Indian movies

Is ROCK ON!! DIL CHAHTA HAI 2, one is tempted to ask. DIL CHAHTA HAI was a trendsetter when you look back, paving way for storytellers who wanted a new story to tell. Now, the DIL CHAHTA HAI team of Ritesh Sidhwani and Farhan Akhtar with director Abhishek Kapoor deliver ROCK ON!!, a film that makes you understand the true meaning of friendship.

Put your hands together for one of the finest films of our times. Put your hands together for a director who pulls off a challenging subject with élan. Put your hands together for the actors who pitch in superlative performances.

ROCK ON!! is not just about music. It's about relationships. And relationships can get really complicated and messy as all of us would agree. ROCK ON!! captures it so beautifully, so sensitively, so effectively on celluloid.

Everything is in sync here, everything is just perfect. Flaws? Perhaps, the slow pacing. But come to think of it, you can't play with the edit in a film like this. ROCK ON!! also works because you can relate to the characters, you can relate to the moods, the egos, the highs and the lows...

In a nutshell, here's a film you just can't afford to miss. We've had our share of masala films week after week. Now have a look at a film that India can proudly showcase to the West. ROCK ON!! simply rocks!

ROCK ON!! is the story of four friends [Farhan Akhtar, Arjun Rampal, Purab Kohli, Luke Kenny] who put together the greatest band this country has ever seen, Magic, but never make it. Years later, fate conspires to bring them together again and set them on a journey back to where they left off... a soul-searching pilgrimage into their past.

ROCK ON!! bears some resemblance to the Hollywood film THAT THING YOU DO [Tom Hanks], but it could be a mere coincidence. Director Abhishek Kapoor sets it in the Indian milieu efficiently. Watch the bonding shatter into pieces for no fault of anyone in particular actually. It's the circumstances that play the villain here and Abhishek captures it on lens so beautifully. The fragile relationships, how piece after piece is put together and the journey to the climax… the narrative is so compelling, it makes you feel you're witnessing all of it first-hand.

Shankar-Ehsaan-Loy's music is perfect. It's completely in sync with the mood of the film. Connoisseurs of music have already showered the music with rave reviews and rightly so! Jason West's cinematography is fantastic. The screenplay and dialogues are commendable.

Every performance in the film deserves brownie points. Farhan Akhtar makes his debut as an actor and he displays rare maturity for a first-timer. Known as an accomplished director all along, Farhan will now be acknowledged as a mature actor as well. Arjun Rampal delivers his finest performance to date. Watch him emote those tough emotional moments and also as a failed person in the latter parts and you'd realize that he has only grown with the passage of time. Superb is the word!

Purab Kohli is tremendous and so is Luke Kenny. Purab has always delivered fine performances, but he's touched a new high this time. Luke is equally charged.

Prachi Desai scores in her very first feature. She has a challenging role and footage-wise too, it's substantial. Prachi brings in a lot of freshness and poise. Plus, she's a competent actor. Shahana Goswami is a talent to watch out for. Her performance is one of the most difficult ones for a newcomer and the confidence with which she carries it deserves to be lauded. Koel Purie has a brief role and she enacts it quite well.

On the whole, ROCK ON!! is an amazing experience. The highpoint is the emotional quotient, the skilful performances and the superb execution of the subject. At the box-office, this urban film holds tremendous appeal for metros and mini-metros. Business at multiplexes of Mumbai, Pune, Delhi and NCR, Kolkata and South in particular should be excellent. Very strongly recommended!

The great debate between science and superstition continues, but RGV's new film PHOONK tilts in favour of superstition. Surprising, isn't it?

The makers of the film had organized a contest. You'd be given a handsome reward if you've the courage to watch PHOONK all alone in a theatre, we're told. Honestly speaking, PHOONK isn't scary by any standards, but as a subject, it works big time because somewhere deep within us, we've heard of the power of the unknown.

Whether you're superstitious or not, you may've heard tales/experiences concerning jaadu tona. And you're all eyes and ears the moment someone comes up with an alibi.

PHOONK is easily amongst RGV's finest works [although BHOOTH was scarier] and it holds your attention all through. As a viewer, you're keen to know how RGV would culminate this story. The culmination, of course, would meet with extreme reactions. Some would rubbish it, but the believers might endorse the finale. In my individualistic opinion, it's outstanding!

All said, PHOONK is a fantastic experience. The subject -- black magic -- is its biggest star and that alone would ensure House Full boards outside plexes/cinemas.

Rajeev [Sudeep], a successful construction engineer, with a loving wife and two children, is an atheist to the core. He scowls at people who believe in the dark forces, till one day when an evil is let loose in his happy home, which threatens to destroy his family and shake up the very foundations of his convictions and beliefs.

Thanks to the hype and curiosity generated around the movie, you expect to be scared from Scene 1 itself. And RGV emphasises on lighting and artefacts, besides an eccentric woman [Ashwini Kalsekar], to create the right atmosphere.

Of course, you do get the jhatkas in a scene or two, but you don't clasp your hands tightly even once, nor does your heart goes dhak-dhak at a lightening speed. Gradually, RGV plays with the camera [excellent camerawork by Savita Singh] and sound [Kunal Mehta, Parikshit Lalwani] to heighten the impact. Like all RGV films, the camera angles bear the unmistakable RGV stamp, while the background score [Bapi-Tutul] takes an ordinary scene to the next level.

RGV is back with a bang. There's a certain consistency from start to end and this time, he gets the right subject to prove his detractors wrong. Every sequence bears the stamp of a genius that RGV is, hits and flops notwithstanding.

The performances are uniformly good. Sudeep impresses you with an excellent performance. Amruta Khanvilkar is efficient. Baby Ahsaas Channa makes a strong impression. Ashwini Kalsekar is top notch. Zakir Hussain's tantric act is superb. Ganesh Yadav lends good support. K.K. Raina and Lilette Dubey, both doctors, are competent. Kenny Desai, Anu Ansari and the actress enacting the role of Sudeep's mother are perfect.

On the whole, PHOONK is a fascinating cinematic experience on a subject that's rarely tackled by the dream merchants in Bollywood: Black magic. The subject itself is the biggest star of the film, which would ensure a flying start at the box-office and in turn, prove a jackpot for its producers who've distributed the film themselves.

Come to think of it, after two back-to-back hits [RANG DE BASANTI, FANAA], Aamir Khan could've given a positive nod to any masala flick and chosen to work with anyone he desired. But he preferred to make a film on a dyslexic kid, make him the focal point of the story and don three caps -- producer, actor and director.

At the very outset, let's make one thing clear. TAARE ZAMEEN PAR isn't one of those films that merely entertains, but also enlightens. TAARE ZAMEEN PAR is one film that makes you peep into a child's mind and how some parents, in their pursuit to make them 'stronger' academically, forget that there's hitherto untapped talent that needs to be nourished and encouraged.

TAARE ZAMEEN PAR drives home a strong message, making you empathize with the kid, compelling you to draw parallels with your life, making one realize that some of the renowned geniuses were once scoffed at, but the world had to bow down to their intellect later.

Sure, TAARE ZAMEEN PAR boasts of a story that strikes a chord, but most importantly, it has been treated with such sensitivity and maturity that you're left shell-shocked in amazement by the sheer impact it leaves at the end of this 18 reeler.

TAARE ZAMEEN PAR heralds the birth of a topnotch storyteller -- Aamir Khan. To choose a story that's a far cry from the mundane stuff that's being churned out like factory products, requires courage and conviction and to execute it with panache is a rarity.

Those who somewhere nursed a grudge that the camera follows Aamir in all his films, will chew their words once they watch TAARE ZAMEEN PAR. Yes, Aamir has a key role to portray as an actor, but the camera captures the child's emotions like never before in a Hindi film. Also, let's also clear the myth about TAARE ZAMEEN PAR being a kiddie film. It's not! It's about children. Note the difference!

In a nutshell, TAARE ZAMEEN PAR serves as a wake up call for every parent or parent-to-be. Also, it heralds the arrival of a magnificent storyteller -- Aamir Khan. At the end of the day, it's not difficult to choose who's better -- Aamir, the actor or Aamir, the director. TAARE ZAMEEN PAR is a triumph all the way from the director's point of view.

Ishaan Awasthi [Darsheel Safary] is an eight-year-old whose world is filled with wonders that no one else seems to appreciate; colors, fish, dogs and kites are just not important in the world of adults, who are much more interested in things like homework, marks and neatness. And Ishaan just cannot seem to get anything right in class.

When he gets into far more trouble than his parents can handle, he is packed off to a boarding school to 'be disciplined'. Things are no different at his new school and Ishaan has to contend with the added trauma of separation from his family.

One day a new art teacher bursts onto the scene, Ram Shankar Nikumbh [Aamir Khan], who infects the students with joy and optimism. He breaks all the rules of 'how things are done' by asking them to think, dream and imagine, and all the children respond with enthusiasm, all except Ishaan.

Nikumbh soon realizes that Ishaan is very unhappy and he sets out to discover why. With time, patience and care, he ultimately helps Ishaan find himself.

On face-value, TAARE ZAMEEN PAR looks like a kiddie film, but as the story unfolds, you realize that the story peeps into the mind and heart of a kid, his interests, his hobbies, his strengths and weaknesses. The director opens the cards at the very outset, when you realize that the kid is just not interested in books/studies. And his interaction with his stern father, doting mother and lovable brother is straight out of life.

A number of sequences in the first hour leave you spellbound --

• Ishaan's altercation with the neighboring kid over a cricket ball;


• Ishaan's parents' decision of putting him in a hostel and Ishaan's constant pleas falling on deaf ears;


• Ishaan going into a shell in the boarding school, looking disinterested in life. Also, the art teacher punishing him for his inattentive behavior.

There are several moments in the first hour that make you moist-eyed. The bonding between the mother and son is remarkable. These moments effectively capture the special bonding, making you realize that a mother's mere touch can act like a soothing balm on a troubled soul.

Aamir takes the courageous stand of placing the story on Ishaan's shoulders right through the first hour and not once do you feel that the kid doesn't have the power to keep your attention arrested.

The second hour is equally challenging and most importantly, motivating. The introduction of Aamir's character, Aamir spotting the indolent Ishaan, Aamir traveling to Mumbai to meet Ishaan's parents and then citing examples of extra-ordinary men who were ridiculed by their contemporaries/peers -- these moments linger in your memory even after the show has concluded.

But the best part is reserved for the finale -- the art competition in the penultimate twenty minutes. The emotions reach an all-time high as the kid regains his confidence. The finale would melt even the stone-hearted!

Directorially, Aamir Khan deserves distinction marks for extracting an exemplary performance from the kid and handling the plot with supreme sensitivity. In his debut film itself, Aamir proves that he's a gifted storyteller, someone who has the courage to swim against the tide and also convince the viewer that there's more to film-making than the mere masala entertainers. Bravo!

Setu's cinematography is mesmeric. The camera captures every minute detail, every emotion, every tear with precision. Shankar-Ehsaan-Loy's music is easy on the ears. 'Bum Bum Bole', 'Jame Raho' and the title track are first-rate compositions. Prasoon Joshi's lyrics in 'Maa' deserve special mention. Editing [Deepa Bhatia] does justice to the material. Only thing, the film, if trimmed [second hour], will only be more impactful. Animation and visual effects are fantastic.

TAARE ZAMEEN PAR belongs to Master Darsheel Safary. A performance that make the best of performances pale in comparison. A performance that deserves brownie points. A performance that'll always come first on your mind the moment someone mentions TAARE ZAMEEN PAR. A performance that's impeccable, flawless and astounding. A performance that moves you and makes you reflect on your growing years. A performance that merits a special award!

Aamir is excellent. Note his scenes with the father of the kid. First, when he visits their home. Next time, when he cites the example of Solomon Islands. Splendid! Tisca Chopra is outstanding. Here's an actress who needs to be lapped up in a big way by film-makers.

Tanay Cheda [as Ishaan's friend Rajan Damodaran] is excellent. Vipin Sharma [Ishaan's father] is slightly theatrical. Sachet Engineer [Ishaan's elder brother] is apt. The teachers have performed well.

On the whole, TAARE ZAMEEN PAR is an outstanding work of cinema. To miss it would be sacrilege. It has everything it takes to win awards and box-office rewards!

Do yourselves a favor. Watch TAARE ZAMEEN PAR with your child. It will change your world. It will also change the way you look at your kids!

The two aspects you look forward to in a horror film are [i] The thrills-n-chills should scare the living daylights out of you and [ii] The story should’ve something new to offer. Sure, GAURI – THE UNBORN has a new story to tell, but the chills-n-thrills don’t give you the jitters and jhatkas, barring a scene or two.

On the contrary, what you carry home is a socially relevant message: Say ‘No’ to foeticide.

Sudeep [Atul Kulkarni], an architect, lives with his wife Roshni [Rituparna Sengupta] and their daughter Shivani [Baby Rushita Pandya]. The family decides to go for a holiday to Mauritius, but the daughter insists on going to their ancestral home.

The parents agree half-heartedly, but decide to visit the ancestral home nonetheless to keep their daughter happy. But an incident from the past comes back to haunt them. And the unseen force threatens to take their daughter away from them.

GAURI – THE UNBORN had the potential to work big time, but the screenplay has its limitations. The moment the aatma of the unborn kid swears revenge, you expect the sequence of events that are to follow to give you gooseflesh. But what unfolds is hardly spine chilling. Besides, the pacing slackens in the second hour, which is a deterrent.

However, the concluding 20 minutes are the best part of the enterprise. The climax is indeed novel and the end drives home the message effectively. Another aspect that catches the eye is the visual effects, which are skilfully executed and smartly integrated in the narrative.

Director Aku Akbar makes a promising debut. He’s a proficient technician, but he should’ve emphasized on a far more convincing script. There’s just one song in the narrative [a lullaby], which is strictly okay. Cinematography is up to the mark. Background score enhances the impact at places.

Atul Kulkarni is plain mediocre. Rituparna Sengupta has her moments. However, their intimate scenes seem forced in the screenplay. Baby Rushita Pandya is the real scene stealer. To see a kid carry off a tricky role is wonderful. Anupam Kher is passable.

On the whole, GAURI – THE UNBORN is an okay fare that may find its share of advocates in those who tilt towards the horror genre.

Vikram Bhatt has often been accused of borrowing heavily from foreign films. In SPEED, he borrows from the Hollywood film CELLULAR, which, in turn, reminded you of PHONE BOOTH. Despite the similarities, SPEED is slick, has several compelling moments and isn’t as predictable as one thought it would be.

SPEED is an edge of the seat thriller and unravels at a feverish pace. The only problem is, there’re a few rough edges [a few questions unanswered, predictable climax], but the pros easily outnumber the cons here.

In a nutshell, SPEED is an engrossing fare, with moments that stay with you.

What do you do when you get a phone call from a stranger begging you to save her life? What would you do if your only ray of hope is your phone?

Zayed Khan comes to London to convince his girlfriend Tanushree Dutta to give him another chance to prove his love for her. Meanwhile, Sanjay Suri, an undercover agent, receives a CD from Aftab Shivdasani and Sophie Chaudhary, which contains the recording of his kidnapped wife, Urmila Matondkar, and is asked to follow the instructions.

He’s completely confused about what’s happening. Soon he realizes that he is being used as a weapon to assassinate the P.M. of India on the London tour. As he is still not agreeing to plans, Aftab finally decides to kidnap his kid.

Sanjay’s kidnapped wife, Urmila, starts trying to escape. Her only ray of hope is the telephone call she’s accidentally made to Zayed Khan. He’s in touch with her throughout, continuously talking with her and giving her moral support. As Zayed decides to help Urmila, his love of life, Tanushree gets annoyed and threatens to break up again. A happy-go-lucky brat Zayed, who never takes anything seriously, risks his own life to save an unknown family just because of a call.

Aashish Chowdhary, the super-cop of London, is in charge of security of the visiting Prime Minister. But as his girlfriend has her birthday the very same day, Aashish is caught between his personal life and duty. He obviously chooses the later. Will Aftab and Sophie succeed in their sinister plans?

Although SPEED borrows from CELLULAR, it must be mentioned that the Indian moviegoer has witnessed strikingly similar themes in the past. Yet, in all fairness, Vikram and his team of writers have Indianized the plot well. For, the film is absorbing in most parts, except for some glitches in the second hour.

The Aashish – Amrita track, for instance, should’ve been better developed. Also, the film gets slightly predictable towards the finale, although, frankly, you don’t really mind it since the culmination couldn’t be different.

Director Vikram Bhatt is in form this time. Thrillers have always been his forte and his handling of the subject material is commendable this time. It’s stylish and most importantly, it succeeds in keeping your interest alive. Pritam’s music is okay, although, given the genre, the makers have wisely restricted the songs in the narrative. Pravin Bhatt’s cinematography is topnotch. The locales of London are eye-filling and give the film the required sheen. Action sequences [Abbas Ali Moghul] are well executed.

SPEED belongs to two actors primarily -- Urmila Matondkar and Zayed Khan. Urmila handles her part with dexterity and adds freshness to the goings-on since she has cut down on her acting assignments. Zayed is cool and suits the role well. Aashish Chowdhary springs a surprise. In fact, the actor is getting likable with every release.

Sanjay Suri is a fine actor, but the spark is missing this time. Aftab too isn’t fiery enough and his look is a complete put-off. Tanushree Dutta needs to go easy on her makeup. Otherwise, she’s passable. Sophie Chaudhary makes her presence felt. Amrita Arora looks glamorous.

On the whole, SPEED is an interesting thriller that has the advantage of being a solo release. At the box-office, this reasonably priced fare should attract its share of viewers in its initial run.

It's like traveling back home. You know the route, you know the signal, you know the lane, you know the speed breaker and you know the destination.

That's applicable for LAAGA CHUNARI MEIN DAAG too. 10 minutes into the film and you know what the story is, you can even guess the twists and turns the story may take and you can [successfully] read what the climax would be. Predictability -- that bogs LAAGA CHUNARI MEIN DAAG down.

Sure, it isn't blasphemous if a new product bears a striking similarity to themes that have been translated on celluloid several times in the past. But the grip -- so vital in a film that has a story to tell -- is clearly missing here.

LAAGA CHUNARI MEIN DAAG appeals in bits and spurts. It's well shot and is backed by striking performances, but the graph of the film lacks uniformity. It holds your attention, then it doesn't.

To sum up, LAAGA CHUNARI MEIN DAAG fails because of its writing. It has an oft-repeated theme and coupled with inept writing, the chances are very dim!

Badki [Rani Mukerji] and Chutki [Konkona Sen Sharma] live a fun-filled life in Banaras, playing pranks, sneaking off to see a forbidden mujra [Hema Malini, in a special appearance] 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 [Jaya Bachchan] 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.

LAAGA CHUNARI MEIN DAAG has a promising start. Portions depicting the financial difficulties plauging a family are convincingly depicted. Everything's in control till Rani decides to become an escort. The question here is, when Suchitra Pillai is giving Rani a makeover, why does she encourage her to become a high class hooker? Why not a model? Or why doesn't she goad her to hone her skills [learn English, computers et al, since those are the reasons why Rani is refused job after job]? Why encourage her to be someone when the pure soul is just not convinced about? Why? Doesn't it send out wrong signals to people who face roadblocks in life? Is that [prostitution] the only alternate profession you can take to in crisis?

The film dips further when Rani, now a polished, angrezi-speaking mem, meets Abhishek in an aircraft and the [one-sided] prem kahani begins. And then the treacherous cousin [Sushant Singh] arrives in Mumbai, blackmailing her. Hello, how did he, sitting in Benaras, know Rani's 'rate for a night' and her 'profession'. No explanations are offered!

The second hour is interesting in parts. The sequence when Konkona catches Rani red-handed is excellent. Also noteworthy are the portions when the two sisters return to Benaras. Things start looking up, but, suddenly, Abhishek re-emerges on the scene and the Abhishek - Rani prem katha re-ignites. Nahin, maza nahin aaya. Also, the treacherous jodi of Tinnu Anand and Sushant Singh comes back, but this track looks forced. The duo is used as mere props.

Pradeep Sarkar knows how to make the frames look beautiful, but how one wishes he would've opted for an absorbing story and most importantly, stuck to the principal characters, instead of adding sub-plots [romance, songs, relatives]. Cinematography is splendid. Dialogues deserve special mention. Shantanu Moitra's music is a mixed bag. 'Hum To Aise Hain Bhaiya' is the best of the lot.

Rani excels yet again. It's a pleasure watching her in an author-backed role yet again. Konkona is fantastic. In fact, she lends a lot of freshness to her character. Jaya Bachchan is superb. Her work is truly admirable. Abhishek Bachchan's extended special appearance makes no impact. Kunal Kapoor is likable. Anupam Kher is alright. Tinnu Anand and Sushant Singh suffer due to ill-defined roles. Kamini Kaushal, Murli Sharma, Harsh Chhaya, Tarana, Suchitra Pillai and Ninad Kamat enact their parts well.

On the whole, LAAGA CHUNARI MEIN DAAG stands on a shaky script and has all chances of slipping, not consolidating its position. At the box-office, given the inconsistent content on one hand and the poor opening on the other, the film will prove a major setback.

Love stories are beaten to death. The genre has been rehashed, visited and re-visited again and again and again. So much so that all love stories look, seem and sound alike. But JAB WE MET, helmed by Imtiaz Ali, takes a fresh look at love stories.

Frankly, the story isn't new. It has traces of the Abhishek - Ash starrer DHAAI AKSHAR PREM KE [2000; which, in turn, was inspired by A WALK IN THE CLOUDS] and Govinda - Urmila starrer KUNWARA [2000; which, in turn, was a remake of a Telugu film BHAVANAGARU BHAGUNNARA], but director Imtiaz Ali's execution of the subject takes it to another level altogether.

Also, for any love story to work wonders, it ought to have the germs to make the viewer jump with joy and participate in the goings-on. And the principal characters here -- Shahid and Kareena -- are so real, so natural, so believable and so winsome that the viewer gets absorbed into their world as minutes pass by.

To sum up, JAB WE MET is as refreshing as an ice-cold watermelon juice in scorching heat. Imtiaz Ali's expert storytelling coupled with Shahid and Kareena's sparkling performances make this film a must-watch!

Aditya [Shahid Kapur], an industrialist, is heartbroken as the girl he loves is getting married to someone else. 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, he meets Geet [Kareena Kapoor] -- a beautiful but annoyingly talkative girl who is leaving Mumbai to go her hometown -- Bhatinda. Later, she has plans of eloping with her boyfriend [Tarun Arora].

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 make their way through buses and taxis and camel-carts 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 remainder of the story.

Opposites attract -- that's the essence of this love story. The journey of two individuals who cross each other's path one night and develop a deep bond is skilfully and convincingly depicted at the very outset.

The highpoint of JAB WE MET is its story. Although the story bears an uncanny resemblance to some films, it never gives you the feeling of déjà vu. The sequence of events in the first hour is akin to a roller coaster ride. The journey that the couple undertake to reach Bhatinda first and Manali later is mesmerizing.

But the pace slackens in the second hour. Partly because the goings-on get dramatic and serious. Also, things seem to be stretched in this hour. The love story takes its own sweet time to reach its destination, when the fact remains that it could've [and should've] reached the finale earlier. Thankfully, the end is expertly executed and takes the graph of the film higher.

Imtiaz Ali deserves brownie points for handling the subject with such maturity. The fun-laden scenes are truly funny and the emotional ones make you moist-eyed. Striking the right balance between light and heavy moments is akin to walking on a tight rope and Imtiaz handles the two extremes with remarkable ease. An accomplished storyteller undoubtedly!

Pritam proves his versatility yet again. 'Poochho Na Poochho' and 'Tumse Hi' are seeped in melody, while 'Mauja Mauja' and 'Nagada' are racy, foot-tapping and easy on the lips. N. Nataraja Subramanian's cinematography does justice to Imtiaz's vision. The indoor look as well as the exteriors are dexterously captured by the lensman. The writing [Imtiaz Ali] is almost foolproof. Also, the ambience and setting in the Punjabi household are excellent.

Both Shahid and Kareena vie for top honours. Shahid delivers his career-best performance in JAB WE MET. He goes for a complete transformation vis-à-vis his looks and attire to look the character he has chosen to portray and the understanding with which he enacts his part is worthy of lavish praises.

Kareena is in top form as well. JAB WE MET is a turning point in her career [personally as well as professionally]. Fantabulous -- that's the right word to describe her work this time. The confidence with which she handles the contrasting characterization speaks volumes. This film should do for her what KUCH KUCH HOTA HAI did for Kajol.

Pawan Malhotra is excellent as Kareena's uncle. His diction as also the body language is perfect. Dara Singh is good. Tarun Arora is awkward, but that gels with his role.

On the whole, JAB WE MET is one of the finest [romantic] films to come out of Bollywood in 2007. At the box-office, it has the merits to work big time. Strongly recommended… Go with your family!

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.

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.

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 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.

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!

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.

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?

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!

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.