Indian movies

Think of sports-based films made in India and visuals of LAGAAN and CHAK DE INDIA flash across your mind. Will DHAN DHANA DHAN GOAL fall in the same league as these immensely popular flicks, is one vital question that crosses your mind as the reels of UTV's new sport-based film [their second this year, after HATTRICK] DHAN DHANA DHAN GOAL are about to unfold.

GOAL is a simple story that packs not just the sport, but also dabbles with issues like racism and fanaticism associated with this sport. Issues that Westerners can relate to more than Indians, especially racial discrimination.

As a film, GOAL has its share of highs and lows. If the first hour is strictly okay, the pendulum swings in its favour in the second hour -- in the last 20 minutes, to be precise. The sport succeeds in arousing patriotic feelings, besides involving the viewer in the fight-to-finish finale.

Conversely, there are times when you feel that the film falls back on the predictable, tried-n-tested mundane stuff. And packs in something ['Billo', the song] that's just not in sync with the mood of the film.

To sum up, GOAL is a simple story, well told. Notwithstanding the hiccups, this film hits a goal, courtesy its brilliantly executed finale.

Southall United Football Club is facing its deepest crisis ever. Bankrupt, with no stars, no coach, no sponsors, no takers, no spectators and most importantly, no owner. After the City Council sends an eviction notice, it's the last chance to save the ground, the club and their honour. Shaan [Arshad Warsi] takes up the challenge to save the club from extinction. After a disesteemed ex-player, Tony Singh [Boman Irani], joins them as the coach, Shaan and he begin work to gather the worn out team.

Sunny's [John Abraham] dreams to play for England crashes after his club does not select him. The reason is apparently not his game, but the colour of his skin. Sunny and Shaan never see eye to eye. Adding to their personal chaos is Shaan's cousin sister Rumana [Bipasha Basu], who is in love with Sunny.

Tony manages to convince Sunny to play for Southall United. It takes a while before Shaan and the team warms up to Sunny. With Sunny joining Southall United, the team gradually starts climbing the points tally. The City Council is worried. Johny Bakshi [Dalip Tahil], a commentator and a frontman of the Council, plans to lure Sunny away from Southall United.

Director Vivek Agnihotri combines style and substance in his second outing GOAL. Take the sequence at the very start, when an English woman and her frontman [Dalip Tahil] reveal their plans of coming up with a shopping complex on the ground. The director opens the cards at the very outset. But the narrative dips, rises, hits a low and ascends unfailingly till the first hour ends. The sequence prior to the intermission -- at the Manchester United Stadium -- leaves you awe-struck and makes you look forward to a powerful second hour.

Fortunately, the drama only gets exciting in the post-interval hour. The cold vibes that Arshad and John share as also John's volte-face, when he decides to abandon his club for the riches, give the film that extra dimension, camouflaging the defects that raised their head not too long back. The film dips at times in this hour too, but the journey to the finale is well structured. Yes, John's change of heart is slightly filmy and clichéd, but the climax is astounding. The penultimate 20 minutes in the stadium are awe-inspiring and that's what you carry back home.

Vivek Agnihotri knows what he's talking and though you know that he got swayed by technique in his very first film CHOCOLATE, in GOAL, he never lets technique overpower content. The story is simple, but absorbing and presented stylishly. He's truly evolved into a fine storyteller.

There're just two songs in the narrative -- the anthem 'Dhan Dhana Dhan Goal'/excellent and 'Billo'/well-tuned, but the mujra doesn't go well with the mood of the film. Attar Singh Saini's cinematography is striking. The camera movements -- so difficult in a film like this -- are exemplary.

Both John and Arshad are the 'Men of the Match'. John is a revelation. Wrongly dubbed as a clotheshorse in his earlier films, he hits a goal in GOAL. John lends the right texture to his character. He not only looks right for the part, but also plays the sport like a pro. GOAL should occupy the top slot in his body of work!

Arshad Warsi is superb. An incredibly talented actor whose versatility speaks volumes. Cast in a sober, serious role this time, Arshad enacts the part with as much ease as he portrayed Circuit. Bipasha Basu may not have a lengthy role, but she adds zing to the goings-on as and when she appears. Her love story with John is really cute.

Boman Irani is top notch. Note his roar at the intermission point or the uneasiness he displays whenever his team locks horns with the rivals on field. It's a flawless performance. Raj Zutshi is first-rate. Dalip Tahil carries the venomous part well. The actor enacting the role of Arshad's wife does a commendable job.

On the whole, DHAN DHANA DHAN GOAL has an ordinary first hour, but the post-interval portions, especially the exhilarating climax, makes up for everything. At the box-office, the producers [UTV] have already recovered the cost of production from various sales and in-film advertising. The theatrical business will only add to the booty, considering the film has the merits to work with moviegoers. Another factor that goes in its favour -- and it's an important one -- is the fact that the moviegoers haven’t seen a new release post-Diwali. That should reap dhan for DHAN DHANA DHAN GOAL.

Mumbai Salsa is a funny look at the fast emerging dysfunctional relationships that exists within the young corporate India. There was a time when an average Indian was laidback, content and with plenty of time for love, life & relationships. But the economic liberalization, foreign investments, BPOs etc changed all that. An average Indian does not have time for love life or relationships and romances do not blossom in parks anymore. In fact an average Indian spends more time in pubs and night clubs apart from offices and home. Mumbai Salsa is one such pub in Mumbai, where the lives of our principal characters change forever.

Virdas plays Rajeev Sharma. An advertising executive, Rajeev is a hopeless romantic but none of his relationships last. He is come about being really confused about women. Now, finally it seems that he has met the woman of his dreams…. But will the dream shatter?

Indraneil SenGupta plays Karan. A merchant banker Karan is the epitome of deviousness. For Karan women are just to have fun with. No serious commitments for him…. But will that change?

Dilip Thadeshwar plays Subramanium. Also works in the same Advertising agency as Rajeev. Subbu as he is better known is a traditionalist. He is conservative to the core. He hates everything that is progressive especially in the lifestyle department…. But it seems his outlook is in for a big jolt.

Raymond Irani plays Shahji. He is a gym instructor. He is more brawn than brain. He likes to have a good time but for him it takes a while for the penny to drop. It seems he is going to meet his match in the libido department.

Manjari Fadnis play Maya. Maya works as the head of the Human Resources department of a leading Bank. Maya is Miss proper. For her, everything has to be perfect. And she also seeks a similar perfection in love. But we all know that love knows no perfection. Will Maya understand this?

Amruta Khanvilkar plays Neha. She owns a beauty and tattoo parlor. She loves the good life and especially the good sex life. She calls herself hypersexual. She secretly desires the permanence of love but for that she will have to face the ghosts for her past.

Linda Arsenio plays Pamella. Pamella is an expatriate who works in the same Advertising firm as Rajeev. She loves India and everything Indian. For her the final sign of acceptance in this country is to find love here. Will she?

Neelam Chauhan plays Xenobia. She owns a Salsa class and also teaches there. She comes from a broken home and has always wanted to feel like she belonged to someone. She knows that true love will give her that feeling of security that she desires. Will she find true love?

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.