Indian movies

Teaming two superstars [Amitabh Bachchan, Shah Rukh Khan] in your directorial debut is as good as impossible. Opting for a novel story -- the relationship between a spirit and a mortal -- is an equally big challenge. Really, it requires courage to make a film that defies the stereotype, yet is seeped in emotions that work with the Indian junta. Vivek Sharma's first outing BHOOTHNATH is a simple story, well told and that's why it works!

Aimed at kids between 6 and 60, BHOOTHNATH relies on the belief that has been passed on to us through generations: Aatma amar hain.

Let's get a few things straight at the very outset. BHOOTHNATH is not an eerie experience [it does have a few moments though]. It's more of a kiddie film with a strong undercurrent of emotions. In fact, the bonding between the spirit and the kid makes you smile, even laugh at times and most importantly, makes you moist-eyed at two vital points of this 2.08 hour film.

One of the prime reasons why BHOOTHNATH works, besides the above-mentioned reasons, is due to the right casting. The story rests on two shoulders -- the experienced [Bachchan] and the raw talent [Aman Siddiqui] -- and both shoulder the responsibility beautifully, both compliment each other wonderfully well and make it a must-see experience.

You forget most films the moment you step out of the cineplex. But there're films that remain etched in your memory for their simplicity. BHOOTHNATH is one of those films. Go for it!

Banku's family [SRK, Juhi Chawla] comes to live in a mansion in Goa, considered haunted after the demise of the patriarch of the family. The spirit uses every rule in the book to scare the kid, but the kid is unaffected by it all. Slowly, a bond develops between the two. The story takes a turn when Kailash Nath's son [Priyanshu] decides to sell off the mansion.

Debutante director Vivek Sharma's fundas are clear. Emphasize on substance, not as much on style. 15 minutes into the film and you know that the director doesn't believe in Russian angles or fancy camera wizardry to create the spooky effect. Sure, BHOOTHNATH begins as a spooky fare, but changes lanes the moment the spirit and the kid become buddies.

For most parts, BHOOTHNATH is aimed at the kids. The portions in the classroom/school, the interaction with the school principal [Satish Shah], the game of one-upmanship between the kids brings the kid out of you.

Vivek Sharma reserves the best during the intermission point as also the climax. The unanticipated accident minutes before the intermission and the emotional moments that follow are brilliantly executed. Ditto for the penultimate 20 minutes, right up to a pooja being organized to 'free' the spirit. Simply outstanding! In fact, the emotional quotient takes the graph of the film to an altogether different level.

Any shortcoming? Oh yes! Vishal-Shekhar's music is outright tacky. Either the duo is disinterested or they've run out of stock already. This is the second film in a row [after TASHAN] where the music composers fail in their jobs. The film deserved a better musical score and also composers who have the range to exhibit their talent.

Director Vivek Sharma's choice of the subject as also his handling of a number of scenes deserves brownie points. Besides being a good storyteller, Vivek has also extracted a striking performance from the child artiste. The film would've fallen like a pack of cards if Bachchan would've performed and the kid wouldn't. Another aspect that deserves mention is visual effects. The effects gel beautifully with the goings-on. Cinematography is consistent.

BHOOTHNATH belongs to Amitabh Bachchan and Aman Siddiqui, both. Bachchan continues to surprise you in every film. Any other actor would've been exhausted by now. Not Bachchan. Here's another noteworthy performance by the master actor! The child artiste, Aman, is adorable and a complete natural as far as acting goes. He stands up to Bachchan at every step and that itself is worthy of the highest award.

SRK's there for a good 20/25 minutes. He's excellent. Juhi is first-rate. Satish Shah will be loved by the kids. Rajpal Yadav is wasted. Priyanshu leaves a strong impression in the latter reels. Aashish Chowdhary and Nauheed Cyrusi are okay.

On the whole, BHOOTHNATH is a well-told story that has all it takes to appeal to kids and kids at heart, besides striking a chord with the families. Has the merits and potential to end the dry spell at the box-office.

Let's get one thing straight! To remake a film that not only set box-office records and is referred to as a classic, but also one that by far has the biggest recall value, is playing with aag. Ramgopal Varma, the maverick film-maker, has the courage to remake SHOLAY, a film that continues to be one of the favorite entertainers across the globe.

Comparisons with SHOLAY are obvious and one presumes, RGV knew it all along that's he's bound to feel the heat by those who swear by SHOLAY. To give the credit where it's due, RGV remains faithful to the classic, not once does he deviate from the plot, not once does he twists facts… you know exactly what to expect and where the story is heading.

Jai, Veeru, Thakur, Basanti and above all Gabbar are characters that attained cult status over the years, especially Gabbar. RAMGOPAL VARMA KI AAG does justice to those characters, especially Gabbar, who wore a sinister look on his face all the while. Terror has a new name now. It's Babban!

Shortcomings? Oh yes! The romantic track, involving Ajay - Nisha Kothari, is a yawn. To be more specific, the by-now-famous 'suicide' sequence doesn't work. Prior to that, Prashant and Sushmita's meeting with Nisha's parents to seek her hand in marriage for Ajay also falls flat. Besides, this is not for the faint-hearted who detest violent films. RAMGOPAL VARMA KI AAG is sure to give them hiccups.

To cut a long story short, the comparisons with SHOLAY will tell on RAMGOPAL VARMA KI AAG.

In the dark underbelly of Mumbai city, a nihilistic new leader has risen to rule the fetid underworld. His name is Babban [Amitabh Bachchan]. Cruel beyond imagination, psychotically violent and far more devious than any gangster the city has ever known.

Nobody has ever seen him and if they did, they didn't survive to tell the tale. But one man believed in his existence. And that is Inspector Narsimha [Mohanlal], who has a single-minded determination to finish Babban.

RAMGOPAL VARMA KI AAG is SHOLAY, yet different. Sure, the story is the same, but the setting and interpretation of the story are different, very contemporary. As a storyteller, the RGV stamp is visible in a couple of sequences. Note Bachchan's spine-chilling introduction. Nisha's introductory sequence also makes you break into a chuckle. The Sachin episode that gives birth to a bitter enmity is tremendous. The sequence outside the courtroom [Bachchan - Mohanlal face off] is remarkable. Bachchan avenging his brother's death by eliminating Mohanlal's family is terrifying…

After a riveting first half, the pace suddenly slackens in the post-interval portions. Courtesy: The prem kahani. These scenes are far from exciting and only add to the length of the film. In fact, the second hour should be judiciously trimmed by at least 20/25 minutes so that the events unfold at a feverish pace.

There aren't many songs in the narrative. The song that deserves 10 on 10 is 'Mehbooba'. The track is foot-tapping and Urmila's presence sets the screen ablaze. Abhishek Bachchan's appearance in the number will be greeted with surprise and of course, whistles. The Holi track is interesting as well, more for the picturization, not as much for the tune.

Amit Roy's cinematography is outstanding. Note the scene when Bachchan plays with an apple and simply watch the movement of the camera. Awesome! Dialogues [Sajid-Farhad] are in sync with the mood of the film. Besides, the writers haven't lifted any of those legendary lines ['Kine aadmi thhe?', 'Soja, warna Gabbar aa jaayega', 'Yeh haath mujhe de-de Thakur'], but provide interesting alternatives. Action scenes [Pradhyumna] cater more to the desi audiences. Do not expect the MATRIX stunts here!

Bachchan as Babban is exemplary. The veteran has portrayed a variety of roles in his illustrious career: Vijay in ZANJEER, Vijay in DEEWAAR, Jai in SHOLAY, Anthony Gonsalves in AMAR AKBAR ANTHONY, Don/Vijay in DON, Vijay in TRISHUL, Sikandar in MUQADDAR KA SIKANDAR, Vijay Dinanath Chavan in AGNEEPATH, Baadshah Khan in KHUDA GAWAH, DCP Anant in KHAKEE, Debraj Sahai in BLACK, Sarkar in SARKAR and Eklavya in EKLAVYA. Now add Babban to this enviable list!

Mohanlal is topnotch. He matches up to Bachchan in every sequence. Ajay Devgan is competent and balances the mischievous streak with the serious one with ease. Newcomer Prashant Raj does very well. He stands up to the veterans and looks confident all through. Sushmita Sen is restrained. Her performance is perfect. Nisha Kothari does well in her introductory sequence and maintains the pace all through. Sushant Singh is first-rate. Rajpal Yadav irritates. Virendra Saxena is okay. Rasika Joshi makes her presence felt. Sanjay Narvekar, Jeeva, Raju Mavani, Ravi Kale, J.D. Chekravarthy and Suchitra Krishnamoorthi are adequate.

On the whole, RAMGOPAL VARMA KI AAG has a strong first half, but a lengthy and violent second half plays a spoilsport. At the box-office, the film will find the going tough in the wake of its comparisons with the mighty SHOLAY. Its dull opening coupled with uninspiring publicity [the posters/billboards give an impression of an outdated film] will make a dent in its prospects.

Really big expectations? Oh yes! With the premier production house [Yash Raj] at the helm of affairs and Shaad Ali in the director's seat, JHOOM BARABAR JHOOM is expected to strike like a hurricane.

Let's come to the point straightaway. Don't look for a story in JHOOM BARABAR JHOOM. For, there's none here. What you get to see is a collage of interesting moments. It's not one of those conventional prem kahanis that have the lovers drifting apart or a misunderstanding creating havoc in their lives.

What goes against the film is the fact that you feel a vacuum at the end of the screening. Something is amiss. Sure, you are enamored by the gloss. You are awe-struck by the stunning locales of U.K. and France. You are hooked to the performances of Abhishek and Preity mainly. But, deep inside, it doesn't satiate you.

To sum up, JHOOM BARABAR JHOOM is all gloss, no substance. Body beautiful, minus soul. In desi lingo, unchi dukaan, phika pakwaan.

Busy London station. Delayed train from Birmingham. Two strangers waiting for the train... Rikki Thukral [Abhishek Bachchan], born in Bhatinda, living in London; and Alvira Khan [Preity Zinta], more Brit than the Queen herself, however with Lahori blood in her veins.

Crowded café. One table to share. Two hours to kill. Perfect setting for the start of a love-story. Hitch? Both Rikki and Alvira are engaged and have come to pick up their fiancés, who are coming by the same train. To kill time, they end up telling each other their “how I met my fiancé” stories.

Rikki met his fiancé Anaida [Lara Dutta] at The Ritz, Paris. Alvira discovers her prince at Madame Tussaud's. When a gigantic wax model of Superman falls from the ceiling, Alvira is a sitting target. But Steve [Bobby Deol], a lawyer by profession, saves her life, but steals her heart.

Stories unfold, time passes, the two strangers start enjoying each other. Actually, they have gotten alarmingly attracted to each other!

Director Shaad Ali has handled a number of sequences well. Actually, come to think of it, you do enjoy a few moments in this 14 reeler. But can you stretch a rubberband beyond a point? That's what the writer does.

Writer Habib Faisal's screenplay is as taxing as driving in monsoons on a road full of potholes. When you realize the film offers no story, you sit motionless, flexing your facial muscles at times, but remaining indifferent to the goings-on generally. The director and writer have substituted the script with stunning visuals. But that's no compensation. Shankar-Ehsaan-Loy's music is quite good. 'Ticket To Hollywood' is the track you carry home. The title track is another foot-tapping composition. Cinematography is exceptional. The film is a visual treat. Choreography [Vaibhavi Merchant] is different, but Abhishek carries it off very well. Aki Narula's costumes are smashing.

JHOOM BARABAR JHOOM belongs to Abhishek first and Preity next. Abhishek is in terrific form. It wouldn't be erroneous to state that his performance makes the goings-on watchable at times. A lesser actor would've fallen flat on his face in the absence of a cohesive script.

Preity is lovely and takes to her character like a fish to water. In fact, the two actors make an attractive pair. Bobby is relegated to the backseat. Also, would someone please tell Mr. Deol to chop off those locks? Lara Dutta is confident, though she's not in the forefront either. Amitabh Bachchan adds to star-value. He only appears in one song, flashed throughout the movie.

On the whole, JHOOM BARABAR JHOOM is no patch on Yash Raj's illustrious films. The film is all gloss, no substance. Body beautiful, minus soul. At the box-office, the all-powerful Yash Raj brand coupled with the lack of biggies will ensure substantial revenue for its producers/distributors in the initial days, proving that sometimes, a bad film also makes money.

Hindi movies are getting more and more real. Till sometime back, certain themes were kept locked inside the almirah, but delicate and sensitive issues and relationships are slowly stepping out of the closet. On celluloid.

R. Balki's CHEENI KUM talks of two consenting adults wanting to spend the rest of their lives together. But there's a hitch… The groom-to-be is elder than the prospective father-in-law. This relationship is highly objectionable to the bride's father!

Contrary to general perception, CHEENI KUM is not similar to RGV's NISHABD. Like NISHABD, CHEENI KUM looks at the relationship between a much older man and a young woman, fit to be his daughter. But, unlike NISHABD, CHEENI KUM stresses on humor to drive home the point. Also, the culmination -- so vital in a film of this genre -- is not difficult to gulp since the sequence of events that lead to the climax are believable.

On the flip side, CHEENI KUM tends to get verbose, talk heavy at times. Besides, the first hour tends to stagnate. It only sprints towards the second hour when Amitabh pops up the question. More on that later!

In a nutshell, a film like CHEENI KUM signifies the winds of change in Bollywood. An effort like this is sure to find its share of bouquets and brickbats. The elite wouldn't mind the film, the commoners might.

The boy is actually a 64-year-old man, Buddhadev Gupta [Amitabh Bachchan]. The girl is a 34-year-old woman, Nina Verma [Tabu].

Buddhadev is the chef cum owner of London's top Indian restaurant. He lives with his 85-year-old mother [Zohra Sehgal] and his only friend and confidante is his 9-year-old neighbor -- Sexy [Swini Khara]. Buddhadev is an arrogant, egoistic, pompous man with a singular passion in life -- cooking. A confirmed bachelor who has never been in love. Until Nina walks into his restaurant and life.

Nina is a beautiful, charming, Indian woman. Cool, calm, quiet, always smiling, but independent and strong willed. Two extremes, in age, character and attitude, meet and against all odds fall in love. They decide to get married. And, like any Indian man, Buddhadev respectfully comes to ask Nina's father, Omprakash Verma [Paresh Rawal], living in Delhi, for her hand.

But there's just one problem… Nina's father is 58 years old, 6 years younger than Buddhadev, his would be son-in-law.

Let's get into the analyzing mode and find out what works and what doesn't… The sequences between Amitabh and Tabu at the restaurant are involving. The relationship that Amitabh shares with his mother does raise eyebrows, since it's not conventional. Nonetheless, it's amusing. The moments between Amitabh and the child bring to fore another aspect of the protagonist's personality, which is welcome.

What doesn't? A number of sequences have been stretched for no reason. They tend to get repetitive. As someone who's watching the story from the sides, you want it to proceed in some direction, but there's not much movement in the first half. It takes its own sweet time to reach its destination. Besides, since the film is set in London and the setting is urban, the humor depicted in CHEENI KUM is directed at the elite. That, in turn, robs the film of universal acceptance.

Director Balki shows a flair for light entertainers and the execution of certain sequences is commendable. The portions between Amitabh and Paresh [before Amitabh asks for Tabu's hand] as also the climax [Amitabh's monologue] prove Balki's competence as a storyteller. But at the same time, the writing leaves something to be desired. There are times when boredom sets in.

P.C. Sreeram's cinematography is splendid. Ilaiyaraaja's musical score is soothing. The title track is soft on your ear drums. Chandan Arora's editing could've been sharper. Ideally, a few repetitive moments can be done away with.

Amitabh Bachchan proves his supremacy yet again. Playing an arrogant chef, the actor is natural all through, but his performance in the finale makes the character all the more believable. Tabu stands on her feet despite a formidable co-star's domineering presence. She's excellent. Paresh Rawal is only adding to his credibility with every film. Zohra Sehgal is adorable. Swini Khara is supremely confident.

On the whole, CHEENI KUM is absorbing in parts. A lackluster first half gets a boost with a much energetic second half and that elevates the film to the watchable level. At the box-office, CHEENI KUM is targeted at the multiplexes mainly. Clever promos and feel-good vibes should ensure a positive run at the multiplexes.

Hollywood has often made films based on real-life incidents. Just one incident/accident/encounter/catastrophe is enough to trigger off the imagination of a storyteller.

In India, the trend of making a film on a solitary incident is still in its infancy stages. That's because moviegoers in India expect a film to provide 'wholesome entertainment', with every ingredient that contributes to a masala film being served in proportionate doses.

SHOOTOUT AT LOKHANDWALA follows Western movies in terms of presenting an incident on celluloid. And with an impressive cast at his disposal, director Apoorva Lakhia gives faces to characters that aren't in public memory anymore, also enlightening those who weren't aware that such an incident took place in a bustling locality of Mumbai.

Like KAANTE, MUSAFIR and ZINDA, SHOOTOUT AT LOKHANDWALA is dark and violent. In fact, the film begins with blood stains and concludes with blood-soaked bodies being carried to a van. The action is real and the impact this film makes in the penultimate 30 minutes is jaw-dropping.

But there's a flip side too. You ought to have a strong stomach to absorb a film like SHOOTOUT AT LOKHANDWALA. If the raw action depicted on screen is very real, it could have a nauseating effect as well. Blood, gore and guns can be very off-putting, especially for families/ladies/those into feel-good, sunshine cinema.

In a nutshell, SHOOTOUT AT LOKHANDWALA is sure to meet with extreme reactions. You'd either love it or detest it!

SHOOTOUT AT LOKHANDWALA is the story of a top cop [Sanjay Dutt], who along with Kaviraj Patil [Suniel Shetty] and Javed Shaikh [Arbaaz Khan], eliminated the trigger-happy gangsters in a residential locality of Mumbai.

SHOOTOUT AT LOKHANDWALA is the story of Maya [Vivek Oberoi], who made extortion the buzzword in the early 90s, dared to disobey the 'Big Bhai' of the underworld and fought back a posse of policemen for six hours.

It takes time to absorb a film like SHOOTOUT AT LOKHANDWALA. That's because the film goes back and forth before focusing on the main incident. The initial portions, depicting the rise of Maya and his gang, are difficult to comprehend at first. But, gradually, the viewer is sucked into a world that sent shivers down the spine in the 1990s.

Thankfully, the film doesn't turn out to be one of those docu-dramas that depict the rise and fall of a gangster. Neither is SHOOTOUT AT LOKHANDWALA an extension of 'cop films' like KHAKEE and DEV. The film talks of a dreaded gangster and how the cops eventually eliminated him. But there are layers in the film that we, as commoners, weren't aware of.

That SHOOTOUT AT LOKHANDWALA is raw and crude would be an understatement. The subject demands that kind of a treatment and director Apoorva Lakhia executes it accordingly. The film is interesting in parts, but the best is reserved for the finale. However, from the writing point of view, there's not much that the viewer gets to know of these gangsters. Also, while the incident may be a novel experience from the cinematic point of view, the cop-versus-gangster saga has been beaten to death in Bollywood.

Also, Apoorva could've limited the film to a song or two. The songs in the film are akin to uninvited guests, standing out like sore thumbs in the narrative. Cinematography is consistent. The editing of the final portions is topnotch. Action scenes, as mentioned earlier, are life-like.

SHOOTOUT AT LOKHANDWALA is embellished with a great cast, but the ones who stand out with winning portrayals are, in this order: Sanjay Dutt [effective], Amrita Singh [exceptional], Suniel Shetty [competent], Tusshar [impactful] and Arbaaz Khan [good]. Amitabh Bachchan is not in his element, expect for the final sequence in the courtroom. Abhishek Bachchan is wasted. Although the makers have publicized his presence as a special appearance, it's shocking to see Abhishek getting bumped off at the very start.

Vivek Oberoi repeats his COMPANY act yet again. In COMPANY, it came as a surprise. In SHOOTOUT AT LOKHANDWALA, it's monotony. However, his death sequence is fantastic. Rohit Roy is strictly okay. Shabbir Ahluwalia is limited to a few closeups and a line or two here and there. Aditya Lakhia gets no scope. Akhilendra Mishra is fair. A.A. Khan is natural.

Dia Mirza does well. Neha Dhupia gets no scope. Aarti Chhabria registers an impact in the penultimate telephone sequence with Tusshar. Rakhi Sawant's presence comes as a surprise.

On the whole, SHOOTOUT AT LOKHANDWALA will meet with mixed reactions. A section of moviegoers [masses especially] would love the violent proceedings, while the ladies/families might give it cold shoulder. At the box-office, the terrific cast and promotion will ensure a fantastic start for the film, helping its producers/distributors recover their investment and make some profits too. Business in Mumbai should be the best.

Character Sketch

Abhishek Bachchan as Rikki Thukral

Baadshah of Bhatinda, now Sultan of Southall... Rikki Thukral! Confront him and he pulls out his most lethal weapon... "I got class"... Can't mess with Rikki after that. Classy he is, in his own earthy way... Just watch him engineer a deal... selling pirated films, illegal antiques, rented property, second hand fridges... if need be even the Queen's crown... Rikki makes it look like a cakewalk with his canny cheekiness and charm. Rikki came to Southall with a dream... of acquiring windfall riches. He would do all it takes... The moment he met Huffy Bhai it was like love at first sight. It didn't matter that Huffy Bhai was from Karachi or that he would lift his kurta at the most inappropriate moment... they got on like a house on fire. Him and Huffy live life with the attitude and spunk that shouts out, "We're here now... and now that we're here, Southall is ours!" They stay themselves everywhere... and wherever they go, they set up an independent republic! Together, both of them can arrange anything under the sun... from the best seats at the Cricket World Cup to a fridge at the cheapest price... after all, it's not fashionable for a modern day entrepreneur to have all fingers in one pie. They haven't got a permanent mailing address... and even if they did, nothing would ever get sent there... Always on the move, Rikki's clients' needs are such that he can't contain his business in an office... so the whole of Southall is his oyster.

Rikki doesn't consider himself a crook, but rather a maverick who just makes the calls... talks the talk... brings people together... walks the walk... makes his commission and stays happy. Like everything in Rikki's life, even falling in love was 70mm cinemascope. Only Rikki could have fallen in love with his dream girl Anaida when the legendary love-birds Princess Diana and Dodi were leaving The Ritz for the last time.... And then like sparkling magic, as Rikki says, "when two lovers die, another two are born"... they dance... they sing... they're in love!

Lara Dutta as Anaida Raza

Anaida Raza is the sizzling nymph with a soft core. Brought up in the City of Love as a pragmatic, rooted and razor-sharp woman... Assistant Manager at The Ritz Hotel in Paris... she runs her beat with metronomic efficiency and keeps everybody including her staff happy. She's dealt with all types and can be as friendly as she can be foxy. She'll manage a huge hotel and make it look like a breeze... despite thousands of photographers jumping all over the place... but also find the time to pick up Rikki's handkerchief from the floor and return it to him... How was she to know the hanky would turn out bait... and she'd be hooked, in love with Rikki in the flicker of a moment.

Like so many around the world... she gave her heart to Princess Diana. So much so, that despite her otherwise no-nonsense exterior, she cried when she couldn't visit Diana's funeral. She has that alluring combination of passion and charisma that would make any guy go ga-ga... And Rikki is no exception.

Preity Zinta as Alvira Khan

Picture a three foot six inch girl. She stands alone in the middle of a church. Merely six years old, Alvira Khan takes an oath before God. "I'll never marry a brownie kaalakalutaa. Please find me a good-looking gora boy like yourself. Amen." Cut to 20 odd years later. Alvira is your typical Pakistani Brit. She would hate to acknowledge the Pakistani part... She's more Brit than the Queen herself. Despite living in a ghettoized Lahori household, Alvira has that stiff upper lip attitude towards the riffraff... especially those crass Southalliyas with their lack of polish and their over-friendliness. That job she has as Manager at the House of Fraser's is a godsend. She can hobnob with the hip Bond Streeters any time she likes... Yea, that's what she calls 'class'...

She has a princess personality and a virtually rebellious opinion of everything. And on a fated day at Madame Tussaud's, the princess is daringly rescued by her knight in shining armour... her prince Steve, who grabs her from under a falling Superman model... And she's swept off her feet, heels over head in love... Her dream come true!

Bobby Deol as Steve Singh

Steve Singh is the immensely rich and treacherously handsome joint partner of London's reputed Singh & Smith Law firm. Steve is the man's man... the man about town... powerful, intense and very self-effacing... Born to a British Mum and Punjabi Dad, he's a balance of Punjabi impulse – not thinking twice before heroically saving Alvira's life - and he's got suave ritzy genteel from his Brit Mum. Classy. Seemly. Chivalrous. That's Steve.

He has a palace for an office matched only by Mandrake's Xanadu. And wears those dashing suits and up-market cuts like Bruce Wayne. What's more... one meeting and he seemed to know everything about Alvira her religious rituals, where she worked, her pet name... Is he Clark Kent or Superman? He even seems to appear and disappear at will... Yes... That's Steve. He has those natty rugged looks... a scar on his cheek that he got while rescuing a girl who was being forced to dance... But even that Steve doesn't wear on his sleeve. He's Alvira's knight in shining armour... her millionaire lover... her hero...

Storyline

Busy London station. Delayed train from Birmingham. Two strangers waiting for the train... Rikki Thukral (Abhishek Bachchan) born in Bhatinda, living in London; and Alvira Khan (Preity Zinta) more Brit than the Queen herself, however with Lahori blood in her veins.

Crowded café. One table to share. Two hours to kill. Perfect setting for the start of a love-story. Hitch? Both Rikki and Alvira are engaged and have come to pick up their fiancés who are coming by the same train. To kill time, they end up telling each other their “how I met my fiancé” stories.

Rikki met his fiancé Anaida (Lara Dutta) at The Ritz (Paris), the same night that Princess Diana and Dodi walked out of the hotel and into the paparazzi. As Rikki says, “When two lovers die, another two are a born”. They dance... they sing... they're in love!

Alvira, a princess by nature discovers her prince at Madame Tussaud’s. When a gigantic wax model of Superman falls from the ceiling, Alvira is a sitting target. But Steve the Prince (Bobby Deol), a lawyer by profession saves her life but steals her heart! They also sing, they also dance and they also fall in love...

Stories unfold, time passes, the two strangers start enjoying each other. That Alvira is a Pakistani Brit and Rikki originally from India... that Rikki is crooked, earthy, and rakish: dabbler in various businesses; that Alvira is prim-n-proper, wannabe blue-blood, stiff upper-lip: Asst. Manager at House of Fraser’s... none of these details matter. They have gotten alarmingly attracted to each other!

Their brief encounter has created a complicated quadrangle... Rikki Thukral and Alvira Khan have gotten themselves and Steve and Anaida into a lovely mess... To get out of it both of them bend over backward, thinking quickly on their feet, dancing around each other’s emotions... After all when you’re playing musical chairs with love, there’s nothing you can do but Jhoom Barabar Jhoom (Dance Baby Dance)!