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50 Lakh - Review

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An interesting idea may not necessarily translate into an interesting film. 50 LAKH has an interesting plotline, but the execution [at times] as also the writing curtails its prospects majorly. Actually, 50 LAKH neither appeals as a thriller, nor does it work as a light entertainer.

The concept is identifiable, no doubt, but how one wishes the director, also the writer in this case, would've had the vision to take it to its destination without hiccups.

The movie is a story of five young friends in Hyderabad. These friends, four boys [Ramu, Shankar, Kumar, Vivek] and a girl [Aditi], are middle-class people with middle-class aspirations.

In Mumbai, mafia don Irfan Khan [Pawan Malhotra] decides to shift operations to Dubai. As international airports are under surveillance and borders sealed, he hatches a plan. The plan is to get into a domestic flight in Hyderabad with the Home Minister.

Irfan decides to travel incognito, while four of his associates will hijack the flight to Kathmandu in Nepal. In Kathmandu, the hijackers would allow all the passengers, except the minister, to leave. The security forces, concerned about the minister, would not bother about the freed passengers. Irfan, one amongst them, would quietly slip away to Dubai. For this plan to succeed, Irfan seeks to recruit four fresh boys, ones without police records.

But what eventually unfolds is completely different. The four boys come face to face with the dreaded Irfan Khan.

50 LAKH starts with a bang and the problems of the unemployed youth are well depicted in the first 20 odd minutes. The parallel track -- of the dreaded don -- is also captivating. In fact, you've no major complaints in the first hour, but it's the latter part that spoils the show.

The problem in the second hour is, from being believable, the story turns unbelievable rapidly. Cinematic liberties are fine if you maintain uniformity from start to end, but why suddenly get filmy?

The second hour is unbearable because of various reasons. The kidnapping drama -- of the minister and the don, both separate instances -- looks fake. Is it child's play to kidnap a minister or a dreaded don? Besides, the hijacker and minister portion in the aircraft is such a terrible bore. If the intention was to make you laugh, sorry, it fails miserably.

A few scenes between the four youngsters and the don in the jungles are interesting, but why stretch the film endlessly? Director Chandrashekhar Yeleti loses focus midway. Dialogues are well-penned at places. Cinematography [Senthil Kumar K.K.] is consistent.

Pawan Malhotra is the only known name in the cast, but it looks as if he has walked out of BLACK FRIDAY sets and landed on this film's sets. The actor enacting the role of Rama is confident. The remaining cast is strictly okay.

On the whole, 50 LAKH doesn't work. At the box-office, it's a non-starter.

Chhodon Naa Yaar - Review

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The title should always summarize the content of a film. Besides, the promotion should always send out the right signals vis-à-vis what the film has to offer in terms of content. With a title like CHHODON NAA YAAR, you expect a film on male bonding, a la DIL CHAHTA HAI. Also, with songs like 'Kasak' and 'Talwar Re' being beamed on channels 24 x 7, you expect CHHODON NAA YAAR to be an entertainer with emphasis on music.

But the viewer is in for a surprise as CHHODON NAA YAAR belongs to the horror genre. Yes, the story is about a bhatakti aatma and how she continues to haunt a temple and the surrounding jungles.

To give the credit where's its due, director Dilip Sood does succeed in scaring the daylights out of you in a couple of scenes, especially at the intermission point [when the spirit appears in front of the three friends]. Also, a few sequences in the second hour do send a shiver down your spine.

But the problem is, CHHODON NAA YAAR is an incomplete film, in terms of writing. It leaves a vital question unanswered: What's the mystery behind the spirit? Does it ever get solved? There's a moment when you feel that Jimmy, Kim and the pujari of the temple will solve the mystery, but the end credits begin to roll abruptly. Kya hua, Director sahab?

In a nutshell, CHHODON NAA YAAR is letdown by its writing!

Ravi [Jimmy Shergill], Shiv [Kabir Sadanand] and Sunny [Farid Amiri], three final year students from a Delhi Mass Com College, decide to make their diploma film about a myth prevalent in the northern hills of India.

Against the wishes of his girlfriend Rashmi [Kim Sharma] and college professor, who think that the subject is too dangerous for a college project, Ravi plans the trip. But as they go deeper into the jungles, a startling incident changes their lives…

As mentioned above, the writing is the culprit here. Besides the questions that continue to haunt you vis-à-vis the aatma, the character sketch of the three friends is also weird. The film begins with the three posing as actors, then participating in an item song for a film and then, we're told, they're students who aspire to be film-makers. Really hard to digest!

The second problematic area is the inclusion of songs even when not required. Songs [Anand Raaj Anand], though tuneful, have been added to supplement the romantic track ['Kasak'] or increase the glamour quotient ['Talwar Re']. In fact, it wouldn't be erroneous to state that the popular tracks lose their sheen because of wrong placement in the narrative.

The technical aspects are much better. Pushan Kripalani's camerawork is eye-pleasing. The dense forests are well captured on celluloid. The background score is interesting as well.

Jimmy Shergill makes a sincere attempt and strikes a chord. Kabir Sadanand's dialect is jarring, although his performance is sparkling. Farid Amiri is miscast. Kim Sharma has no role. Vinod Nagpal is okay. Mahek sizzles in the item song. Vallabh Vyas [Kabir's father] is functional.

On the whole, CHHODON NAA YAAR stands on a faulty script and with no face-value to magnetize cinegoers, it will find the going very tough.

Go - Review

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Ramgopal Varma may've seen the biggest of flops, but you could never raise a finger at him for making an outdated, ghisa-pita, hackneyed, 1980s masala film. But with GO, directed by Manish Srivastava, RGV hits an all-time low.

Really, what were the director and his team of writers thinking when they made this apology of a film? Most importantly, how did RGV okay this script? Wait… is there a script in the first place?

You're numb and speechless as you come out of the screening of GO. Was it real? Or was it a bad dream? Nothing works, except, to an extent, new-find Gautam.

Come to think of it, GO looks like it has been created by an amateur, who was suddenly given a camera and told to shoot whatever he sees in his lens. The plotline is so outdated and the screenplay so directionless, it makes you sad that the once innovative RGV has fallen to such lows.

In a nutshell, here's another turkey from Factory!

Lovers Abhay [Gautam] and Vasu [Nisha Kothari] elope from their homes in Mumbai, not realizing that they will run into a whole bunch of colorful characters, including a rogue cop [Kay Kay Menon], a mean killer [Sherveer Vakil], a crafty conman [Rajpal Yadav] and a chief minister [Ravi Kale], who kills his own deputy [Govind Namdeo].

The writers of this film deserve the Razzie for coming up with this tacky script. The idea must've been, let's pack 4 songs, 10 fights, 4 chases, 5 hot scenes, 5 confrontations and of course, 2 people on the run, 1 corrupt minister, 1 dishonest cop, 1 henchman and 2 sidekicks. Picture tayyar hain, the writers must've screamed!

Although the songs seem forced, the sound of a few numbers stays in your memory. Cinematography lacks finesse.

Gautam sparkles in a couple of scenes. His expressions are right, his dialogue delivery is fine, his stunts are first-rate and he has a well-toned physique as advantage. Nisha Kothari is terrible. And what did Kay Kay see in this role? As for Rajpal Yadav, why has he hammed so much? Ravi Kale, Govind Namdeo and Sherveer Vakil display one set of expressions all through.

On the whole, GO is a bad product. As simple as that!

It's Breaking News - Review

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It's all about TRPs. To hell with ethics, principles, morals and scruples. The competition amongst TV channels is so fierce across the globe that what eventually matters is laying your hands on any story that attracts eyeballs and which, in turn, translates into ratings.

In an effort to outdo each other, TV channels have started resorting to gimmicks and sensationalism. Scandals, gossip, controversies, brawls, kickbacks… get priority over noble issues. IT'S BREAKING NEWS bares all that goes behind sting operations and the ways and means some channel heads stoop to, to attract eyeballs.

IT'S BREAKING NEWS says it all in the most simplistic fashion, without using the technical jargon, and coupled with an engrossing story, catches the attention of the viewer. But there's a flip side as well. Frankly, a subject like this isn't everyone's cup of tea. It caters to a small segment of moviegoers who savour realistic cinema.

Also -- this is strictly from the business point of view -- there's not much awareness about the film and the fact that it's pitted against multiple releases and timed during the holy month of Ramzan, the effort might unnoticed.

Vidya [Koel Purie] is a dynamic news correspondent who is forced to quit entertainment and cover crime. Gradually, she gets a knack of it and starts getting addicted to the thrill and ecstasy of the job. One fine day, she receives a call from a girl called Sangeeta, from Pune, who is a victim of repeated sexual abuses by a top cop [Harsh Chhaya].

Vidya, with her team, chalks out a plan for a sting operation and is all ready to cover the event, but, unfortunately, it is the DIG [Vinay Apte], who falls prey to their sting operation. The entire episode of 'live rape' trouble Vidya and her cameraman Rafiq [Atul Parchure].

Vidya had committed to Sangeeta that this footage would not be telecast, but she is traumatized to see the telecast of the whole footage 'as it is' in her news channel. Bugged with the whole system, she leaves for her uncle's place [Virendra Saxena], who had been insisting her to visit his press.

There, she apprehends the genuine power and nuance of journalism and gets the spur to fight back the system. With close friend Bala [Abhimanyu Singh], a crime correspondent in a rival channel, and Rafiq, she decides to get the victim justice.

IT'S BREAKING NEWS mirrors the behind-the-scenes tamasha that takes place before a scandal is unleashed to the viewers. The first sting operation [a minister's daughter is kept under house arrest] looks amateurish, but the second sting operation -- of a helpless girl being used by cops -- is brilliantly executed.

While the first hour is involving and rarely loses the grip, the second hour is problematic. The story takes a long time to reach the conclusion, although the helpless girl's 'settlement' is an interesting development. But the story doesn't end there; there's one more sting operation, which, though well executed, adds to the length of the film.

Director Vishal Inamdar has the potential to grow as a storyteller, but he should keep the length of his story in check. There's just one song in the narrative [Kaushal Inamdar], which is okay. The background score is appropriate. Cinematography is of standard.

Koel Purie is efficient yet again. Abhimanyu Singh is decent. Vinay Apte looks convincing. Atul Parchure is in form. Harsh Chhaya shows his evil side with flourish. Virendra Saxena is alright. The actress enacting the role of the victim is effective.

On the whole, IT'S BREAKING NEWS has noble intentions, but the release period isn't right. Multiple releases in the week + lack of pre-release buzz + Ramzan period will curtail its prospects.

Dil Dosti Etc - Review

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Delhi University campus. Four youngsters. One prostitute. University politics. Love. Friendship. Sex… Really, given the topics amassed on the plate, one could explore so much in those 2 hours. But in DIL DOSTI ETC., the story only moves in the penultimate 15/20 minutes. Neither is the University politics depicted with grit that’s associated with it, nor is the bonding amongst friends or the various relationships depicted makes your heart go dhak dhak.

Debutante director Manish Tiwary could’ve explored so much given the choice of subject he has opted for his debut vehicle, but he’s letdown -- and terribly at that -- by the script. What the viewer eventually carries home are a few poignant moments, besides a superlative performance by Shreyas Talpade. But that’s not enough!

DIL DOSTI ETC. is set around students in Delhi University, mainly two university hostellers, Apurv [Imaad Shah], a rich, cosmopolitan guy and Sanjay Mishra [Shreyas Talpade], an old-fashioned guy hailing from Bihar.

Sanjay is an ambitious and focused student-politician in Delhi. On the other hand, Apurv’s life is directionless. With the abundance of time and money in hand, he searches for meaning in life through amorous escapades with various girls.

The three female leads -- a prostitute [Smriti Mishra], a school girl Kintu [Ishitta Sharma] and a rich model Prerna [Nikita Anand] -- provide a myriad of social and emotional backdrops to the film.

The prostitute claims never to get emotionally attached to her customers, the school girl Kintu remains non-committal to Apurv’s flirtations and plays hard to get and the model aspires to become an international model and yet finds herself attracted to the earthy and charismatic student-politician Sanjay.

The problem with DIL DOSTI ETC. begins soon after the characters and their diverse characteristics are introduced and the viewer has just one question in mind -- What next? And the question continues to haunt you till three-fourths of the narrative.

All you get to witness is Shreyas and his opponents contesting the elections [but the aggression is missing] and Imaad eyeing everyone in skirts. Actually, one is confused, is Imaad in love with Smriti Mishra? And is the relationship with Ishitta based on lust, not love? The penultimate 15 odd minutes are interesting because it’s at this juncture that there’s some movement in the tale. But it’s too late by then. The viewer is exasperated by now!

Arvind K.’s cinematography is alright. Dialogues are well penned. As for the music, just one song makes an impression -- ‘Dum Laga’. The production values are below par. The film bears an impoverished look at most times.

Shreyas Talpade enacts his part with gusto. His outburst in the end is electrifying. Imaad Shah is cool, but it’s a clear case of miscasting. He doesn’t look like a Casanova who wears his heart on his sleeve. Smriti Mishra’s role should’ve had meat. Ishitta looks cute and carries her role well. Nikita Anand has the trappings of a fine actress.

On the whole, DIL DOSTI ETC. lacks the power to keep you glued to the screen. Disappointing!

Bhool Bhulaiyaa - Review

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Hold on! The moment someone mentions BHOOL BHULAIYAA, images of a comic caper conjure up in front of your eyes. After all, accomplished storyteller Priyadarshan has successfully delivered laughathons in the past that made the viewer go ha-ha-hee-hee-ho-ho.

But BHOOL BHULAIYAA, a remake of the Malayalam hit MANICHITRATHAZHU, is a complete departure from Priyan's films. How, did you ask? Here's why… There's comedy, but in minimal doses. There're songs, but only when the situations warrant. In BHOOL BHULAIYAA, it's all about suspense and spirits. It's eerie and [certain] portions of the film are not for the faint hearted.

A good looking film with superior performances and a stunning suspense, BHOOL BHULAIYAA is not the usual run-of-the-mill fare. It would be interesting to see how the viewer reacts to the film.

But there's a flip side too! Those expecting a laughathon from the Priyan - Akki combo would be caught unaware. Two factors that can't be ignored are its length [it tends to get taxing in the second hour] and the placement of the chartbusting track 'Hare Krishna Hare Ram' [in the end credits].

From America to his hometown in the interiors of India, it was a long journey indeed for Siddharth [Shiney Ahuja]. But nothing could match the mind-boggling journey that now lay in front of him. For, it was a journey into an astounding maze in which each step meant mystery, discovery, surprise, shock and revelation.

With open arms, his large extended family welcomes the U.S.-based Siddharth and his newly-wed wife Avni [Vidya Balan], when they come home. But what the family resists is Siddharth's insistence on staying in his royal ancestral mansion during his stay. His uncle Badrinarayan Chaturvedi [Manoj Joshi] particularly has no qualms about voicing his displeasure. For, it was that very mansion that held in its realm a deadly secret that had repeatedly destroyed the family for generations.

The scientifically inclined Siddharth pays no heed and starts staying at the palatial mansion with Avni, who is equally modern in her thinking... But, soon enough, the couple is forced to rethink their decision. Unforeseen happenings, mysterious elements, horrific indications and life-threatening incidents swarm their path. Suddenly, it becomes a situation that urgently had to be dealt with before it got too late.

Siddharth instinctively finds the solution in his dynamic Doctor-friend Aditya [Akshay Kumar]. When Dr. Aditya finds his way into the mansion, he is a man on a mission. He just had to find the cause of all the upheaval before the effects caused more harm than could be imagined. Where did the answer lie?

You can't overlook the fact that BHOOL BHULAIYAA is an extremely well-shot film. Right from the production design to the styling of the film to its overall look, BHOOL BHULAIYAA is a visually attractive film.

Priyan spells out the genre at the very start itself, when Paresh Rawal visits the haunted ancestral home and an eerie calm welcomes him. The mystery only deepens in the first hour and with the introduction of Akshay's character in the narrative [a bit late entry, though!], things only get better. Expectedly, you look forward to an exhilarating second hour.

Although the screenplay isn't too convincing in the latter half, you have to admit that the suspense does come as a jolt. The flashback that follows is equally interesting. But what ensues thereafter isn't as convincing. Actually, the length is also to blame in this hour. One strongly feels that the story should've concluded when Akshay solves the mystery.

You also await, with bated breath, the chartbusting song that's taken the nation by storm to make an entry. And when it eventually does arrive [in the end credits], it doesn't make the impact that it should've.

BHOOL BHULAIYAA is glossy, stylish and well executed, technically speaking. But Priyan treads a difficult path. As mentioned at the outset, BHOOL BHULAIYAA is not the atypical fare with laughs and more laughs. Here, Priyan opts for horror, not humor and that may have its share of advocates and adversaries.

Music composer Pritam is in top form this time around. 'Hare Krishna Hare Ram' is splendid, while 'Zindagi Ka Safar' comes easy on the lips. The flashback song is excellent in terms of choreography. Cinematography [Thiru] is excellent. Production design [Sabu Cyril] is topnotch.

Akshay enacts his part with effortless ease. A role with comic shades comes easy to him and he's on familiar ground in BHOOL BHULAIYAA. Vidya is splendid, especially in the second hour. Shiney gets scope initially, but is sidelined the moment Akshay arrives. Amisha Patel is efficient in a substantial role.

Paresh Rawal and Rasika Joshi are first-rate. Rajpal Yadav manages a few laughs in a brief role. Manoj Joshi is very much with the character. He performs well. Vikram Gokhale doesn't work because his role comes across as an unwanted track. Asrani is fair. Vineeth and Tareena Patel are average.

On the whole, BHOOL BHULAIYAA has two solid factors going in its favor -- the Priyadarshan - Akshay combo and the chartbusting 'Hare Krishna Hare Ram' track -- which have resulted in tremendous hype. Although the reactions to the film will vary, the Idd period coupled with the two factors will ensure a terrific start for the film, in turn making it a profitable venture for its investors.

Jab We Met - Preview

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Aditya (Shahid Kapur), a defeated industrialist, is even more broken as the girl he loves is getting married. Unable to muster up the courage to return home, he drifts out of the gathering and aimlessly boards a train, bounding away into the night.

As destiny would have it, on the train he meets Geet (Kareena Kapoor) – a beautiful but annoyingly talkative girl who is leaving Mumbai to go her hometown – Bhatinda (Punjab). Later, she has plans of eloping with her boyfriend.

Geet irritates Aditya to the point of getting him to leave the train. As she tries to get him back on the train, she ends up missing it and the two find themselves stranded on a desolate station with no luggage or money.

Begins the idyllic journey through the exuberant North Indian heartland in which this odd couple will make their way through buses and taxis and camel-carts, crossing Highways and deserts and lakes, meeting all kinds of people, to reach her house in Punjab ……. On arrival, Geet’s family mistakes the two for lovers. Before this misconception can be cleared, Geet escapes to her boyfriend in Manali. Aditya leaves with her, confirming the suspicion that they are lovers. In Manali, Aditya feels empowered to return to Mumbai and resurrect his ailing business.

Life takes a positive turn and Aditya begins to do well. One day Geet’s family who think that she is with him confronts Aditya. He is shocked to learn that Geet has not returned home. He takes it upon himself to find her. He finally tracks her down in a Himalayan town and begins another journey to reach Bhatinda and flow into the colors and conceptions of a loud and happy North Indian family!

How their separate journeys become one, forms the destination of JAB WE MET, a beautiful and captivating saga of made-for-each-other love. Lilting, musical, amusing and packed with mischievous contrivances – this breezy fun-filled romantic comedy set in cultural North India looks like it’s ready to recreate the magical era of the 90s, in the form of Aditya and Geet, being essayed by real-life lovebirds, Shahid Kapoor and Kareena Kapoor.

Laaga Chunari Mein Daag - Preview

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Characters

Rani Mukherji as Badki
Badki is a fun-loving and happy-go-lucky girl, drunk on the masti of Banaras, but with eyes as crystal clear and innocent as the waters of the sacred Ganga. Her life is full of laughter and the love of her family. When problems crop up, she takes them in her stride, not letting them tarnish her smile. So when the family falls upon bad days, and her studies are stopped, she just girds her loins and helps her mother to keep things going. Protective to a fault, she shields her younger sister Chutki from the problems dogging the family. She is deeply hurt though, when her father keeps wishing she was born a son. Even when the going gets tougher, and she finds herself battling the hard and ruthless city of Mumbai, she does not buckle under, but faces it all with exemplary courage. And she does not hesitate in paying the highest price to support her family.


Konkona Sen Sharma as Chutki
Chutki is a spunky spirited and crazy young girl, with eyes that sparkle with mischief. Playing pranks on her hapless victims, teasing her sister Badki, and harassing her parents are her favourite pastimes, but she also loves her family with a fierce passion. Innocent and protected from the harsh circumstances of her family by Badki and their mother, she revels in their love. Gifted with a sharp and intelligent mind, she is unaware of the sacrifices Badki is making to keep her education going. When she moves to the big city, she finds a wide open sky to open her wings and soar. She excels at work, and actually finds a man who loves her with all her madness and eccentricities.



Jaya Bachchan as Sabitri
Sabitri is the backbone and anchor of the Sahay family. She bears the brunt of every crisis the family encounters. She is dismayed as she sees her husband turn bitter with his failures and turn away from the family. She works hard, making both ends meet, protecting her daughters, facing up to menacing relatives. But her husband's illness is the last straw that breaks her spirit. Alone, bewildered, she leans hard on Badki, her only solace. In her crisis, she does not realize when Badki has reached her own breaking point. And she is the only one who bears the burden of the terrible knowledge of Badki's enormous sacrifices. Sabitri tries hard to ferret out a future for her family from the hard unyielding circumstances of her life.



Anupam Kher as Shivshankar Sahay
Shivshankar Sahay is a retired professor of Economics who has turned bitter and pessimistic after his pension was unfairly suspended by the college. Instead of fighting against the resulting poverty, he has accepted defeat, and hopes that the numerous lottery tickets he buys will land him a fortune that will bring back the glorious days of the past. He vents his frustration on his family, and particularly his elder daughter Badki, as he believes that things would have been different had she been born a son. He strongly opposes Badki's departure for the big city, predicting that she will fail to achieve anything. All this comes back to him when he discovers the enormity of the struggle and sacrifice that Badki had to go through.



Kunal Kapoor as Vivaan
Vivaan is a living embodiment of Indian youth today. Irreverent, iconoclastic, totally laidback, yet very good at what he does. He is rude, messy, and unfazed about his lack of manners. Full of wit and humor, he loves a laugh, wherever and by whichever means he can get it. Typical of the urban youth, he does not have a clue as to how the rest of India lives. So when Chutki joins his advertising agency, he dismisses her as a small town girl. But Chutki's spunk, spirit, and insights blow him away. She matches him barb for barb, retort for retort and he finds that he is head over heels in love. Vivaan and Chutki's chemistry is so potent; they set off sparks when they are in the same room. For her, he is willing to go to the end of the world, or on his knees.



Abhishek Bachchan as Rohan
Rohan is a highly educated and world-renowned attorney, sought after throughout the world for his expertise. However, inside this suave and smart young man resides a mischievous, impish spirit. When he encounters Badki this spirit takes over completely. Bowled over totally by Badki's innocence and guilelessness, he is intrigued by her homegrown wisdom and her deep faith too. This chance encounter leads to a bit of stolen time for both, when the child inside Badki makes her acquaintance with the imp inside Rohan. They forget the rest of the world as they revel in each other's company. What is happening between the two is like a flower just beginning to blossom. But the harsh realities of their lives intervene, and the magic is shattered. Rohan is determined to get to the crux of things, but will he be able to handle what he discovers?



Synopsis

Badki and Chutki live a fun-filled life in Banaras, playing pranks, sneaking off to see a forbidden mujra, and soaking up all the excitement that goes on the ghats of the Ganga. Badki is aware that the family is in dire straits, but she and her mother protect Chutki at all costs. When things get worse, Badki decides to go to Mumbai and seek a living for the family. Alone and unsupported in the midst of the urban jungle of Mumbai, Badki battles with dark forces, keeping her focus on her purpose to support her family and continue Chutki's education.

She deliberately morphs into someone else, leading a secret life full of murky compromises. When Chutki comes to Mumbai to work, things take a dramatic turn. Badki's life turns into a minefield, as she has to hide her secrets from Chutki. Chutki finds success at work, and love that delights her heart. Badki finds the magic of love, but lets it slip away before it can blossom, as she believes it's not in her destiny. She battles menace and blackmail alone, not letting these dark shadows fall on Chutki or her family.

But her dual life is revealed, and the two sisters are face to face, in a confrontation neither had expected. And when love beckons Badki again, the whole family is thrown in a tumultuous storm. Everything threatens to explode in their faces, destroying all of them.

Will Badki get the happy ending she deserves?

Or will the shadows of her past douse the lamps of hope?

Will her secrets ruin Chutki's happiness?

Can their parents face up to all this?

Johnny Gaddaar - Review

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Whodunits and suspense sagas sound interesting on paper, but not every film-maker can translate them with panache on celluloid. The year 2007 has witnessed a number of suspense thrillers hit the Indian screen, like RED - THE DARK SIDE, RAQEEB, THE TRAIN, NAQAAB, AGGAR and MANORAMA SIX FEET UNDER, but a majority of them sank faster than Titanic because the suspense in the end didn't measure up to the expectations.

JOHNNY GADDAAR, directed by Sriram Raghavan, belongs to a different variety of thrillers altogether. In JOHNNY GADDAAR, the viewer knows, at the very outset, who the actual gaddaar is, but his partners-in-crime don't. The gaddaar accidentally ends up eliminating every one in his gang. Just when you think that the gaddaar has removed the obstacles from his path, a gun shot is fired again… there's yet another twist in the tale.

Sriram Raghavan compels viewers to use their mind as layer after layer is peeled off, like the late Vijay Anand pulled it off with élan in TEESRI MANZIL and more particularly, in JEWEL THIEF.

JOHNNY GADDAAR borrows from James Hadley Chase novels and a vital scene from the yesteryear Big B - Navin Nischol starrer PARWANA [the film-maker doesn't conceal his inspirations]. Well crafted with some great moments, JOHNNY GADDAAR is not just style, but substance as well.

With EK HASINA THI, his directorial debut, Raghavan proved that he's a remarkable storyteller. With JOHNNY GADDAAR, there's no stopping this adroit storyteller. Without a shred of doubt, JOHNNY GADDAAR is one of the finest thrillers to hit the marquee in 2007. We've had enough of laughs, it's time to have a chill down your spine.

The story starts with one of the gang members Seshadri [Dharmendra] getting an offer to make a fortune in four days. All the gang members [they're five in all] are up for it as this is the deal that will catapult them into the big league.

The youngest member of the gang Vikram [Neil Nitin Mukesh] plans to disappear to some unknown city and start his own life with his love Mini [Rimi Sen], when a devilish thought crosses his mind. What if he grabs the entire jackpot? Vikram decides to double cross his partners.

Come to think of it, JOHNNY GADDAAR is not one of those desi thrillers film-makers have visited time and again. The beauty lies in the fact that no one can predict what's in store next. Just when you think that the film would head left, it goes right, catching you completely unawares. And Raghavan continues to shock and startle you till the last frame.

The casting adds to the experience. Although JOHNNY GADDAAR revolves around five men and one woman, a few more characters are injected in the narrative, but not once do the goings-on get confusing. Under normal circumstances, the inclusion of characters only results in things getting messier and chaotic. Not here!

One would be doing gross injustice if one were to pinpoint any particular sequence that leaves an impact in this 16 reeler, but, yes, every murder that takes place remains etched in your memory even after the show has concluded. Any roadblocks? Just one! The second half could've been shorter. Also, the slow pacing acts as a deterrent.

JOHNNY GADDAAR is a songless film [except for one song in the pre-climax, but the story only moves forward in this track] and that works to the advantage. There're no distractions, no deviations, no sub-plots that get jarring… thankfully. Yet, Raghavan should've used the popular track 'Doobja Mere Pyaar Mein' [filmed on music composers Shankar-Ehsaan-Loy and Hard Kaur] in the end credits. Cinematography is superb. The screenplay and dialogues are both flawless.

Now to the performances! Neil Nitin Mukesh is a discovery in the true sense. Sure, he resembles Hrithik Roshan in looks, but he's a complete natural when it comes to acting. Raghavan does take a big risk by placing the story on his shoulders, but the youngster carries off the part with dexterity. There's just one word to describe his performance -- superb!

Dharmendra is in top form. METRO, APNE and now JOHNNY GADDAAR, 2007 is yet another turning point in his career. Vinay Pathak continues to cement his status with every release. He's excellent. Zakir Hussain is fantastic. It's yet another superior performance from this supremely talented actor. Daya Shetty [who's thrown off the train] does well.

Rimi Sen springs a pleasant surprise. She enacts a complex role with complete understanding. Ashwini Kalsekar [Vinay Pathak's wife] is exceptional. What a tremendous actress! Govind Namdeo is first-rate. Rasika Joshi [Daya Shetty's mother] is remarkable.

On the whole, JOHNNY GADDAAR is a taut thriller that has the germs to catch up with the audience. At the box-office, its business at multiplexes will be the best. Lack of a major opposition coupled with an additional holiday on Tuesday [October 2 - Gandhi Jayanti] would prove to be a bonus!

Manorama Six Feet Under - Review

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The hallmark of any thriller is that it should build the suspense beautifully, hold the attention to the point that the viewer starts pointing the finger of suspicion on the assorted characters in the narrative and hit the viewer like a ton of bricks when the mystery is solved.

Unfortunately, MANORAMA - SIX FEET UNDER doesn't make that kind of an impact. It's well shot, with stunning visuals to back it up, but, hello, isn't cinema all about narrating interesting stories in the most simplistic fashion? What value is the ambience or décor if the food served on the table is anything but delicious?

Let's get more specific! MANORAMA - SIX FEET UNDER takes off well, but faces turbulent weather in between and never gets it right thereafter. Instead of narrating an uncomplicated story, debutante director Navdeep Singh makes the goings-on so confusing that the viewer fails to decipher what's going on.

The story jumps from one track to another, adding to the confusion. Actually, the film fails on the script level since the sequence of events that lead to the finale are so confusing that it's difficult to fathom what exactly the problem was and how it got solved.

To sum up, MANORAMA - SIX FEET UNDER is a classic case of a film gone wrong due to a poor script penned by an amateur.

SV [Abhay Deol] is a government engineer, but his real ambition has always been writing detective fiction. Unfortunately, his maiden attempt, a novel called Manorama, sank without a trace and he has been reduced to writing for cheap magazines.

Stifled by the dreariness of small town existence and frustrated by his failure, SV's life takes a turn when the wife [Sarika] of a powerful local politician [Kulbhushan Kharbanda] arrives at his doorstep with an irresistible offer; the chance for SV to play a real-life detective by spying on her husband. Intrigued and tempted by the opportunity to redeem his self worth, SV accepts the offer.

Upon completion of his assignment, things take a turn when SV discovers that the woman is not who she claims to be. The situation gets further complicated when she is killed in a mysterious accident. Sensing foul play, SV begins investigating her death only to discover that nothing is what it seems to be…

Debutante director Navdeep Singh knows the technicalities well and aided by cinematographer Arvind Kannabiran, Singh comes up with visually enticing frames. But the writing is the cause for worry here.

What were the reasons that led to Sarika getting murdered? What was so important in those photographs that the powerful politician and his cronies wanted to lay their hands on? How relevant was the medical report of the politician with the main plot? How and when do Abhay and Raima get attracted towards each other? And was the politician a paedophile? Besides, how does everything gets solved in the end, with the politician getting his answers and Abhay walking away smiling? Question, questions and more questions. Confusion, confusion and more confusion!

The only departments that merit a strong mention are cinematography and dialogues, which cater to the intelligentsia mainly.

Abhay Deol pitches in a natural performance, but the performance is not as striking as his earlier works like AHISTA AHISTA and EK CHALIS KI LAST LOCAL. Vinay Pathak gets it right yet again. He's first-rate. Gul Panag is a fine actor, but what is she doing in this film? The role has no potential, except nagging her husband. Raima Sen is alright; her role should've been better defined. Kulbhushan Kharbanda does well. Sarika is hardly there.

On the whole, MANORAMA - SIX FEET UNDER disappoints. At the box-office, the lack of buzz as also the weak content will result in the effort going unnoticed.

Dhol - Review

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Since almost a decade, Priyadarshan has been specializing in comic capers. Priyan has tickled the funny bone of viewers time and again and in DHOL, the comic scenes override the thrill quotient. The comedy, like always, is targeted at those who appreciate the Priyan brand of humor -- irrational, but funny. The chemistry between the four pivotal characters is tremendous, especially Rajpal Yadav, who's bound to walk away with ceetees and taalis.

Let's look at the other side of the coin! The gangster portions remind one of the 1980s cinema, which has been beaten to death in film after film. These portions are an aberration and the accomplished director should trim them by at least 20 minutes so that the impact created by the comedy track remains intact, not getting diluted in the process.

Yet, in all fairness, DHOL has some hilarious moments to make you beat the dhol once the show has ended!

DHOL revolves around the lives of four friends -- Sam [Tusshar Kapoor], Pakkya [Sharman Joshi], Maru [Rajpal Yadav] and Goti [Kunal Khemu]. The guys are good for nothing with no motivation. But they're bound together by their child-like notoriety and aimlessness.

They all want to make it big in life with the least efforts possible. The four wish to live life on their own terms, leading everyone to nowhere. As a result, each one tries their hand at finding a short cut to success but ends up being in even deeper trouble instead. Things get worse as the four decide to take some desperate measures to end their misery once and for all.

According to them, the only way to get rich without working hard is to get married to a rich girl. Surprisingly, to unlock their fates arrives the rich girl Ritu [Tanushree Dutta] in their neighborhood. All four set out with their individual plans to marry Ritu, but end up discovering a chilling truth.

Inspired by PARDA HAI PARDA, which in turn was a remake of the Malayalam film HARIHAR NAGAR, DHOL has the by-now-famous Priyan stamp on the comic portions. Come to think of it, you expect laughter in generous doses and DHOL doesn't disappoint on that front.

DHOL has several funny moments, but most importantly, they make you laugh as well. The loan sequence at the start [when the four avail of a loan from Tiku Talsania in exchange of gold jewelry], followed by the four pushing Om Puri's car till it falls off a cliff, plus the four spraying water with hose pipes to douse the fire [actually, a havan is taking place inside the mansion] and Murli Sharma enquiring about the dhol from the four are sequences that bring the house down.

On the flip side, the flashback is a big yawn. Plus, Murli Sharma cornering Tanushree and Payal Rohatgi in the mansion is monotonous and only adds to the length. Looks like the editor forgot to use the scissors in those scenes.

Pritam's music is functional. 'Dhol Bajake' is a decent number, while the remaining songs are ordinary. Piyush Shah's cinematography is of standard. Dialogues are funny at times.

The four actors compliment each other very well. But the one who steals the show is Rajpal Yadav, who, with his dumbness, endears himself to the masses completely. He's brilliant! However, that doesn't mean the others are less impressive. Sharman Joshi has always had a great timing for comedy and he proves it yet again in DHOL.

Tusshar looks fresh and gets into the skin of the character skillfully. Kunal Khemu's role is in sharp contrast to his first two films [KALYUG, TRAFFIC SIGNAL] and he proves his versatility by attempting comedy now. Tanushree Dutta's role doesn't have the meat since DHOL is an all-boys show. Nonetheless, she's okay. Payal Rohatgi has a brief role; she's passable.

Om Puri is efficient. Tiku Talsania and Asrani have their moments. Rasika Joshi is in form yet again. She's too good! Farida Dadi [grandmother] does a fine job. Arbaaz Khan is fair. Murli Sharma is good.

On the whole, DHOL is a decent entertainer that has some really funny comic moments. At the box-office, the Priyadarshan brand should ensure impressive footfalls at cineplexes despite the dull period and coupled with its moderate pricing, DHOL should find a place in the director's successful films.

Go, have a laugh!

Bhool Bhulaiyaa - Preview

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Characters

Akshay Kumar as Dr. Aditya Shivastav
Restrained, practical, serious... That is what being a Doctor is about! And that is exactly what Dr. Aditya is not!! Radical, eccentric, unpredictable... none of these are the hallmark of Doctors... And that is exactly what Dr. Aditya is all about! No wonder when he is faced with a case like none other, his brilliant brain comes up with a solution like never before.

Vidya Balan as Avni Chaturvedi
She is every man's dream come true. Simple & beautiful to look at and easy - going to be with. No wonder Avni is a wife Siddharth is proud to have. She walks shoulder to shoulder with her husband sharing the good times and the bad. But this time what the two have to combat is beyond comprehension. Now it is time for Avni to share the biggest anxiety her husband can ever face...

Paresh Rawal as Batukshankar Upadhyay
He carries fear in his pocket, apprehension in his eyes and suspicion in his gait. He is Siddharth's uncle whose very presence is enough to guarantee laughs - Even at a time when things happen, that are certainly of no laughing matter.

Shiney Ahuja as Siddharth
Mind caught in a mythical situation! His predicament was peculiar! Should he trust his own sensibilities or believe what his eyes see? The US based Siddharth is comfortable with his royal lineage. But while this face is a matter of quiet pride, it soon proves to be his biggest undoing.



Amisha Patel as Radha
The petite and demure Radha is so loved by the whole family that it is hard to believe that she has been adopted into their fold. She has a special place in her foster father's life, but could never find a place in her childhood love Siddharth's heart. Even as she is dealing with this dejection, she finds herself embroiled in a web that threatens to entangle them all... Is she a mere spectator to this or something more?

Rajpal Yadav as Chhote Pandit
He is a local priest who is also the local all-over-the-place man. He is here, there, everywhere - Not only physically but even mentally. You find him where least expected and do not find him when expected. Hardly surprising, that the most unexpected things happen to him.



Manoj Joshi as Badrinarayan Chaturvedi
He is the perfect opposite of his brother-in-law Batukshankar Upadhyay. The eldest uncle of Siddharth, Badrinarayan is a solid man who carefully gauges situations and never ignores the slightest doubt that enters his astute mind. Serious in his demeanor and serious about what he believes in, Badrinarayan knows when something is too serious to be overlooked

Synopsis

From racy America to his hometown in the interiors of India, it was a long journey indeed for Siddharth (Shiney Ahuja). But nothing could match the mind-boggling journey that now lay in front of him. For it was a journey into an astounding maze in which each step meant mystery, discovery, surprise, shock and revelation.

With open arms, his large extended family welcomes the US based Siddharth & his newly wed wife Avni (Vidya Balan) when they come home. But what the family resists is Siddharth's insistence on staying in his royal ancestral mansion during his stay. His uncle Badrinarayan Chaturvedi (Manoj Joshi) particularly has no qualms about voicing his displeasure. For it was that very mansion that held in its realm, a deadly secret that had repeatedly destroyed the family for generations.

The scientifically inclined Siddharth pays no heed and starts staying at the palatial mansion with Avni who is equally modern in her thinking... But soon enough the couple is forced to rethink their decision... Unforeseen happenings, mysterious elements, horrific indications and life threatening incidents swarm their path. Suddenly it becomes a situation that urgently had to be dealt with before it got too late.

Siddharth instinctively finds the solution in his dynamic Doctor friend Aditya (Akshay Kumar). When Dr. Aditya finds his way into the mansion, he is a man on a mission. He just had to find the cause of all the upheaval before the effects caused more harm than could be imagined... Where did the answer lie??? The Scientific world or the Mystical one??? The puzzle had to be solved... It is not long before Dr Aditya discovers that nothing is what it seems and what seems, is not... and that the devastating reality was enough to shatter all truths.