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Staying Alive hindi movie

Released On: 3 Feb 2012
Directed By: Anant Mahadevan
Starring: Anant Mahadevan, Saurabh Shukla, Chandan Sanyal, Sanjay Swaraj, Navni Parihar, Ranjana Sasa, Khan Jahangir Khan
There’s a drought of writers. Good writers. Screenwriters who bring substance and value to writing. The absence of a talented name like Sujit Sen, who wrote a number of films for Mahesh Bhatt and who penned the script of STAYING ALIVE, makes you recognize this fact all the more. STAYING ALIVE, a black comedy that borrows from real life, may not be riveting in entirety, but it makes an effort to say something novel, something inventive.

Aditya [Ananth Mahadevan], a newspaper sub-editor, suffers his third heart attack and finds himself in the ICCU of a hospital. On the bed next to him is Shaukat Ali [Saurabh Shukla], a gangster, who has suffered his first heart attack. While Shaukat is petrified of dying, Aditya scoffs at death. Gradually, Aditya ends up changing Shaukat’s outlook towards life. As Shaukat raves and rants through his stay in the ward, it gradually dawns upon him that Aditya is right and the greatest feeling was, simply, to be alive.

Shaukat decides to turn a new leaf and even becomes a police informer after his discharge from the hospital. But, ironically, gets shot by his underworld rivals for having had a change of heart.

Till a few years ago, who’d ever imagined an entire film [almost] in the Intensive Cardiac Care Unit? Besides an interesting plot, the film also boasts of some attention-grabbing moments, but the glitch is that it goes back and forth a couple of times and also the track involving a rival gangster [Khan Jahangir Khan] is underdeveloped. Besides, it unravels at a snail’s pace and a few sequences in the Intensive Cardiac Care Unit tend to get cyclic and monotonous.

There’s no denying that Ananth Mahadevan has handled some sequences very well, especially the portions between the two women. I’d also like to make a special mention of the effective channel of communication between Ananth and Saurabh at places.

STAYLING ALIVE is embellished with natural performances. Saurabh Shukla is remarkable, injecting the movie with some funny moments in an otherwise serious film. Ananth Mahadevan delivers a truly wonderful performance. Navni Parihar is top notch, essaying a difficult role with dexterity. Sunita Chhaya is first-rate as well, handling the emotional moments with élan. Chandan Roy Sanyal doesn’t get much scope. Khan Jahangir Khan [the rival gangster] is okay, while Sanjay Swaraj [the doctor] is decent.

On the whole, STAYING ALIVE is more of an experiment that holds appeal for a tiny segment of cineastes — those with an appetite for meaningful, festival films.

by source bollywood hungama

Gali Gali Chor Hai hindi movie

Released On: 3 Feb 2012
Directed By: Rumi Jaffery
Starring: Akshaye Khanna, Shriya Saran, Mugdha Godse, Annu Kapoor, Satish Kaushik, Akhilendra Mishra, Vijay Raaz, Shashi Ranjan, Rajat Rawail, Murli Sharma, Mushtaq Khan, Jagdeep, Kailash Kher, Javed Rizvi, Pradeep Kabra
A number of films portraying the common man’s fight against corruption have been attempted in the past. But GALI GALI CHOR HAI arrives at the most opportune time. Corruption is fiercely debated and the most discussed issue today and the fight against corruption has already hit headlines, courtesy social activist and anti-corruption crusader Anna Hazare.

GALI GALI CHOR HAI throws light on corruption, dishonesty and bribery and also draws attention to the people who have betrayed the society and nation. It tells the story of a middle class family living in Bhopal and how an episode changes their lives. Their lives get entangled in a series of incidents and before they realize it, they become victims of corruption. In short, the movie deals with the corrupt bureaucratic system and sends across a clear message that one needs to fight the deceitfulness and fraudulence to eradicate corruption.

Though corruption is a much abused, oft-repeated and oft-depicted theme in Bollywood, what sets GALI GALI CHOR HAI apart is that it incorporates the recent incidents in the narrative. Though the situation depicted may differ, you cannot help but recount that somebody in your family/friends must’ve experienced a similar crisis at some point in life. It’s relatable and the characters, identifiable. At the same time, though the issue depicted is dark and serious, director Rumy Jafry ensures that the focus remains on entertainment.

But what could’ve been a hard-hitting statement against corruption mellows after a point. This happens in the post-interval portions, when things begin to look impractical and ineffectual. More on that later!

Meet Bharat [Akshaye Khanna], the aam aadmi, part-time cashier and part-time Hanuman at Ramleela, residing in the city of Bhopal where he lives with his father [Satish Kaushik], who values freedom and hopes to see a corruption free administration in the country. Bharat is married to Nisha [Shriya Saran], a school teacher.

Bharat wants to graduate from his role as Hanuma to Lord Ram someday, which is being portrayed by Sattu Tripathi [Amit Mistry], younger brother of MLA Manku Tripathi [Murli Sharma]. Sattu, a bad actor, is always unhappy that Hanuman steals the show with his performance and Manku, the MLA, is unhappy over Bharat’s refusal to let out his extra room to campaigning for his re-election. Adding to their woes is the fact that Bharat’s father befriends the opposing candidate Mohanlal [Shashi Ranjan] and lets out the room to him for his campaign.

One night, Bharat’s table fan gets stolen and how he is forced to bribe his way through criminals and law keepers, just to get this table fan back, forms the remainder of the film. An ordinary cashier hits headlines overnight.

GALI GALI CHOR HAI draws your attention towards the victimization of the common man, but the serious topic [corruption] is dealt with in a humorous way. In fact, the first hour is padded with several interesting episodes that bring a smile on your face. The writers bring to the fore the nexus between the cops and politicians and how the aam aadmi gets victimized for no fault of his. Concurrently, there’s the husband-wife-other woman sub-plot as well, but, bluntly put, it looks like an aberration in the narrative.

While the first hour keeps you engrossed, the film gives away in the post-interval portions. The track of the two goons chasing Akshaye is bizarre and the manner in which the drama unfolds once the blast occurs is far from bona fide. The finale, when Akshaye registers a slap on the face of the wrong-doers, takes the graph to a high again, but the film could’ve done with a far more credible and convincing conclusion. It looks abrupt, a rushed job now!

After making entertainers such as GOD TUSSI GREAT HO and LIFE PARTNER, Rumy Jafry invests his efforts into make an entertaining film that carries a message. Also, Rumy makes a dig at the system, but, like I pointed out earlier, the writing could’ve been crisper in the subsequent half. There’s not much scope for music in the film, yet the title track [filmed on Kailash Kher] and ‘Channo’ [filmed on Veena Malik] catch your eye. ‘Channo’ especially adds a dash of spice to the proceedings. The dialogue bring a smile on your face on several occasions.

Clearly one of the most versatile actors around, Akshaye delivers yet another fine, natural, unfussy performance. Come to think of it, playing an aam aadmi can be tough, but Akshaye gets into the skin of the character and gets it right. The two girls, Shriya Saran and Mugdha Godse, don’t get much scope. Satish Kaushik excels, while Annu Kapoor is the scene stealer as the corrupt, scheming cop. Murli Sharma is stereotypical, Amit Mistry is wonderful, Vijay Raaz shines in a brief role, Rajat Rawail provides some laughs, Shashi Ranjan is confident and Akhilendra Mishra is just about okay.

On the whole, GALI GALI CHOR HAI amuses intermittently. Fortunately, the movie goes public at a juncture when anti-corruption appears to be the essence of the season. But the film could’ve done with a far more hard-hitting conclusion!

Agneepath hindi movie

Released On: 26 Jan 2012
Directed By: Karan Malhotra
Starring: Hrithik Roshan, Sanjay Dutt, Priyanka Chopra, Rishi Kapoor, Katrina Kaif, Om Puri, Zarina Wahab, Chetan Pandit, Sachin Khedekar, Rajesh Tandon, Deven Bhojani, Rajesh Vivek, Banwarilal Taneja, Pankaj Tripathi, Brijendra Kala, Ravi Jhankal, Suhita Thatte, Sunil Chauhan, Neeraj Sood, Arish Bhiwandiwala, Kanika Tiwari, Ayesha Kaduskar, Ali Asgar, Rajendra Chawla, Aditya Surve, Agasthya Dhanorkar
While partaking in a debate on remakes for a leading news channel, the host posed a query to me: Do you think that a cult movie should be remade? Why restructure or revise the sacredness of a film that’s so perfect? I instantly put forth my perspective and responded that if a brand is remade with a contemporary approach and in-the-running stars and if there is an enthusiastic audience to watch the cinema, I don’t see any harm in recreating a famed work of genius. All I expect is the makers don’t make a mishmash of the cult movie. It should come across more as an acknowledgment to the masterwork.

But there’s a flipside to what I mentioned above! The actors and film-makers involved in remaking a classic cannot escape minute and meticulous evaluation and comparisons because cineastes are going to walk in with predetermined conceptions. Remakes come with a certain baggage. Matching the standards and aesthetics of the original is the prime criteria.

It’s Hrithik Roshan’s turn to wear the mask of the iconic character portrayed by Amitabh Bachchan two decades ago. Though not a money spinner then, AGNEEPATH did fetch Bachchan Sr. the National Award in the Best Actor category and is considered amongst the best films made that year [1990]. Twenty two years later, Vijay Dinanath Chauhan is brought alive by first-time director Karan Malhotra in Karan Johar’s homage to the original film, which was produced by his father Yash Johar and directed by Mukul S. Anand. It’s a colossal challenge for any actor/maker to pay tribute to a cult film, which continues to linger in our memory even after two decades.

The premise is the same. Well, almost. So is the vital dialogue from the film which comes at a very crucial juncture in the present-day adaptation of AGNEEPATH: “Naam Vijay Chauhan, baap ka naam Dinanath Chauhan, gaon Mandwa.”

AGNEEPATH is an uncomplicated story of revenge, is hard-hitting yet entertaining, dwells on strong emotions and aggressive and forceful action, yet is dissimilar from the original. Debutant director Karan Malhotra sponges from the original, but bestows the new version with a fresh texture [screenplay adapted by Ila Bedi Datta and Karan Malhotra]. Krishnan Iyer M.A. [portrayed by Mithun Chakraborty in the original] is done away with, while Malhotra introduces another negative character called Rauf Lala [Rishi Kapoor] to make the proceedings more volatile and explosive. One can envisage the kind of burden the director has shouldered and despite the fact that viewers would be scrutinizing the goings-on with a magnifying glass and watching every frame minutely, you cannot refute the fact that Karan Malhotra has done a remarkable job as a storyteller.

In a small Indian village Mandwa, Vijay Dinanath Chauhan [Hrithik Roshan] is taught by his principled father [Chetan Pandit] about the path of fire — Agneepath. His life is completely shattered when the evil drug dealer Kancha [Sanjay Dutt] hangs his father to death. Vijay leaves for Mumbai with his pregnant mother [Zarina Wahab] and has only one mission in life — to come back to Mandwa and bring back the glory of his father’s name.

In Mumbai, the 12-yr-old Vijay is taken under the wings of the city gang lord Rauf Lala [Rishi Kapoor]. From then on it is a journey of revenge where he makes and breaks many relationships, only to get closer to his aim. Vijay finds support only in his best friend Kaali [Priyanka Chopra], who stands by him at every moment in his life. Fifteen years later, his hatred for Kancha takes him back to Mandwa where life comes full circle.

Most Hindi films initiate with a bang, but run out of gas by the time they reach the finale, often getting deflated in between as well, but AGNEEPATH is vigorous from the very commencement to the absolute conclusion. The conflict at the very initiation and also towards the closing stages, the tension between Vijay and Kancha and also between Vijay and his mother, the game of one-upmanship played by Vijay to grab power… AGNEEPATH is one exhilarating ride. A vendetta story needs to be garnished with several terrific dramatic moments and Malhotra does just that. His handling of the subject deserves brownie points. The only ‘hiccup’, if one may say so, is the romantic track towards the first hour, which is lackluster.

The assessment of the movie would appear fragmentary if one would disregard the colossal contribution by action director Abbas Ali Moghul. Raw and gritty are two expressions that best illustrate the action scenes in AGNEEPATH. Kancha is larger than life and stronger than the protagonist, so when good eventually triumphs, the heroism ought to come to the forefront and it does so forcefully, convincingly and copiously. The action scenes are sure to draw whistles and claps, especially the one in the finale.

Harmonious compositions have constantly been the hallmark of Karan Johar’s movies and the music of AGNEEPATH is no exception. The songs, composed by Ajay-Atul, may not be chartbusters [except 'Chikni Chameli'], but the compositions are in sync with the texture of the film. The pick of the lot is the devotional number as well as ‘Chikni Chameli’, which is already a rage. The background score, also by Ajay-Atul, is electrifying and exhilarating. Cinematography [Kiran Deohans; additional cinematography: Ravi K. Chandran] is commendable. The outdoor portions specially deserve special mention.

The commanding dialogue [Piyush Mishra] is yet another champion of AGNEEPATH. The striking sequences in the movie get elevated to a different level thanks to the superior channel of communication. This is one of those films where numerous novel lines hang back in your memory much after the movie has wrapped up.

The pertinent query that comes to one’s mind is whether the new avatar of Vijay Dinanath Chauhan has enough inferno in him to match up to the magnificent performance of Sr. Bachchan. The answer is in the affirmative. Hrithik comes up with an astoundingly arresting performance. He does not emulate the veteran’s portrayal of Vijay Dinanath Chauhan. Instead, he approaches the character in his own distinctive mode. AGNEEPATH only reiterates the fact that Hrithik has grown into a far superior and complete performer. In fact, the performance has the potential to keep the whistle blowers busy thanks to his magnificent interpretation of an iconic character.

Despicable and intimidating characters are non-existent in Hindi movies, but more recently Prakash Raj [in SINGHAM] and now Sanjay Dutt [in AGNEEPATH] are ready to revive the era of baddies. Sanju is electrifying as the hardhearted, brutal Kancha and his sinful getup only augments the impact of his performance. The menacing getup adds abundantly to the evil/stony character and his performance in the penultimate 30 minutes, when Kancha confronts Vijay, is the hallmark of the movie. This performance would prove to be yet another turning point in his career, after NAAM, KHAL-NAYAK, VAASTAV and the MUNNABHAI series.

Everyone is familiar with the fact that AGNEEPATH is fundamentally a tale of vengeance between Vijay Dinanath Chauhan and Kancha. So, logically, there’s not much for the leading lady [Priyanka Chopra] to do in the narrative. Yet, Priyanka’s character Kaali is significant to the story and expectedly, she sinks her teeth into the character. Contrary to what a lot of people believe, she’s not an ornamental item in the movie.

Though Rishi Kapoor has attempted a negative role in KAL KISSNE DEKHA, it still wasn’t as menacing as AGNEEPATH. Trust me, his performance is going to shock a lot of people, especially those who are familiar with his wide-ranging body of work. He’s exceptional as Rauf Lala, enacting the bad guy with fervor and passion.

The film boasts of a number of characters, but the one that stands out is Arish Bhiwandiwala, who portrays the young Vijay Dinanath Chauhan with flourish. Zarina Wahab is natural, Om Puri is wonderful, Kanika Tiwari is decent, Chetan Pandit is adequate, Rajesh Tandon is perfect and Deven Bhojani, first-rate. Katrina Kaif sizzles in the item number ‘Chikni Chameli’. She looks sensuous and catches your attention with super-energetic dance movements.

On the whole, AGNEEPATH is a fitting tribute to the masterwork. The movie has all the potential to scale dizzy heights of victory and catapult Hrithik Roshan as the newest member of the 100 cr Club, besides providing the Hindi film industry with the first giant Blockbuster of 2012. A definite winner!

Tutiya Dil hindi movie

Released On: 13 Jan 2012
Directed By: Amit Khanna
Starring: Suzanna Mukherjee, Sidhant Kapur, Nikhil Sabharwal, Iris Maity, Ankit Gupta, Jyoti Bhardwaj, Chiragh Farmahan, Darpan Malik, Navin Kaushik
Films like DELHI BELLY, PYAAR KA PUNCHNAMA and MUJHSE FRAAANDSHIP KAROGE spoke a new language. The last two films in particular reflected the lives of Gen X living in a metropolis. TUTIYA DIL is a new era love story that attempts to pursue the same path. It talks of love, sex, heartaches and fragile relationships, albeit half-heartedly.

First-time director Amit Khanna, who has also penned the screenplay, doesn’t really opt for a path breaking concept. Instead, he compensates it with some poignant moments in the narrative. What also ails the film is the fact that like most first-time enthusiastic storytellers, Khanna overstays the hospitality by dragging the film in its second hour. If it were shorter in duration, with more dum in its screenplay, it might’ve cut ice with its target audience — the youth. At the end of it, as a result, TUTIYA DIL descends into a standard film on relationships. Also, it lacks the sharp wit of PYAAR KA PUNCHNAMA and MUJHSE FRAAANDSHIP KAROGE.

Rhea [Suzanna Mukherjee] becomes so unsure of herself after her breakup that she decides to see a shrink. She tells him how she met her new boss, Karan [Nikhil Sabharwal], and hit it off from day one. Rhea has to face a sudden storm when, suddenly, Karan dumps her and she is left heartbroken and also homeless.

Two people stand by Rhea — Anu [Iris Maity], her best friend, a quintessential feminist and Vishal [Siddhant Kapur], her colleague at office, a womanizer. Vishal comes across as a nonchalant, carefree guy, but deep inside he is emotional and helps Rhea overcome her breakup.

Unlike DELHI BELLY and PYAAR KA PUNCHNAMA, there isn’t any sexual content/jokes/jibes here. So don’t expect anything scandalous or sensational in this movie. TUTIYA DIL is a love story at heart brewed with fresh actors. To give the credit where it’s due, the director has filmed a number of sequences with utmost care. But there are sequences that get repetitive and the fact that there’s not much meat in those sequences, it dilutes the impact of several wonderful moments. In short, it’s inconsistent! Besides, the music doesn’t help either, but I’d like to make a special mention of the dialogue, penned by Prabal Panjabi. The lines are identifiable and the best part is, they are minus frills or dialogue-baazi.

What salvages the film are the sincere performances. Suzanna is super confident, lighting up the scenes and making the most of it. Both Siddhant and Nikhil have screen presence. Siddhant has the makings of a fine actor [note the sequence when Suzanna and he get drunk; his performance is worth noting here], while Nikhil is a bit awkward initially, but gets into the groove subsequently. Iris Maity does her part well, but her character isn’t well defined. The actor enacting the role of the boss is alright.

On the whole, TUTIYA DIL appeals in bits and spurts, but that’s not enough.

by source bollywood hungama

Ghost hindi movie

Released On: 13 Jan 2012
Directed By: Puja Jatinder Bedi
Starring: Shiney Ahuja, Sayali Bhagat, Julia Bliss, Tej Sapru, Deepraj Rana, Gulshan Rana, Sandip Soparrkar, Tabrez Khan, Bijayata Pradhan
A horror film ought to spook the daylights of the moviegoer. Sweaty palms, heart skipping a beat, occasional shivers… in short, the eeriness should give you those heebie-geebies or make you uneasy if you walk into a dark room in the middle of the night. Puja Jatinder Bedi, the first-time director of GHOST, opts for the most appropriate title [it conveys what the film is all about], zeroes on a plot that’s tried and tested since Ramsay days [the spirit seeks vengeance], has some spooky moments [the back-story of the spirit], but runs out of breath as it reaches the finale.

The problem with GHOST is that the scares are scarce, despite some twists and turns injected in the plotline. Regrettably, the story goes for a toss thanks to the interrupting song and dance routine [with autopilot choreography], the listless romantic track between the lead pair [looks completely forced in the narrative] and a patchy screenplay. In fact, Puja takes the film to another level as she unravels the mystery, but the end is so tame that it leaves you with a feeling of uneasiness.

City Hospital witnesses a chain of bloodcurdling, spine-chilling murders. A young recruit, Dr. Suhani [Sayali Bhagat], is faced with uncanny happenings at the hospital. She is stunned by the monstrous force that sweeps out of the night to cause a trail of gruesome killings. What or who is responsible for this strange murderous destruction? The murderer uses a unique methodology, leaving behind no trails, defying all human comprehension.

A leading investigating agency assigns the case to their most competent officer, Vijay [Shiney Ahuja]. Vijay moves intelligently to gather information about the mysterious murders. Among the first he questions is Dr. Suhani. There is immediate chemistry between the two. The culprit moves again and more horrifying brutal killings ensue. Vijay gets passionately involved in the case, treating it as his personal war against the slaughterer.

GHOST boasts of a couple of spine-tingling scary scenes, but a few spooky scenes does not a horror film make. Relying on an age-old premise where the female protagonist’s spirit seeks vengeance from wrong-doers [dates back to the Ramsay days], GHOST could’ve done with a tighter screenplay, although Puja creates the right mood and setting for a chilling experience. Shiney’s tryst with the spirit and also the portion depicting the gruesome murder of Julia are indeed terrifying, startling and definitely not for the faint-hearted. But the writing is contrived, the makeup of the ghost is terrible and the finale [no signs of Sayali in the climax, while Shiney is conspicuous by his absence in the final moments] plays a complete spoilsport.

In the absence of a watertight screenplay, expectedly, GHOST relies on external factors like camera movements and sound effects to cause thrills. The DoP captures the beauty of Lavasa well. The background score is loud. The songs are tuneful, but the placement of songs acts as a roadblock. The editing is loose for a horror film.

Both Shiney and Sayali strive hard to keep your interest alive. Tej Sapru is decent, while Deepraj Rana doesn’t get much to do. Julia gets limited lines to deliver and then it’s white dress, mutilated face, twisted feet and long nails.

On the whole, the scares in GHOST are inadequate and ineffectual. One expected so much more from the scary movie.

Sadda Adda hindi movie

Released On: 13 Jan 2012
Directed By: Muazzam Beg
Starring: Karanvir Sharma, Rohin Robert, Bhaumik Sampat, Kunal Pant, Rohit Arora, Shaurya Chauhan, Kahkkashan Aryan, Parimal Aloke, Maryam Zakaria
Now this is a coincidence. This week’s SADDA ADDA as well as TUTIYA DIL seem inspired, to an extent, by last year’s sleeper hit PYAAR KA PUNCHNAMA. Not TUTIYA DIL as much, actually. But one can draw parallels between PYAAR KA PUNCHNAMA and SADDA ADDA for sure. Thankfully, one can’t label SADDA ADDA as a mere imitation, since the film has its moments of sunshine and glory.

Like most films that focus on Gen X, one may assume that SADDA ADDA falls in the category of coming of age film with liberal doses of sex. Writer-director Muazzam Beg sets out to narrate a story about six buddies and how each of them encounters roadblocks and barriers, personally and professionally, while chasing their dreams. One of them, sadly, has a bitter end. It’s more of a slice of life film that mirrors the hardships of the urban youth. Having said that, I’d like to add that SADDA ADDA isn’t without its share of blemishes. More on that later!

SADDA ADDA is about how six bachelors, with completely different backgrounds and personalities, live together. Their apartment ‘Sadda Adda’ is a complete mess with empty beer bottles, cigarette butts, unwashed clothes, mattresses tossed all over the floor etc., yet they cook, clean, buy groceries, pay rent, laugh, cry, fight over insignificant issues and always stand up for each other — like a family.

SADDA ADDA, actually, takes a long time to come to the point. In fact, there’s not much movement in the story in the first hour, since it’s devoted to establishing the characters and the bonhomie that the youngsters share. But Beg ensures that the first hour has its share of some wonderful, laden-with-wit moments that keep you engrossed. The turning point in the story comes at the interval point, expectedly.

It’s in the post-interval portions that the wheels start moving. Nope, it’s not a great script — you can guess what’s in store next at times — but Beg handles the multiple stories maturely. The best sub-plot is that of Karanvir Sharma, who enacts the role of a failed actor and how he rises from the ashes. Rohin Robert’s plot is abruptly cut short, while Bhaumik Sampat’s story is predictable, yet relatable and Rohitt Arora’s tale provides occasional laughs. The fifth story — Kunal Pant — lacks meat. Despite the hiccups, SADDA ADDA keeps you engaged in its second hour due to the twists and turns in the story. In fact, the penultimate 20 odd minutes are the mainstay of the film, with the emotional moments making you moist-eyed. The end, luckily, gives you a positive vibe.

While the cinematography is okay, the music gels well with the mood of the film. How one wishes the songs were aggressively promoted, prior to the release, especially the title track. The dialogue are funny and witty.

The boys are much better than the girls. Also because the girls have nothing substantial to do. Karanvir Sharma is the scene-stealer, while Bhaumik Sampat is a complete natural. Rohin Robert is decent, Rohitt Arora is alright, while Kunal Pant is fair. Parimal Aloke gets into the skin of the character. The girls opposite Karanvir [Shaurya Chauhan] and Bhaumik [Kahkkashan Aryan] are passable.

On the whole, SADDA ADDA is a decent attempt, but will have to rely on a strong word of mouth to sustain.

source by bollywood hungama

Chaalis Chauraasi hindi movie

Released On: 13 Jan 2012
Directed By: Hriday Shetty
Starring: Naseeruddin Shah, Atul Kulkarni, Kay Kay Menon, Ravi Kissen, Shweta Bhardwaj, Rajesh Sharma, Zakir Hussain, Manoj Pahwa, Reetu Jain, Arbaaz Ali Khan, Yuri Suri, Pradeep Kabra
Naseeruddin Shah. Kay Kay Menon. Atul Kulkarni. Ravi Kishen. Zakir Hussain. A dream cast, isn’t it? When such talented actors, especially the very first name that I’ve cited, green-lights a project, the expectations sky-rocket dramatically. You can’t afford to go wrong. The talent has to be utilized to the optimum. Wasting it in an ordinary script would be sacrilegious.

On paper, after the actors must’ve read the script, I am sure they must’ve exclaimed, ‘What an idea, Sirji’! But interesting ideas don’t necessarily translate into interesting films. CHAALIS CHAURAASI proves it yet again. Problem kya hain? It’s an ordinary screenplay that relies on the customary masala to make things work. But when you cast actors of such calibre, you can’t afford to go for the tried and tested stuff. You’ve got to be innovative, you need to take risks, you need to walk the untrodden path, you need to defy the norms… which, unfortunately, CHAALIS CHAURAASI doesn’t.

The story revolves around four people — Sir [Naseeruddin Shah], Albert [Kay Kay Menon], Bobby [Atul Kulkarni] and Shakti [Ravi Kishan] — who see an opportunity to a great future when they are given a mission to pull off. Things take a twist when another cop [Rajesh Sharma] stops their van en-route and takes them as his backup to catch a dangerous gangster [Zakir Hussain].

The story unfolds through the night where the fine line between law and crime is repeatedly crossed, leading to unexpected situations.

One expects CHAALIS CHAURAASI to start with a bang. But the sequence of events that unfold are of the run of the mill variety and what’s surprising is that director Hriday Shetty devotes the entire first hour on the back-story of the four characters, instead of cutting it short and taking the story forward. Also, the relevance of the title comes too late in the day [towards the end of the movie], which, ideally, should’ve been a bit more prominent.

To give the credit where it’s due, CHAALIS CHAURAASI has an attention-grabbing premise and some truly wonderful scenes, but the writing lacks the energy and dynamism to keep you hooked. If the first half is lackluster, the post-interval portions are marginally thrilling, but the penultimate moments — the tryst with the terrorists — tries so hard to be funny that it falls flat on its face. In fact, the finale should’ve been the highpoint of the film. Another reason why the film stumbles is the inclusion of songs in the narrative, barring ‘Hawa Hawa’.

Hriday Shetty has filmed a couple of sequences well, but no actor or director, howsoever talented he/she is, can reinvigorate and strengthen a weak screenplay. Dialogue are serviceable and so are the action sequences.

It’s sad to watch a fantastic cast being underutilized. One has come to expect a bravura performance from Naseeruddin Shah, but he’s just about okay. Kay Kay is mediocre as well — again, a talent that deserved a better deal. Atul Kulkarni is the best of the lot. Ravi Kishen is tolerable. Zakir Hussain doesn’t get much to do. Arbaaz Ali Khan is wasted. Rajesh Sharma gives a good account of himself. Shweta Bhardwaj has an inconsequential role. Ditto for Manoj Pahwa.

On the whole, CHAALIS CHAURAASI is inconsistent. It could’ve done with a better script!

by bollywood hungama

Players hindi movie

Released On: 6 Jan 2012
Directed By: Abbas Burmawalla,Mustan Burmawalla
Starring: Abhishek Bachchan, Sonam Kapoor, Bobby Deol, Bipasha Basu, Neil Nitin Mukesh, Omi Vaidya, Sikander Kher, Johny Lever, Vyacheslav Razbegaev, Aftab Shivdasani, Shweta Bhardwaj, Vinod Khanna
It’s a given that hi-voltage action thrillers enthrall and electrify viewers no end. The existing inclination within the industry is to opt for remakes [of South Indian films specifically], though Abbas-Mustan have continuously, in their three decade career, tilted towards western thrillers to be specific. PLAYERS, their latest offering, is the official remake of THE ITALIAN JOB. But it’s not a scene to scene adaptation of the classic that was attempted twice in the West. The core conception remains the same, but the screenplay is amended significantly to suit the Indian sensibilities.

A recreation or adaptation always leads to comparisons with the original work. And Abbas-Mustan will have to pass this acid test, since THE ITALIAN JOB is no regular film. Made twice in Hollywood [first in 1969 and then in 2003], THE ITALIAN JOB is a heist film with a variation. Like I pointed out earlier, PLAYERS is an altered version of THE ITALIAN JOB, catering more to the desi sensibilities. It’s about a gang of skillful, stylish and sharp players who join hands to carry out a heist. Prepare yourself for a masala film with ample twists and turns, stunning and gorgeous locales, stylized stunts and adrenaline-pumping chases, lots of style and attitude and of course, the mandatory songs and comic sequences… In that respect, PLAYERS is in a completely different zone when one draws parallels with THE ITALIAN JOB.

One more clarification! When the promos of PLAYERS came on air, a lot of people felt that it seemed like an updated version of DHOOM. But let’s spell this out at the very onset: There’s no similitude between PLAYERS and DHOOM, apart from the fact that both belong to the action genre. DHOOM revolved around the cops-robbers face off, while the characters in PLAYERS are all thieves.

Adventure movies made in Bollywood, by and large, stress on modish imageries, while the actual concept takes a backseat. That’s precisely the trouble with PLAYERS. While a one-page synopsis of the film would evoke euphoric and ecstatic reactions, it’s the screenplay, with a running time of almost 2.45 hours [20 reels], that lacks the power to keep you enthralled and enchanted. In short, PLAYERS has style and attitude, but what it lacks is soul and spirit!

PLAYERS is about a team of skilled and sharp group of people — Charlie [Abhishek Bachchan], Ronnie [Bobby Deol], Spider [Neil Nitin Mukesh], Riya [Bipasha Basu], Bilal [Sikander Kher] and Sunny [Omi Vaidya] — who rob the gold bullion from Russia successfully. But one of them double crosses the players and the team sets out, with Naina [Sonam Kapoor] also included in their task now, to retrieve the booty and also settle scores.

First things first! PLAYERS is an escapist fare, packed with ingredients that are considered mandatory in a Bollywood film. So if you are under the impression that Abbas-Mustan may have shunned the commercial trappings since it is an official adaptation of THE ITALIAN JOB, you’re mistaken. PLAYERS doesn’t imagine itself to be cinema that educates, enlightens or mollifies an academician. Furthermore, Abbas-Mustan’s movies are never simplistic by nature. There are twists at the start, twists in the middle and twists towards the finale and just when you think that the movie’s about to conclude, the director duo usually toss yet another twist in your face, leaving you startled for a minute or two. PLAYERS stays true to their style, but the twists here aren’t the type that shock, amaze or astonish. One of the twists — about the double crosser — does catch you by surprise, but the remaining ones don’t and that’s where the screenplay falters.

It’s a screenplay of convenience. The manner in which the gang sets out to execute the heist in Russia seems like a cakewalk or child’s play, which is so damn difficult to absorb. Common guys, you are talking of robbing a nation’s assets in broad daylight and the convenience with which things fall into place makes the entire heist phony and fake. Ditto towards the finale, when the chase ensues. Though the train robbery [in the first hour] and the chase sequence [climax] leave you awe-struck, the approach with which the gang sets out to achieve the goal is what appears counterfeit. In fact, given the genre of the film [a hi-octane thriller], one would’ve expected the writers to integrate a dash of realism in the plot for the goings-on to look plausible and credible, but the haphazard screenplay and the excessive length only dilutes the impact generated by some wonderful moments that PLAYERS has to offer.

It is accepted that Abbas-Mustan are forward-thinking directors. Not only do they opt for varied plots for their films, but also think out of the box when it comes to execution of the written material. Irrespective of how their films are received at the ticket window, you cannot turn a blind eye to the fact that they never pursue the trodden trail. But it’s the screenplay that lets them down this time. Since a large part of the movie involves action and chase sequences [Allan Amin], the amalgamation of thrills and daredevil stunts keeps you on the edge. Also, the scale of the film is overwhelming. Filmed at the panoramic locales of Russia, Netherlands, New Zealand and of course, India, the DoP [Ravi Yadav] bestows the film with an international look. In fact, it’s an incredibly good looking film!

Pritam’s music is, to put it bluntly, a minus point. One misses a captivating soundtrack here. The music is deficient of the dynamism and passion that one witnessed in Pritam’s preceding works in this variety [DHOOM, DHOOM 2 and RACE].

ZAMEEN was the first movie wherein Abhishek Bachchan’s characteristic macho style was detected by the spectators. Movies like DHOOM, DUS, BLUFFMASTER and last year’s DUM MAARO DUM strengthened his image further. The actor flaunts his popular style and attitude with panache in PLAYERS. Bobby Deol is wasted. Seriously, why is he sidelined in the plot? Bipasha enacts the role of a con artiste with super confidence. She looks fab and emotes with conviction. It’s an image transformation for Sonam in PLAYERS. She has never done a full-on glamorous role before and PLAYERS should change the perception. However, the rawness, as an actor, shows in a variety of scenes.

Neil Nitin Mukesh is entrusted with a challenging role, but he lacks the charisma and skill to carry off the part with dexterity. Sikander Kher has an insignificant role. As for Omi Vaidya, the less said the better. He irritates and hams incessantly. Vinod Khanna is not in his element either. Johny Lever is hilarious as the car dealer. Aftab Shivdasani appears in a cameo.

On the whole, PLAYERS rides mainly on the clout of its credible director duo [Abbas-Mustan], daredevil stunts and stunning visuals. But, most importantly, it is deficient of a captivating screenplay. Also, the film could have done with judicious trimming for an enhanced impact. I for one went in with colossal expectations, but came out feeling downcast and disheartened.

by bollywood hungama group

Don 2

Released On: 23 Dec 2011
Directed By: Farhan Akhtar
Starring: Shahrukh Khan, Priyanka Chopra, Lara Dutta, Om Puri, Kunal Kapoor, Boman Irani, Nawab Shah, Adi Putra, Alyy Khan, Hrithik Roshan, Sahil Shroff
Remaking the Amitabh Bachchan classic DON was a risk in itself. Not only because it is one of Bachchan’s most iconic characters, but also because films like SHOLAY, DON, AMAR AKBAR ANTHONY, DEEWAR, TRISHUL, MUQADDAR KA SIKANDER [and many, many more] redefined the cinema of 1970s and 1980s. Farhan Akhtar accepted the challenge and attempted a successful remake of DON with SRK.

Paanch saal baad, Farhan and his team of writers decide to carry the concept frontward with DON 2. I genuinely feel that sequels shouldn’t be attempted if you don’t have an enthralling story to narrate. This time, Farhan chooses an entirely new concept, garnishes it with classic action, stunning visuals, giving it an international look and feel…¦ the intention is to make the second part superior and enhanced than the first. Also, the fascination for thrillers such as M.I., BOURNE and BOND series is pretty evident.

While one was abundantly aware of what the first part had to offer [since it was a remake], one is completely oblivious about what the sequel has in store. And it is this facet of the film that kindles colossal interest. You cannot tell what Don’s next move would be. As the reels unfold, you realize that he’s cold blooded. You can’t mess with him. He’s dangerous to deal with. He has an agenda. Ditto for Roma [Priyanka Chopra], who shares a tumultuous relationship with Don. It’s a cat and mouse chase.

When viewed in isolation, DON 2 looks like the right package to woo the movie-going junta — SRK in top form, a stylishly crafted story, pulsating and invigorating action and stunts. But it’s not without its share of hiccups. In fact, the first hour and the post-interval portions of the film are akin to the two sides of the same coin. The first hour is bland, the second is energetic. The first hour is deficient in thrills, the second keeps you on the edge. The first hour disentangles at a languid pace, the second is feverish with several adrenaline rush moments.

DON 2 begins in Thailand and moves to Malaysia. Don [SRK] surrenders himself to the cops [Om Puri, Priyanka Chopra] and is sent to a Malaysian prison. There, he meets his old foe Vardhan [Boman Irani]. Don hatches a conspiracy to escape with Vardhan and they succeed as well. They reach Zurich, then Berlin. The motive is to rob the currency plates. It’s an unfeasible task, but Don takes the help of a hacker [Kunal Kapoor] to accomplish his plans.

With DON 2, Farhan Akhtar reasserts himself as one of Hindi cinema’s stylish storytellers. It wouldn’t be erroneous to state that DON 2 redefines slick in Bollywood. But the film could’ve done with a tighter script. Besides, the writing is urban-centric and those with an appetite for international thrillers may take to the film instantly, especially the twists and turns in the second hour. Again, the conclusion to the story could’ve been simplified for the average viewer to decipher. Yet, all said and done, DON 2 mirrors the changing trends in Hindi cinema. Those with the conventional attitude or tilting towards the conservative form of cinema may find it difficult to absorb.

DON is also acknowledged for its vibrant and eminent dialogue. One can conjure up the lines from the original Bachchan starrer and in DON 2, the lines are in sync with the various guises and situations of the Don. The dialogue are masterly and the flamboyance with which SRK delivers the lines is what makes it exceptional. The lines are cooler, hip, zany, witty and at the same time, easy on the lips. They’re sure to become the new catchphrases in times to come, like the one you recall even today: ‘Don ko pakadna mushkil hi nahin, na-mumkin hain‘.

Shankar-Ehsaan-Loy, the trusted and prominent names in Excel’s movies, dishearten this time around. In fact, the music is the sole sore point of the film. Sure, it has vigor and spice, but the wow factor is amiss. The film deserved a much, much superior score to match up to the standards set by Farhan Akhtar. Jason West’s cinematography is dazzling. Filmed in Germany, Switzerland, Malaysia and Thailand, the film is visually enchanting. The action and stunts are spectacular.

DON 2 marks SRK’s return to anti-hero roles after enacting such roles with flourish so early in his career. Recall BAAZIGAR, DARR and ANJAAM. He plays a wicked, debonair anti-hero in DON 2. The character he portrays is iniquitous and sinful, but attractive at the same time and SRK lives it up with gusto. Besides, SRK has also experimented with varied looks in the film, from a debonair looking guy to a person with unkempt hair and stubble. Without doubt, DON 2 is SRK’s best action movie to date.

Priyanka revisits her character of Roma in DON 2. Not only is the character more evolved, even her performance is of a high order. In fact, she enacts the role of an angry, tough lady who means business with a vengeance. Lara Dutta looks glamorous and alluring, but her character lacks meat.

Kunal Kapoor is decent, though he doesn’t really get the scenes to prove his credentials. An actor of the caliber of Om Puri is wasted this time. Boman Irani lends the right texture to his character. He excels yet again. Nawab Shah should hit big league with DON 2. He plays one of the baddies with conviction. Alyy Khan is natural, enacting his part with ease. Sahil Shroff has screen presence and stands out in a brief role. Hrithik Roshan appears in a cameo.

On the whole, DON 2 rides on star power and brand value. The film has a bland first hour, but the second half takes the film to another level. There’s no denying that a cohesive script would’ve made a world of a difference to the film, but the tremendous hype, star power and the lucrative period [Christmas and New Year celebrations] will make its investors reap a harvest.

by Hollywood Hungama Group

Ek Main Aur Ekk Tu

For those who swear by sentimental movies and are die-hard fans of rom-coms, who fervently wish Valentine’s Day is prolonged eternally, EK MAIN AUR EKK TU is akin to an answer to this yearning. Rom-coms relaxing in the splendor of harmonious compositions, a creative and innovative take on present-day romance, pulsating images and timed during the Valentine week… aah, you can’t ask for more!

It’s said that that good friendship, by and large, transforms into romance and consequently, marriage. But hold on… what if one marries by mistake? In EK MAIN AUR EKK TU, two responsible adults meet, get married in a jiffy [it's a mistake, they realize the next morning], but this faux pas is the turning point in their lives. That’s the essence of EK MAIN AUR EKK TU.

The plotline of EK MAIN AUR EKK TU may bring back memories of WHAT HAPPENS IN VEGAS and the Mexican film RECIEN CAZADO, but EK MAIN AUR EKK TU is no adaptation of those films. Agree, the trailers might make you conclude it could be an imitation, but it’s not. EK MAIN AUR EKK TU is shades apart from the above named movies. Imagine a guy who has lived his entire life based on decisions taken by his parents. Come to think of it, he’s not living his life, but his parent’s expectations. And then comes a girl who opens his eyes and shows him what he’s missing out on. EK MAIN AUR EKK TU is more of a coming-of-age story, essentially.

Intrinsically, EK MAIN AUR EKK TU may be a rom-com, but it’s not anything that you may have witnessed on the Bollywood screen earlier. First-time director Shakun Batra brings with him a novel grammar of storytelling, which stresses more on tête-à-tête, while the camera captures those moments resplendently. Besides, Shakun doesn’t rely on buffers like heavy-duty drama, earsplitting background score or props to augment a scene or move the narrative frontward. In short, EK MAIN AUR EKK TU doesn’t take the conventional route. Neither is the plot humdrum, nor is the treatment unadventurous.

Rahul [Imran Khan] is on his way to become a replica of his parents [Boman Irani, Ratna Pathak Shah], when he suddenly loses his job as an architect in Vegas. Afraid that he has let his parents down, Rahul decides to hide the truth and find another job. When by a twist of fate, he meets Riana [Kareena Kapoor], a quick-witted hairstylist, who is everything he isn’t.

A series of events lead them to meet on Christmas Eve over a few drinks, but like always, it’s never a ‘few’. Following this night of debauchery, they wake up to discover that they’ve gotten married. Now, Rahul has more than just his job loss to hide from his parents. They both decide to get it annulled as soon as possible and get an appointment from the court in ten days. Over the next ten days they have their share of arguments, moments and laughs that results in an unlikely friendship.

Will this friendship turn in love? Will her warmth and fearlessness give Rahul the courage to face a long-simmering confrontation with his parents? Will a marriage that started as a drunken mistake help two people find themselves?

Set in an urban landscape [Las Vegas, Mumbai], EK MAIN AUR EKK TU is essentially a two-seater vehicle that excuses itself from the banal and hackneyed prescription, but endorses the longstanding theme of opposites magnetize. Shakun Batra gradients more towards the multiplex friendly technique of narrating a story and the execution of the subject reminds you of how rom-coms are narrated in the West. There are traces of Woody Allen’s style of telling a story, but in spirit, it’s akin to Imtiaz Ali’s greatly admired and lauded endeavor JAB WE MET. In fact, writers Ayesha Devitre and Shakun Batra ensure that this slice of urban life delivers its drama with least fuss, which is what makes it stand out in the crowd. Also, it doesn’t seem borrowed or a reproduction of anything witnessed before.

Director Shakun Batra familiarizes the spectator with the protagonists at the very inception and then wholly engages you in Imran and Kareena’s journey. While the first half encompasses numerous significant moments, the motion picture in actual fact takes off in the post-interval portions. The story shifts to Mumbai and that’s where the turnaround comes about. The entire episode at Kareena’s home, followed by the ‘Auntyji’ song, keep you amused, while the dramatic outburst at the dinner table is simply marvelous. The conclusion too is not what you think it would be and that’s why not just the director, but also the writers deserve brownie points for thinking out of the box. Without doubt, this is one of the most exceptional screenplays to come out of Bollywood in the recent past.

The soundtrack of EK MAIN AUR EKK TU suits the tastes of urbane listeners. While composer Amit Trivedi comes up with sprightly tracks like ‘Auntyji’ and the saccharine sweet title track, he also ensures that tracks like ‘Gubbare’ linger in your memory. EK MAIN AUR EKK TU sweeps you off your feet for one more reason: the stunning visuals [DoP: David Mac Donald]. The dazzling locales of Las Vegas are captured with aplomb on celluloid by the ace cinematographer.

Both Kareena and Imran come up with distinctive urban sensibilities and you only expect the two to comprehend the nuances of the narrative and execute that delicately and magnificently on screen. Kareena’s character in this film is very similar to the one she portrayed in JAB WE MET. In fact, you could say that Riana is the urban face of Geet, a free spirited, vivacious person. Kareena surrenders herself to the director’s visualization and delivers an outstanding performance, reminiscent of the one in JAB WE MET.

Imran fits into the role of a stickler for precision smoothly. In fact, you’d expect Imran to be overshadowed by Kareena completely, in view of the fact that Kareena is a far more experienced actor and also because her character is feisty and livewire, but Imran manages to stand on his feet and delivers a delightful, likeable performance yet again. The outburst at the dinner table only goes to provide evidence to the fact of how wonderful an actor he has evolved into.

The supporting cast comes up with impeccable performances. Boman Irani excels yet again. Ratna Pathak Shah is remarkable. Ram Kapoor is fantastic. Sonia Mehra is feisty in the cameo. The actor enacting the role of Kareena’s father is first-rate.

On the whole, EK MAIN AUR EKK TU is a slick, breezy and pleasant fare that should click with its target audience — the youth — and also has the potential to woo the older spectators as well. This take on love is refined, smart, lively and thoroughly pleasing thanks to its characters, conversations and the inherent humor. A perfect date movie. A film stuffed with exquisite moments that are sure to bring a wide smile on your face. Simply put, you cannot afford to miss EK MAIN AUR EKK TU. Just go for it!