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Shaandar : Movie Review by Prashen H. Kyawal

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Shaandar : Lead Actors can’t sleep, but this movie will make you sleep

shaandhar

Vikas Bahl’s name rose to one of the top Film Directors in the country due to his adorable “Queen” which released in 2014. Even the earlier “Chillar Party” from him was appreciated well. He comes with his latest offering “Shaandar” which seemed like an out and out entertaining fun cinema . Does it succeed in entertaining the audience?

Shaandar is a story about two insomniac (people who can’t sleep) persons who meet at a destination wedding where Shaahid Kapoor (Jagjinder Joginder) aka JJ is the Wedding manager and Alia (Aliab Bhatt) is sister of the bride Isha (Sanah Kapoor). Their father Bipin Arora (Pankaj Kapoor) is a man who loves his daughters but can not say a word against his own mother Dadimaa (Sushma Seth) who is totally money minded. For Dadima, a wedding is a deal to get out of money trouble. She sets up the marriage of Isha with the son of Harry Fundwani (Sanjay Kapoor). Fundwani’s are all bling family who flaunt their gold on every costume, vehicle and equipment they use.

At this destination wedding, Alia and JJ meet each other (being an insomniac) at night and slowly grow fond of each other. However, due to some incidence at the start of the film, Bipin is not on good terms with JJ and utterly dislikes him. Slowly JJ becomes his man friday and wins his heart. How he does that and what happens with the Wedding of Isha forms the rest of the film.

As you can see there is a very thin storyline (story by Vikas Bahl and Chaitally Parmar) to the movie. Unfortunately the screenplay by Anvita Dutt does not help the movie much too. Things are many times cliched and most of the time haywire. There is a lack of connect with any character and hence we just watch the onscreen events without any involvement wondering what is happening and why it is happening. It feels like those days in the past where the scenes were written on the sets. Overall, poor characterisation and non-existent screenplay makes the film very weak in the writing department.

Director Vikas Bahl who won billions of hearts after his last movie, seems to decided to go extremely impromptu with this movie. It seems like that the brief was “Speak your own dialog”, “Do whatever you feel like and have fun doing it” and “Edit me dekh lenge”. But at the end, what we get is a movie without any grip on the audience, that seldom makes you smile and is able to make you laugh at even lesser times. The gags doesn’t work and story does not move forward.

The approach to the movie seems very casual and even the dialogues are spoken so casually that sometimes it is even hard to hear them and many times harder to understand what is going on. The narrative makes good use of 3D and 2D animation and has a lot of VFX scenes to give it the dreamy, fairytale kind of look but in reality, it all seems a waste. Even the Bikini scene comes as a thought bubble and feels unnecessary. On the whole, after writing department, the movie fails on the Direction department too.

Film has top notch performances by Shahid Kapoor, Alia Bhatt, Pankaj Kapoor, Sanah Kapoor but due to lack of good characterisation and good story, we often feel what the hell these talented people are doing here. All their good effort is wasted. Sanjay Kapoor as Harry Fundwani is ineffective and his dialogs are hard to understand, forget about getting any laughter.

The film has an ensemble cast and has all very good actors (Casting by Mukesh Chhabra) at disposal which are often just part of the bokeh in the depth of field. Still, the actor playing the gay son in the Kapoor family leaves an impact.

The film is high on production value and a lot of effort went onto VFX and animation too. Production Design by Amrita Mahal is good. Everything is glossy and glittery (literally) but without any substance. Cinematography by Anil Mehta is excellent. Film Editing by Sanchari Das Mollick could have been better. A shorter length and faster pace could have helped the movie.

Songs and Music by Amit Trivedi is already a chartbuster and individually each one is good. But in the film they come at wrong positions and does not the story forward. Background music is also by Amit and it is good enough. Music is a saving grace of this movie but lacks the long shelf life Amit Trivedi’s music has.

Writer and Director had tried to infuse some substance in the movie by the way of speaking about body size and respect of woman issues. But it all comes across as fake and does not feel genuine. On top of it the “Senti wali Mental” qawwali also has cheesy lines like “Aurat jaat ko jo nicha dikhayega, Jaan le besharam mitti mein mill jayega”. I mean, what the heck!

On the whole, it is a film which fails on both the entertainment and substance fronts.

Rating :
1-5stars
Recommendation : If you are ok with just good music and star stuck enough to bear a full movie for Shahid or Alia, you can find this a good one time watch. Otherwise, skip it.

Shaandar : Movie Review by Prashen H. Kyawal


Titli : Movie Review by Prashen H. Kyawal

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Titli : A butterfly with grisly colours

titliMost of us watch movies to get entertained. Sometimes, we also support realistic cinema with commercial treatments. But only few of us watch movies to appreciate different cinema. There always have been some film makers who want to tell stories which are different and unique. Only a small class of audience support such endeavours. But with advent of multiplexes, satellite television and digital mediums of film distribution, film makers and studios are going ahead and taking the risk of producing and releasing such movies. Yash Raj Films presenting Dibakar Banerjee produced Kenu Behl’s “Titli” is testimony this fact.

Titli is everything which Bollywood cinema is not. It is an honest attempt to tell a story which the film maker wants to tell. Backing by a producer like Dibakar Banerjee made sure that Kenu Behl gets the necessary space and freedom to tell his story the way he tell. It is an undiluted and in your face tale of a dysfunctional criminal family that is bound together primarily by the basic need for survival.

Titli (Shashank Arora) is a youngest boy from this family primarily headed by elder brother Vikram (Ranvir Shorey), living with the middle brother Pradeep (Amit Sial) and father Daddy (Lalit Behl). Car-jacking is their family business and they don’t mind a little violence while doing so. After all, ganda hai par dhandha hai ye. But Titli is aspiring for a normal life. His dream is to get a parking lot contract in a mall. He is ready to beg, borrow or steal for it, even from his own family. He lies to them that he needs money to buy

In one of the car-jacking operations, Titli tries to escape away but instead gets exposed in front of his family. As a result, the family decides to get him married so that he forgets the plan to escape and family gets another helping hand in the car-jacking operations. Contrary to these expectations, Titli finds an unlikely partner in his wife Shivani Raghuvanshi who is also adamant in following her own dream. They both become partner in crime and try to escape from their grim reality. How do they do that? Do they succeed? Answers to these questions form the further story.

Written by Sharat Katariya and Kanu Behl, Titli is a fresh but haunting perspective on the Indian Family from a strata of a society we know very less about. No doubt it is a new world for most the audience, the treatment is eerily realistic and the twists are shockingly disturbing. The screenplay is taught and seamless. Some good work there at the writing department.

With such good content at hand, Director Kanu Behl narrates this unusual story with uncompromising conviction. He keeps the narrative very realistic and that can be problem with regular cinema goers. Most of the time, we are hooked to the screen but sometimes when it moves at the life’s pace, we do feel a disconnection. Also, the reasoning given for some actions like why the family needs a female in their operations, why and when Vikram’s wife leaves him (while in fact the film starts with a scene where he fights with the packers and movers guys for staring at his wife), etc are weak. Also, Vikram and Pradeep gets sidelined as the story progresses and get forgotten eventually as Titli’s story takes the main stage. Also there no exact explanation of why Titli returns to Neelu except the assumption that he finally finds his love in her. There the Director moves ahead ignoring getting into details or say spoon feeding.

Also this is a very dry and eerie narrative sans humour or entertainment. The film is hard hitting with in your face violence. Soft hearted people would like to run away from the claustrophobic experience same like Titli and that can be the success of the Director. However, it can be problem with regular audience which is not ready for such cinema.

Apart from that, due credit must be given to Kanu for sticking to his conviction and tell the story exactly the way he wants to tell. Similarly, same credit goes to Producer Dibakar Banerjee for backing it and the promoters YRF for giving it a mainstream release.

Kanu easily creates a world or irony where the family speaks about values and bonding but never blinks an eye when it comes to taking horrific and violent steps for what they feel as part of business or the right way to achieve what they set to do. It includes hitting the car owners with hammer or breaking the hand of own wife. Still he succeeds in making the audience sympathise and even root for such people when they say “Abhi tai kabhi murder nahi kiya” or do deal with own wife to let her meet and sleep with her lover for money (“fees”). This in itself is a great success of the writing and Direction.

Technically, the film is top notch. Production Design by Parul Sondh and Costume Design by Fabeha is perfect and that does not mean it has a glossy, stylish look but because it succeeds in complimenting the environment of where the story takes place. Cinematography by Siddharth Diwan is excellent. Film Editing by Namrata Rao is good but could have been better. Music by Karan Gour is outstanding.

Performance wise, everyone does justice to their roles and all the four lead actors i.e. Ranveer Shorey, Amit Sial, Shashank Arora and Shivani Raghuvanshi excel in their respective roles. Ranveer is menacing, Amit is balancing, Shashank successfully carry forwards the story on his shoulder and Shivani impresses with her complex role. Lalit Behl is just part of the frame like other props most of the times but succeeds in leaving an impact when he finally gets a full scene in the climax. Everyone else does a fabulous job including Prashant Singh who plays two timing lover of Neelu (Prince) and Sumit Gulati who plays Titli’s friend who tries to get him the parking lot. This makes Casting by Atul Mongia perfect.

So overall, Titli is a brave film which is honest in its story telling but is not for faint hearted and has gory, gruesome violence and stomach churning play of reality which even more hard hitting than the actual violence it shows. It is an unsetting and disturbing experience which very few audience will be able to digest. Though it portrays an unique Indian family, this is strictly not for regular family outing and is rated A for its violent content.
3_Star_Rating_System
Recommendation : If your idea of Cinema is that of honest storytelling and does not demand humour and lite entertainment, if you can appreciate the cinema for the different kind of experience it creates for you in the theatre however claustrophobic it is, then this movie is a must watch for you. Everyone else who thinks cinema shall only be entertaining, can skip this movie.

Titli : Movie Review by Prashen H. Kyawal

Prem Ratan Dhan Payo : Movie Review by Prashen H. Kyawal

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Prem Ratan Dhan Payo : Bollywood Fairytale

Prem-Ratan

Watching Rajashri Production monogram on the big screen is a different experience altogether. It is kind of a guarantee that you are in for a indian traditional family musical extravaganza which will take you on an emotional ride with necessary entertainment along side. Since decades, Indian families are thronging to the theatres to experience these unforgettable treats by Barjatya’s. This format which achieved pinnacle of success in the 90s blockbusters “Maine Pyar Kiya” and “Hum aapke hai kahn” could not achieve that kind of fan following in the movies followed later as the main lead Salman Khan could not feature again as the protagonist “Prem” in those movies.

So after a decade or so, Salman Khan coming back in a Suraj Barjatya movie is a national event of sorts. As the promos rightly proclaimed “Prem is Back”, people were waiting for this movie since it was announced and the trailer took the buzz even more forward. Everyone is looking to be enthralled by this uniquely Indian Family Musical Saga where story, screenplay and every other cinematic sense takes backseat and pure emotions take over everything else. If it is successful, it is a feat in itself to achieve that as not many can do it. Can PRDP do it again?

So this time it is a story which has been seen many times earlier in Hindi Cinema where a normal person gets into a situation where he has to play the role of a rich, powerful person. As this good hearted simple man gets into the complexity of that person’s life, he resolves many issues with his simplicity and good hart. But at a crucial juncture, the real one appears and the issues getting resolved get temporarily entangled again till the climax when “they live happily ever after…”.

This story and screenplay by Sooraj Barjatya is oft repeated and as cliched as possible. The movie is very lengthy and lacks interesting events. Still it is able to keep you involved with a little effort from yourside. Dialogues by Aash Karan Atal are good.

Director Sooraj Barjatya is successful in keeping the audience somewhat engaged with a huge canvas, good music and doses of emotional sequences. When you go for a Sooraj Barjatya movie, you know what you are expecting. You want those silly romantic and emotional sequence to go week in knee and move your heart. You want to cry and laugh with those characters. You want to relive the nostalgic 90s. And you are ready to overlook any amount of cinematic liberties if these things are delivered.

Even after so much forgiveness granted in advance, we can not help noticing the failure of the movie in attaining the level it could have achieved. As expected it is a musical where songs start at unexpected locations. Thankfully, most of them are good and most are not. The football match song and the sequences are big failure of the movie pulling it down several notches.

Director fails in utilising the tension between the brother and sister and the conspiracy theory behind the main prince of the estate. The big let down is the background music by Sanjoy Chowdhury, which fails in elevating the sequences to its optimum levels. BGM of Maine Pyar Kiya is still remembered and was part of the story telling. It is missed big time here.

The settings of the movie are such that we sometimes feel Sanjay Leela Bhansali could have given better justice to few scenes. There was enough meat in the story which could have been better with better writing but it didn’t happen. Why do Directors do not hire professional writers? It would cost them less than the budget of a song which can be easily dropped.

The movie is watchable and bearable only and only because of Salman Khan, Music and Production Design. Strictly in that order. Salman Khan literally pulls of this movie on his shoulders. He is endearing as the Ramleela artist Prem Dilwala and impressive as the Estate prince Vijay Singh. His grip on the characters keep the audience interested in the lacklustre proceedings. This movie belongs to Salman Khan.

Sonam Kapoor looks beautiful and does her part well. Deepak Dobriyal is wasted. Swara Bhaskar impresses in her role of sister. Anupam Kher is good as Diwan. Neil Nitin Mukesh does not get much screen time and is just ok. Arman Kohli is average. Sanjai Mishra is good in his short role.

Production Design by Nitin Chandrakant Desai is one of the biggest attraction of this movie. The scale and grandeur is unparalleled and keeps us going till the end. Cinematography by Manikandan is top notch. VFX department on the other hand works poorly and we wonder why a movie with such big budget has such flimsy VFX. Editing by Sanjay Sankla could have been crisper though it is good that he used many songs in short portions only. Costume Designs by Alvira Khan and Ashley Rebello are impressive. Barjatya’s have not spared any expense in the production of the movie. We can only wish if they had spent some of this money on good writers.

Overall, PRDP is the quintessential Bollywood Fairytale where there is a Prince, Princes but also there is a big family surrounding them. In Bollywood, family story essential part of the Fairytale and PRDP tries to rekindle those movies. It does not succeed in achieving that goal fully but the audience craving those type of movies can certainly give this one a try.

Rating: 2-and-Half-Star-Review-Rating

Recommendation: A Good one time watch for the fans of Sooraj Barjatya movies. Salman Fans will love this. Can still be an option for a big family movie outing. Others expecting good quality sensible cinema can skip it.

 

Prem Ratan Dhan Payo : Movie Review by Prashen H. Kyawal

Tamasha : Movie Review by Prashen H. Kyawal

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Tamasha : Not a love story

tamashaa

Imtiyaz Ali is master of convoluted love stories. His protagonists generally meet while they are travelling, they gel together as friend. When they depart, one of them feel that he/she is incomplete without the other. Then he/she travels back again to get her only to find that she/he is into some other situation of thought process. Then the journey to reconciliation. His earlier movies from “Socha Na Tha”, “Jab We Met”, “Love Aaj Kal” and even Cocktail (as a writer) follow the similar template and patterns. With “Rockstar”, he added the “Coming of age” story track of the rockstar and here in “Tamasha”, it is about a story teller. So basically Imitiyaz created a template which he used multiple times and then updated it with some changes and reusing it again.

But even if he is telling his same stories repeatedly, he tells them so differently and creatively that it becomes an engaging film. With Tamasha also, he follows the template of convoluted love story + coming of age artist. This time the artist is a storyteller.

Two strangers, Ved (Ranbir Kapoor) and Tara (Deepika Padukone) meet at Corsica and decide to hide their real identities to be what they can be. And to avoid regular girl meets boy and they fall in love story, they decide to not meet each other again in life. Tara gets fascinated by the idea and tags along happily. But unlike Ved she gets attracted to him.

She goes back to India. Many years pass by and she can’t get over him…. she goes to Delhi and tries to find him out at the only real life place he had told her. Fortunately, she finds him and pours her heart out….. he happily accepts…. They start going out…. but she misses something…. he is not the same guy she met in Corsica. What happens after that forms the real story of Tamasha.

Written and Directed by Imtiyaz Ali, Tamasha is a true Imtiyaz Ali film. It has a gripping screenplay, creatively engaging narrative and something that lifts it to the level of art. Though there are many Deja Vu moments which are similar to portions of movies by Imtiyaz himself, the way it is woven and presented is very engaging and entertaining.

The way the protagonists wander and do unusual and unconventional things in Corsica is similar to what the protagonists of Rockstar do. The scene where Ranbir is shown stuck in repetitiveness of routine looks similar to the similar sequence filmed on Saif Ali Khan in Love Aaj Kal. Also the way the little Ved gets his mind imbibed with different stories is similar to Ranbir in Rockstar getting imbibed by music from all sources. Also it is a similar story which Vikramaditya Motwane’s “Udaan” has but with completely different settings.

Another thing which does not work is the supposed fun which the lead pair has in the first half. Many times we do not have a connect with it. Also it seems like the Director is trying to say the same point again and again and we feel like when will the story move ahead. If the editor Aarti Bajaj could have made a shorter movie, it would have been better.

Imtiyaz seems to be in love with journey more than the destination. Once he proves the coming of age point, he does not tell us how Ved achieves his dream and why he bows down to Deepika in the end except the fact that she was the catalyst in shaking him and waking him up from his deep slumber. It would have been better if there was something regarding this than the repetitiveness in explaining the point the movie is talking about.

That is why I would say it is NOT a love story which Imtiyaz Ali is famous for making. From pure love stories to Rockstar where the journey of the singer is equally happening as the love story to Tamasha where the love story takes back seat when Ved’s story takes up the narrative. And hence there is lesser and lesser Deepika as the climax approaches.

Even after explaining so many cons, I would say that this is a movie which will engross you and will grow on you as it progresses with an impactful second half. You will come out of the theatre with happy smiles after shedding one or two tears.

Another big factor which works with the movie is performances. Ranbeer Kapoor as Ved and Deepika Padukone as Tara has excelled themselves and lived the characters on the screen. Specially Ranbeer’s performance is spellbinding and we can not praise the actor enough. He shows the transformations of his characters flawlessly. Deepika is equally good.

Vivek Mushran and Ved’s boss and Piyush Mishra as the storyteller baba leave an impact in their roles. Everyone else do their jobs perfectly. Casting by Mukesh Chhabra is apt.

Coming to the Music which is generally soul to Imtiyaz’s movies, this time it is not as good as Rockstar’s was. But still there are 2-3 fabulous songs with superb lyrics. One of the strength of the movie is background music. It just lifts the movie to another level altogether.

Technically the movie is flawless except the old age make up of Piyush Mishra in the pre-climax. It looks fake. Cinematography by S. Ravi Varman is impeccably beautiful and breath taking. Production Design by our Nagpurian Rajnish Hedao is superb.

Overall, this is another gem from Imtiyaz even though the cuts are similar to the earlier ones. There is much art, literature, music and creativity in the movie which would be loved by the audience. Only request to Imitiyaz will be to get out of his own templates and signature styles. Because when signature becomes a template, audience will ask you “Why always the same story?”

Rating: 4 stars
Recommendation : Go watch the movie. It is fabulous except all the cons mentioned above. Caution: If you did not like “Rockstar”, you will definitely not like this one.

Tamasha : Movie Review by Prashen H. Kyawal

Movie Review : ‘Hate Story 3’

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hate-story-3-4a
Watching this faux pas disguised as a film, one was reminded of Amrish Puri in Rakesh Roshan’s Koyla, who kept threatening his screen wife Madhuri Dixit with rough sex, but would start snoring the minute he hit the bed.

The four characters in this foreplay of a film are caught in exactly the same compromising position. Except that they don’t snore. But we do.

Hate Story 3 is a huge homage to the spirit of coitus interruptus. It promises sex. If you’ve been watching the lustful trailers and teasers and listening to the quartet of wannabes hold forth on sex, lust and other related matters, you’d be well within your rights to expect a kind of heightened Murder or a heated up Raaz, with much skin and sex.

Skin, there is plenty of. Zarine Khan’s ample cleavage does all the acting in this film, which is about a fornicating foursome that never quite gets down to being the sex romp that it promises to be. The soundtrack is filled with mating noises. But the loins are clearly not in tandem with the requirements of the cheesy plot.

Like a clumsy virgin-boy doing it for the first time, the narrative moves forward in spasmodic jerks. There is no attempt to give the characters even a semblance of rationale. One is at a loss to decide who is more driven by impulse and greed: the sly characters(they all talk with only their eyes) or the writer of this cheesy franchise.

Barring Sharman Joshi (who wears a pained what-am-I-doing-in-this-film look throughout) the other actors don’t even make an effort to act. They let their upper torsos do the emoting while the songs (for a film about mating games there are too many song breaks) and the breathy rasping background score remind us that everyone is in it for moaning…er, money.

The plot is a nervy backhanded tribute to Adrian Lyne’s much-copied 1993 erotic thriller Indecent Proposal. If you can bear Karan Singh Grover as Robert Redford’s neo-avatar, then you’re most welcome to try out Hate Story 3. But if you don’t get impressed by the sighs of the thighs then try Angry Indian Goddesses for another kind of music of the senses.

Here is every Indian’s ultimate tolerance test: Sit through this film. I dare you.

1-star-rating

Movie Review : ‘Hate Story 3’

Movie Review: Bajirao Mastani

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Priyanka Chopra powers Bhansali’s dazzling but not perfect magnum opus

Bajirao-MasthaniThe twirl of Mastani’s (Deepika Padukone) long, layered, utterly gorgeous beige gold kalidar kurta, the rhythmic swirl of her tall lissome figure, the fiery defiant adoration for her lover, Bajirao (Ranveer Singh), in her deep, flashing eyes, her beautifully choreographed dance reflected in the mirrors of the most enchanting palace; the soulful song, ‘Deewani Mastani’ will and should go down in the history of cinema as the perfect amalgamation of all that the director, Sanjay Leela Bhansali, stands for.

The song may be an ode to the classic Mughal-e-Azam’s ‘Pyaar kiya to darna kiya,’ but it is also the classic Bhansali signature.

The elements are all the there: pain, angst, art, unattainable love, rebellion, melodrama, perfect beauty in the detailing — right from the actresses’ strand of hair near the ears, to the flick of her long fingers, to the matching colours of the magnum opus sets reflective of the mood; and above all the inevitable, eternal triangle.

Deepika Padukone, Ranveer Singh and Priyanka Chopra in Bajirao Mastani. Scrrengrab Deepika Padukone, Ranveer Singh and Priyanka Chopra in Bajirao Mastani.

In fact, Bajirao Mastani may as well be the third in the trilogy of triangle love stories after Devdas and Hum Dil De Chuke Sanam. Each has it’s memorable touch: Hum Dil De Chuke Sanam had the best music with Albela Sajan still haunting the ears; Devdas, in its tragic melodrama and the ultimate star cast, with Madhuri Dixit’s best dances at display.

The hysterics, the drama, the ultra ornate look; all magnified and mounted with a brilliant background score which is like the Opera during the climax; come together in Bajirao Mastani.

The subject itself is classic – a slice of 17th -18th century history. The regime of Peshwas and Maratha warriors, when the most successful warrior, Bajirao, a Brahmin who fell in love with Mastani, a dancer and a warrior princess with half Muslim blood. To add to the conflict, Bajirao was already married to Kashi (Priyanka Chopra). Facing opposition from all fronts, Bajirao made a separate palace for his second wife, Mastani, called Mastani Mahal. But did the two live happily ever after? History and folklore tell the rest.

Bhansali, of course, tells it mega Bollywood style, complete with delightful dialoguebaazi like. “Jo mehboob ko dekhe to khuda ko bhool jaaye who ishq”.

Adapted from a Marathi novel, Rau, by NS Inamdar, the film takes on its own dimension with a cast that is an absolute ill-fit for anything remotely Maratha. Ranveer Singh as a Peshwa with the bald head with a single choti and tilak, Priyanka Chopra as his Maratha wife with her silk navvaris, half moon bindi, nose ring and constant usage of the Marathi word “chaala”, and Deepika Padukone in her regal refinery or heavy armour complete with her sword, may all look the part thanks to the costume and styling team.

However, all three are too model-like, too manufactured with their toned abs. Deepika looks ravishing but her contact lenses don’t let you see the historical, strong figure of Mastani. Priyanka’s performance touches the most with her moist-eyed dialogue delivery, even though this is not Kashibai’s story. However, her authoritative ‘chaala’ is just not enough to bring real authenticity.

While Ranveer adopts the Marathi accent like fish to water, and outdoes himself in the tragic moments, (again the memorable ones are with Kashi, especially their last meeting, when they should be with Mastani) and dances with the expression of a Bollywood hero to the tunes of ‘Malhari’.
We see a couple of wars in the film, unfortunately, they are too brief. Used as mere backdrops to the central love story, they could have added more depth to the story the way Mughal-e-Azam did for Salim and Anarkali. Expectedly, Sudeep Chaterjee’s camera captures it all in majestic, stunning shots. The score takes it to another level with the clang of the swords, the thunderous hooves of the horses and the cries of the warriors that resonate with passion.

If it was the father and son conflict explored then, it has the mother and son conflict now between Radhabai (Tanvi Azmi) and Bajirao. The scenes between the two are few and far between. There is more emotion between Radhabai and Kashibai in their shared moments of helplessness.

The climax peaks like the Opera, which is very reminiscent of Devdas, takes over with complete, awe inspiring, cinematic brilliance in ‘bewaqt ki baarish’. The film leaves you with Kashi’s pain instead of Bajirao and Mastani’s, which is the real tragedy in storytelling here.

Bhansali’s Mughal-e-Azam may not be perfect but is a memorable, mesmerizing and dazzling piece of cinematic vision.

3starratingShowtimes for Bajirao Mastani

INOX Nagpur – Kamptee Road
12:20pm2:403:406:007:009:2010:20

INOX Nagpur – Wardhaman Nagar
11:50am12:20pm3:053:357:0510:00

Jaishree Cinema
12:35pm3:356:359:35

Smruti Cinema
12:15pm3:156:209:25

Sudama Theatre
12:30pm3:306:309:30

Kamal Cineplex Nagpur
12:30pm3:30

Movie Review: Bajirao Mastani

Movie Review : Dilwale

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Even Shah Rukh-Kajol chemistry cannot save this disappointingly boring film

Dilwale-MP3-Songs-2015There’s something about age that does wonderful things to people. Shah Rukh Khan and Kajol have always had great on-screen chemistry, but the 22 years that have passed since they were first seen together in a film have added an unfathomable, heart-wrenching element to their pairing. Team Dilwale should send up a prayer of thanks for this saving grace, because this is the first time the two have been called upon to carry a film through on the strength of nothing but – absolutely nothing but – that chemistry.

If you draw a sketch of the basic plot points of Dilwale, you will see the promise there. How the lead pair meet, the misunderstanding that leads to a parting of ways and the seemingly improbable circumstances that reunite them are all believable and potentially entertaining. The problem with the film though is that the threads used to weave these plot elements together are so disparate, so jumbled and so loosely put together, that the result is a bland, lifeless film.

Dilwale_19Dec-1Rohit Shetty, whose previous works could be accused of many things, but never a lack of energy, seems to have fallen asleep – perhaps with boredom? – in the director’s chair while making this film. That is one possible explanation for the lackadaisical nature of the storytelling from a man who in the past has given us Chennai Express and Singham (yeah yeah, I know it’s terribly unintellectual to say so, but I enjoyed both). All those cars careening about the screen cannot compensate for what feels like his own lack of interest in this project.

Dilwale suffers from limpid writing and unenthusiastic direction. Even its clichés and stereotypes are too dull to be infuriating – like that distasteful and decidedly unfunny scene in which Johnny Lever pretends he is about to assault Kajol’s character; or the disappointingly medieval mindset which makes the film’s writer think, even in the year 2015, that there can be nothing more terrible than ladkiwaale who want their daamaad to live with them after marriage; or the regressive, populist monologue about the high cost of dating women these days by Varun Sharma’s character, while his girlfriend stands by unquestioningly, clearly never having heard of going Dutch on a date; or Sanjay Mishra’s character who forever spouts nonsensical rhymes in conversations, such as this one addressed to his sister: “Bol mere ghar ki laado, Rolex Rado.”

Hain?

All this fades into insignificance though each time SRK looks at Kajol. Not the clean-shaven, supposedly younger version of Shah Rukh in the film, but the older, wiser, bearded man whose role acknowledges his age with dignity and grace.
When he gazes at her or even just throws her a fleeting glance, and those eyes we’ve been seeing now for almost 27 years brim over with love and longing, tedium recedes into the background. It is a look that makes you want to reach out and hug him, to reassuringly pat him on the shoulder, to tell him that all will be well, to scream out the truth so that she realises that it was all just a misunderstanding.

The return of the Kajol-SRK pairing five years after My Name Is Khan was supposed to be this film’s USP. As it turns, it is the film’s OSP – only selling point.

Shah Rukh in Dilwale plays a gangster in Bulgaria called Raj Randhir Bakshi a.k.a. Kaali. Between shootouts and car chases during the course of his underworld activities, he meets Meera Dev Malik (Kajol) and they fall in love. A tragedy causes them to split up. When the film opens, the story has fast forwarded to the present in Goa where Raj runs a car modification workshop with his younger brother Veer (Varun Dhawan) who, at some point, falls in love with a pretty restaurateur called Ishita (Kriti Sanon). As you can imagine, circumstances cause Meera to return to Raj’s life.

Dilwale’s primary characters are surrounded by a bunch of comedians who are occasionally amusing (Mukesh Tiwari and Pankaj Tripathi are hilarious in a scene in which they try to cover up Raj’s past in the face of Veer’s probing questions) but mostly not.

Varun is sweet but really needs to give that cutesy dialogue delivery a rest. Kriti is given little to do, which is a pity because she has a striking, intelligent screen presence and was perhaps the only one worth watching in Tiger Shroff’s debut film Heropanti.

Even the songs by Pritam are, for the most part, a damp squib. The music director redeems himself though with Gerua (in Arijit Singh & Antara Mitra’s voices) from which Amar Mohile borrows several bars for his background score. Both serve to play up the SRK-Kajol hotness to searing effect.

SRK himself is magnetic and charming as the older Raj. He should seriously consider keeping that beard forever. Kajol is radiant, pretty and, with much less screen time than the hero, effective, though she should seriously consider junking those awkward high heels in future. It also feels sad to see how much she has whitened her skin from what it was when she began her career (he seems to have done likewise, though to a lesser extent).

There is not much in the writing of Dilwale that could help these two recreate the sparks that flew between them in their earlier films, but they do radiate warmth for each other, a warmth that wafts off the screen and floats about the air in a sigh-inducing fashion. Each time Shah Rukh and Kajol are together in a frame, you can almost forgive Dilwale for everything else that it ought to have been but is not.

2-star-rating

Movie Review : Dilwale

Bajirao Mastani : Movie review by Prashen H. Kyawal

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Bajirao Mastani : Visually Awe Inspiring, Lyrical and intriguing story with flawed narrative

Bajirao-MasthaniBajirao Mastani is a story which very few people know about. It is a story of a worthy warrior with an incredible star-crossed love story, which sheds light on the socio-political and religious undercurrents of that era. It is a story which must be told and witnessed.

For the same reason, Sanjay Leela Bhansali had kept it close to his heart for last 12 years. Bajirao Balaji Ballal (Ranveer Singh) was a Peshwa (Prime Minister) of Maratha Emperor Chhatrapati Shahu Maharaj (Mahesh Manjrekar). He was an incredible warrior who remained undefeated in all the 41 battles he fought with Muslim Empires. During his support in a battle to defend Maharaja Chhatrasal of Bundelkhand, the Maharaja’s daughter Mastani (Deepika Padukone) falls in love with Bajirao. She leaves her home and follows Bajirao to Pune but is never accepted by his family as a lawfully wedded wife to Bajirao, even after repeated attempts by the Peshwa for the same.

Based on a novel named “Rau”, written by N. S. Inamdar, the tale of Bajirao-Mastani has every masala which is required to make an intriguing movie. But unfortunately the screenplay by Prakash Kapadia fails to make the narrative interesting. Everything looks grand, every performance is amazing but there is a lack of connect which is inexplicable. But the same writer has given the best dialogues since decades. Every dialogue is lyrical and has literary quality. One should watch the movie just for these dialogues.

Sanjay Leela Bhansali has done a humongous job of implementing a his enormous vision on the celluloid. He has taken every department of movie production to another level. Be it production design, costume design, cinematography, color correction et all, he made every team member excel in their jobs.

However, when it comes to storytelling, there it fails to create a connection and in taking the audience on an emotional journey. One do not get swept off by the high points and feel emotional in low points in the journey of the characters. Editing by Rajesh Pandey does not help either as the film is of a lengthy 158 mins duration. It may have been more effective if it had been shorter and tighter.

Barring the story telling side, SLB must be applauded for his vision and passion for detailing. The visuals are as grand as any similar period film of this scale. The film excels in every technical department. Production Design by Saloni Dhatrak, Sriram Iyengar and Sujeet Sawant is mind blowing. Costumes Design by Maxima Basu, Anju Modi are such that we even feel the texture of the clothes the actors are wearing. Cinematography by Sudeep Chatterjee is outstanding by all means. The Digital Imaging and Color Correction department has performed equal to any hollywood production.

Music by SLB is very good. But the songs slow down the movie even if there are many songs from the music album which are not used in the movie. Nagpur’s own boy Shreyas Puranik, who debuts as a singer in the soulful “Ab Tohe Jane Na Dungi” and as a composer in “Gajanana” Song, did a very good job.

Ranveer Singh does a fine job in breathing life to the character of Bajirao. He has worked a lot on voice modulations and it works very well. However, in the second half where he has to show the pain in love, his acting is similar to the role he essayed in Raamleela. Deepika looks surreal and ethereal. She does a fine job as Mastani. Priyanka Chopra impresses as a bubbly, naughty Kashibai and looks radiant. Another Nagpurian Vaibhav Tatwawadi gets a very good screen time and does justice to his role of Chimaji, brother of Bajirao.

Casting by Shruti Mahajan and Parag Mehta did a fab job as everyone from the supporting cast has given a very good contribution to the movie.

On the whole, Bajirao Mastani is a great effort to create a grand portrayal of the bygone era. It has an incredible relationships between Bajirao-Mastani and Bajirao-Kashibai. And one of the best dialogues in this decade.

Rating :3starrating

Recommendation : Do watch it for the grand visuals, superb dialogues and incredible story. But if you can’t sacrifice 158 mins for the labour of love by SLB overlooking the lackings in the narrative, then this may not be the movie for you.

Bajirao Mastani : Movie review by Prashen H. Kyawal


Movie Review: Wazir

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Amitabh Bachchan, Farhan Akhtar are the film’s high point

Wazir poster
There are many good things about ‘Wazir’. First off, this is a film that’s backed by writing. Look, look, a plot. Hallelujah. Such a relief after so many plotless wonders masquerading as movies. Next, it brings back the actor in Amitabh Bachchan. And third, it respects our time, keeping things ticking at just over a neat 1.5 hours.

‘Wazir’ is about the coming together of two wounded men, very different in age and temperament, for a mutual purpose. Danish Ali (Farhan Akhtar) is recovering, with excruciating slowness, from a deeply personal tragedy; his wife Ruhana (Aditi Rao Hydari) is suffering too, in her own solitary corner. He meets up with the wheelchair-bound Pandit Omkarnath Dhar (Amitabh Bachchan), and gets sucked into the latter’s world, which is full of light and darkness, the contradictions arising from a painful past loss, and a present trying to come to terms with it. Also read: Five reasons why Wazir can be worth watching

No time is wasted in building up the swift-yet-tender romance between Danish and Ruhana: Farhan Akhar is excellent as the anti-terrorist officer who uses both brain and brawn to tackle the mystery which lurks at the heart of the film, and ​grandmeister ​Amitabh Bachchan shows us, in a couple of beautifully-realized scenes in which he dispenses all mannered flourish, the skill sets he still possesses. I sat through the gripping first half without moving a muscle, for fear of missing something.

The plot twists, and with it comes a menacing figure called Wazir, trailing blood and gore and death. The ploy is smart if literal, because of the film’s use of an actual chess board to tell us how to make moves. There’s a nice even if a little underlined metaphor at work too: life is like a game of chess, and we are all pawns at the mercy of the crafty `wazir’. Well played.

If the second half had been as taut, the film would have been riveting. But Bejoy Nambiar’s familiar penchant for manufacturing atmosphere comes in the way. The insistence on grand backdrops, impressive as they are, causes sporadic dips in pace, giving us time to see the punches being telegraphed. But while that’s going on, Manav Kaul’s power-hungry politician keeps us watching: he plays someone he is not with pleasing economy. And Neil Nitin Mukesh makes a comeback, even if sketchy and a trifle contrived.

There’s enough to watch in ‘Wazir’ despite its flaws. It reaffirms something we’ve always known: that there’s nothing to beat a plot-driven film (co-written by Vidhu Vinod Chopra and Abhijat Joshi). That the supreme importance in a thriller is to keep it going. And that strong performances are the pivot of any film: watching Akhtar and Bachchan joust and manoeuver around each other is this film’s high point.

Satisfactory start to the year.

Star Cast of Wazir: Amitabh Bachchan, Farhan Akhtar, Aditi Rao Hydari, Manav Kaul, Neil Nitin Mukesh, Seema Pahwa
Director : Bejoy Nambiar

Rating:
535px-2.5_stars.svg

Movie Review: Wazir

Movie Review: Chalk N’ Duster

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chalk n dusterThat education should not be a business is something we all believe in. We also know just exactly how much the lure of filthy lucre has driven teaching, the noblest profession, into a corner : the `good’ teachers who want to selflessly impart knowledge are getting scarcer, and the `bad’ guys with calculators and power point presentations are taking over.

It is a subject that deserves a great deal of attention, but not in the way ‘Chalk N’ Duster’ does it. The treatment is amateurish in the extreme, reducing the conflict to good teachers vs greedy gobblers of money and fame. Kantaben School, run by the just principal (Zarina Wahab) sees a hostile take-over by a `desi’ scheming Cruela De Vil-type togged out in designer saris and a permanent snarl ( Dutta). The teachers who are there because they love what they do, especially the middle-aged maths teacher (Shabana Azmi) and the younger, chirpier teacher of science (Juhi Chawla) and the other like-minded people are left stranded. The rest of it pans out exactly as we expect it to, minus subtleties or nuance, plus heavy-handed sanctimony.

Which is a pity, because these are all good actresses, and it is so difficult to have women in a film doing something meaningful, other than singing and dancing and playing second fiddle. In the second half, both Chawla and Azmi’s characters get the chance to be emotional and tug at our heart-strings. When they are on screen, we stay watching even when the situations and dialogues are wince-making. Dutta, who is usually so reliable, is reduced to a one-dimensional evil schemer. And Chaddha shows up as a bustling crusading TV journalist who goes where the cause is, both on the street and in the studio.

Rajkumar Hirani’s ‘Munnabhai MBBS’ still remains the go-to film on how the educational system is going down the drain, and what we can do to save it. But nothing rescues this one, not Jackie Shroff nor Rishi Kapoor (in bit parts), nor the sprightly ladies, despite their game attempts.

Star Cast: Shabana Azmi, Juhi Chawla, Divya Dutta, Arya Babbar, Zarina Wahab, Jackie Shroff, Rishi Kapoor
Director : Jayant Gilatar

Rating
1.5-star-rating.

Movie Review: Chalk N’ Duster

Movie Review: Airlift

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The very real story of an ordinary man being pushed to heroism

Airlift Movie posterMovie: AIRLIFT
Directed by: Raja Krishna Menon
Starring: Akshay Kumar, Nimrat Kaur, Purab Kohli

What’s It About:
Raja Krishna Menon’s Airlift isn’t about a true story; it’s based on true events. This is a term most commonly used in Hollywood – when some aspect of a real incident is taken and then padded with fiction so that the film could be positioned as a ‘true’ story. Airlift too, as revealed to us by its makers in the beginning and end of the film, falls in the same format. Loaded with fictional characters and circumstances, Airlift therefore, falls into the realm of a regular drama/thriller, with a few real-life references. Ranjeet Katiyal (Akshay Kumar) is an ambitious, go-getter Indian settled in Kuwait with his wife (Nimrat Kaur) and child. He has no love for his country (not even its music); in fact Ranjeet considers himself a Kuwaiti. But when Saddam Hussain invades Kuwait leading to panic and pandemonium, everything changes. Ranjeet, with his wealthy background, has the option of leaving the country with his family. A sense of responsibility dawns over him when his own employees look at him for help and Ranjeet refuses to abandon them. More distraught Indians join them as Ranjeet sets up a transit camp for them all. How he helps bringing back 170,000 people back to India forms the crux of the rest of the film.

What’s Not:
If Airlift were entirely a true story, there would be no room for complaints simply because you cannot alter the screenplay of real events. But when so much of fiction had to be added anyway, why couldn’t that fiction be more gripping and dramatic? Director Raja Menon maintains the same momentum throughout the film. Even where there’s a chance to accelerate the high, he underplays it. That’s why the roar of patriotic fervour is somehow missing in this film. The climax is tame and leaves you a bit confused. Air India flights came to Jordan and evacuated all the Indians. But Jordan was always a safe zone. Air India flew a number of flights for the job and made it the biggest evacuation. But there’s no Argo in this if you’re looking for one. Menon’s choice of character actors also leaves one disappointed. Inamulhaq as the Iraqi major is more of a clown. Why would you trivialise your main negative character, especially when you have fictionalised it? Nimrat Kaur looks misplaced and out of sync. Airlift also needed a mature producer who would not burden it with unnecessary songs (a couple of them make you gasp in embarrassment as Katiyal starts doing a jig) and ruin the film’s credibility factor.

What To Do:
A spirited effort and Akshay Kumar’s performance are the high points of Airlift.

Rating:
3-star

Movie Review: Airlift

Movie Review: Kya Kool Hain Hum 3

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No sex or laughs in this adult comedy
Film:
Kyaa Kool Hain Hum 3
Director: Umesh Ghatge
Cast: Aftab Shivdasani, Tusshar Kapoor, Mandana Karimi, Krushna Abhishek

Kya kool hai humWhat it’s about:
Everyone enjoys a sex comedy once in a while provided it has genuine humour and content that’s true to the genre. But sadly, Umesh Ghatge’s Kyaa Kool Hain Hum 3 falls short on both counts. The Kyaa Kool brand, which met with humongous success in its first two versions, lacks punch the third time around. This one’s about Rocky (Aftab) and Kanhaiya (Tusshar), two friends who become porn stars when their pal and porn filmmaker Mickey (Krushna) invites them to Thailand. Things move forward when Kanhaiya encounters Shalu (Mandana), falls in love with her and even proposes marriage. But Shalu’s father (Darshan Jariwala) wants to meet Kanhaiya’s family before making it formal. Kanhaiya then turns his porn colleagues into his new family and how they cope with Shalu’s real family forms the rest of the film.

What’s hot:
There’s really very little to talk about in terms of things to look forward to in this film. A few dialogues may perhaps bring on a smile and, to some extent, Krushna’s energetic act livens up a scene or two. A large part of the film is a spoof of popular Hindi films rather than the sex comedy that it claims to be.

What’s not: The trailer of the film, when released, had raised a lot of eyebrows due to its adult content. However, most of it has either been chopped by the Censor Board or changed in terms of dialogues. The final outcome, therefore, is neither funny nor does it makes sense. Directorially, the film has a substandard look and feel to it, and the performances are over-the-top even for a film of this kind. The gags on mainstream Bollywood hits are stretched so much that they don’t evoke any laughter after a point. Each character is loud and irritating– you can’t really blame any of the actors for not being able to pull it off.

KKHH3 is a classic example of what happens to a film when an inexperienced director handles an amateurish screenplay. It’s clear that the focus all along was only on shock value. But that was also chopped. The director has put together the worst ensemble of actors possible (Gizele Thakral, Claudia Ciesla, Andy Kumar and Danny Sura). Perhaps the only time the viewer will genuinely laugh is when Krushna justifies his porn filmmaking business by saying he sends his profits for the benefit of kids in Somalia.

What to do:
There’s no sex and no comedy in this one.

Rating:
1.5-star-rating.

Movie Review: Kya Kool Hain Hum 3

Movie Review: Mastizaade

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Maztizade
Ok, here we go. A one, a two, aaaaand, tada, Sunny Leone, she of the bountiful breasts, top-lining a film which calls itself, proudly, a sex com to beat all sex comedies.

So are we to get a bouncy, squishy, panting, roll-on-the-floor, rising-till-the-rooftop fun fest?
Having suffered through two hours of non-stop crassness, I am sorry to tell you that there are barely two-and-a-half laughs in ‘Mastizaade’. The alleged ‘masti’ is so ‘sasti’, that you are left cringing rather than cracking up.

Sample these:
Sunny Leone plays a double role, going by the name of Laila and Lily. One plays with her pusski, aka, cat. The other is a balls-cleaner, i.e, she cleans round, spherical objects with a cloth. The surname is, yes, Lele.

This gives the script an all-clear pass to bung in rhyming jokes, and a name. Tusshar Kapoor is called Sunny Kele. This gives the scriptwriter a chance to brandish childish lines about bananas. ‘Coz a ‘kela’ is not a fruit. It is, yep, you got that. We get the humble ba-na-na featuring in many scenes– peeled, unpeeled, yellow, green: for variation, out pop water hoses, and other elongated things which resemble, yes, yes, we know you know. Out come the standard, dull lines about ‘lena’-and-‘dena’: apart from the rest of the cast using these words every few minutes, we get a pneumatic doll sticking out every imaginable place with surgically enhanced extensions, talking of ‘loongi, and doongi’. Hear it for women, yay. Body parts stand and droop. And we hear, sigh, ‘khada hai, baitha hai’. Coins leap up from crotches and stick in unmentionable parts. That’s at least a new one. Oh, and before I forget, Vir Das plays a guy called Aditya Chotiya, the surname lending itself to, yeah, you got that too.

Messers Kele and Chotiya are sex addicts. Yes, that’s how it rolls. And Misses Laila and Lily (the only way to differentiate between the two is that one wears glasses; the cup size, straining at jib, is identical) are at hand, ahem, to cure them.

Into this mix turns up a wheelchair bound hunk (Shaad Randhawa) whose working above-the-waist is, self-confessedly, totally in order. And Asrani, as a white-haired, rifle-clad I don’t what, and Sushmita (who was also in last week’s ‘Kya Kool Hain Hum 3’) I don’t really want to know. Suresh Menon is made to play the kind of grotesque gay caricature who bites his lips, and grinds his butt, and makes the faintest chance of laughter dry up.

Characters come and go, ha ha. Riteish Deshmukh has a bit part, oh yes. He talks of man-gasms, when he talks at all. In the rest, he goes beep-beep. Which is actually a smart thing: a whole film full of beeps would be better than this non-stop spouting of words and phrases that would convulse innocent pre-teens, and past-it fifty-plus year olds who’ve just discovered the existence of porn videos.

And yes, that brings us to Sunny Leone, whose comfort with her body beautiful is presumably the sole reason for this film to exist. She is gorgeous, this woman. But the moment she opens her mouth, she’s oh-so-boring. Can nakedness be as dull-as-ditchwater? Yes, when that’s all there is. She is made to say: ‘sambhal ke rakhna Mr Kele kyonki aa rahi hai Laila Lele’. Teeth, gnash. Whatever happened to the smart girl underneath all that skin?

Not moan, because that would be the kind of sound this film should encourage. But groan.

Star cast of Mastizaade: Sunny Leone, Tusshar Kapoor, Vir Das, Suresh Menon, Asrani, Viveck Vasvani, Sushmita Mukherjee
Director : Milap Zaveri

Rating:
0 Star

 

 

Movie Review: Mastizaade

Movie Review: Ghayal-Once again

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Ghayal Once againFilm: Ghayal Once Again
Starring: Sunny Deol, Soha Ali Khan, Om Puri, Tisca Chopra, Neha Khan, Shivam Patil, Diana Khan, Aanchal Munjal & Narendra Jha
Directed by: Sunny Deol

What’s It About:
26 years after it established the angry young man of the 90s, Ghayal is back. It’s impact then was so overwhelming that two-and-a-half decades later, lead protagonist Ajay Mehra still remains a favourite. This time around, Ghayal Once Again starts off with a disturbed and distraught Ajay, coping with the loss of his wife and daughter, doing his bit for society with his fearless acts through a newspaper. Mehra is forced back into action when four teenagers (Neha Khan, Shivam Patil, Diana Khan, Aanchal Munjal) accidentally capture on camera the killing of Joe D’Souza (Puri) by the son of a powerful industrialist Bansal (Jha). When the biggie starts getting after the youngsters, Ajay makes it his mission to protect them and bring out the truth. And in this process, just like in Ghayal, he gets everyone pitted against him – including the cops.

What’s Hot:
The sheer nostalgia factor of Ghayal (which perhaps would be lost on many from the present generation) is the greatest highlight of the film. As the background score from the original plays on, there’s a rush of adrenaline. Sunny Deol who has directed this version is probably aware of that. So he begins the film with flashes from the original, as a glorious reminder of the Raj Kumar Santoshi-helmed taut thriller. Deol somehow underplays the character of Mehra and that’s a breather. The first half of the film is superbly handled – the almost 15-20 minutes long chase sequence before interval is guaranteed to keep you on the edge of your seats. The film has far more action than its predecessor. That a foreign action team has overlooked the proceedings is quite evident – it’s real and gripping. Except the climax where Mehra crashes a chopper into Jindal’s penthouse – but then, he is Ajay Mehra. Deol also goes against tradition by having just one song and that’s a relief. As director, it’s commendable how he maintains the tense mood of the film right from the first frame. Production values of the film are outstanding. Look out for the aerial shots of Mumbai – seen on the big screen for the very first time. Among the performances, Deol holds himself back from playing to the gallery. The Sunny charisma is evident every time Ajay Mehra is missing from the screen – you want him back. The four kids don’t have much to do but do their parts fairly well. Narendra Jha is a revelation – he handles the myriad shades of his character from dangerous to vulnerable really well.

What’s Not:
It’s important in a thriller to be able to maintain the pace constantly. This one falters quite a bit in the second half after a good start. Even in Ghayal, one of the reasons the film stood out was because of how the protagonist used his intelligence against the system. Even if they had to use the same formula in this one, it would’ve been enough. The whole climax of the hero bringing down a chopper into the villain’s house is a bit too much, especially when the VFX is also not up to the mark. There are also a few edit jerks in the film that could’ve been avoided.

What To Do:
Despite its flaws, this dhai kilo ka haath is worthy of a watch. Because they don’t make heroes like Ajay Mehra anymore.

​Rating:
3-star

Movie Review: Ghayal-Once again

Movie Review: Fitoor

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fitoor‘Inspiration’ Charles Dickens is just the first casualty. Fitoor spares no one, not Kashmir, not Delhi, not London, not artists, and not even poor Pakistan, which somehow finds its way into this tale essentially about love traversing social divides.

Meanwhile, having decided that in a film where all of Aditya Roy Kapoor’s hair is bunched upon his head and all of Katrina’s is plunged in a Chinar-esque red, in the hope perhaps that you don’t notice their blank faces below, Tabu takes it upon herself to act for the entire film. Her overladen, overdressed, overwrought Begum has done a hop, skip and jump (should that even be possible) from Haider and Vishal Bhardwaj to Fitoor and Abhishek Kapoor. There is a Ms Havisham in there but you have to search for it past all this, the flowing hair again and those ornate clothes (whatever happened to the sole wedding dress of Ms Havisham?).

So, once upon a time there was a boy, here called Noor , who lived in this innocent place called Srinagar (shot beautifully) where fierce militants with wounds (Ajay Devgn, hard to decipher, but something about Army does get mentioned) accosted children like him in the middle of the night and demanded help. Noor doesn’t think twice which, as we know from Great Expectations, sets one chapter in his life.

The other gets started when Noor and his brother-in-law get called to repair her mansion (‘Anjuman’, no less), by Begum. There Noor meets Firdaus, who comes riding in on a horse, across snow. A sight of her red cheeks and lips, and Noor is besotted. Begum notices, and by turns encourages and snubs Noor in his growing fascination for Firdaus.

So far, Abhishek Kapoor, who gave us a quite remarkable and solidly middle-class Kai Po Che, appears to know what he is doing. The boy cast as Noor speaks with an unmistakable Kashmiri accent, his beautiful and kind sister walks with a mysterious limp that always halts Noor in his tracks, and the brother-in-law is supportive and unobtrusive. Tabu is still getting into the act.

It’s when the sister dies, in a blast, the limp never explained, Firdaus goes away, Noor gets bigger and bulkier (Aditya Kapoor never stays in clothes, upper or lower for too long) and lands in Delhi that Fitoor enters from the epoch of belief to the epoch of incredulity (the Charles Dickens line the film is fond of repeating, though never reaching this particular part).

Financed by a mysterious benefactor, ‘the boy from Dal’ gets plonked from phiran on the lake to an artfully undone studio in midst of could-be Lodhi Garden. There is a Delhi out there where strangers open their hearts, parties, purse strings, not to mention letterheads giving their address as Sujan Singh Park, to accommodate growing artists among glowing monuments, only you may have never seen it. Meanwhile, an incredible number of foreigners keep flitting about. But what do we know?

Instant success, and a by now flirty Firdaus (Katrina Kaif), with ‘a degree from London School of Design’, follow (she smokes, doesn’t she?). However, even as our Noor is following her around with a one-note expression – she reciprocates in kind — he is becoming a big artist who can’t care less for Kashmir (“Itni azaadi kaafi nahin ki mein yahaan hoon”, he tells an appreciative Delhi art crowd). There is more where that came from, directed at the Pakistani minister Firdaus is meant to marry, but he at least ignores it with the backward-look contempt it deserves.

Lara Dutta may be just an art dealer, and hence inconsequential to this story, but she gets to say what we have been dying to: “Itna aasan nahin hota yahaan tak aana. Joote ghis jaate hain.” Needless to say, don’t look down at theirs.

There’s that other quote from Charles Dickens, actually from Great Expectations: Ask me no questions, and you will be told no lies.

Director: Abhishek Kapoor
Star cast of Fitoor: Aditya Roy Kapoor, Katrina Kaif, Tabu, Ajay Devgn, Aditi Rao Hydari, Lara Dutta

Rating :
1star

Movie Review: Fitoor


Movie Review: Sanam Re

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Nagpur Today : Nagpur News

Sanam ReJust when I thought I was out, they pulled me back in: With a dialogue from Godfather 3, of all things!
Before you ask us what has a Godfather dialogue got to do with Sanam Re, here’s the answer. Bollywood still makes films based on concepts borrowed from the early ‘90s when we expect them to come up with something more 2016. Also, there are many scenes in Sanam Re that seem as forced as this Michael Corleone dialogue in this review.

You must have heard of Tanakpur. Yes, that snow-clad Uttarakhand town your friend went for vacations last winter. It all starts there, when Aakash (Pulkit Samrat) and Shruti (Yami Gautam) are still kids. As destiny planned, they fall in love with each other. Cliched, did you just say? Wait, there’s more. As expected, they choose separate paths, but destiny decides this is not how they’re supposed to live their lives. What do we believe in: Love or luck or both? Can love happen twice, or with another person? You know the usual questions.

Let’s give credit to Divya Khosla Kumar for beginning the story on a picturesque note. You marvel the scenic locales alongside searching for intense love, but the slow-paced office humour, chiefly driven by Manoj Joshi, denies you the solace you crave for. And, yes, his English is poor and that means he’ll keep referring to Shakespeare as Shaaaxxxpeer. Of course, you’re supposed to laugh.

Thankfully, Pulkit Samrat understands the value of subdued acting and steps away from being a part of the trademark Bollywood hamming. After a long time, we get a glimpse of the actor we first appreciated in 2012 film Bittoo Boss. But, he is not the only one in the film.

he director has given clear pointers to her actors. Pulkit needs to look a confused guy, Yami should be the innocent mountain beauty. But then, what’ll Urvashi Rautela do in this set-up? Ok, let’s make her gyrate on beaches and bathrooms. Who will enhance the hotness quotient otherwise? Nothing wrong in executing all this, but haven’t we lost that beautiful story we started with in this chaos?

Superbly backed up by its music, Sanam Re shows potential in patches. Pulkit has been given a clichéd yet nuanced role, but you can’t sustain the momentum unless other characters too pitch in. The actors have been made to do some really silly things. For instance, Pulkit and Yami are supposed to look like senior secondary kids who talk in weird lingo. You simply fail to realize the ‘aww’ factor in it. Ironically, the background score keeps reminding you of Tum Bin and that puts even more spotlight on the lack of intensity in Sanam Re.

This one has ingredients, but they’re not mixed in the right amount. Too much fascination with ‘glamour’ restricts it from becoming a cinematic version of Nicholas Sparks’ novels.

To be fair with the team of Sanam Re, it’s not a bad watch. It’s not a great watch either. The film starts off on a promising note, but soon goes off the track. However, it could still be your Valentine’s movie. We know how desperately you need it!

Director: Divya Khosla Kumar
Star cast of Fitoor: Pulkit Samrat, Yami Gautam, Urvashi Rautela, Rishi Kapoor

Rating:
535px-2.5_stars.svg

Movie Review: Sanam Re

Movie Review: Neerja

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Nagpur Today : Nagpur News

neerjaaThe tragic story of Neerja Bhanot, who died while saving the lives of others, is full of tears and heartbreak. What we want to know, going into ‘Neerja’, the film based on the last two days of her 23 years on this earth, is : will it do justice to that pretty young woman with extraordinary courage?

Yes, Director Ram Madhvani’s long overdue return (where did he go missing all these years, after his terrific debut ‘Let’s Talk’?) to the screen is invested with the urgency and the sense of impending doom which tells us just how those terror-filled hours must have been like for Neerja, who was on that hopping Pan Am flight, New Delhi-Karachi-Frankfurt-New York, celebrating her first time as chief purser.
She would have celebrated her 24th birthday on the 7th of September, 1986. Instead, her bullet-ridden body comes back to her devastated family, mother Rama (Shabana Azmi), father Harish (Tikku), her brothers, and the man who loves her (Shekhar Ravjiani).

The film slides swiftly into its stride, taking us back and forth between the early morning of the 5th of September, with Neerja (Sonam Kapoor) getting ready for the flight, with her parents up and gently fussing around her, and a terrorist cell in Karachi, packing guns and grenades and gearing up for the hijacking of the Pan Am jet from Karachi airport.

The atmosphere of dread and violence is created well, for the most part. We see the hijackers brutally put down any hint of resistance. We see the terrified passengers cowering in their seats. We see the crew being cowed into submission, being jabbed repeatedly by AK 47s. And we see the exact moment when Neerja draws upon her memories of being defeated in a past life, and reaching out for steely resilience: most importantly, we see Kapoor do this, believably.

The question was always going to be, can Kapoor, who has always played itty-bitty ditsy roles before (with great success in ‘Khubsoorat’, and with not-always-satisfactory results in a string of others), carry off that demanding role?

Yes, Sonam Kapoor fumbles in a couple of initial phases, where we find a blankness rather than terror on her face. But those are only momentary. Then she locks onto the correct tone, and we get the whole complement of feelings flit across her face – from shaking with fear to finding a place of strength. Kapoor makes us believe she is, was, Neerja.

And that takes us past the few places which slacken. The lead terrorist is given a couple of ultra-histrionic moments. The end threatens to become too maudlin. There’s a completely superfluous song bunged right into the middle of it all : yes, we know it’s a flashback, but a song in a film like this? Can Bollywood ever get rid of this penchant of not trusting the audience with a film which needs to be as taut as a drum, and hamstringing it by a song?

Minus the songs and the excessive schmaltz, ‘Neerja’ could have been outstanding. But still, the film holds, and hold us with it. Both Shabana Azmi and Tikku, as the parents hoping for the best and dreading the worst for their ‘Laado’ (Neerja’s ‘pet name’), are excellent. They shine a light on the tragically-cut-short life of their daughter, a true inspirational heroine whose deeds need more than a memorial. They need to be remembered.

I came out of the theatre, wet-eyed.

Neerja star cast: Sonam Kapoor, Shabana Azmi, Yogendra Tikku, Shekhar Ravjiani
Director: Ram Madhvani

Rating:
3-star

Movie Review: Neerja

Aligarh : Manoj Bajpai packs perfection as gay professor

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Nagpur Today : Nagpur News

Manoj BajpayeeDirector Hansal Mehta’s “Aligarh” is a human rights story that reveals the plight of homosexuals in conservative Indian society. It is a tapestry of a compelling drama, enveloped between the two historical verdicts, the Delhi High Court first decriminalising and thenthe Supreme Court restoring criminalising Section 377 of the Indian Penal Code.

It is the true story of Dr. S.R. Siras, a professor of Marathi and the head of the Classical Modern Indian Languages Faculty at the famed Aligarh University, who was suspended on grounds of morality.

The film starts with the inciting moment when the professor’s privacy is invaded by some miscreants who forcibly enter his house and film him sharing intimate moments with a rickshaw-puller.

What keeps you glued to the screen is the focused narrative and the natural performances, that give you a glimpse into the life of the protagonist.

Writers Ishani Banerjee and Apurva Israni have ensured that there is nothing unwarranted and no unnecessary titillation, given the sensitive subject. They have cleverly incorporated the track of Deepu Sebastian, a journalist from Delhi working for the Indian Post, to propel the narrative.

Manoj Bajpayee essays the role of the victimised, shy and unassuming professor to perfection, who is forced to fight his battle, singlehandedly. With his gait, speech and underplayed histrionics, Manoj is the character, you would believe in. The silences in his performance and vulnerability in his eyes, are used by him effectively to convey his anguish and loneliness.

The two Lata Mangeshkar songs, “Aap ki nazaron ne samjha pyaar ke kabil mujhe” and “Betaab dil ki tamanna yahi hai”, woven dexterously into the script, encapsulate Dr. Siras’ solitude and his desire to be loved. The way he passionately hums the song makes you reach out to him.

Rajkummar Rao as Deepu Sebastian, is lithe and natural. He plays the effervescent and enthusiastic Malayali journalist settled in Delhi with ease and the bond he forges with the professor seems genuine. Unfortunately, his character does not delve into why he gets attracted to the case and hence the track seems forced when he insists, “you have to fight it out, Mr. Siras”.

The lip-lock between Deepu and Namita, his reporting head played by Delnaaz Irani, reveals the progressive India, thus, bringing out the sharp contrast of the orthodox Indian society, otherwise portrayed in the film.

Ashish Vidyarthi, as the lawyer fighting Siras’s case, unfortunately lacks the punch.

Mounted with moderate production values, Satya Rai Nagpaul’s camera work is steady and remarkable. His frames are realistic. With his wide angle lenses and tight close-ups, he artistically captures the claustrophobic space and the fine nuances of Manoj’s haunting performance.

Karan Kulkarni’s soulful background score is well-layered in the narration. There are a few edit jerks in Apurva Asrani’s editing but this could probably be due to censor issues.

Overall, Hansal Mehta’s direction touches a raw nerve and makes you embrace the film wholeheartedly.

Rating:
3-star

Aligarh : Manoj Bajpai packs perfection as gay professor

Movie Review: Jai Gangaajal

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Nagpur Today : Nagpur News

Jai Gangajal
Jai Gangaajal
Cast: Priyanka Chopra, Prakash Jha, Manav Kaul, Ninad Kamath
Director: Prakash Jha

Poor villagers running around and open gypsies trailing them has become a trademark of Prakash Jha’s filmmaking.

So, it doesn’t come as a jolt when the Priyanka Chopra-starrer Jai Gangaajal opens on a similar note. In fact, it would have been surprising if Jai Gangaajal would have begun on a different track. And, of course, there would be a double-meaning song disguised as a folk song playing in the background. Well, this is what it takes to be Prakash Jha. You need to be commercial as well as niche in your approach. Isn’t this what he has been doing in Raajneeti, Aarakshan, Chakravyuh and Satyagrah?

IPS Abha Mathur (Priyanka) has been given the independent charge of Bankipur after five years of serving at the secretariat on CM-in-waiting Chaudhary’s (Kiran Karmarkar) insistence. But, these lucrative postings don’t come easy to honest cops and thus Abha gets a readymade challenge in the form of local MLA Babloo Pandey (Manav Kaul).

But, we know Jha and thus there has to be a social angle. Samanta Industries wants to buy land in order to inaugurate their new factory, but activists and some villagers are opposing the forceful acquisition. Now, the local administration has to take a stand, but that doesn’t seem possible in the current set-up where every cop is on Babloo Pandey’s pay-roll.

You must be remembering Gangaajal (2003) by now. And just to take all your doubts away, let me tell you that corrupt cops are led by circle officer Bhola Nath Singh (Prakash Jha) who still believes in the power of ‘khakee’. Did you just say Bachcha Yadav?

Yes, it’s a complete throwback to Gangaajal except Abha Mathur replacing Amit Kumar (Ajay Devgn) from the original. It’s another version of Gangaajal with a different starcast. Seeing Ajay Devgn as the current police commissioner was quite a possibility.
But, can this still be a good film?

It impresses in the beginning. We witness a ruthless ‘Chota Vidhayak’ Dabloo Pandey (Ninad Kamath) ruling the area with an iron feast. Wanted in many cases of extortion, rapes and murders, he sets the perfect stage for Priyanka’s arrival. She comes and takes things under her control within minutes. Such is her charm that you give Prakash Jha some room to repeat the Gangaajal characters for a while. A fight sequence brings out her grit and respect for constitution-bound law. It feels like the arrival of a savior, a star, but there begins the unfolding of BN Singh’s character.

Prakash Jha is the hero of Jai Gangaajal if screen time is our consideration. In any case, you need to spread wings to make a 158-minute film engaging. But, it has to be said that Jha has done justice to his role. He is restrained in dialogue delivery and really effective in emotional scenes. The narrative keeps dragging with strange terms such as ‘Madam Sir’ and ‘Suicide Murder’.

It seems the idea is to create an isolated world which is uncertain about its future and the usage of words. The constant urge to back these terms up with scenes also hampers the flow of the narrative. As a result, a powerful scene comes up and then vanishes into oblivion without providing a build-up to the next one. In the process, we get individual sequences that work on their own, but couldn’t gel as a whole.

The unilateral fight for justice goes on and on only to hit a familiar roadblock: How heroic should be the hero? And there’s a tussle between the director-actor Jha and Priyanka Chopra. Who said directing a star is easy!

The storyline of Jai Gangaajal doesn’t offer anything that you haven’t seen before. This holds true even if you have watched only Prakash Jha’s films. But, it has tear-inducing moments and Priyanka Chopra ensures they keep coming at regular intervals. Once again, the dark underbelly of the Hindi heart land has been explored with explosive dialogues and superficial sensibilities.

Jai Gangaajal is just another attempt at making a blockbuster, but it lacks the depth of Gangaajal and Apharan. Still, there’s enough for the audience to keep whistling and clapping. Priyanka Chopra is the new ‘Dabangg’.

Rating:
535px-2.5_stars.svg

Movie Review: Jai Gangaajal

Movie Review: Teraa Surroor

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Nagpur Today : Nagpur News

Tera Surroor
Teraa Surroor
Cast: Himesh Reshammiya, Farah Karimaee, Naseeruddin Shah, Shekhar Kapur
Director: Shawn Arranha

Will you be surprised if I tell you that Teraa Surroor – which, incidentally, is not a sequel to 2007 film Aap Kaa Surroor – is Himesh Reshammiya’s ninth film as an actor?

If yes, then you are doing a great disservice to yourself. There’s no harm in a little fun every now and then. If no, then you deserve every single second of this mysterious, melodious, super cheesy, unintentionally funny, half baked, impractical and futile film.

The world has changed a lot, and so has Himesh Reshammiya. He has lost a lot of weight, brushed up his acting skills, and is ready to rub shoulders with the likes of Naseeruddin Shah, Kabir Bedi and Shekhar Kapur. But, is that as easy as it sounds?

Raghu (Himesh) is a tough Mumbai gangster who never smiles, at least when he should. He also likes to flaunt his shades and weird love quirks. Tara (Farah Karimaee) is Raghu’s girlfriend, and she and her mother live in his house. But you wouldn’t expect her to know Raghu’s true identity, would you? No, that’s almost a crime in a city as prone to terror attacks like Mumbai.

Anyway, Tara arrives in Dublin and gets detained on drug trafficking charges. Why did she come to Dublin? Simple, it’s because her Facebook friend wanted her to come. But she can’t tell the local police anything about this mysterious guy because she has never met him. She hasn’t heard his voice either, not even on the phone (and you thought Liam Neeson went overboard in Taken). You see, a phone call can get you killed. Turns out, the guy is called Anirudh Brahmin, and nobody can save him because Himesh has chosen him to showcase his combat moves.

The sudden turn of events puts the Dublin Police to the daunting task of saving their citizens from the wrath of some hot-headed Indians. They talk about Osama Bin Laden and Bharat Mata in the same breath. You see, all the whites are racist, and those living in and around Dublin, Ireland, take the cake.
Titled Teraa Surroor – A Lethal Love Story, this film is all about unconditional, unbound swag. Bad guy gets killed, he smiles. Bad guy kills someone, he smiles. Nobody kills anybody, they smile. Only Himesh doesn’t smile. That would make his jawline look less prominent.

And yes, there is a guy in the shadows who loves playing the guitar after every scene. Don’t ask me why. Probably he just loves playing the guitar!

Raghu has a friend in ‘The Bird’ a.k.a Enrique Santino, who speaks fluent Hindi. Why? Because he has spent many years in Indian jails. Otherwise, how would you justify Naseeruddin Shah playing Santino? And, don’t you dare forget, the guitar guy is still playing in the background.

Ireland seems to be the perfect place for health commercials; after all, people here like to jog in slow motion. But then, that’s less rewarding than watching Kabir Bedi’s maroon lipstick.

Teraa Surroor appears to be an international conspiracy, where the Irish are subjected to immense torture because an Indian guy is there to seek revenge on another Indian guy.

Teraa Surroor’s music is its biggest attraction, provided you’re a Himesh fan like me. The first half keeps featuring one song after another and you feel blessed. But then comes the interval, following which the movie turns into an illogical chase that ends nowhere. Even the movie’s glossy cinematography and sleek editing couldn’t be of much help.

Himesh Reshammiya has tried hard, but it’s still not working for him. Farah Karimaee may get some films if looking good is the only criterion. Naseeruddin Shah is Naseeruddin Shah and Shekhar Kapur is Shekhar Kapur, absolutely undiluted.

Teraa Surroor is indeed a lethal love story.

Rating:
1.5-star-rating.

Movie Review: Teraa Surroor

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