Indian movies

Post KHILADI and BAAZIGAR, Abbas-Mustan rightfully earned the tag of being the undisputed Badshaahs of Thrillers. They made a series of films thereafter -- of varied genres -- but every time they attempted a thriller, the comparisons with KHILADI and BAAZIGAR were inevitable. That’s because Abbas-Mustan couldn’t outdo these two films ever.

The director duo’s latest offering RACE, which packs glitz, glam and style with A-listers [on and off screen], carries the baggage of tremendous expectations. The stars, the stunning locales, the breath-taking visuals, the mesmeric songs, the electrifying chase, the chic styling -- everything you see on screen resembles an international flick.

But the million dollar question is, does it live up to the humungous expectations? Does it have its heart in the right place? Thankfully, it does!

RACE is Abbas-Mustan’s most accomplished work, after BAAZIGAR. Any thriller works if and only if the story has the edge-of-the-seat moments and which catches you unawares as the reels unfold. RACE has that quality. The story moves in a serpentine manner, there’s a twist every fifteen minutes and it’s impossible to guess what the culmination would be.

In a nutshell, RACE is a first-rate product all the way. It’s not just style, but there’s substance as well. It has the merits to get catapulted to the Bests of 2008, when you reflect on the year. Bravo!

Ranvir [Saif Ali Khan] and Rajiv [Akshaye Khanna] are step-brothers who own a huge stud farm in Durban, South Africa. They breed horses on their huge ranch house and are also the biggest bookies in the horse racing circuit. Ranvir, the elder of the two, is known to be a very shrewd man. He is very aggressive and is always on the move. Rajiv, on the other hand, is very laidback and is also a chronic alcoholic.

Sophia [Katrina Kaif] is Ranvir’s personal secretary. She adores her boss and loves him. Ranvir is totally unaware of her feeling and regards her adoration as her efficiency. Sonia [Bipasha Basu] is an upcoming Indian ramp model in Durban.

Sonia loves Ranvir, but through a twist of fate gets married to Rajiv. When she discovers that Rajiv is a chronic alcoholic, her world is shattered. Ranvir too is disturbed as he has sacrificed his love for his younger brother because Rajiv had promised him that if he gets married to Sonia, he will leave alcohol forever.

After marriage, Rajiv breaks his promise and the story starts getting complicated. In a weak moment, Ranvir and Sonia come very close to each other and an affair starts between the younger brother’s wife and the elder brother. When the younger brother starts suspecting his wife, all hell breaks loose.

A murder is committed, a contract killing is issued, double crossings become the order of the day… A sharp-tongued investigative officer R.D. [Anil Kapoor] starts an investigation with his brainless assistant Mini [Sameera Reddy].

Director duo Abbas-Mustan are in complete command this time around. Everything is so well synchronized that the end result leaves you awe-struck. The 2 + hours of your precious life that you’ve spent on this film are absolutely worth your while. In 36 CHINA TOWN and NAQAAB specifically, one disagreed with the climax. But the penultimate reels of RACE are foolproof.

Abbas-Mustan get it right this time. Right from the choice of subject, to the choice of actors, to the thrilling moments, music and locales, this thrill-a-minute saga works big time. The game of one-upmanship indulged by the two brothers is electrifying and easily the hallmark of the enterprise.

Writer Shiraz Ahmed’s screenplay has several moments that merit a mention. The best part is, the writing is full of energy and surprises, not once does it take the been-there-seen-that route. It would be foolhardy to single out a few sequences since the film gathers speed from its inception itself. One of its USPs is that every character is out to double cross the other, each character has grey shades and the dangerous games they indulge in make it an exhilarating cinematic experience.

Ravi Yadav’s cinematography is topnotch. The stunning locales of Durban, Dubai and India are captured lucidly by the DoP. But, most importantly, the movement of the camera at several places deserves the highest praise. Note the very start of the film [the aerial view, right till the gruesome accident] or the car chase in the climax [never seen before on the Hindi screen], the camerawork is stunning.

Pritam’s music rocks. Generally, in most thrillers, the music takes a backseat, but not here. ‘Allah Duhai Hai’ [foot-tapping], ‘Pehli Nazar Mein’ [with soulful rendition by Atif Aslam], ‘Touch Me’ [very saucy] and ‘Sexy Lady’ [the new track; trendy] are terrific compositions all and their filming and choreography are masterly. The fact that the yuppie crowd has taken to the songs in a big way, says it all. The race at the start and the chase in the climax [Allan Amin] are fantastic. You haven’t witnessed something like this ever before on the Hindi screen, that’s for sure! Hussain Burmawala’s editing is razor-sharp. It’s one of the best edited works!

Dialogues [Anuraag Prapanna, Jitendra Parmar] are excellent. Styling [Anaita Shroff Adajania] is superb. Background score [Salim-Sulaiman] has the international feel. Choreography [Bosco-Caesar and Ganesh Acharya] is top class.

Every actor in RACE puts his/her best foot forward. Saif has been coming up with sparkling portrayals and films like KAL HO NAA HO, EK HASINA THI, HUM TUM, SALAAM | NAMASTE, OMKARA and EKLAVYA – THE ROYAL GUARD portrayed the actor’s acting skills to the fullest. Now add RACE to his illustrious repertoire. He’s marvelous all through and the bearded look suits him very much.

Akshaye is so perfect. To carry off a difficult character like this is a Herculean task and the supremely talented actor handles it with aplomb. He’s like a chameleon; he slips into various roles with remarkable ease. But the fact cannot be denied that Abbas-Mustan bring out the best in Akshaye. Watch his body of work and you’d agree that Akshaye’s performances in the director duo’s films have always stood out.

Anil Kapoor comes at the interval point, but takes charge in the post-interval portions. With such serious characters in the film, Anil’s role comes as a big relief. Sure, the viewers may find some of his dialogues crass, but the masses will take to his performance in a big way.

Bipasha looks stunning and delivers her best work so far. She’s superb. Katrina is a complete surprise. The actress looks gorgeous, but most importantly, her character gives her ample opportunity to shine in the latter half. Sameera excels as the dumb girl. Actually, it’s a tough job and she does it well. Johny Lever is there for one sequence and his role is aimed at the hoi polloi.

On the whole, RACE is a superb entertainer all the way. It’s not just style, it has substance as well. At the box-office, the tremendous hype coupled with the holidays in the opening week as well as the extensive release will ensure huge numbers in the initial week. But, most importantly, the film has legs to enjoy a spirited run at the box-office. Smash Hit!

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.

Each film has a twist in the tale. And with 12 writers, eight composers, six directors and 25 actors, this sure is one wholesome cinematic journey. Sunday MiDDAY tells you the who's who in each story and what it's all about


Rice Plate
Cast: Shabana Azmi and Naseeruddin Shah

A Hindu woman and a Muslim man's journey over a rice plate. It is about the challenge that the woman faces when a strange man claims her plate of rice. Will she place her hunger before her beliefs? A sensitive story with the most awaited performances; this is something everyone is waiting for.

Sex on the Beach
Cast: Dino Morea and Tareena Patel

Dino picks a worn out book on the beach and its character comes alive into a breathtaking woman. They have a great time together but suddenly everything changes. The mystery woman has some surprises in store for Dino. Dino has to pay a price for his dream coming true.


Love Dale
Cast: Anupam Kher, Aftab Shivdasani and Neha Oberoi

Neha meets an old woman in the train who is wearing only one earring. She finds that strange and that chance meeting strikes the change in her life. A story about fate, destiny at play and the notion that one moment can change your entire life.


Matrimony
Cast: Mandira Bedi, Arbaz Khan and Sudhanshu Pandey

Mrs. & Mr. Sarin are a happily married couple. Living in their paradise the devoted wife goes and meets her ailing aunt every Thursday. But is she really meeting her aunt? A story about betrayal and faith. It talks about how love makes a fool of all of us.


Gubbare
Cast: Anita Hasnandani, Nana Patekar and Rohit Roy

After an argument with her husband in the bus, Anita sits next to an intriguing man holding 14 red balloons. This story written by Gulzar unfolds a journey within a journey into this man's past uncovering the key to one of the most important lessons in life.


Pooranmashi
Cast: Amrita Singh, Minisha Lamba and Parmeet Sethi

Adapted from writer Kartar Singh Duggal's short story, Pooranmashi is about the mother-daughter bond. A mother's only daughter is about to get married and she would do anything to make her daughter happy. Pooranmashi is a story of women whose unconditional love makes for a tale of unforgettable emotional power.

Strangers in the night
Cast: Neha Dhupia, Mahesh Manjrekar

Every anniversary, they told the other a secret; this year it's the wife's turn. She begins narrating an interesting encounter with a stranger at the railway station waiting room. From there is revealed a secret that changes their lives. Maybe she should have never shared this secret.

High on the highway
Cast: Jimmy Shergill, Masumeh


The highway symbolised their companionship and their unspoken love. Its unpredictable and volatile turns define this story of two people who discover the boundaries of freedom and the recklessness of life.

Zahir
Cast: Manoj Bajpai, Dia Mirza


This is a story about friendship, love and mystery. After discovering something startling about his lover, a writer is driven to madness. The one step he takes gives this story its required twist. The mysteries of love are explored and the consequences analysed. The trademark Sanjay Gupta style that will grip you in your seats.

Rise and fall
Cast: Sanjay Dutt, Suniel Shetty

This is a story of dreams and their bitterness on fulfillment. Two parallel stories run together to meet one end. It is a story about two gangsters, their friendship and subsequent betrayal. Rise and Fall is a story of two friends united as brothers but divided by power.

Get Set GOAL is a story of that great optimistic trait – hope. The characters in this drama fight the battle of hope through relationships, pride and their dreams.

Southall United is a football club going through a major crisis. The team has no stars, no sponsors, no spectators and most importantly, no coach. Yet, it nurtures the hope that is will win the cup this time.

The head of the city council, Anne, collaborates with Johnny Patel, a sports commentator, to acquire a large tract of land that is with this club. Together, they highlight the club’s lackluster performance and threaten to have the land taken from them, unless things change. Their biggest hope? That the team will lose, yet again.

Sir Devi Dayal Dhariwal, owner of the club, hopes to save the land from the greed of Anne and Johnny Patel.

Hanif, the captain of Southall United, hopes to win by playing the last card the club has. He brings in a celebrated ex-player to coach them.

And then, there is Sunny Bhasin (John Abraham) who hopes to become a member of a top team and play first division football – a dream every aspiring British footballer yearns for.

Will the coach manage to pull his team together? How does Sunny become a part of this team? And most importantly, will the club win the title and retain the ground?

Get Set GOAL is a contemporary story of the Asian community in UK told through the dynamic prism of professional football.