Indian movies

Let's clear a misconception before we get down to reviewing SHAURYA. It's not a war film. It's not jingoistic. It doesn't spew venom on the neighboring country. It doesn't show mutilated bodies or blood-soaked faces and limbs.

Sure, SHAURYA has the backdrop of the armed forces. But it's about a court martial. It's about two friends, who're pitched against each other in a courtroom. The 'culprit', in turn, doesn't want to defend himself and remains a mute spectator for reasons best known to him.

SHAURYA is a serious film and raises a serious issue in the penultimate 20 minutes. And that's where it scores. Director Samar Khan gradually builds up the tension and when it explodes in the finale, it leaves you stunned and speechless. Most importantly, it makes you uncomfortable… perhaps, that's one of the reasons why it succeeds.

SHAURYA is about the common man, but as a cinematic experience, it's more for the discerning viewer looking for a hatke theme, thirsting for a story in those 2 hours. Most importantly, it does justice to the tagline - 'It takes courage to make right… right'.

Captain Javed Khan [Deepak Dobriyal] is charged with mutiny, treason and killing a fellow officer. Even when he is held for court martial, he refuses to speak in his defense as the secret he holds is too powerful for the establishment to handle. Assigned for this task are Sid [Rahul Bose] and Akash [Jaaved Jaaferi], two best friends, lawyers and very ambitious individuals who have contrasting views on life.

Nevertheless, this one case changes their lives forever. The case takes them to Srinagar. While Akash, for whom winning the case matters the most, follows the blueprint, Sid discovers a new meaning in life, Kavya, Javed and of course, the man in question, Brigadier Pratap [Kay Kay Menon].

Why is Javed silent? What is the truth of that night? Why is Brigadier Pratap hell-bent on getting Javed convicted? Will Sid have the courage to save Javed's life?

SHAURYA isn't a flawless script. But it has been treated with utmost realism and sensitivity by Samar Khan. Talking of the narrative, the film could've done without the item song at the very start [and what was Pawan Malhotra doing in this song?]. Besides, one fails to understand why Deepak Dobriyal doesn't confide to his mother, since the family has always taken pride in the fact that they've adhered to principles all their lives. Besides, the film could've been shorter by at least 15/20 minutes. The second hour drags at places!

Despite the hiccups, SHAURYA delivers what it promises. At the end of the screening, you actually pinch yourself. Did the same guy who helmed this riveting fare called SHAURYA, direct KUCH MEETHA HO JAYE, a bitter cinematic experience? The execution of SHAURYA is impressive and Samar also succeeds in extracting stellar performances from the ensemble cast.

Despite the shortcomings, the screenplay is tight, not deviating from the core issue. The reason that compels Deepak Dobriyal to shoot a fellow officer and also the powerful climax prove that the writers [Jaydeep Sarkar, Aparnaa Malhotra and Samar Khan] know their job well. There's not much scope for music in a film like this, therefore the two songs don't make much of an impression. However, in terms of melody [Adnan Sami], 'Dheere Dheere' has a soothing effect on the listener. Carlos Catalan's cinematography is topnotch.

The story rests on five actors - Rahul Bose, Kay Kay Menon, Jaaved Jafferi, Deepak Dobriyal and Minissha Lamba. Rahul excels in a role that fits him like a glove. In fact, this performance easily ranks as one of his finest works. Kay Kay is dynamic. Watch him explode in the climax and you realize the potential this actor possesses.

Jaaved does a decent job. However, his character is relegated to the backseat after a point. Deepak conveys a lot even when silent - that's the sign of a fine actor. Minissha is effective. Besides, she looks the character. Amrita Rao handles her part with maturity. She's first-rate. Seema Biswas, as always, is a complete natural.

On the whole, SHAURYA is a well-made film that will have to rely on a strong word of mouth to sustain in the coming days. However, the film deserves to be tax-exempted since it's a genuinely deserving case.

Comedies are the flavor of the season and RAMA RAMA KYA HAI DRAMAAA follows the rules and guidelines earnestly. But let's not mistaken this film to be an offshoot of PARTNER and WELCOME. The idea is to recreate the Hrishikesh Mukherjee and Basu Chatterjee kind of cinema by handling a serious topic [marital problems] in a humorous format.

Although the topic it touches is serious in nature, debutante director S. Chandrakant weaves humor in the plot so that the goings-on don't get heavy at any point. Also, you don't really expect the moon from the film, so you aren't disappointed either.

To cut a long story short, RAMA RAMA KYA HAI DRAMAAA isn't a great comedy by any chance. But you continue to smile, not squirm, as the reels unfold!

The story revolves around three married couples -- Prem [Aashish Chowdhary] and Khushi [Amrita Arora], Santosh [Rajpal Yadav] and Shanti [Neha Dhupia] and Mr. and Mrs. Khurana [Anupam Kher and Rati Agnihotri]. Santosh marries Shanti, a small-town girl, and later realizes that Shanti is not the 'perfect wife'. Petty differences start popping up and Santosh starts day-dreaming and imaging other women as his wives.

The marriage of Prem and Khushi is also not smooth-sailing, since Khushi is too demanding as a wife. How the two couples make up in the end forms the crux.

A simple plot with equally simple execution -- that's the right way to sum up RAMA RAMA KYA HAI DRAMAAA. The arguments and tiffs between the newly-married couple [Rajpal, Neha] seem real at times. Also, Rajpal's over-active imagination -- of imagining other's wife as his -- make the goings-on interesting.

On the flip side, the writer hasn't spelt the reasons that put Rajpal and Neha in the war zone. Why are they constantly bickering? The other couple's [Aashish, Amrita] relationship is also not well-developed. Aashish is an excellent husband, but Amrita seeks divorce in the end. It should've been the other way round.

Debutante S. Chandrakant shows a flair for comedies. But he could've done with a tighter script. Siddharth-Suhas' music is a plus point. The songs are easy on the lips. Dialogues are funny at places.

RAMA RAMA KYA HAI DRAMAAA doesn't demand histrionics, so everyone's over the top, in keeping with the mood of the film. Rajpal Yadav is the scene stealer. Neha too acts well. Aashish has a Salman Khan hang-up. He ought to be natural. Amrita Arora gets minimal scope. Anupam Kher and Rati Agnihotri are adequate.

On the whole, RAMA RAMA KYA HAI DRAMAAA is a fair entertainer.

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!

Characters:

Darsheel Safary as Ishaan Nandkishore Awasthi
Ishaan is 8 years old. He loves colours, fish, shiny things, dogs, golas, spaceships and kites. He loves to draw and paint and be a bindaas boy. He does not want to go to boarding school.

Vipin Sharma as Nandkishore Awasthi
Nandkishore Awasthi is Ishaan’s father. He gets very angry when Ishaan’s teachers from school complain. Nandkishore is of the view that only Boarding school can teach discipline to Ishaan.

Tisca Chopra as Maya Awasthi
Maya is Ishaan’s mother. She makes good food and looks after Ishaan when he gets hurt. She is very sad that Ishaan has to go to boarding school but she thinks it will be for the best.

Sachet Engineer as Yohaan Awasthi
Yohaan is Ishaan’s Dada. Dada is a very good student and also plays tennis and cricket. He also looks after Ishaan and loves him.

Aamir Khan as Ram Shankar Nikumbh
Nikumbh sir doesn't scold Ishaan like the other teachers. He sports a very nice smile and he likes colours and fish and dogs and painting too!

Tanay Chheda as Rajan Damodaran
Rajan is Ishaan’s best friend. He is very smart and intelligent and a good student and always knows the answers to all the questions. He always tries to be helpful to Ishaan.

Synopsis:

Ishaan Awasthi is an eight-year-old whose world is filled with wonders that no one else seems to appreciate; colours, 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, 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.

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?

It started with PARTNER eight weeks ago. Then HEYY BABYY three weeks back. It's DHAMAAL now. Howlariously funny, Indra Kumar's latest outing completes the hat-trick of laughathons that succeed in entertaining you from start to end. Like its predecessors, DHAMAAL is abundantly rich in humor and most importantly, has the right set of actors to carry off those roles with aplomb.

DHAMAAL lives up to its title. It's non-stop dhamaal for the next two hours. Sure, there're inane situations and jokes that cater to the popular tastes, but when did Indra Kumar and his team of writers [Paritosh Painter, Balwinder Suri, Bunty Rathore] ever set out to challenge Einstein? The mantra is simple: Let the auditorium reverberate with laughter. And DHAMAAL succeeds in its mission!

Any hiccups? The post-interval portions aren't as funny as the first hour. More on that later! But the film works in totality and that's what matters at the end of the day. With MASTI, Indra Kumar proved that he knows how to tickle the funny bone. With PYARE MOHAN, he tripped and ended up bruising himself. With DHAMAAL, he sprints back to the junta's hearts.

So what's the final word then? Go, watch DHAMAAL and have dhamaal. But do carry a rumaal since this madcap comedy is quite kamaal in parts. You'd cry laughing!

Roy [Riteish Deshmukh] believes that he is the best detective in the world. Manav [Javed Jaffrey] actually happens to be the biggest idiot in the world, but is blissfully unaware about it. His brother Adi's [Arshad Warsi] half knowledge about everything only adds to the great expertise of this group. The final component is Boman [Aashish Chowdhary], who's Mr. Scared.

These four idiots live and work together. Their idea of work? Doing small-time con jobs! The thought of earning an honest living has never even crossed their minds. One day, while trying to save a dying man, Bose [Prem Chopra], they get their big break. Their life is made! Unfortunately for them, Inspector Kabir [Sanjay Dutt] has been chasing Bose for the last ten years. He finally finds him. Only dead!

Desperate for his promotion, he questions the suspicious-looking foursome he finds next to the body. Inadvertently, they blurt out the secret before managing to escape. Now begins a marathon chase.

DHAMAAL begins with gusto. The introduction of the four characters at the very start makes the viewer aware of what to expect from each of them. The sequences that follow [taking the horse painting at condolence meetings] are rip-roaringly funny. Ditto for the sequence when they're mistaken as gangsters and arrested by the cop [Murli Sharma]. Another sequence that's sure to bring the house down is Asrani's vintage car going up in flames and also Sanju tying the four to a tree. The first hour rocks big time!

The writers continue to inject humor in the second hour as well. Only thing, the jokes work at times, but look forced at places. Take, for instance, the track of the robbers inside a bus and their interaction with Ritesh. Non-happening! The aircraft portion [Asrani, Aashish] is excellent, but one should know where to end a joke. Never stretch it beyond a point, but the writers do. Resultantly, the impact gets diluted. Sanju's accident and the entire cliff track, again, is mediocre. The search for the 'Big W' in the park, beneath which lies the treasure, is funny, not hilarious.

Directorially, Indra Kumar is in form. Opting for a new team of writers this time around, he gets it right on most occasions. The two songs at the very start [Adnan Sami] are interesting. Vijay Arora's cinematography is nice. Dialogues are excellent.

The one performance that stands out from the rest is that of Javed Jaffrey's. He's magnificent in a role that seems tailor-made for him. What timing! The viewers are sure to go into raptures. Arshad Warsi is not in his element. Also, why is he looking so tired? Ritesh Deshmukh is dependable yet again, although his track suffers in the second hour because it lacks meat. Aashish Chowdhary is a revelation. Confident and easygoing, he shows a flair for comedy. Sanjay Dutt is alright. Asrani is mind-blowing. It's a treat to watch this veteran in a meaty role again. Suhasini Mulay, as the landlady, is first-rate.

On the whole, DHAMAAL is one joyride that should keep its investors smiling!

Last Friday, RGV received flak from all and sundry for attempting a remake of SHOLAY. The venom spewed in views, opinions, reviews, sms-es… everywhere. RGV has lost it, was the unanimous feedback.

Yet another RGV offering hits the marquee this Friday -- DARLING -- but this one is no remake, although it does bring back memory of two films mainly, GHOST [which, in turn, inspired a slew of Bollywood movies] and Bhatts' RAAZ. Though dissimilar, flashes of BHOOT also cross your mind as you watch DARLING.

It's difficult to slot DARLING in any one category. It's eerie, it's humorous, it has the song-n-dance routine [well knitted in the plot], it doesn't belong to any particular genre. Actually, DARLING is a novel experience since Hindi films have rarely combined horror and comedy -- two diverse ingredients -- in one film. Trust RGV to think out of the box and fortunately, it works!

The eerie moments before the ghost appears don't make you break into a cold sweat, but they do make your heart beat faster. Similarly, there're ample moments in the narrative [Fardeen, Isha visiting the hospital to meet Zakir Hussain; also Isha wanting to make love to Fardeen on their anniversary and the ghost is watching it all] that are thoroughly interesting. The final scene, of course, is a brilliant stroke, with the viewer not being prepared for the turn of events.

In a nutshell, RGV can heave a sigh of relief this weekend. Last weekend was dark and depressing, this weekend should bring in sunshine for this maverick film-maker.

Aditya [Fardeen Khan] is living every man's dream. He's got a beautiful, traditional wife [Isha Koppikar] at home and a stunning wildcat girlfriend [Esha Deol] at work. Balancing the two women with clever lies, he gets to experience the best of both worlds.

The going is good. Till his girlfriend shocks him with the news that she is pregnant. Aditya is cornered. He has to confess to her that he cannot leave his wife as he has been promising her all along. His girlfriend is devastated. She flies into a rage. A brutal fight ensues, in which she accidentally dies.

Terrified, Aditya disposes off her body and returns home, thinking that the worst is behind him. But he couldn't be more wrong. For the nightmare has only just begun. His wild girlfriend is back as a ghost…

The USP of DARLING is its unpredictability. Had it been an out-and-out horror flick, you'd have guessed the sequence of events sooner or later. Had it been the story of a man torn between two women, again, it wouldn't have taken much time to guess what's in store next. But RGV steers clear of predictable stuff from the start itself.

Although the screenplay is captivating and keeps you hooked to the proceedings, the only time it takes a dip is in the post interval portions. Otherwise, the sequences involving the cop [Upendra Limaye] and his colleague [a lady called Malati] are excellent. Also, the sequence when Esha's father breaks down in front of Fardeen is incredible.

DARLING may not be amongst RGV's finest works, but it does rank among his better films. With a music company [T-Series] producing the flick, it ought to be embellished with a good score and at least two songs have already grown popular -- 'Tadap' and 'Aa Khushi se Khudkhushi Karle'. Amit Roy's cinematography is splendid yet again. The background score [Prasanna Shekar] is effective.

Fardeen Khan is a revelation. The actor catches you with complete surprise as he enacts a difficult role with panache. Esha Deol is excellent in a role that's nothing short of a challenge. It would've boomeranged had it been entrusted to any inferior actor, but Esha is in terrific form here. This should be the turning point in her career. Isha Koppikar doesn't have much to do in the first half, but more than makes her presence felt in the second hour.

Upendra Limaye is fantastic. And so is his colleague [a character called Malati]. Zakir Hussain is superb.

On the whole, DARLING is a well-made product that will find flavor with the multiplex audience mainly. Has the merits to grow with word of mouth!

The film begins with a disclaimer, stating that RETURN OF HANUMAN is not a sequel to any film made before. But is it really possible to watch the new experience forgetting all about the first part?

As someone who thoroughly enjoyed HANUMAN, you expect an encore with RETURN OF HANUMAN, although the makers, for reasons best known to them, have decided to alienate the new film with the first animation film on Lord Hanuman. The makers may have their reasons, but for the viewer, the comparisons are inevitable.

Honestly speaking, one shouldn't compare the two films for a very valid reason. While HANUMAN was a pure mythological film, RETURN OF HANUMAN merges mythology with the present-day kalyug ki duniya. In this film, there's Gabbar Singh, plus voice-over clones of, hold your breath, Shah Rukh Khan, Sanjeev Kumar and Raaj Kumar. What's more, Baby Hanuman handles a volley of bullets like Keanu Reeves handled them in the MATRIX series.

RETURN OF HANUMAN begins with the battle between the gods and rakshas. The focus shifts to a small kid, Minku, in a small village in present-day India, who's ridiculed by his friends. Lord Hanuman requests Narad Muni to convince Lord Brahma to send him to earth. Lord Brahma agrees, but Lord Hanuman is made to sign a contract, which has several do's and don'ts.

It's innovative to merge mythology with the contemporary and a number of sequences do make an impression, especially in the first hour. But the film drags in the post-interval portions and a long-drawn climax only dilutes the impact of several interesting sequences.

One of the prime reasons why HANUMAN worked was because Baby Hanuman was very cute, very lovable. The Baby Hanuman in RETURN OF HANUMAN is equally adorable. Sequences depicting his voracious appetite as also with his timid friend Minku are quite enjoyable.

Technically, the animation quality is okay. But it's still not at par with the animation movies made in the West. At best, RETURN OF HANUMAN is enjoyable in parts. If you're a kid or have a kid hidden in you, this one's for you!