Indian movies

Comedies are the flavor of the season and more and more film-makers are following the formula re-invented by David Dhawan and Priyadarshan. Entertainment is the key word, while a logical story goes out of the window. Shashi Ranjan's new outing DHOOM DADAKKA tries to recreate the hungama and gets it quite right in the first hour as well, but it's on a slippery wicket thereafter.

Problem kya hain? Let's not look at the plotline, but the funny situations fail to evoke mirth. In fact, the entertaining moments don't work after a point. Unlike the first hour, which packs in quite a bit in terms of substance and laughs, things slide downwards soon after the intermission.

DHOOM DADAKKA could've created a mini-dhoom with its entertainment quotient, but the writers play the villain here!

An 'All Asian Bhai Meet' is being held in Bangkok. The agenda is to discuss and assess the falling sensex of 'Bhaigiri' in Asia. In the discussion, a rival Don of Mungi's [Anupam Kher], Fursat Lala [Gulshan Grover], proposes an ambitious plan for a piece of land in Alibagh and puts across a valid argument that it is important to have a waaris, the new generation, to improve matters. Since Mungi has no waaris, it is only logical that the next man, i.e. Fursat Lala should be made the new Don.

Mungi assures the syndicate that he has a waaris, who he will present before the syndicate and asks for a month's time to do the same. Now Mungi and his friend Jignesh [Satish Shah] set out to trace Mungi's estranged sister Angoori [Bhavana Balsawar], whom Mungi had thrown out years back because she wanted to marry a music teacher. One of the letters reveals that Angoori did give birth to Kamal. Mungi is thrilled and resolves to hunt his waaris in Mumbai, where he comes across a detective, Johnny English [Satish Kaushik], who promises to find Kamal.

Through his weird ways, Johnny English gets hold of an NRI [Sammir Dattani], who claims to be Kamal. Johnny takes him to Bangkok but, to his shock, finds another guy [Shaad Randhawa] there, who also claims to be Kamal. While this confusion is on, Shivani [Aarti Chhabria] arrives on the scene claiming to be the real Kamal.

A confused Mungi asks all of them to stay in the house till he arrives at a decision as to who the real Kamal is. In the ensuing drama enters the second girl Jiya [Shama Sikander], who claims to be a girlfriend of the NRI Kamal. Is one of them the real waaris?

That Shashi Ranjan has a flair for comedies is evident at several points in the first hour. Together with the dialogue writer Ashwani Dhir, Shashi succeeds in making you laugh at the funniest of situations and silliest of jokes. That's where the director triumphs. Note the portions involving Satish Kaushik and Deepshikha or the three youngsters claiming to be Anupam Kher's nephew. Shashi changes gears and uses the brakes like a seasoned driver.

But the car runs out of fuel as you munch popcorn and relish the samosa after the interval. In terms of script, a number of questions remain unanswered even after the show has concluded. Besides, the second hour is an exercise in boredom and gets unbearable after a point. The climax is also a major hotchpotch.

Roopkumar Rathod's music is unlike what he has composed so far. It's easy on the lips and quite catchy. The title track as also 'Ishq Ka Rog Laga' [filmed on the seductive Aarti Chhabria] stand out. Ashwani K's cinematography is perfect, although the director and the DoP haven't captured the beauty of Bangkok to the optimum.

DHOOM DADAKKA doesn't demand histrionics, but given the genre of the film, the two boys - Sammir Dattani and Shaad Randhawa - handle their parts well. Sammir also dances well in the title track, while Shaad mimics the top actors quite well. Aarti and Shama are more of eye candies.

Of the supporting cast, Satish Kaushik is excellent, while Deepshikha exudes tremendous confidence. Anupam Kher is, as always, first-rate. Satish Shah is equally convincing. Gulshan Grover does well. Newcomer Zac has an inconsequential role. Jackie Shroff is just okay. Razzak Khan does a fine job.

On the whole, DHOOM DADAKKA could've been a decent timepass flick, but it misses the bus.

Powerful. Thought-provoking. Disturbing. That sums up DHOKHA, directed by Pooja Bhatt.

After attempting PAAP and HOLIDAY, Pooja charters into a new -- and most difficult -- terrain with DHOKHA. With terrorism raising its ugly head in Hyderabad recently, a film like DHOKHA is all the more topical. In this case, the suicide bomber is the cop's wife. Whew, piping hot stuff indeed!

What sets DHOKHA apart from films of its ilk is that the film never takes sides. It doesn't blame any particular community, in fact it's not pro or anti any religion. It blames the people who spread terror in the name of religion. Also, it denounces terrorism in very clear words. DHOKHA hits where it hurts. You want to know the reason why people turn into jehadis. DHOKHA probes into the issue and provides the answers.

To sum up, DHOKHA is one of the finest and powerful films to come out of the Bhatt camp. This one dares to unruffle a few feathers!

Zaid [Muzamil Ibrahim] is a Muslim police officer in Mumbai. On the night of a deadly bombing at the New Century Club, he works tirelessly to help the shocked and shattered patients brought to the hospital. But this night of turmoil and death takes a horrifying personal turn. His wife's body, the beautiful Sara [Tulip Joshi], is found amongst the dead. Things turn even more horrific when the police coldly announce that Sara's injuries were typical of those found on fundamentalist suicide bombers.

As evidence mounts that his wife, Sara, was responsible for the catastrophic bombing, Zaid is torn between cherished memories of their years together and the inescapable realization that the beautiful woman he loved had a life far removed from their comfortable existence together. DHOKHA is two creative minds at their best -- director Pooja Bhatt and writer Shagufta Rafique. Sure, a film like this is not everyone's idea of entertainment, but let's get real. Cinema isn't only entertainment, but enlightenment. With terrorism raising its ugly head time and again, in Mumbai, Delhi, Hyderabad, New York and London, you cannot shut your eyes to all that's happening around us.

DHOKHA tells the story well. The director and her competent writer open the cards at the very outset, within 10 minutes of the start. But it's the second hour that's a complete eye-opener. The ugly past, narrated by Anupam Kher, shakes you completely. Brilliantly penned and executed, you're stunned by the atrocities committed by the men in uniform.

The writing wobbles at times. Take the end, for instance. Ashutosh Rana getting caught for his misdeeds looks too sudden. Prior to that, the confrontation between Munish Makhija and Muzamil, although interesting, is long-drawn and tends to get preachy. However, the climax at a Mumbai Railway Station -- the culmination to the horrific tale -- is spell-binding.

DHOKHA is Pooja's third and also her finest work so far. She has handled the disturbing issue with utmost maturity. Shagufta Rafique's writing packs a solid punch. Music [M.M. Kreem] is soothing and the best part is, it's smartly woven in the narrative. Anshuman Mahaley's cinematography is topnotch.

Muzamil Ibrahim is a discovery to watch. Sure, there're rough edges [at times] that he needs to work on, but considering it's his debut film, he pitches in an incredible performance. A real surprise, a pleasant surprise! Tulip Joshi looks gorgeous and although she hardly has any lines to deliver, she makes it up with the right expressions.

Anupam Kher is first-rate. Only a veteran with a terrific range could've essayed the part with such understanding. Gulshan Grover is perfect. He looks the character. Ashutosh Rana is menacing; very effective. The actor enacting the role of Tulip's brother is good. Bhanu Uday is admirable. Aushima Sawhney does a fine job. Anupam Shyam is alright. Munish Makhija is competent.

On the whole, DHOKHA is a well-made film. At the box-office, it's for multiplexes of big centres mainly.

Marigold is a musical romantic comedy about a young American woman who travels to India and finds that her life is transformed in the most unexpected ways by her experiences and adventures there.

American Actress Marigold Lexton (Ali Larter) arrives in India with no luggage and a bad attitude. Stranded in Goa when financing for her low budget Hollywood movie falls apart, Marigold finds herself cast in a small role in a Bollywood musical. Eager to prove herself, she enlists the aid of Prem (Salman Khan), the film's choreographer. After several false starts – Marigold is most definitely not a natural dancer – she experiences renewed confidence and growing love for Prem.

In rapid succession, Marigold discovers that Prem is not only descended from royalty but is also paced in rapidly – approaching arranged marriage to a beautiful India girl Janvi (Nandana Sen). Unable to deal with this development, Marigold angrily departs Prem's family estate. But she is urged back by Janvi who confesses that Prem doesn't love her and never will. Another complication – in the form of Marigold's boyfriend, Barry (Ian Bohen), who arrives in India unexpectedly - finds Marigold emotionally drained but still very much in love with Prem.

Love does ultimately triumph as Marigold and Prem are brought together and Janvi and Barry embark upon a romantic journey of their own.