Indian movies

KYA LOVE STORY HAI is the story of a carefree and wayward youth, Arjun [Tusshar Kapoor], who experiences love-at-first-sight with Kaajal [Ayesha Takia]. It isn’t a typical meet-cute situation - he follows her for some time before succeeding in breaking the ice.

For Kaajal, Arjun is a mere acquaintance, but the latter is in love with her and afraid of conveying his feelings. On befriending her, he learns that she lost her mother years back and that her father was busy traveling abroad on business.

A situation arises when Kaajal comes across a letter, which Arjun has written for the girl he loves, but she doesn’t know to whom he is referring. Arjun deliberately asks her how she would reciprocate his love if she were the girl he was in love with?

Kaajal’s reply leaves Arjun self-introspecting, making him mysteriously disappear from the scene.

In the mean time, a successful and snooty entrepreneur meets Kaajal. Following some heated verbal scuffles with her, he concludes that she would make for an appropriate life-partner because she was a stabilizing influence and kept him mellow.

When Arjun returns to South Africa, during an astonishingly coincidental encounter, he finds Kaajal engaged to the entrepreneur!

Destiny has entangled three hearts, but who will emerge victorious? Who will make the grand gesture? KYA LOVE STORY HAI is a feel-good romantic comedy oriented at young love. It has been beautifully shot in exquisite South Africa and its OST features five chart-busting numbers.

Cast: Tusshar Kapoor, Ayesha Takia, Kareena Kapoor [s.a.]. Producer: N.R. Pachisia. Director: Lovely Singh. Music: Pritam. Release Date: 6th April, 2007. Running Time: 125 minutes [app.]. Overseas distributor: Studio 18.

Neel Oberoi – A billionaire bachelor. The world was his oyster. Truly the man who had it all. But did he?

Diagnosed with a fatal heart ailment, Neel’s life had come to a screeching halt. Only a miracle could save him and yes, a deadly crash led him to his miracle, Anahita.

Anahita – Gorgeous, Sexy but yet lonely. Why? A doomed accident had led her to the crossroads of nothingness.

Such is the irony of life that the crash that plunged her into tragedy, ironically led her to meet her dark and passionate destiny, Neel.

Ria – Anahita’s best friend. Her anchor, hoping to lead her to emerge from her horror into a life of love and stability.

Darkly sexy, flirtatious and mysterious, something about Ria didn’t seem right.

If only life was always what it seemed…

Drawing you a tale of fear, seduction and betrayal, Red – The Dark Side trails the story of Neel, Anahita and Ria. Emerging from the clutches of death, Neel is drawn into a passionate encounter of love with Anahita. An uncontrollable love that leads him into a dark alley of Anahita’s past and Ria’s mysteries.

Fardeen Khan as Abhay Sachdeva

The quintessential Indian city boy. Friendly, spirited, ambitious with a great sense of humor, Abhay does what most normal men his age do. Holds down a great job at an MNC, hits the gym, guzzles his beer and hangs out with the guys. He’s the typical guy-next-door. His sense of tradition and duty are perfectly placed, which is perhaps why, after completing his MBA overseas he comes home to his family in India and agrees to an arranged marriage with the girl his parents have chosen for him.

Yet, inspite of all his sensibilities, a 5 day honeymoon with a stranger, albeit his wife of 24 hours, seems strange to him! As he arms himself with a truckload of patience and sensitivity, even he knows that this journey’s going to be full of surprises. And he’s game for it. He’s dead sure that whatever this honeymoon throws at him, he’s going to come out a winner. Perhaps that’s what makes Abhay so special.

Esha Deol as Ritika Khanna

Surprise is just one of the emotions that Ritika feels when her parents announce their decision to wed her to an absolute stranger—the great Indian arranged marriage—whoever knew that she would be a victim!

What’s worse is that just 24 hours after her wedding, she now needs to take off on a 5 day honeymoon to Ooty--with a stranger! Sure she knows his name’s Abhay Sachdeva and that hers has now miraculously changes to Ritika Sachdeva—that he likes the color blue since he wore a blue sherwani for his wedding to her—that his parents are nice—and his sister half crazy—but that’s it! Who is he? What does he do for fun? Was he as against their marriage being arranged as she was? Does he snore at night?—and was she expected to share a bed with him for 5 whole days? Just how much knowledge is enough when on honeymoon with a stranger?

To say that Ritika’s nervous is like saying that she’s happy. She isn’t. Scared out of her wits, hesitant, thrown off, uncomfortable—that’s more the way she’s feeling. And frankly, who in their right senses can blame her?

The one thing she’s not ready for is the fact that she may actually fall in love with Abhay. Does she?

Synopsis

Marriage is often the culmination of a perfect romance. An arranged marriage however, is the beginning of an anticipated romance.

2 individuals: Abhay Sachdeva and Ritika Khanna. Strangers, but for a sole meeting. On the fringes of familiarity but with their destinies firmly entwined forever. Married to each other yet outsiders together on their honeymoon.

Far away in Ooty, 290 kms from home in Bangalore, Abhay and Ritika begin their journey as husband and wife on their 5 day honeymoon. Along the way they chance upon several people—some couples, some individuals, some believers in the institution of marriage and the romance of togetherness, some non-believers. Abhay and Ritika have never held hands, never walked together in the rain, never romanced each other and yet, as per ritual, they have to spend 5 days together in one room, with one bed, as husband and wife, in a situation where they are expected to love each other and become lovers.

Just Married is a movie that starts where most others end. It is a film set amidst middle class India where romance and love start at the ultimate commitment-marriage.

Will Abhay and Ritika find friendship and become lovers? Will they survive their new found relationship as husband and wife? Will their honeymoon be the beginning of the end?

Just Married. Marriage was only the beginning. And love was definitely not in the air!

Never has a love story been so unlike any other!

Cinema-going experiences, like culinary encounters, can either stimulate you or put you off completely. When you enter a cineplex to watch Arjun Rampal’s first outing as a producer, I SEE YOU, you expect to watch a soft-on-your-senses, feel-good multiplex movie since the promotions have been very specific, very direct on that front.

I SEE YOU, directed by debutante Vivek Agrawal, is targeted at the multiplex junta, but right intentions don’t necessarily translate into right films. The problem with I SEE YOU is that it works in bits and spurts, not in entirety.

It’s not blasphemous to be inspired by a Hollywood film [JUST LIKE HEAVEN; starring Reese Witherspoon, Mark Ruffalo], but writer Suresh Nair and director Vivek Agrawal should’ve ensured that the desi adaptation appeals to Indian sensibilities and is captivating enough from start to end. Sure, I SEE YOU has its share of interesting moments, but the recipe [screenplay] used for cooking this dish lacks a few vital ingredients.

To sum up, I SEE YOU is the kind of film that works best on the tube or DVD circuit. As far as its theatrical business is concerned, it might find its share of advocates in a handful of multiplexes of Mumbai, Delhi, Kolkata and Bangalore mainly, but even that segment of viewers would be minimal.

Another factor that goes against the film is its release period. To expect viewers to rush to a nearby theatre on 31st December [Sunday] or 1st January [Monday] would be foolhardy. The cinema attendance goes downhill during those days and expecting the business to pick up from Tuesday onwards is like expecting snowflakes in Mumbai.

Story: Raj [Arjun Rampal] is the star attraction on the TV show British Raj. One evening, Raj finds an unexpected visitor in his house -- Shivani [Vipasha]. Is he dreaming? Is she for real? At first Raj thinks his friends are out to make a bakra. But he realizes that Shivani is a spirit.

Shivani breezes in and out of his home and office whether he likes it or not. Unfortunately, Raj is the only one who seems to be able to see her or talk to her. His friend Akshay [Chunky Pandey] thinks it’s an alibi and also arranges for a meeting with a shrink [Boman Irani] on his wedding anniversary.

Gradually, Raj falls in love with Shivani. But Shivani and Raj have to find answers to questions that led to Shivani’s current state.

I SEE YOU is a ghost story, but it doesn’t belong to the BEES SAAL BAAD or BHOOT variety. It’s not on the lines of Ramsay productions either. A love story revolving around a spirit and an ordinary mortal, the plot focuses more on humor and romance than spine chilling or tense moments.

Although the premise is refreshingly different for Indian audiences, the manner in which writer Suresh Nair and director Vivek Agrawal open the cards is what gives you hiccups. In the first place, no explanations are offered as to why Arjun alone can see Vipasha. Also, she can’t touch a telephone, but the twist in the tale has her opening the door of the room where her comatose body lies. How did she manage that? Chalo, maan liya, spirits in Hindi movies can even break into songs and dances, but the opening of the door is like double crossing Arjun since the cop [Michael Maloney] is already at the doorstep.

Even the finale -- the mystery behind Vipasha’s accident is solved and the doctor is arrested -- is far from convincing. A few minutes earlier, didn’t we see the doctor and a nurse entering Vipasha’s room in the hospital and even injecting a drug to put her to sleep forever? So how did the cop [Michael Maloney] reach there from the BBC Studio [he’s being interviewed ‘Live’] and how did Vipasha suddenly come alive? It’s a screenplay of convenience!

In a nutshell, I SEE YOU tries too hard to appeal to the heart, but it forgets that moviegoers have thinking minds too.

On the plus side, a few individualistic sequences are well executed. The initial portions -- Arjun refusing to believe Vipasha is a spirit until he visits the hospital -- are interesting. The humor-laden sequences involving Chunky Pandey also keep you in splits. The finale -- Vipasha disappearing from Arjun’s arms [faulty writing] -- is well handled too. Ditto for the end -- Arjun introducing himself to Vipasha at an eatery -- is worthy of note.

Vivek Agrawal had the opportunity to play with special effects since the protagonist is a spirit, but the storyteller doesn’t utilize this aspect in the narrative. Also, his choice of the story is perfect, but not the screenplay. How could he okay a faulty script in the first place? Vishal-Shekhar’s music is pleasant. ‘Subah Subah’ and ‘Halo’ are two noteworthy tracks in the narrative. In fact, the set décor and choreography [Shiamak Davar] of the ‘Halo’ track is superb. Ashok Mehta’s cinematography is delightful. Dialogues [Niranjan Iyengar] are strictly kaam-chalau.

I SEE YOU rests on Arjun’s shoulders. Arjun is efficient in a role that doesn’t really demand histrionics. He has proved his credentials in the past and his performance in this film is at par with his earlier works. He works best in the dramatic portions. Vipasha may not be gorgeous to look at, but she’s a decent actor.

Chunky Pandey is only getting better with every release. He registers an impact. Kirron Kher gets very little screen time. Boman Irani tries hard to make you laugh. Sonali Kulkarni also has a miniscule part. Sophie Chaudhary adds to the glamour quotient. Her scenes with Arjun [especially the one at the start, when Vipasha lands up at the studio] are truly funny. Michael Maloney [the Hindi-speaking angrez cop] is good.

Shah Rukh Khan and Hrithik Roshan make fleeting appearances in the ‘Subah Subah’ song. While SRK is strumming a guitar, Hrithik breaks into a small jig.

On the whole, I SEE YOU could’ve been an interesting fare, but is letdown by a lopsided screenplay. At the box-office, the lack of face-value and an inopportune release period [people don’t like to spend New Year in a cinema hall] will only add to its woes.

Films depicting social themes were extremely popular in the 1960s and later, in the 1980s. But, of late, paarivarik themes are relegated to the small screen and even if a film-maker dares to tackle such a theme for the big screen in this era of urbane themes and multiplex films, a section of moviegoers [read critics] are quick to label the efforts as 'outdated' and 'regressive'.

But VIVAH, four weeks ago, and BAABUL, this week, prove the detractors wrong!

BAABUL tackles the issue of widow re-marriage, an issue the late Raj Kapoor successfully raised in PREM ROG [Rishi Kapoor, Padmini Kolhapure]. But comparisons between PREM ROG and BAABUL wouldn't be right, except that both talk about the rehabilitation of a young widow.

In terms of genre, BAABUL tackles a purely Hindustani issue, like the recent VIVAH. But let's quickly add that Sooraj R. Barjatya and Ravi Chopra's storytelling techniques are as diverse as chalk and cheese. While Barjatya adopts a desi approach for just about everything, Chopra takes a desi theme and gives the film an urbane feel. But the commonality is that both Barjatya and Chopra cater to the same set of viewers: Families.

In terms of content, BAABUL has its share of uppers and downers. Fortunately, the highs outnumber the lows in BAABUL and what really takes the film to another level is its climax. It wouldn't be erroneous to state that the graph of the film takes a big jump in the last half-an-hour thanks to the apt culmination to the story. The penultimate reels are truly outstanding!

Also, any film that raises a pertinent issue ought to rest on a solid foundation -- its writing. While Achala Nagar's writing isn't tight, it isn't trite either. Agreed, the writing could've been far more convincing and cohesive, but you cannot deny that there are ample moments in the film that make you moist-eyed.

To sum up, BAABUL is a competent follow up to BAGHBAN. After attempting diverse genres from ZAMEER onwards, Ravi Chopra gets it right with BAGHBAN first and BAABUL now.

Balraj [Amitabh Bachchan] is a rich businessman with progressive modern outlook towards life. For him, family, culture and values are of utmost importance. Shobhna [Hema Malini], his wife, is more than his better half. Together, they dote on their only child Avinash [Salman Khan]. For Balraj, Avinash is more of a friend than just his son. After spending many years in the U.S., Avinash returns home to his parents. Their lives light up!

Avinash meets the pretty Millie [Rani Mukerji], a painter. They fall in love and get married. They are blessed with a lovely child named Ansh. Rajat [John Abraham], a young musician and Millie's friend, has feelings for Millie, but never reveals it to her. He is now happy for Millie and Avi. He decides to settle in Europe, pursuing his musical career.

Fate plays a cruel game and on Ansh's birthday, Avinash meets with a fatal accident. Life without Avinash is unbearable for Millie. Meanwhile, Balraj and Shobhna try to find the love of Avinash in Ansh.

Balraj cannot bear to see Millie's colorless life. He decides to find Rajat and asks him to marry Millie and help him bring the colors back into her life. But Balwant [Om Puri], Balraj's elder brother, objects to Balraj's plans. Even Shobhna is not with Balraj this time.

Will Balraj be able to fulfill his plans? Will he prove to be a father [Baabul] rather than being a father-in-law?

An issue-based film has to be tackled with kid gloves, with utmost care, efficiency and sensitivity. And Ravi Chopra does just that! Although there are several emotional moments in the film, at least three sequences strike a chord…

• Hema requesting Rani to wear colorful clothes, after Salman's demise.


• Salman and Rani's son feeling the presence of his father by sitting in the closet.


• Rani dancing with Salman's pullover amidst heavy rains.

PARZANIA, directed by Rahul Dholakia, affects you. Not only does the film unfold the Godhra riots and aftermath on screen, it also narrates the heart-rending story of a Parsi family and how it loses its 10-year-old kid to the riots. The message is clear: The common man is most affected when catastrophe strikes!

The wounds may have begun to heal, but the atrocities leave behind scars that are difficult to conceal. PARZANIA doesn’t talk of politicians or the reasons that triggered off the riots. It tells you of a family whose lives go topsy-turvy during the riots.

Allan [Corin Nemec], an American, arrives in Ahmedabad searching for answers, praying to find internal peace and understand the world and his troubled life. Allan has chosen India as his school and Gandhi as his subject. It’s here that he meets Cyrus and his loving family.

Cyrus [Naseeruddin Shah] lives with his wife Shernaz [Sarika], son Parzan [Parzan Dastur] and daughter Dilshad [Pearl Barsiwala]. Communal riots break out in the city and the Hindus target this housing colony. In the midst of terror and violence, Parzan disappears. The heart-broken family begins their search for Parzan.

PARZANIA packs in a solid punch in those two hours. The story actually takes off when hundreds of Hindus attack the colony. The helpless residents find themselves in a quandary. From this point onwards, right till the finale, PARZANIA has the power to keep you glued to the proceedings.

Sure, the pace drops in the second hour, when Cyrus and Shernaz begin their frantic search for the missing kid, but the narrative reaches its crescendo during the concluding reels [people testifying before the Commission]. It wouldn’t be erroneous to state that the penultimate twenty minutes are the highpoint of the film, especially Sarika’s statement to the Commission.

Director Rahul Dholakia has handled the subject material with utmost sensitivity. Also, he has extracted topnotch performances from every member of the cast. Cinematography is of standard. The riot portions [Sham Kaushal] are expertly handled.

Naseer is brilliant in a role that seems right for him, but it’s Sarika who outshines everyone. Natural to the core, she displays anguish and sorrow with amazing maturity. The two kids are alright, although the girl gets more scope. Corin Nemec does a fine job. Raj Zutshi makes his presence felt. The actress enacting the role of Nikhat [who’s saved by a Hindu] is tremendous.

On the whole, PARZANIA is a well-made film that’s targeted at viewers of serious cinema.

CHANDNI BAR peeped into the lives of bar dancers.
PAGE 3 exposed the glitzy lives of the glitterati and chatterati.
CORPORATE was about wars fought inside the Board Rooms.
Madhur Bhandarkar's new outing TRAFFIC SIGNAL introduces us to a world we thought never existed. A world we see every single day at the traffic signals, but forget all about it the moment the signal light turns green.

Like PAGE 3, TRAFFIC SIGNAL is more of a collage of moments than a cohesive script.

A flourishing 'industry' exists at the signals and those who engineer and run the 'empire' include gangsters and politicians. Actually, you need to have a strong stomach to absorb the characters depicted in TRAFFIC SIGNAL. This is no glossy, feel-good, escapist cinema that has actors dressed in designer outfits and breaking into songs in the Swiss Alps. The plot is stationed at a traffic signal, the characters are shabby to look at, they wear tattered clothes and the lingo they speak is outright pedestrian, coarse and uncouth.

Madhur dares to travel a path no one has traversed in the past. Although TRAFFIC SIGNAL rests on a thin plot, the experience of watching a never-seen-before world is its USP.

There are films that entertain. There are films that enlighten. TRAFFIC SIGNAL belongs to the latter category. This one doesn't get preachy. It just opens your eyes and mind to a deglam world that exists in the glam cities of India.

Silsila [Kunal Khemu], a young orphan, who was born and who took his first tiny step at the Signal, is now its manager. For him, the Signal is his workplace and a home where he lives. He loves all those working at the signal, which in a way is his family, but would spare nobody when it comes to business.

Silsila's mentor Jaffar [D. Santosh] is the collector of his region. Both Jaffar and Silsila work for the local Mafioso, Haji [Sudhir Mishra]. Inherent in the social structure lies a nexus between the local mafia and politicians, though at that level Silsila is almost non-existent.

Yet, by a force of circumstance, Silsila gets drawn into the bigger game and finds himself responsible for the annihilation of his own world. What would Silsila do in such a situation? Silsila knows that he can never take on Haji, who is too powerful and way beyond him. Yet, no matter what and how, he has to get his life and the lives of his family at the Traffic Signal back on track.

Like PAGE 3, TRAFFIC SIGNAL is about assorted characters. There's a kid called Tsunami, who has lost his parents in the Tsunami. There's a socialite who likes toyboys. There's a girl from Gujarat who sells traditional outfits. There's a hooker who has a soft corner for a drug addict. The drug addict, in turn, has his own story to tell. There's a gay who's part of the flesh trade. And, of course, there's the 'manager' of this traffic signal -- the protagonist.

Madhur doesn't peep into every character's lives. All he does is introduce the characters that breathe the same air, but live on the mean streets. Actually, the story begins in the middle of the second half and the twist in the tale [the engineer/Manoj Joshi is shot dead by goons] reflects on the times we live in.

The climax is unconventional. There's no herogiri or bhashanbaazi here. The protagonist doesn't fight the evil forces single-handedly. He can't, he's too insignificant in front of them and he knows his shortcomings. And the only recourse he sees is approaching the law.

Director Madhur Bhandarkar's choice of the subject is laudable, although one wishes that there were ample dramatic moments in the narrative. Besides, the subject material will have its share of admirers and adversaries. Yet, there's no denying that the film has some brilliant moments. The Ranveer-Konkona track [including Ranveer's sad demise], the entire track of Manoj Joshi [right till his assassination] and the track of a beggar and the rich Gujarati businessman [with a turning point in a multiplex] are superb. From the writing point of view [writers: Sachin Yardi and Madhur Bhandarkar], the penultimate 25 minutes are captivating, but the film ends on an abrupt note. Ideally, there should've been a strong culmination to the tale.

Special mention has to be made of the costumes worn by the characters [costume designer: Shefalina]. They look real! Ditto for the makeup; it lends the required authenticity to the characters. Mahesh Limaye's cinematography adds to the natural look. Being a slice-of-life film, there's not much scope for the song-n-dance routine, but the theme song has rich lyrical value, while 'Aai Ga' is aimed at the hoi polloi.

The ones who stand out with more than commendable performances include Kunal Khemu, Konkana Sen Sharma and Ranveer Shorey. Kunal Khemu looks the character and emotes his part with admirable precision. Konkona Sen Sharma breathes life in her role. Ranveer Shorey steals the show with a superb portrayal. Upendra Limaye is first-rate. Neetu Chandra does reasonably well. D. Santosh is able. Well-known director Sudhir Mishra leaves a mark as an actor. Manoj Joshi is perfect.

On the whole, TRAFFIC SIGNAL is a slice-of-life film and that is its USP. This deglam film should find a good share of supporters for its theme and also for the execution of the penultimate 25 minutes. At the box-office, the film has two major advantages -- a brand called Madhur Bhandarkar that has cultivated its loyal audience with films like CHANDNI BAR, PAGE 3 and CORPORATE and of course, the right release period. TRAFFIC SIGNAL being the only release this week and the absence of a major film till 16th February will give ample time to its distributors to recover their investments and more. In a nutshell, it's a 'Green' signal for its investors!

Meet India's most powerful man, screams the headlines. You want to believe the statement primarily because the man at the helm of affairs is none other than Mani Ratnam, one of the finest talents India has produced. Irrespective of how his films are received by the paying public, you cannot deny the fact that a Mani Ratnam film is special.

So when GURU, Mani's new film, makes claims such as the one mentioned above, the viewer saunters into the cineplex with real big expectations.

Mani's impressive repertoire includes a few bio-pics and now GURU is a welcome addition to the club. This time around, the supremely talented storyteller narrates the story of a man who rises from zilch and becomes the premier industrialist of the country through sheer hard work, determination, passion and grit.

As a story, GURU is tremendously inspiring and makes you feel all the more confident to encounter challenges and hurdles that may crop up in a journey called life. But by no means is GURU a documentary, as a section of the film industry/media would want us to believe. Sure, GURU chronicles several vital facets of an industrialist's life, but the marriage of enlightenment and entertainment is brilliantly executed here.

With GURU, Mani proves that he's indeed the guru when it comes to narrating stories. Note the poignant moments in the narrative -- Guru's thorny relationship with his father [Rajendra Gupta], his relationship with a newspaper publisher [Mithun Chakraborty], Guru's brother-in-law Jignesh [Arya Babbar] staging a walkout and creating a rift between Guru and his wife Sujata [Aishwarya Rai], the confrontation between the journalist [Madhavan] and Guru at the publisher's residence, Guru's emotional moment in the hospital when his trusted aide [Manoj Joshi] attempts suicide and of course, the finale.

The graph of GURU escalates gradually and reaches its crescendo in the concluding reels. Guru's monologue in a packed courtroom -- where an enquiry commission is looking into the complaints against Guru's companies -- gives you goose bumps. The simpleton from a village in Gujarat roars like never before and the impact it creates cannot be described in mere words. All you want to say is, it's the most fitting finale for a fabulous film!

Mani's choice of the protagonist -- Abhishek Bachchan -- is equally worthy. You ought to be enormously talented to understand the nuances of the character and Abhishek deserves the highest praise for reliving a complex role. You smile when he smiles, you cry when he cries… you relive every single emotion that the character experiences. Only goes to show that the actor involves you at every step with a stupendous performance.

In a nutshell, GURU packs in a solid punch in those 2.45 hours. The year 2007 may have just begun, but one can confidently state that this Mani Ratnam film will rank prominently amongst the bests of the year when we go into a flashback mode later this year. Put your hands together for one of the most courageous attempts on the Hindi screen. GURU is a film not to be missed!

In a small village of Idar in Gujarat, a young man dreams of making it big some day. His father [Rajendra Gupta], the headmaster of the village school, tells him that dreams never come true. But Gurukant Desai [Abhishek Bachchan] dares to dream!

Set in 1951, GURU tells the story of a ruthlessly ambitious villager who moves to Turkey first and Mumbai later with his wife Sujata [Aishwarya Rai] and brother-in-law Jignesh [Arya Babbar] to fulfill his dreams.

In Mumbai, truth dawns upon Guru that the business world is a closed community ruled by a handful of rich and influential people who don't believe in giving opportunities to new players. Despite barriers, he starts a company called Shakti Trading and climbs the ladder of success at a furious pace.

Manik Dasgupta aka Nanaji [Mithun Chakraborty], who publishes a newspaper Swatantra, treats Guru as his son. But when he learns that Guru's means to make it big are not right, he along with the Editor of his newspaper, Shyam [Madhavan], decide to expose Guru's unjust ways.

Even though GURU is a bio-pic, the serpentine twists and turns in the screenplay are the mainstay of the enterprise. You may have heard of a few incidents, but the life sketch of the leading industrialist makes for an interesting celluloid experience.

From the writing point of view, while GURU holds your attention at most times, there are a few loose ends, though negligible, that you cannot overlook. The tiff between Guru and his bro-in-law Jignesh is one of those tracks. What actually brings about a rift between the two and why doesn't Jignesh reappear anywhere in the story later is not explained.

Another track that doesn't really hold your attention is the one between Madhavan-Vidya Balan. Although the emotional sequence between them is a highpoint [the smooch that follows is aesthetically filmed], you still wish there was some more meat in this sub-plot.

Moreover, the film can do without a song 'Ek Lo Ek Muft' [appears soon after Guru and his wife are blessed with twins] and also the pacing could've been tighter in the second half.

GURU ranks amongst Mani Ratnam's finest attempts. In fact, it wouldn't be erroneous to state that the film is at par with his most accomplished works like NAYAKAN, AGNI NAKSHATRAM, GITANJALI, ROJA and BOMBAY. Every sequence in GURU bears the stamp of a genius and the outcome is tremendous.

A.R. Rahman's music is in sync with the film. 'Maiya Maiya' at the start of the film [Mallika Sherawat] is sizzling, while 'Barso Re' [Ash's introduction] and 'Tere Bina' are melodious to the core. Rahman's background score is also topnotch. Rajiv Menon's cinematography is of international quality. The lensman captures the 1950s look, right to the present day setting, with flourish. Vijay Krishna Acharya's dialogues are of superior quality. The writing in the last twenty minutes is fantastic.

Reserve all the awards for Abhishek Bachchan. No two opinions on that! His performance in GURU is world class and without doubt, a shade above his career-best work in YUVA. From a sharp teenager in Turkey to the biggest entrepreneur of the country, Abhishek handles the various shades this character demands with adroitness. He takes a giant leap with this film!

Aishwarya Rai too stuns you with a powerful performance. Known for her angelic looks all the while, the actor will make people sit up and notice the reservoirs of talent in GURU. Also, the chemistry between Abhishek and Aishwarya is electrifying. Mithun Chakraborty is in form after a long, long time. And it's a pleasure to see the veteran deliver a natural performance from start to end.

Madhavan's role could've been stronger, but he enacts it with élan. Vidya Balan too suffers due to a weak characterization, but makes up with a confident performance. Arya Babbar is first-rate in a brief role. The film has a number of characters, but the ones who register a strong impact are Roshan Seth, Manoj Tyagi and Sachin Khedekar.

On the whole, GURU is one of the finest films to come out of the Hindi film industry. At the box-office, its business will be excellent at the multiplexes as compared to the single screens. In fact, the business at the multiplexes [which are performing 12/14/18/20 shows a day] will be enough to make the film a success story in days to come. Strongly recommended, go for it!

indiafm

Six stories. Twelve characters. Helmed by a supremely talented director.Yet, SALAAM-E-ISHQ, an ode to love, a celebration of love, a film that salutes love, lacks the power to make you fall in love with it. It's high on hype. But extremely low on content. Reason: Too many stories spoil the broth!

Let's get to the root of the problem right away. Where does this desiadaptation of LOVE ACTUALLY falter?
[a] Barring two stories, the remaining stories are not well etched. It looks like a disjointed effort. And also amateurish at times. More on that later!

[b] The style of narrating the stories is abstract. It takes time to get a hang of things. And when you actually fathom what's going on, you realize that its appeal is restricted to a thin section of moviegoers. For the majority of viewers, especially the masses, absorbing the six stories running simultaneously is as difficult as sipping lassi, sherbet, cola, juice and milk simultaneously.

[c] The film suffers -- and badly at that -- due to its unwarranted length. Either Nikhil Advani fell in love with the film and lost all objectivity or the editor doesn't know his job well and forgot to use the scissors. Or, perhaps, the editor had no say in the matter. What could've been conveyed in a concise format of 2 + hours is stretched to a boring 3.30 hours. The film goes on and on and on endlessly!

Nikhil Advani proved his abilities in his directorial debut KAL HO NAA HO, but the problem with SALAAM-E-ISHQ is that he tries to pack too many stories and too many incidents in one film. Never stretch a rubber band beyond a point. It's bound to give away. SALAAM-E-ISHQ tests the patience of the viewer for this very reason!

On the brighter side, Nikhil has handled certain sequences remarkably. In fact, he does pull off some amazingly well-tuned moments as well as some funny ones. But as the captain of the ship, he should've ensured that the writing is foolproof. Either he got carried away with the script or he realized he had to do justice to the magnum cast, resulting in this labour of love proving one laborious exercise for the watcher.

To cut a long story short, SALAAM-E-ISHQ disappoints big time!

Story 1:
Tehzeeb [Vidya Balan] wakes up in the morning to find a small diamond pendant by her bedside. It's an anniversary gift from her romantic husband Ashu [John Abraham]. Things take a turn when Tehzeeb is involved in a tragic train accident. She loses memory!

Story 2:
Raju [Govinda], a cabbie, meets his 'dream girl' Stephanie [Shanon Esra], who's come looking for Rohit [Kushal Punjabi], her boyfriend, in India. Rohit decides to marry an Indian girl of his parents' choice, while Stephanie gradually falls in love with Raju.

Story 3:
Vinay [Anil Kapoor] leads a perfect life. He has a loving wife Seema [Juhi Chawla] and two kids. Also, a perfect job in London. But things change when he bumps into Anjali [Anjana Sukhani]. Anjali comes from a world that Vinay only dreams of. Vinay's life undergoes a tumultuous change.

Story 4:
Kamini [Priyanka Chopra], an item girl in Bollywood, aspires for the coveted heroine's role in a Karan Johar film. She devises a plot to change her image by announcing that she's into a serious relationship with a fictitious character Rahul. Suddenly, Rahul [Salman Khan] enters the scene from nowhere!

Story 5:
Shiven [Akshaye Khanna], the most eligible bachelor in New Delhi, is engaged to get married in the next 10 days. But he develops cold feet. He wants to break off the engagement. And he does so by hurting his fiancé Gia [Ayesha Takia] in the bargain. Gradually, he begins to realize that he is incomplete without Gia.

Story 6:
Ramdayal [Sohail Khan] is a middle class Haryanvi, married to Phoolwati [Isha Koppikar]. No matter how and where Ramdayal tries to fulfill that burning desire, something goes wrong.

Now let's dissect each of the stories…
Salman-Priyanka: This one sends out confusing signals. The entire exercise -- Priyanka desperately wanting to star in a Karan Johar film and Salman latching on to her -- is a shining example of amateurish writing. Salman loves Priyanka, but she loves her career. So how does this ambitious woman change so suddenly? Salman hardly does anything dramatic to bring about a revolution in her life. And Karan Johar's phone calls to Priyanka make the film-maker sound so desperate. In fact, Nikhil has belittled his mentor [Karan Johar] and made him appear like an opportunistic film-maker!

Anil-Juhi-Anjana: An interesting concept. Mirrors the truth. But Anil's transformation [shaves off his moustache, wears bizarre outfits and breaks into a dance] takes it away from reality. The rift between Anil-Juhi is brilliant, but Anjana's character gets a hasty exit. Is the other woman always black?

Govinda-Shanon: A thin story that's stretched unnecessarily. Yet, the conversations between the desi babu and videsh mem keep you engrossed. The culmination to this story [at the wedding] is interesting.

John-Vidya: Clearly, the best story of the lot. And what takes it further is the twist in the tale -- Vidya losing her memory and John trying every possible thing to revive her memory. The sequence at Akshaye's residence is outstanding.

Akshaye-Ayesha: Believable. But too verbose to the point of getting boring. Also, the sequences could've been much more convincing. The incident that brings about a change in his life [John-Vidya sequence] is apt.

Sohail-Isha: Crass. Tries so hard to be funny, but isn't. Perhaps, the front benchers might like it. This track disappears suddenly. Kya hua, Director sahab?

Shankar-Ehsaan-Loy's music is pleasant. 'Dil Kya Kare' [rendered beautifully by Adnan Sami] and the title track are two numbers that stand out. 'Babuji Dheere Chalna' [filmed on Anjana] is another pertinent track that comes at the right place. Piyush Shah's cinematography is excellent. The film bears a consistent look all through.

Of the twelve important characters and the sundry supporting ones, Govinda [suits the role and also does well], Akshaye Khanna [exceptional], John Abraham [dependable], Vidya Balan [wonderful], Shanon Esra [pleasant surprise] and Juhi Chawla [credible] leave a mark.

Salman looks fake. Priyanka hams. Someone should tell her that acting and screeching are two different things. Anil Kapoor looks jaded. Anjana is decent, but her role is half-baked. Ayesha Takia gets minimal scope. Sohail and Isha are hardly there. Amongst supporting actors, Prem Chopra, Tinnu Anand and Vishal Malhotra [Akshaye's friend] are noticeable.

On the whole, SALAAM-E-ISHQ has one major ace -- its massive star cast, which has translated into tremendous hype. But the deficiencies outweigh everything in this enterprise -- disjointed script, abstract style of narrating the story and excessive length [3.30 hours/23 reels]. At the box-office, the tremendous hype will result in a bountiful first weekend, but SALAAM-E-ISHQ lacks the power to walk on its feet after the initial euphoria subsides. The business at multiplexes will be strong in the initial days only, but the film will cut a sorry figure at single screens and also at screens dominated by masses. Highly disappointing!

indiafm

Some films leave you stunned and speechless with sheer power. The powerful story, the powerful execution, the powerful performances sweep you off your feet. Long after you’ve watched the film, it still haunts you, it disturbs you, it stays in your memory, it still sends a chill down your spine if you recall the incidents.

BLACK FRIDAY, directed by Anurag Kashyap, is one such film!

Who can ever forget the devastating 1993 Mumbai blasts? The tragedy not only shook Mumbai and the rest of India, but also hit headlines across the world. What triggered off these blasts? Who engineered those attacks? Who were behind this act of terrorism? As a Mumbaiite, a number of questions haunted you then.

BLACK FRIDAY provides the answers!

Anurag Kashyap tells you about the conspiracy and conspirators, the people who engineered the heinous and monstrous crime, the blasts and the aftermath. A number of sequences in the narrative catch you unaware, they are disturbing, they evoke emotions such as shock and sadness in you, they make you go into an introspection mood because it revolves around real people who lost their loved ones in real life… That’s one of the reasons why BLACK FRIDAY works as a film!

Certain films are beyond box-office. You don’t look at the balance sheet at the end of the day, calculating the crores the investors may’ve earned or lost. It’s not about making money here [if the investors do, great!], but all about documenting a tragedy you can never erase from your memory. The personal losses, the pain, the sorrow… Even if the wounds may have healed, the scars will always remain.

Watch BLACK FRIDAY. It’s Hindi cinema at its best!

BLACK FRIDAY is based on the events leading up to and the investigation thereafter of the 1993 Mumbai bomb blasts. The 1993 Mumbai blasts left 300 + dead and a 1,000 + injured. Based on S. Hussain Zaidi’s book, the film takes one into the heart of the conspiracy behind the Mumbai blasts and the massive follow-up investigation by giving detailed account of planning, execution and back-end operations of the same.


1.25 p.m.: The first blast occurs at the Bombay Stock Exchange.
2.45 p.m.: Blast at Worli Passport Office.

A series of explosions take place at Air India Building, Century Bazaar shopping centre, adjacent to Shiv Sena Bhavan at Dadar, Zaveri Bazar, compound of Plaza cinema, 18th floor of Sea Rock Hotel in Bandra, Centaur Hotel, Juhu, Centaur Hotel, Santacruz.

The clues begin to surface…

The story of BLACK FRIDAY is narrated in the most convincing manner. Unlike the trend of giving screen names to characters, Anurag Kashyap uses real-life names and that only adds to the authenticity. Besides, Kashyap’s handling of a number of sequences is hair-raising…

• The investigations begin with the cross-examination of Asgar [Yusuf] Muqadam, the manager of Tiger Memon’s company. The interrogation in the police lock-up is electrifying.
  
• The execution of the plan -- people disbursing to different areas -- gives a clear idea of how the heinous crime was carried out.
  
• Badshah’s journey from Delhi to Rampur [Uttar Pradesh] to Jaipur to Tonk to Jaipur again [Rajasthan] and the tiff over the passport gives you goose bumps.
  
• The argument between Additional Commissioner of Police Rakesh Maria and Badshah during the interrogation is superb. The war of words between the two [especially Maria’s lines] are clapworthy.
  
• The training in Pakistan is an eye-opener.

Anurag Kashyap deserves the highest praise for handling the subject material with utmost sensitivity. It’s a daringly unusual attempt and only someone with courage could’ve made a film on this tragedy. Besides, Kashyap’s storytelling is very different -- the film unfolds in chapters -- yet every chapter is so efficiently handled that you don’t want to move your eyes from the screen. It’s only towards the end [Tiger Memon addressing a group of people] that makes you decipher the reason behind the blasts. In a way, the film moves in reverse order as far as the chronology of events are concerned.

Another aspect that needs to be highlighted is the background score, which only enhances the impact. Cinematography [S. Natarajan Subramaniam] is first-rate. The red tones used during Rakesh Maria’s interrogation sequences are truly imaginative. The blast sequences [Sham Kaushal] are brilliant. In fact, the use of slow motion and crane shots makes the carnage look authentic.

BLACK FRIDAY is embellished with superior performances, but topping the list is Pawan Malhotra, who enacts the role of Tiger Memon with gusto. Easily one of the finest performances witnessed on the Hindi screen, the actor deserves distinction marks for a terrific portrayal.

Kay Kay [Additional Commissioner of Police Rakesh Maria] is splendid. He conveys so much through his eyes. Aditya Shrivastava [Badshah] excels yet again. Zakir Hussain is adequate. Arbaaz Ali Khan looks the character. Pankaj Jha is effective. Pratima Kazmi is alright. Vijay Maurya’s resemblance to underworld don Dawood Ibrahim is amazing. There are a number of characters in the film and each of them is natural.

On the whole, BLACK FRIDAY is an outstanding piece of work. One of the finest products to come out of Mumbai, this one is a hard-hitting film that has the courage to say what it says. Do yourself a favor: Watch BLACK FRIDAY. Hindi cinema at its best!

indiafm

Roll out the red carpet,
Blow the conch shells,
Beat the drums…
Put your hands together for one of the finest films to come out of the Hindi film industry!

In his illustrious career, Vidhu Vinod Chopra has helmed a number of poignant and path-breaking films. Back in the director’s seat after a seven-year hiatus [after MISSION KASHMIR], Chopra serves moviegoers a fare that supersedes his earlier accomplishments.

EKLAVYA – THE ROYAL GUARD, his new endeavor, is a brave effort. Here’s why:

• Chopra has assembled a mammoth star cast, but every actor -- from the towering Bachchan to the talented Shergill -- have been cast in roles that are a far cry from their earlier works.


• The film packs in a solid punch in those 12 reels/1.50 hours. In fact, Chopra wastes no time and gets down to business soon after the titles conclude. The drama commences at the very start and the plot only thickens as the minutes tick by. The turn of events catch you unaware, with the suspense in the pre-climax coming as a bolt from the blue. Not once does the film fall prey to mediocrity or gets into the same-old rut.


• Casting and scripting apart, Chopra’s style of narrating the subject defies convention. Let’s face it, EKLAVYA – THE ROYAL GUARD is a difficult film to make. It’s not the usual ho-hum masala that packs in juvenile comedy, hollow content and superfluous item songs to woo the moviegoers. Chopra targets the human minds since it’s the mind that plays games. There are absolutely no shortcuts here.

Another reason why EKLAVYA – THE ROYAL GUARD stands out is because the marriage of technique and content is splendid. A number of sequences leave you tongue-tied:

• The ghungroo sequence -- a blindfolded Bachchan separating the ghungroo from the pigeon -- is awe-inspiring.



• The assassination of Boman Irani minutes before the intermission, the train speeding by and the camels running helter-skelter is electrifying.


• The murders of Jimmy Shergill and later, Jackie Shroff are hair-raising. Jackie being thrown at a speeding train is superb.

Even otherwise, EKLAVYA – THE ROYAL GUARD bears the stamp of a master storyteller from Scene A to Z.

In a nutshell, EKLAVYA – THE ROYAL GUARD is an almost flawless product that should make every moviegoer euphoric. In the future, if you discuss qualitative movies that accorded Hindi cinema a certain dignity, you’d surely include EKLAVYA – THE ROYAL GUARD in that magnificent list!

Contemporary India. A majestic fort. A royal dynasty that no longer rules. A king without a kingdom. Yet Eklavya [Amitabh Bachchan], their royal guard, lives in a time warp. He lives only to protect the fort, the dynasty and the king.

For nine generations, Eklavya’s family has protected Devigarh, a centuries old citadel in Rajasthan. Eklavya has spent his entire life serving the royals and closely guarding their secrets, but now he’s getting old and increasingly blind.

Unable to cope with the suffocating customs of his land, the heir, Prince Harshwardhan [Saif Ali Khan], has stayed away in London. But the sudden demise of the queen, Rani Suhasinidevi [Sharmila Tagore], forces the Prince back to the kingdom he had left behind.

The Prince’s return brings a rush of joy into the moribund fort. His mentally challenged twin sister, Princess Nandini [Raima Sen] and his childhood love, Rajjo [Vidya Balan] are delighted to see him. But the joy of reunion is short-lived.

There is unrest in the kingdom: Farmers are being stripped of their lands. The king, Rana Jaywardhan [Boman Irani], influenced by his brother, Rana Jyotiwardhan [Jackie Shroff], supports the atrocities being forced upon the helpless peasants. The king receives a death threat over the phone.

An irreverent police officer, Pannalal Chohar [Sanjay Dutt], is called in to investigate. But he might be too late. The fragile peace of the land is suddenly shattered by a barrage of bullets. And amidst the mayhem, the safely guarded secrets of the fort are unveiled.

With a running time of less than two hours, EKLAVYA – THE ROYAL GUARD offers more drama and twists-n-turns than the usual Hindi film. The screenplay [writers: Vidhu Vinod Chopra and Abhijat Joshi] is cohesive, the plot doesn’t veer into sub-plots, there’s just one song [soulful; you don’t feel the need for more songs] and there are enough moments to keep your attention arrested.

Any shortcoming? Oh yes, minor ones though! The dialogues [sync sound] aren’t audible at places and the pace slows down in the middle of the second half. Also, from the writing point of view, Saif’s disclosure could’ve been more dramatic. Besides, Vidya’s turnaround [forgiving Saif for committing a sin] looks a bit too sudden. Nonetheless, these are minor blemishes.

Chopra’s direction is exemplary. He handles the material with maturity and also keeps the length in check, which is so vital these days. The visuals [cinematography: S. Natarajan Subramaniam] are superb. In fact, every frame looks like a painting on celluloid. Dialogues [Swanand Kirkire] accentuate the impact of several scenes. Stunts [Tinu Verma] are tremendous and expertly executed. The interiors of the palace [art: Nitin Desai] give the film an opulent look. The background score as well as the sole song ‘Chanda Re’ [Shantanu Moitra] are appropriate.

Every actor in EKLAVYA – THE ROYAL GUARD stands out for terrific portrayal. Just when you thought that Bachchan can’t pull off any aces after sterling performances in BAGHBAN, KHAKEE, BLACK, SARKAR and VIRRUDH, you need to watch EKLAVYA – THE ROYAL GUARD. The actor is in solid form and every emotion he displays is simply incredible. Add one more striking performance in an illustrious and enviable repertoire!

That Saif has evolved into a fine actor is known to all and sundry by now, we don’t need proof of it, especially after KAL HO NAA HO, EK HASINA THI, PARINEETA and OMKARA. But watching him emote with amazing precision makes you realize the giant strides he has taken as an actor. If OMKARA last year won him plaudits and awards, it’s time for an encore with EKLAVYA – THE ROYAL GUARD.

Sanjay Dutt has a brief role, but he’s fantastic all through. The film ends with a vital sequence featuring him and we assure you, the conclusion will make you grin from ear to ear. If there’s one character the hardcore masses will carry home, it’s that of Sanju.

Vidya Balan is superb yet again. There’s no stopping this actress! Boman Irani is first-rate in a negative role. Watch him interact with Sharmila Tagore in the very first scene and with Jackie subsequently to know the range of this gifted actor.

Jimmy Shergill introduces you to a hitherto unknown facet of his talent. He excels in a negative role. Jackie Shroff gets a meaty role yet again in a Vidhu Vinod Chopra film. He’s wonderful. Raima Sen leaves a mark in a significant role. Sharmila Tagore exudes class in a cameo. Parikshit Sahni is efficient.

On the whole, EKLAVYA – THE ROYAL GUARD is an opulent film, with a gargantuan cast, gripping story seeped in Indian emotions and values, striking visuals and topnotch making as its trump cards. Without a shred of doubt, it’s one of the finest products to come out of the Hindi film industry. At the box-office, EKLAVYA – THE ROYAL GUARD has so many factors going in its favor:

• Post 26th January [SALAAM-E-ISHQ], there has been a dearth of a big film in the marquee. EKLAVYA – THE ROYAL GUARD fills the void. It comes at the right time and is embellished with superior content.


• The [holiday] weekend coupled with the multiplexes performing 12/14/16/18 shows every single day will result in the first weekend as well as the first week business reaping rich dividends.


• With no major release till 2nd March, EKLAVYA – THE ROYAL GUARD has ample time to conquer and consolidate its status at the ticket window. Post MUNNABHAI M.B.B.S., PARINEETA and LAGE RAHO MUNNABHAI, the brand Vinod Chopra Films has only got stronger and EKLAVYA – THE ROYAL GUARD will reap the benefits for this reason as well.

Cut the crap... Cut the gyan... Let's come to the point straightway: Is DHOOM 2 as big as its hype? Does it meet the monumental expectations? Or is it a gas balloon with a leak?

Yes, DHOOM 2 works big time and here's why...