Indian movies

JIMMY is meant to be the launch of a star-kid [Mimoh Chakraborty], but the question that crosses your mind constantly is, is the script befitting the launch of a star-kid in the first place? Does it do justice to the debutante's skills? Most importantly, how could a veteran, experienced Mithun Chakraborty okay such a shoddy script for his son's launch?

One look at Mimoh and you know that given the right roles, he can work wonders. So why a tacky script in the first place? He deserved better! The screenplay of JIMMY is an assemblage of the numerous masala films we've visited since time immemorial. The main betrayer here is its concept that has already passed the expiry date. And even a majestic tower will fall if the very foundations are weak.

Look at the cinema being churned out these days. Newer concepts, newer ideas, newer stories are the order of the day. The multiplex era has taken over completely. There's just no room for mediocrity any longer. In such a scenario, JIMMY looks like a fish out of water, an obsolete product that stands no chance in today's times.

Sorry, you just don't feel like humming the popular Mithun track 'Jimmy Jimmy Jimmy, aaja aaja aaja' for this one!

In the dead of the night, a young woman's dead body is uncovered by the police. All leads point towards Jimmy [Mimoh Chakraborty]. A mechanical engineer in day and DJ by night, Jimmy works hard to pay off the debts his late father [Prithvi] left behind. While everybody is shocked, Jimmy owns up to the murder and is sentenced to death.

Why did Jimmy commit such a heinous crime? Only Jimmy knows the truth. In a sudden twist of fate, Jimmy realizes in jail that he has been drawn into a vicious conspiracy.

It's important to change with the times, but writer Ranbir Pushp seems to be stuck in the bygone era. It's perfectly okay to pay homage to the cinema of yore, but the material should at least make sense. In JIMMY, it doesn't.

Frankly, nothing works in this fare, except, to an extent, Mimoh. Director Raj N.C. Sippy faces a major roadblock in the form of the written material. Music is strictly okay, with 'Marhaba' being the only track that demands your attention in terms of orchestration [foot-tapping] and also choreography [excellent]. Cinematography is fair.

All eyes are on Mimoh and right so. The youngster needs to take care of his styling and makeup, but let's give him the due -- he has the potential. Only thing, he needs a better vehicle to drive into the audience's heart. His expressions are okay, his dialogue delivery can be brushed up, he needs to lose weight. But there's something in this boy that makes you give him a second look, despite a pathetic script. He has the energy, but it needs to be tapped in the right direction.

New-find Vivana is a pretty face, but not an actor. Zulfi Syed hams to the hilt. Rahul Dev is wasted. And what did Shakti Kapoor see in this role? Ehsaan Khan and Vikas Kalantri do not perform either.

On the whole, JIMMY is a poor show all the way. The script disappoints, not the star-kid [Mimoh]. The film may not have a future, but the star-kid does!

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.

The most shocking thriller of the year. With a tagline like that, the expectation from Abbas-Mustan's new thriller rises ten-fold. Fortunately, NAQAAB lives up to the hype and hoopla, to an extent.

For any thriller to strike a chord, it ought to follow three simple rules: [a] It should boast of actors who can carry off their parts with dexterity, [b] The twists-n-turns should catch you by complete surprise and [c] The climax, when the veil of secrecy is unveiled, should come as a jolt from the blue.

NAQAAB gets it right on two of the three vital fronts. The only time the film begins to stagnate is in its second hour, when the knots begin to disentangle. The film dips in the second hour, but the climax does a volte face again. The suspense catches you by surprise!

Abbas-Mustan have mastered the art of making thrillers and although NAQAAB isn't as compelling as their earlier products, there's no denying that the highs outnumber the lows in this case. One thing is for sure, the screenplay could've been tighter in the second hour.

To sum up, NAQAAB is a watchable fare with the twists-n-turns being its highpoint. Of course, with an end like the one presented in this film, it's sure to meet with varied opinions, having its share of advocates and adversaries. But what goes in its favor is the fact that it's at least different. Terms like 'predictable' and 'monotonous' are non-applicable in this case!

NAQAAB tells the story of Sophie [Urvashi Sharma], a young girl from a middle-class family. She is engaged to millionaire Karan [Bobby Deol]. When she meets Vicky [Akshaye Khanna], she's attracted to him and problems begin to surface.

The focus of the film also shifts to the past of the three characters, with some unexpected elements thrown in. Who does Urvashi choose?

The general perception is, the story bears a striking similarity to the recently released RAQEEB [which, in turn, was inspired by MURDER BY NATURAL CAUSES [1979] -- a lesser known English film]. Not true! In fact, the concept of NAQAAB is completely fresh.

NAQAAB begins with gusto! The relationships are established at the very outset. The moments between Akshaye and Urvashi are superb, beginning with the song, 'Ek Din Teri Raahon Mein'. The chemistry is sizzling, so vital for sequences that are to follow.

NAQAAB holds your interest in the first hour. You are hooked. But the second half has its share of loose ends. The motive of one of the protagonists isn't too convincing and when the story moves further on this track, it, somehow, doesn't look too convincing.

All this while you're under the impression that this protagonist has a hidden agenda. Or, perhaps, he wants to settle a score. You're led to believe that there's a strong motive behind his actions. And when this character reveals it all, it doesn't hit you like a ton of bricks. In fact, the finale, when the story again takes a U-turn, takes you by surprise.

This may not be Abbas-Mustan's best script, but every sequence bears the stamp of the master storytellers. Stylishly shot with some great moments, the storytellers at least have the courage to walk a seldom-used path. Shiraz Ahmed's screenplay is interesting. He builds up the suspense beautifully, but the post-interval portions could've been tighter.

Pritam's music gels well with the mood of the film. In terms of melody, 'Ek Din Teri Raahon Mein' stands tall on the list. Its picturization is also topnotch. Editing [Hussain Burmawala] is perfect. The film has the right length [16 reels; 2 hours], with no unnecessary moments.

NAQAAB belongs to Akshaye, who delivers yet another powerful performance. He's splendid, the real scene stealer, the soul of the enterprise. Bobby is relegated to the backseat in the first hour, but manages to make his presence felt in the second half. Urvashi Sharma gets a dream launch and she utilizes the golden opportunity completely. A confident debutante, she enacts her part like a seasoned professional. Also, she looks bewitching all through. Vikas Kalantri and Vishal Malhotra are adequate. Raj Zutshi is hardly there.

On the whole, NAQAAB is engrossing in parts, with the suspense really catching you by surprise. At the box-office, the film should find acceptance in big cities mainly. It may've started slow, but it should pick up over the weekend. Overall, a decent fare!

Director duo Abbas-Mastan is back with another thriller Naqaab, which is being dubbed as a 'triangular love story with a twist'. Naqaab brings together the Humraaz team of Bobby Deol, Akshaye Khanna and Abbas-Mustan. Here, too, the two men are pitted against each other, vying for the attention of the same girl.

Character Sketch

Akshaye Khanna as Vicky Malhotra
Vicky is an out-of-work young man, who is willing to forsake all in his quest to become an actor.

Urvashi Sharma as Sophie
Sophie is confident enough of embarking on a live-in relationship with a millionaire, but wants her slice of true love too when it beckons in the shape of Vicky.

Bobby Deol as Karan Khanna
Karan is a millionaire with flowing locks and dressed in smart-cut suits.

Storyline

Naqaab tells the story of Sophie (Urvashi Sharma), a young girl from a middle-class family. She is engaged to millionaire Karan Khanna (Bobby Deol). When she meets Vicky Malhotra (Akshaye Khanna) her affections shift to him and problems begin in her relationship with Karan.

The focus of the film also shifts to the shady past of all three characters, with some unexpected elements thrown in.

Who does Urvashi choose?

Who does she really want?

What are their shady pasts?

Expect a rocking thriller once again from the masters of this genre- Abbas-Mustan.