Indian movies

Nagesh Kukunoor is back to the genre he began his career with -- a light entertainer. In his new outing, BOMBAY TO BANGKOK, he goes a step further and incorporates every ingredient available on the shelf that constitutes atypical Hindi film. This one's not 'same-same, but different' from Kukunoor's earlier films!

But all's not well in Kukunoor's BOMBAY TO BANGKOK. The plot, though interesting, isn't fine-tuned into a gripping screenplay. What holds promise at the start turns out to be a below-ordinary exercise midway through the film.

Of course, Kukunoor's expert execution of the material makes a difference and a few sequences are elevated to the watchable level, but the impact the film ought to make in totality is missing.

In short, BOMBAY TO BANGKOK lacks the solid punch of a solid storyteller!

Shankar [Shreyas Talpade], a petty thief, in desperate need of money, steals from the local don [Naseeruddin Shah] and escapes his way into a team of doctors heading for relief work to Bangkok. Unfortunately, he loses the all-important money bag in the chaos.

In Bangkok, his world turns upside down at a massage parlour where he bumps into Jasmine [Lena]. The hitch is, she is all Thai and he can't converse with her at all. A ray of hope comes his way the next day when Jasmine turns up desperately in need of a doctor!

Shankar, posing as a doctor along with the Sardar buddy Rachinder, jumps into this whirlpool, while Jasmine soon gets pulled into his bumbling adventures while running away from the don and his son [Vijay Maurya].

Kukunoor's films have well etched characters and the ones in BOMBAY TO BANGKOK are no exception. There's a seedha-saadha cook turned thief - perfect; there's a Thai woman who works as a volunteer in the day and at the massage parlour in the night - perfect again; there's the don's son who wants the money back, but is more focussed on being a Rapper - great. But great characters don't really make a great film!

The problem? A few individualistic scenes [Shreyas' first encounter in a massage parlour, his prescribing Viagra to all patients and the sequence with Lena's uncle, a hardcore Bollywood buff] do raise a chuckle, but when viewed in totality, the zing is missing. It's a screenplay of convenience. And that's why you feel sad since Kukunoor gets it right with the characters, but not the script.

Clearly, Kukunoor is letdown by the writing. Yet, it must be mentioned that Kukunoor's comedies aren't the leave-your-brains-behind types, but inclined towards the Hrishi-da-Basuda variety, which is always welcome. The songs are soothing, with 'Same Same But Different' and 'Mausam Suhana' being well-tuned tracks. Cinematography is alright, although one feels that Kukunoor should've set the film in Bangkok, not at a secluded spot outside Bangkok. The viewers do miss the beauty of the metropolis.

Shreyas is a fine actor and he proves his abilities yet again. Lena, the Thai actress, is equally competent. The actor enacting the role of Rachinder is good. Vijay Maurya is excellent. Yateen Karyekar is alright. Naseeruddin Shah is there for just one scene.

On the whole, BOMBAY TO BANGKOK has a few enjoyable moments, but that's about it. At the box-office, not much to look forward to!

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!

Obsession. The word has been a hot favorite of dream merchants in Bollywood. From Abbas-Mustan's DARAAR to Yash Chopra's DARR, to films made to this date, a number of storytellers have woven themes around the obsessive streak of individuals.

Ananth Narayan Mahadevan's AGGAR also does that. A number of thrillers have successfully explored the darker side of human personality with dexterity. AGGAR is a fine addition to the list, although the sole glaring flaw lies in the fact that the director has chosen to opt for an atypical end to the story.

When everything was so unpredictable from start till pre-climax [screenplay: S. Farhan], when layer after layer was peeled with such finesse, when the viewer was absolutely clueless vis-à-vis what lay in store, why Ananth why opt for a tame ending?

Yet, in all fairness, AGGAR keeps you involved in most parts. That's the hallmark of a good thriller, isn't it?

Becoming attracted to the wrong man can have deadly consequences. Janvi's [Udita Goswami] life seems ideal on the surface: she runs a thriving business and is married to Dr. Aditya Merchant [Shreyas Talpade], a psychiatrist. But a faint air of discontent begins to creep into her relationship when she begins suspecting her husband of having an extra-marital affair with Radha [Saadhika], an interior designer.

Janvi impulsively gets drawn into a steamy affair with Aryan [Tusshar Kapoor], who works in her company. But in a strange twist of events, she realizes that she has stumbled badly and tries to break off her affair. Aryan, however, is not willing to give her up so easily and his attraction to her soon becomes a dangerous obsession.

AGGAR has three interesting words below its logo -- Passion, Betrayal and Terror -- and AGGAR does justice to it in those 2 hours. There's never a moment that gives you the feeling of déjà vu. Not once do you feel that it's one of those been-there-seen-that kind of movie-going experiences.

Note the sequences: Sophie Chaudhary accidentally falling of from the rooftop mansion… The gradual attraction between Tusshar and Udita… Udita's outburst in the office. Ananth executes the written material wonderfully well.

But, as mentioned earlier, the culmination to the tale should've been equally unpredictable, not abstract mind you. A badly bruised Tusshar emerging from the pool and beating Shreyas black and blue is a complete cinematic liberty. Ditto for the end.

The other area where the film dips is Mithoon's music. The young musician showed promise in his earlier works, but the tunes in AGGAR sound similar to his recent work THE TRAIN [the songs of this film are still fresh]. Hello, why this need to repeat yourself? Have you exhausted your stock of tunes already? K. Rajkumar's cinematography is topnotch.

AGGAR rests on three characters mainly and each of them packs in a solid punch. Tusshar is a revelation. The actor has always come up with honest performances in the past, but he pitches his best work to date in AGGAR. We're used to watching actors hamming away to glory in roles of obsessed lovers, but Tusshar doesn't go over the top at all. Tremendous work!

Shreyas Talpade is in complete form. Enacting the role of a shrewd operator who's in search of a guinea pig to carry out his devious plan, the young actor proves his versatility yet again. His volte face will catch the viewer by surprise.

Udita Goswami is fantastic. She sinks her teeth in this challenging role and enacts it with gusto. AGGAR is one film that showcases her talent to the optimum. Excellent work indeed! Nauheed Cyrusi is adequate. Sophie Chaudhary makes her presence felt in a brief role. Saadhika is okay.

On the whole, AGGAR is a well-made thriller that should appeal to the multiplex junta primarily. But its business will get affected due to several vital reasons: The 20/20 cricket matches [the India-Pakistan match specifically], the commencement of the holy month of Ramzan and Ganeshotsav. Obviously, a large section of moviegoers will stay away from cineplexes in days to come. The poor opening will also tell on its business.