Indian movies

Vijay Anand's evergreen classics TEESRI MANZIL and JEWEL THIEF have been inspirations for many a film-maker over the decades. A number of films have borrowed from these two classics that are rightfully acknowledged as textbooks in film-making. Director Rohit Shetty also seems like a big fan of TEESRI MANZIL, since the script of his third outing SUNDAY is structured on those lines. But, in actuality, SUNDAY is inspired by the Telugu film ANUKOKUNDA OKA ROJU [2005].

A lady is murdered at the very outset and the pieces of the jigsaw puzzle are fixed in an interesting and stylish way. Any whodunit works if and only if the needle of suspicion points at the various assorted characters all through the narrative. And SUNDAY has that quality, it keeps you guessing!

As a storyteller, Shetty whitewashes his previous highly competitive works [ZAMEEN, GOLMAAL] and comes up with his most watchable experience so far. Oh yes, there are glitches [in the second hour specifically] and Shetty should've taken care of them, but let's not fuss over trivial matters.

To sum up, SUNDAY strikes the right balance between the two diverse genres [suspense, comedy]. It's a film that holds appeal more for the aam junta, not for the hard-nosed critics. SUNDAY can be summed up in four words: Engaging, engrossing, entertaining and enjoyable!

A dead body found floating in a lake… Unexplained scratch marks on her neck… Supari killers out to kill her… A taxi driver who yells 'bhoot, bhoot' every time he sees her…

Sehar's [Ayesha Takia] world turns topsy-turvy when she gets a clue about the missing Sunday of her life, which points to a possible violent attack on her. A.C.P. Rajveer [Ajay Devgan] takes up the case to sort out the complicated and jumbled up threads of Sehar's life.

In the process of solving Sehar's case, it comes to light that on Sunday, different people interacted with her and amongst them, one could be the accused. The lot included Ballu [Arshad Warsi], the taxi driver and his friend Kumar [Irrfan Khan], a struggling actor, Ritu [Anjana Sukhani], Sehar's close friend, a scary and suspicious character [Murli Sharma], who resides in Sehar's society and the group whom she had come across while partying at the discotheque.

Rajveer is convinced that Sehar is innocent, but he is also equally sure that she is linked to everything. Is Sehar really as innocent as she claims to be?

Even though the two genres [suspense, comedy] move concurrently, the suspense element isn't heavy on your mind and nor are the comic portions of the nonsensical variety that one laughs at the spur of the moment and forgets all about them the very next moment. The funda is clear: Make a wholesome entertainer that works for an avid moviegoer.

Although the story isn't path-breaking, the screenplay [K. Subhaash, Robin Bhatt and Tushar Hiranandani] holds your attention all through the first hour. The writing is highly competent in this hour. It's only in the second half that things slow down. Reason? There's an unwanted song ['Pyaar To Hona Hi Hai'] and an unrequired, long-drawn chase [with cars somersaulting in the air], that tapers the impact. Even the climax should've been more convincing. The shock-value -- so vital when the murderer's identity is unveiled -- is missing in the end. Also, a more prominent actor would've only enhanced the impact.

The screenplay writers should've worked harder on the second hour, since that's the most important aspect of any whodunit. Yet, all said and done, director Rohit Shetty steers the film through turbulent waters with his expert execution.

The songs -- by various music composers -- give the film a varied sound. 'Kashmakash' [Shibani Kashyap] is the best of the lot. Filmed on Esha Deol [excellent], the song boasts of an imaginative picturization. 'Manzar' [Raghav Sachar] is another winner. This one's filmed on Tusshar [dances very well]; it has a catchy beat and an equally arresting choreography. The stunts [Jai Singh] are stylishly executed. Aseem Bajaj's cinematography is topnotch. He proves yet again that he's amongst the best in the business. Dialogues [Sajid-Farhad] are admirable; very much in snyc with the mood of the film. The sets, especially in the Esha Deol track, are awesome.

The performances are likable! Known for intense roles, Ajay Devgan shows a flair for comic moments and gets it right. SUNDAY would only multiply his fan-following since the actor has started deviating into areas that he seldom visited as an actor. As always, Arshad Warsi is in terrific form. It's a treat to watch him essay his role with such precision. Irrfan is another actor who surprises you all the while. In fact, this combo -- Arshad and Irrfan -- compliment each other very well.

Ayesha Takia is a complete natural. The best thing about her is, she never makes you feel she's acting. She just slips into her role so well. Her introduction -- her dubbing for an animation film -- is excellent. Anjana Sukhani doesn't get any scope. Mukesh Tiwari is first-rate. Murli Sharma, Vrajesh Hirjee and Ali Asgar are alright.

On the whole, SUNDAY is a well-made entertainer that has the potential to click with moviegoers. It also has the advantage of having open weeks ahead, with no major opposition till 15th February. Should end the drought that the industry is facing after a flurry of flops.

In the 1980s, the South film industry churned out a slew of socials/family sagas with Jeetendra heading the cast. The target audience was, of course, the families. TULSI follows the same path, but lacks the punch to stay in your memory. Sure, a few portions do make you moist-eyed, but the execution of the subject material being archaic, the glimmer of hope diminishes.

TULSI tells the story of Tulsi [Manisha Koirala], married to a drunkard Suraj [Irrfan]. The couple is blessed with four kids. One evening, while Suraj is away, his friend [Yashpal Sharma] tries to molest Tulsi. When Suraj gets to know of it, he beats Yashpal black and blue.

A furious Yashpal swears revenge. In the meanwhile, Tulsi is diagnosed with blood cancer. Yashpal attacks Suraj and murders him. A distraught Tulsi now decides to get her kids adopted by different families before she's gone.

TULSI has an interesting plot, but the writing is too mediocre. Things have been stretched to such a point that you start feeling restless, in the second hour specifically. Yet, it must be said that the concluding reels are highly emotional.

Direction [K. Ajay Kumar] could've been better. Music [Vinay Tiwari] is appealing, but the non-promotion makes the effort go waste. Cinematography [Ajayan Vincent] is first-rate. The lush-green locales are a visual treat.

Manisha Koirala sinks her teeth in this role and delivers a fine performance. As always, Irrfan is efficient. Yashpal Sharma is getting typecast. Veteran Vikram does a fine job. Kulbhushan Kharbanda is wasted. The film also stars Sadashiv Amrapurkar, Anjana Mumtaz, Tinnu Anand and his wife and Sahil Chadha.

On the whole, TULSI has dim chances. And lack of awareness will go against it!

It's difficult to strike a balance if you sail in two boats. APNA ASMAAN tries to do that and ends up being neither here [appealing to lovers of serious cinema], nor there [appealing to those with an appetite for commercial fares].

Debutante director Kaushik Roy chooses a serious theme to begin with and you expect him to stick to realism as the story unfolds. But somewhere, in between, the film changes lanes and moves away from the core issue. What it sets out to narrate [a moving story of a young boy] and what it eventually narrates [the ills of wealth] come across as two different stories packed in one film.

In a nutshell, it's the writing that lets the film down, yet again. How one wishes Roy would've stuck to the serious issue, instead of spicing up the proceedings in the second hour.

The movie is about today's urban aspirations as represented by a young couple living in Mumbai. The wage earner [Irrfan Khan] works in the field of plastics. His wife [Shobhana] gives up her early promise as a classical dancer in order to settle into marriage, which is threatened when their only son [Dhruv] turns out to be autistic.

His condition distances the parents, the father torn with guilt and the mother craving success points from him. But a drug works wonders on the boy, but at a severe cost.

APNA ASMAAN mirrors certain truths. You identify with the goings-on initially. The portions involving the child and the anxiety of his parents are captivating. The sequence of events that lead to an angry Irrfan Khan injecting the 'Brain Booster' to his son is the highpoint. But things deteriorate the moment the son opens his eyes and become a genius within minutes. Now what was that?

That's not all! He becomes a great mathemagician and starts indulging in all kinds of vices. He even disowns his parents. That's where the writing goes haywire. How and why does he get such negative traits are left unexplained.

The end too is bizarre. The culmination to Anupam Kher's character, plus the son being administered the antidote and the sequences thereafter are difficult to absorb. Actually, it seems quite bizarre.

Director Kaushik Roy knows the technicalities right, but it's the writer in him that lets the director down. Music is strictly okay. Cinematography [Barun Mukherjee] is alright.

Irrfan Khan is good, not excellent -- something that's expected from him, keeping his body of work in mind. Nonetheless, he's brilliant in the sequence when he loses his temper and injects the booster. Shobhana does a fine job. Anupam Kher's character is half-baked. Rajat Kapoor is sidelined. Dhruv is loud.

On the whole, APNA ASMAAN has precious little to offer.

The trend of narrating multiple stories in Hindi films continues. SALAAM-E-ISHQ, HONEYMOON TRAVELS PVT. LTD., JUST MARRIED: MARRIAGE WAS ONLY THE BEGINNING and LIFE MEIN KABHIE KABHIEE, all 2007 films, tackled multiple stories in those 2.30/3.30 hours.

METRO charters a new path because the multiple stories run concurrently. Also, the characters are, in some way, linked with each other.

With METRO, director Anurag Basu proves for the third time [after MURDER and GANGSTER] that he's an incredible storyteller. The complexities in relationships, the shortcuts one adopts in life to attain the goals and the corrosion of ethics and values have been depicted most convincingly.

Yet, METRO is no landmark film. It doesn't sweep you off your feet…

If Anurag Basu, the director, deserves brownie points as a storyteller, Anurag Basu, the writer, is just not in terrific form this time around. Reason: The culmination of a few stories, besides the unique concept of using the 'Metro Band' in every song, prevent the film from reaching dizzy heights.

Rahul [Sharman Joshi] works as a call centre executive in Mumbai. He silently loves his colleague Neha [Kangana Ranaut]. A smart young woman who has climbed the ladder in a very short time. And hard work is not her only secret. Because her boss, Ranjeet [Kay Kay Menon], loves her and is willing to shower her with gifts and opportunities… only if she is willing.

In his 30s, Ranjeet is married to Shikha [Shilpa Shetty] with a 6-year-old daughter. They had decided that she should stay back at home and take care of the house and the kid. Ranjeet ventured out on his quest for money and success… and forgot his family somewhere on the way. And bitterness and boredom crept into their relationship. Soon he found solace and a fresh lease of life in Neha.

Neglected by an indifferent husband and bogged down by family chores, Shikha is soon attracted to Akash [Shiney Ahuja], a struggling theatre artist whose wife divorces him because she cannot stand his failures anymore. Akash and Shikha's love blossoms and she almost crosses her limits.

Amol [Dharmendra] is a 70-year-old man who returns to India after 40 years. To spend the last few years of his life with his first love, Vaijanti [Nafisa Ali]. The lady lives in an old-age home and is Shikha's aunt who gives moral strength to Shikha.

Shikha's sister and Neha's room-mate, Shruti [Konkona Sen Sharma], works at 'Radio Mirchi'. In her 30s and still a virgin, she's desperate to get married. She is dreamy eyed about her RJ, Wishy K [Gautam Kapoor]. She also meets Debu [Irrfan Khan] through a matrimonial site. She hates him. But Debu doesn't.

Now let's have a microscopic view of what works and what doesn't…

Director Anurag Basu's handling of a few dramatic and emotional moments is exemplary. Dharmendra's introduction at the railway station, the tense moments between Kay Kay and Shilpa, the entire track featuring Irrfan and Konkona including the sequence on the rocks [after they've shopped for Irrfan's wedding] and the sequence when Shiney and Shilpa are about to get physical are portions that register a strong impact.

Also, the handling of the multiple stories concurrently is praiseworthy, for not once does confusion prevail since so much is happening to so many characters.

On the flip side, the culmination of a few stories looks hurried and half-baked. The Dharmendra - Nafisa Ali story deserved a better conclusion. The one depicted in the film is so filmy! Similarly, Kangana suddenly realizing that she needs to be with Sharman in the end [she leaves Kay Kay stranded] looks unbelievable.

The culmination to the Shilpa - Kay Kay story is ludicrous. Shilpa is about to leave her home when the door bell rings and she finds her husband [Kay Kay] staring at her. He seems repentant and one assumes he has returned home on a rebound [Kangana has dumped him]. Surprisingly, Shilpa goes back to the heartless guy, bidding goodbye to Shiney, who genuinely loves her. Wrong ending!

Another area where the film suffers is that each and every song has the 'Metro Band' coming up from nowhere and humming the lines. Agreed, they are good singers and using the Band in a song or two would've been okay, but every song? They're such a terrible put-off! Besides, the music [Pritam] is strictly okay.

METRO is embellished with superior performances, with Shilpa, Kay Kay, Irrfan and Konkona vying for top honors. Shilpa delivers her finest performance thus far, much better than her work in PHIR MILENGE. In fact, this performance needs to be remembered when the 'Bests of 2007' are compiled during the year-end. Kay Kay is exceptional. You hate him, detest his very sight, all thanks to a terrific portrayal.

Irrfan is the life of the show. You're bound to run out of adjectives to describe this performance. He's sure to appeal to every strata -- elite, intellectuals, classes, masses, kids… Konkona compliments Irrfan beautifully all through. A brilliant performance yet again. Dharmendra is simply superb. He makes you moist-eyed at several places. Sharman Joshi underplays his character beautifully.

Kangana is not in form this time. Shiney Ahuja is passable. He deserved a few more meaty scenes. Nafisa Ali is grace personified. Gautam Kapoor is adequate. Manoj Pahwa is okay.

On the whole, METRO could've been a path-breaking experience, but the faulty writing throws a spanner. At the box-office, the film caters to the multiplexes of big cities mainly. The initial weekend business will be encouraging at select metros, but things might get shaky eventually.