Bhram' will be decided when it hits the marquee next month. However, the verdict on its music is clear - the six tracks presented by composer duo Siddharth-Suhas and Pritam Chakraborty will have a very short shelf life.

A title like 'I am a bad boy' isn't expected to do well. But it ends up taking you by surprise as, even though it doesn't fall into the category of a chartbuster, it is pretty much a neat deal. Very youthful and fresh, the track has been rendered by a bunch of singers, including Earl D'Souza, Suraj Jagan, Sunaina and Khushboo Jain.

If featured in a different album, 'Jaane kyun tanha ho gaye' might have been considered to be a lukewarm affair. But being a part of 'Bhram' makes it a likeable track.

Pritam sticks to his winning genre of soft rock in this number that has been sung by Sonu Nigam. The track, written by Irshaad and Kumar, is enjoyable but could have had a longer life span if more effort had been put into it.

Unlike the previous track, 'Lagdaa naa lagdaa' boasts of good rendition courtesy KK, but the composition is moderate. Rock forms a base here as well, but the audience wouldn't appreciate it much as something is missing in the song. The only thing that might get it kicking is the fact that it rounds off as a dance piece.

The composers round up the album with 'Teri ankhiyon ki narmi', which has been rendered by Siddharth Suhas himself. With a major western influence, the track is racy with lots of beats thrown in.

The lyricists drop in quite a few English lyrics as well to keep up with the western sound in the track. An enjoyable piece that could get the masses dancing, 'Teri...' is an energetic number.

Movie: 'Jnanajyothi Siddaganga'

2008-05-16T21:19:00.000-07:00

Producer: Mahantappa

Director: Omkaar

Cast: Tara, Shivadhwaj, Doddanna, J.K. Srinivasa Murthy, Suchindra Prasad

Music: Yuvaraj

'Jnanajyothi Siddaganga', a film on the life and times of Karnataka's best known living pontiff Sri Sri Shivakumara Swami of Siddaganga Mutt in Tumkur, situated some 70 km west of Bangalore, strikes a slightly different chord than the run-of-the-mill stuff.

In recent times, since most Kannada films have been centred on violence and youthful mushy romances, this film is like a breath of fresh air.

Made with a historical perspective and focussed on the authenticity and details, the film traces the history and traditions of the seven hundred year old monastery of the same name.

Made rather as a eulogy, there are moments in the film that sometimes jar one's sensibilities despite being egged on by Yuvaraj's melodious music.

The hillocks of Tumkur forming the backdrop, the period movie's plus points are the rich, pleasing ambience, eye-catching costumes complete to the last stitch - that merge with the time-span of the saint and realistic props, for which art director Hosamane Murthy deserves a pat on the back.

Cameraman P.K.H. Doss has used the locales like a well-used palette, painting pleasing visuals of the landscape that express considerable technical competence.

Obviously, Omkaar, who has also penned the dialogues, has done sustained research that is evident in the words woven into the captivating moods of the Matt's endeavour to spread the message of love.

Movie: 'Bhootnath'

2008-05-15T21:28:00.000-07:00

Producer: Ravi Chopra

Director: Vivek Sharma

Cast: Amitabh Bachchan, Aman Siddiqui, Juhi Chawla, Priyanshu Chatterjee, Rajpal Yadav, Satish Shah

Music: Salim Merchant, Vishal Dadlani, Shekhar Ravjiani

'Bhootnath' is that rare film set in Goa where you don't see a single bikini-clad woman. The songs are colourful, but they are done with the devilish delight of a rock concert rather than the calculated manoeuvres of choreographic manipulation.

Indeed, debutant director Vivek Sharma harks back to an artless innocence to tell the tale of a benign ghost who comes to life.

The film's most delectable aspect is the rapport that grows between the ghost (Amitabh Bachchan) and the fearless little boy (Aman Siddiqui) who comes to live in the dead man's mansion, takes on the ghost and even gets the better of him. Both Bachchan and the boy have a ball. So do we, in portions.

The film's best scenes feature the Big B with the incredibly confident and polished Aman. The pair just takes over the screen and makes you forget the narrative's all-too-apparent flaws.

There are plot-holes large enough to make 'Bhootnath' an uneasy bumpy ride. But Amitabh and Aman make you smile as they frolic, sing, banter and deliver some really heartwarming homilies on the quality of existence.

Of late, the Big B has been repeatedly seen in interactive situations with little kids. After Ayesha Kapoor in 'Black', Rucha Vaidya in 'Ek Ajnabee' and Sweeni Khare in 'Cheeni Kum', he brings a sense of cross-generation harmony with another acutely cute and young co-star.

While the kids in the other three films were traumatized to one degree or another, Aman plays a normal, bratty but sensitive kid, yet another addition to the growing brood of brilliant child actors in Bollywood after Darsheel Safary in 'Taare Zameen Par'.

The director lets the child be. He imposes no adult perceptions on him. The narration consequently carries an air of old-world naivete to the end. There are no breaks for romantic songs, item numbers and other modern day quirks and compromises.

'Bhootnath' glides forward with the unconscious skill of a little boat in a tranquil lake, which knows where it wants to go without creating any stress within the pace of the grace.

And what would Bhootnath be without the Big B, sportingly sharing lines, visuals, songs and drama with a child who gives him tit for tat, and more?

The rapport between the wandering spirit and the spirited kid could have fallen apart were it not for the cool camaraderie between them. While one is unschooled in acting therefore totally spontaneous, the other is so skilled and schooled that he readily redefines what is cool.

The duo apart, the other characters are largely sketchy. Rajpal Yadav with shoe-polish on his face plays one of the stereotypical Goan drunkards.

Juhi Chawla as the flustered mom is sweet and angelic. But she is unable to add anything to the drama beyond a point.

Interestingly, Shah Rukh Khan in a guest appearance clearly tries to improvise on the badly written dialogues mainly in scenes where he pokes fun at his wife's cooking.

Or maybe he doesn't. Sometimes the motivations underlying spontaneity can be the very opposite of fear.

'Bhootnath' tells us ghosts are not scary, they can be fun. At the end of the blithe film we believe the director even if we don't belive in ghosts at all.

Movie: 'Jimmy'

2008-05-14T21:25:00.000-07:00

Producer: Salman Malik, Nawman Malik

Director: Raj N. Sippy

Cast: Mimoh Chakraborty, Pooja Singh, Zulfi Syed, Ashish Vidyarthi, Ehsaan Khan, Rati Agnihotri, Rahul Dev, Shakti Kapoor, Vineeta Thakur, Adi Irani, Vikas Anand, Gargi Patel, Vivana, Vikaas Kalantri

Music: Anand Raj Anand, Bappa Lahiri

'Do you think I'm a rejected man?' - the villain asks repeatedly after his true intentions are exposed at the end of this tediously assembled pastiche of bad and ugly.

Don't know about the poor battered psycho who contorts his face like his pants were just bitten off by a colony of ants. But this film sure looks like a collage of rejected footage from a series of canned films that filmmakers made and forgot to go back to.

The characters don't talk in 'Jimmy', they scream dialogues and matching their screechy decibel of dialogue is the sound of cars skidding, screeching and groaning in and out of the frames.

'Jimmy' takes us into the kingdom of the dangerously damned. And none as damned as the audience, which sits to the end to watch Mithun Chakraborty's son Mimoh dance on glass, in a manner of slipping.

Mimoh doesn't dance; he glides! He doesn't moonwalk, he trapezes through a field of corrupted corn planted by a screenwriter whose mind seems to have stopped working two decades ago.

Director Raj N. Sippy made some engaging wannabe Hollywood flicks in the 1970s and 80s, all cleverly adapted from American films, but never slipshod.

Ironically, 'Jimmy' rips off Hindi films from the 1970s including Mithun's gyratory Jimmy-hijinks like 'Disco Dancer' and the Amitabh Bachchan starrer 'Majboor'.

All in vain. The plot is propelled by gallery of grotesque caricatures.

This is cinema at its worst. Gimmicky and overblown with no hope for escape because you want to watch Mithun's boy trying to make his way out of this film with no exits.

Only Rahul Dev seems to be blessed with a twist of sobriety in the film.

'Mr. White Mr. Black'

2008-05-07T23:54:00.000-07:00

Producer: Deepak Shivdasani, Bhola Malviya
Director: Deepak Shivdasani
Cast: Suniel Shetty, Arshad Warsi, Sandhya Mridul, Upasna Singh, Vrajesh Hirjee, Tania Zaetta, Mahima Mehta, Bobby Darling
Music: Jatin - Lalit, Tauseef Akhtar

Even a diehard movie buff will find watching 'Mr. White Mr. Black' an ordeal akin to a visit to the dentist.

Suniel Shetty as the boor from Hoshiarpur chasing Arshad Warsi all over Goa to bring him back to the village for a piece of land, and safeguarding a spoilt heiress from debauchery is obviously inspired by Akshay Kumar in 'Sabse Bada Khiladi'. Shetty does the innocent act with a warmth and compassion that this project doesn't deserve.

The first half does have a few funny moments like Shetty's dhoti being pulled off by a dog and a roguish Warsi hoodwinking an innocent Goan girl (newcomer Rashmi Nigam) into believing his double is doing all the mischief.

The second half is based entirely on a series of improvised gags with the Warsi-Shetty duo trying hard to breathe life into a dead script.

Once director Shivdasani takes the characters to Goa, he seems to have gone on a holiday, taking with him the scriptwriter as well. What we are left with is an amateurish clumsy parade of skits masquerading as spurts of satire.

Acute exasperation is all this wannabe-funny film gets out of us. Arguably 'Mr. White Mr. Black' is the worst comedy to have come out of Mumbai's dream factory in recent times.

It's not the quality of performances - Shetty and Warsi are good. It isn't even the fault of the production values - Thomas Xavier's cinematography gets you going on a sight-seeing spree in Goa.

'Mr. White Mr. Black' has hugely gifted comic actor Jameel Khan, who was a laugh riot as a music-contest organiser in Manish Acharya's 'Loins Of Punjab Presents'. But here Jameel is reduced to a non-funny non-entity. While everyone else is trying hard to be comic, the film's biggest comic talent stands apart.

One Two 3

2008-05-01T00:17:00.000-07:00

Producer: Kumar Mangat, Sunil Lulla

Director: Ashwani Dheer

Cast: Sunil Shetty, Tusshar Kapoor, Paresh Rawal, Upen Patel, Esha Deol, Sameera Reddy, Tanisha Mukherjee, Neetu Chandra,

Sharat Saxena, Manoj Pahwa, Vrajesh Hirjee, Murli Sharma, Sanjay Mishra, Atul Mathur

Music: Raghav Sachar

This guy comes into the comedy quite early to serve Sameera Reddy, a car showroom owner, a notice. He smiles and delivers his murderous missive, turns around, frowns and vanishes.

The thing about Ashwini Dheer's flaky but funny farce is that it has accomplished comic actors in the smallest of parts. Watch out for the seasoned Marathi actress who plays Tusshar's mother. All she wishes for her son is that he excels in his work, namely killing people.

She sends him off on his first contract-killing mission in Pondicherry (where most of the knock-kneed, but never hackneyed action unfolds). Tusshar ends up at the doorstep of the wrong person - a loud Tamilian scrambled-brained lingerie designer. Esha Deol is cute and loud as the designer.

Lingerie, or 'kachcha-banyan', as Paresh Rawal insists on calling them plays a big part in covering up the broadly exposed bases in this situational comedies, where the best moments are those that actors take over from the screenwriter and make their own.

Mukesh Tiwari displays an unusual penchant for parody (forget the unfunny 'Buddha Mar Gaya') adding an extra 's' to every English word, is like Rakhi Sawant gone wrong. Tiwari's sidekicks have their own subplots. One of them makes bombs that never go off on time.

Luckily, '123' gets its timing right most of the time. It's a war of nerves between the writer and audience, as the one tries to outpace the other. Eventually, the audience does get tired of watching three guys with the same name, Laxmi Narayan, getting mixed up in situations where spoken words give nothing, and yet everything away.

But our fatigue is slackened by the unslackened physical energy that the characters bring to the minutest of moments. Ashwini Dheer comes from the television sitcom culture.

Nowhere does his framing or shots give away his cramped antecedents. He enjoys the large open spaces that his crowded cast populates with parodic panache, pouncing on the preposterousness in the plot with famished energy.

But Suniel Shetty gets as far away from his macho image as humanly possible as the timid and punctual Laxmi Narayan on the run with a reined-in enthusiasm. 'We've seen Suniel do comedy the before. But he was never so straight-faced and sharp. He is a surprise.'

Has Paresh become complacent? Or have Suniel, Tusshar and company got better at the funny stuff? If only director Dheer had avoided the excessive crudity especially in Suniel's prolonged sequence in the public loo with the cheesy hit man.

'Main nahin pukdunga,' he protests in panic as the other actor (another small-time scene stealer in this festival of interesting actors) reaches inside his pants. Panic-attacks dominate lives of these flustered characters.

These lovable losers try to sell lingerie and cars, while the director repackages the Shakespearean comedy of errors in a new autopilot manoeuvre that doesn't quite have you holding your sides. But chuckles don't stop.

The shortest role in the history of the comic farce goes to Upen Patel and Tanissha. They come in with a song and go out with a bang. In-between, they lose their grip over the giggle trip.

Tashan

2008-04-15T00:13:00.000-07:00

“Dil Haara” finds Sukhwinder Singh making a come-back after his mega successful Dard e Disco and it is hard to find this song being half as popular as the former. Vishal-Shekhar's catchy rhythmical beat patterns along with enthralled chorals (“Ho-ha-ha”) should be complemented for promising a hot-spot racy track. The song may grow on you, but it's hardly something you would expect as the opening song in a movie with such great expectations.

The all four lead actors emotes out their way of “ Tashan ” where each of the main characters gets a 10 second dialogue in the form of “Pooja Ka Tashan” (Kareena Kapoor), “Jimmy Ka Tashan” (Saif Ali Khan), “Bachchan Pandey Ka Tashan” (Akshay Kumar) and “Bhaiyyaji Ka Tashan” (Anil Kapoor). It's a smart marketing move to materialize the hi-profile face value of bankable lead actors. They give an insight into the character but were better left in the movie only.

Movie: Race

2008-04-14T21:34:00.000-07:00

Movie: Race

Producer: Kumar S Taurani, Ramesh S Taurani

Director: Abbas Mustan

Cast: Saif Ali Khan, Anil Kapoor, Akshaye Khanna, Bipasha Basu, Katrian Kaif

Music: Pritam Chakraborty

The true-blue connoisseurs of Bollywood thrillers, Abbas-Mustan are back with yet another spine-chilling escapade, ‘Race’. Hemmed with glitz, glam, style, suspense and everything else you can think of under the sun, ‘Race’ is saddled with the burden of humungous expectations. And it rightfully lives up to all hopes with Bollywood machos Saif Ali Khan, Akshaye Khanna and Anil Kapoor together with a bevy of beauties like Katrina Kaif, Bipasha Basu and Sameera Reddy putting up a fantastic show. And to add to all the fanfare are the spectacular locales, the incredible visuals, the captivating songs, the stirring chase, the modish styling and everything else that makes ‘Race’ a great affair.

‘Race’ can be very well placed among Abbas-Mustan’s best work so far after ‘Khiladi’ and ‘Baazigar’. As expected of any thrillers, ‘Race’ too binds you to the edges of your seats as constant string of unprecedented events unfurls themselves at a gap of every fifteen minutes. In fact, it’s like a steady salvo of unexpected twists and turns that leaves your mind choked with excitement.

And to add to all its pluses is the fact that ‘Race’ isn’t just any other flick that is high on style and no substance. In fact, it’s among the very best of the films that prove to be a money-spinner for both the makers and the audience.

Two half brothers, Ranvir (Saif Ali Khan) and Rajiv (Akshaye Khanna), are big money-players who run a stud farm in Durban, South Africa. They also possess the best of the thoroughbreds and are big names when it comes to horse racing. Ranvir (Saif Ali Khan) the elder of the two is known to be a very shrewd man. He is very violent, and is always on the move. His half brother Rajiv on the other hand is a slipshod, who idles his life away in alcohol.

Sophia (Katrina Kaif) is Ranvir’s personal assistant who dearly loves her boss, much to his ignorance. On the contrary he reads her affection and interest as her dedication and commitment to her calling. Shaina (Bipasha Basu) is an aspiring Indian model who fancies Ranvir who reciprocates the same towards her.

Shaina is hooked to Ranvir but ends up marrying Rajiv. When she finds out what a loser alcoholic she has married, her life is blown to smithereens. This troubles Ranvir too, who forgoes his love for the sake of his younger brother with the hope that after getting married to Shaina, Rajiv may abstain from alcohol.

But Rajiv continues with his wayward ways even after marriage and things starts get worse between the couple when Shaina who in one weak moment gets close to Ranvir. This looses the way to all the bottled up emotions between the two and soon after they enter into a love affair.

But when Rajiv comes to know of it, things blow out of proportion. This flings open the gateways to hell with murder, betrayal, lies, and deceit becoming the order of the day.

Saif Ali Khan puts his best foot with ‘Race’. He looks extremely stylish and has played his part convincingly. Akshaye Khanna proves his merit yet again with ‘Race’. He carries off, what is perhaps the most crucial and complicated role in the film, with great composure. Anil Kapoor, who hops his way in the mid-half of the film, adds to the comic relief of it. His dialogues may appear to be a bit crass but they are nevertheless entertaining.

Abbas-Mustan strikes a bull’s eye with ‘Race’ that falls nothing short of a well-etched thriller. Everything about the film is well thought and even better executed. With the A-lister’s to his credit supported by an able script, great music, jaw dropping scenes and spine-chilling actions and thrills, ‘Race’ has got the making of a successful commercial entertainer.

Full credit should be given to writer Shiraz Ahmed for coming up with such a gripping tale that not for once allows your attention to waver away. The film picks up momentum from the very opening scenes, pepping up its pace with the further proceedings.

The camerawork by Ravi Yadav deserves no less than kudos. The spectacular locales of Durban, Dubai and India add to the feel and magnificence of the flick.

Pritam once again scores with his breath-taking melodies. Nearly all the songs are brilliant and have been styled well. The stunts by Allan Amin are a treat for the senses. And Hussain Burmawala’s excellent work at the editor’s table makes the entire affair all the more tantalizing and appealing. And last but not the least. Full points to designer Anaita Shroff Adajania for adding to the X-factor of the flick.

To sum up, ‘Race’ makes for the ultimate watch over the weekend. A thrilling flick that is sure to give you a great time over a packet of popcorn. Don’t miss it!

Movie: Wacky 'Krazzy 4'

2008-04-14T21:22:00.000-07:00

Movie: Wacky 'Krazzy 4'

Producer: Rakesh Roshan, Sunaina Roshan

Director: Jaideep Sen

Cast: Arshad Warsi, Irrfan Khan, Dia Mirza, Rajpal Yadav, Suresh Menon, Rajat Kapoor, Zakir Hussain, Juhi Chawla

Music: Rajesh Roshan

'Krazzy 4' is a refreshing if not riveting change from the risque-driven, innuendo-laden comedies that have recently infested our theatres.

Stand-up comedian Suresh Menon, playing one of four psychologically disturbed protagonists, utters barely one word in the film.

'Kidnap!' he stammers to tell his associates that the sweet doctor Juhi Chawla has been whisked away by baddies, who look like they could do with a spot of training in crime management.

'Krazzy 4' has a point to make under the barrage of burlesque. And it's all done in good spirit. Cinematographer Ajit Bhat shoots the streets and crowded places of Mumbai to signify the sense of freedom that the four heroes feel even in the claustrophobic atmosphere outside the confines of their world within stonewalls.

So who's the crazy one? The guy (Rajpal Yadav) who thinks we're still living in the era of Gandhian freedom fighters? Or the guy (Rajat Kapoor) who gets his sweet wife kidnapped for political gains?

Good question. And adeptly handled by debutant director Jaideep Sen. as long as the audience doesn't ask too many questions about the logistics of four men and a jalopy joyride into intrigue, adventure and crime.

Sen, with ample help from writer Ashwani Dheer, knows precisely which frontiers to open to ensure the comedy doesn't slip into farce. The initial scenes introducing the characters are well executed. And if the pace doesn't slacken it's because the actors wouldn't let it.

Each of the four main actors invests a certain something beyond the precincts of parody to their characters. Irrfan Khan as the literate cleanliness freak, Arshad Warsi as the inmate with an anger-management problem, Yadav caught in Gandhian time warp and Menon as the tongue-tied repressed vagrant, invest a definite direction to the wacky goings-on.

If you persuade cine buff to choose one from the foursome it would have to be Rajpal who's by now the maestro of mirthful maneuverings. Watch him give his patriotic mouthfuls to several scumbags in the plot. Rajpal brings the house down.

Agreed some of the plotting and narrative transitions lack finesse. But when have mainstream Hindi films been known for extravagant bouts of finesse?

The narrative packs in some seriously satirical and sensitive moments. Check out Arshad's scene with his prospective father-in-law - it's a superbly scripted encounter.

Or that isolated incident of pathos when the hygiene maniac Irrfan repositions the bindi on his wife's head.

Such moments, delicately drawn and deftly defined get drowned in the din of devilish merrymakers on a rampage.

'Krazzy 4' moves from one wacky adventure to another without sacrificing the sub-linear message on the definition of normal behavior in a social structure that has lost all its sense of proportion and is hurling into mayhem and anarchy.

Laughter is the only medicine. 'Krazzy 4' isn't quite the tonic for our wounded souls. But you can't help but giggle at the goings-on.

On the film's controversial item songs - Shah Rukh moves. Hrithik glides. And yes, Irrfan Khan tries to wipe Rakhi Sawant's tattoo clean in her item song.

That's where the laughter of the lewd is dispersed in the innocence of the 'mad'. 'Krazzy 4' isn't Milo’s Forman's 'One Flew Over The Cuckoo's Nest'.

Priyadarshan did that in 'Kyun Ki'.

Movie: 'U, Me Aur Hum'

2008-04-14T21:04:00.000-07:00

Movie: 'U, Me Aur Hum' is a tender, tactile melodrama

Producer: Ajay Devgan

Director: Ajay Devgan

Cast: Ajay Devgan, Kajol, Karan Khanna, Isha Sharwani, Sumeet Raghavan, Divya Dutta, Mukesh Tiwari, Sachin Khedekar

Music: Vishal Bharadwaj

Nothing that Ajay Devgan has done in the past prepares us for the poise, poignancy and sensitivity of his directorial debut. 'U, Me Aur Hum' is one of those tender and tactile melodramas that leave you with minty thoughts and dewy eyes.

The heart is completely at the right place as Ajay, turning director with an élan that thumbs its nose gently at all those who scoff at his actioner's antecedents, tells the story of a husband whose gentle ministrations take his Alzheimer's stricken wife from her absentminded youth to blanked-out old age.

The journey gives us insights into the man-woman relationship and the intricate commitments of a marriage as seen through the eyes that go beyond the romance and excitement of courtship to an area where dark clouds gather over a relationship and threaten its annihilation.

The trick, says Ajay's soft but persuasive film, is to hold on, to value the things that make life worth living. There is an interesting reversal of the age-hold cinematic formula where the husband is looked after by the wife through rain and shine.

Ajay plays the caring husband who wins the feisty (if it's Kajol it cannot be any other way) waitress on a cruise that seems to go on and on and on.

Luckily, the narrative doesn't get 'see' sick. To be sure, the film could have avoided a prolonged courtship that tells us nothing more about life than what we don't already know in the first 15 minutes.

Ajay gets to the point halfway through. The narrative quickly comes to grips with the theme as the solemn doctor (Sachin Khadekar) announces the absent-mindedness, which has been stalking Pia for a while, is actually Alzheimer's.

The realization of the gravity of the illness, coming to terms with it and finally recognizing the reality of an unshakeable love and faith beyond the obvious hardships of a troubled compatibility.... these are themes that are given a surprisingly low key treatment by the first-time director.

Ajay's directorial specialty is the interweavement of the characters through some wittily and cleverly written dialogues (Ashwin Dheer), which always tell us more than what we hear.

The film's substantial emotional impact depends entirely on the performances, not just Ajay and Kjaol but their two sets of friends - Sumeet Raghavan and Divya Dutta as the constantly quarrelling divorce bound couple, and Karan Khanna and Isha Sharwani as the soon to be wed couple.

Sumeet is a special revelation. He's quiet and attentive in scenes that require him to be that.

But of course the chemistry between the lead players guides the destiny of this remarkable film. Kajol's powerhouse performance, punctuated and italicized by moments where she hungrily sinks her teeth into emotional depths seldom afforded to commercial actors, comes as no surprise.

However, her makeup sometimes gives her a caked look. Never mind. This is a film where we can easily look beyond the mask.

Ajay bowls you over. To find him measuring up to his wife's dizzying histrionics is an amazing experience. Jim Broadbent looking after his Alzheimer's-stricken wife Judi Drench in 'Iris' couldn't have done better.

One sequence in the restaurant where Ajay is required to give a long, bitter and ironical monologue on man's innate selfishness after he leaves his wife at a care centre will stand out among the sincerest expressions of the human ego seen in cinema.

Ajay's command over his craft and the language of heart take you by surprise.

Some of the sequences showing Kajol's mental blanking-out are so vivid they make your hairs stand on end. That nerve wracking moment when the mother nearly ends up drowning her baby in the bath tub or that poignant interlude when the husband leaves his wife at the hospital are so wonderfully devised and executed you wonder which came first: the thought to make a film on Alzheimer's or the characters who inhabit this dark yet uplifting theme.

The film has its flaws. It sometimes tries too hard to be trendily philosophical in its dialogues and ends up sounding phooey.

The pseudo-philosophical lyrics for the songs sound like cheap rip-offs of Gulzar. Also, the narrative doesn't seem to follow the linear path.

The back-and-forth editing pyrotechnics where key incidents are recreated in flashy flashbacks are distracting. However, Aseem Bajaj's cinematography does much to create a smooth homogenous look and mood for the narrative.

The film takes us through a world of love pain and acceptance with such transparent honesty of purpose that at the end of it you only wonder one thing... why can't more movies is like 'U, Me Aur Hum'?