Indian movies

A film like THODA PYAAR THODA MAGIC makes you nostalgic. It takes you back to the light-hearted, feel-good cinema made by directors of calibre like Hrishikesh Mukherjee and Basu Chatterjee. The focus was on narrating a simple story. A movie that put a smile on your face even if you walked in with a frown.

THODA PYAAR THODA MAGIC does exactly that!

Strangely, for some reason, the film lacks the hype associated with a biggie. Perhaps, the string of flops the premiere production house [YRF] churned out, indirectly, took a toll on this movie. But THODA PYAAR THODA MAGIC should reverse the trend.

A bit of MARY POPPINS. A dash of THE SOUND OF MUSIC. A sprinkle of ENCHANTED. THODA PYAAR THODA MAGIC may not be the most original script, but the sweet and tender moments in this enterprise elevate it to a watchable status.

That Kunal Kohli is a fine storyteller has already been proved [HUM TUM and FANAA were accomplished works]. Now watch him handle a simple, uncomplicated story with dexterity and you'd agree, Kunal has only matured with time.

To put a long story short, THODA PYAAR THODA MAGIC is a simple story, well told. It's one of those films you'd enjoy watching with your family, without feeling embarrassed or red-faced. It's sure to put a smile on your face when you exit the auditorium, which, frankly, is a rarity these days!

Ranbeer [Saif Ali Khan], a leading industrialist, is a loner, not by choice, but because he lost everyone he ever loved. He is now faced with a peculiar and uncomfortable situation. In a rare and landmark court verdict, he is to look after four orphan children. The orphans hate him and want revenge from him. The children do not want to live with a man they hate; he too cannot face them or look them in the eye for certain reasons. Their life together is very unhappy.

One day, the kids pray to God for help and He does help them. He sends his most mischievous, childlike, lovable angel to the rescue, with a mission to bring Ranbeer and the kids together. Geeta [Rani Mukerji] comes bicycling down a rainbow… and bursts into Ranbeer's house as the self-proclaimed new nanny.

And then starts the roller coaster ride of fun, emotions, magic and love. An angel who doesn't know what love is. A man who always lost love. Four orphans who need love.

Kunal Kohli opens the cards at the very outset. The car accident and the subsequent court judgment set the story in motion. But the first half isn't without its share of flaws. The pranks played by the kids to harass Saif fall flat. They're anything but funny most of the times. Ameesha's character is another sore point. Actually, the film could've done without this irritating character.

However, Rani's entry in the story adds magic to the goings-on. Her interaction with the kids and how she eventually wins them over is enjoyable. The kids, of course, are the actual heroes of this enterprise, but more on that later.

It's the second hour that takes the film to a different level. How Saif bonds with each of them and the turning point, an incident that makes the kids see Saif differently, is simply excellent. Ditto for the finale, which may seem Bollywoodish, but you don't mind it.

Kunal Kohli has worked with the best of stars [Aamir, Saif, Hrithik, Kajol, Kareena, Rani], but the real test is to extract performances from four unknown kids and that's where he deserves brownie points. It's easy to handle grown-ups, but kids can be really tough. Also, Kunal doesn't [thankfully] make the proceedings melodramatic with rona-dhona thrown in to make it a perfect 'family film'. The emotions are subtle, but nonetheless move you.

Shankar-Ehsaan-Loy's music is a letdown, barring just one track, 'Pyaar Ke Liye'. Sudeep Chatterjee's cinematography is perfect. The effects are eye catching at times.

Saif fits into the sauve millionaire part [Richie Rich - the poor little rich guy?] very well. And the best part is, he never 'acts'. He's a complete natural! It's a pleasure to watch Rani in a role that does justice to her talent. She's lovable. But why is she sporting the same outfit throughout? Ameesha doesn't work, mainly because her role looks like an add-on. And what is she wearing throughout the movie? But she sizzles in the 'Lazy Lamhe' track.

The four kids are adorable. Each of them is terrific, but the one who's bound to walk away with taalis is the cute Sikh kid called Iqbal. Watch him break into the 'Main Nikla Gadi Leke' song from GADAR; it's bound to bring the house down. Rishi Kapoor is likable in a cameo. Taraana is okay.

On the whole, THODA PYAAR THODA MAGIC is a simple story told very effectively and efficiently. At the box-office, it may be a slow starter, but should gradually gather momentum with a strong word of mouth. Business at multiplexes will be the best.

Go watch it, it's a treat for your entire family!

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.

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?

Yash Raj created magic with speeding bikes [DHOOM]. Now's the turn of speeding cars [TA RA RUM PUM].

The West has often made films depicting the rise, fall and subsequent rise of sportspersons. ROCKY [Sylvester Stallone], DAYS OF THUNDER [Tom Cruise] and CINDERELLA MAN [Russell Crowe] are films that cross your mind as you watch director Siddharth Raj Anand's second outing TA RA RUM PUM. It wouldn't be erroneous to state that Siddharth borrows from the above-named films, but he garnishes the material with desi emotions that work well with Indian moviegoers.

There's no denying that TA RA RUM PUM is a well-crafted fare that provides entertaining moments and also succeeds in its goal as a feel-good experience. One of the prime reasons why TA RA RUM PUM works is because it's not about car racing only. It involves a couple, their two kids, the family's riches to rags story, their highs and lows…

Now let's get down to the basics: What works and what doesn't? If the car racing sequences are awe-inspiring, the emotional quotient in the second hour is worth acknowledging as well. A number of sequences make you moist-eyed, especially the high-octane climax that not only gives you goose bumps, but also makes you jump with joy.

However, TA RA RUM PUM isn't a flawless film. You can't turn a blind eye to the aberrations in those 16 reels. Fortunately, the pros outweigh the cons in the final tally.

To sum up, Siddharth Raj Anand comes up with a worthy follow up to his directorial debut, the immensely likable SALAAM | NAMASTEY. TA RA RUM PUM easily ranks amongst Yash Raj's better films in terms of style as also substance.

TA RA RUM PUM tells the story of one man, his family and how they overcome the obstacles that life puts in their way, together. It is the story of human spirit and how it ultimately prevails.

Rajveer Singh [Saif Ali Khan] is a pit-crew worker in a racing team with a passion for driving who gets discovered by a team manager, Harry [Jaaved Jaaferi]. The same day, he accidentally meets a music student, Radhika [Rani Mukerji], who he falls for instantly. He gets drafted into 'Speeding Saddles' -- a failing race team and transforms from Rajveer Singh to 'RV', the race car driver.

While his racing career takes off instantly, his love life also blossoms after a whirlwind romance. A few months later, he is both a happily married man and one of the country's best racers. Fatherhood and greater success both follow and soon he is the Number 1 race car driver in U.S.A. as well as the proud father of two kids -- Priya [Angelina Idnani] and Ranveer [Ali Haji].

But as a result of a bad racing accident, RV is hospitalized for a few months. When he tries to make a comeback, he realizes that he has been mentally scarred by the accident. His life now takes a turn for the worse and after a string of failures, he is forced to auction his house and move with his family to a run-down neighborhood.

However, RV and Radhika decide not to tell their children the truth and construct a skillful masquerade of a reality show where they have to live a poor life in order to win a mythical grand prize. The family struggles to survive a life that they are not used to, using a mixture of fantasy and cheerfulness to pull through in the face of adversity. But an incident forces RV to reclaim the life that was taken away from him.

You don't take to TA RA RUM PUM instantly, since the writing [screenplay: Habib Faisal] meanders on oft-repeated tracks initially [the snooty father-in-law/Victor Banerjee looking down upon the son-in-law/Saif Ali Khan, the mandatory romantic scenes and songs]. The one aspect that shines the brightest in the first hour is the car race that makes Saif's life go topsy-turvy. Ideally, the intermission card should've flashed at this juncture, but the sequences that follow are plain mediocre.

Thankfully, the substance [script] as also the execution of the material improves a great deal in the post-interval portions. The plight of the family moves you: Saif is reduced to a cabbie, Rani plays piano at birthday parties and hotels to run the kitchen fires and foot the bills, the children skip their meals to save for the school fees. The son, in fact, picks up leftovers from the waste to satiate his hunger… These are moments that mirror the realities of life.

The highpoint of the film are the penultimate reels. Right from Saif storming into a hotel, asking for a loan of $ 65,000 to the final victory, the narrative reaches its crescendo in those 25 + minutes. In fact, the powerful second hour elevates the film tremendously.

Director Siddharth Raj Anand is only getting better with every film. He handles the emotional moments in particular very well. The execution of the race sequences is outstanding. Something like this hasn't been witnessed on the Hindi screen before. Binod Pradhan's camerawork is marvelous.

Vishal-Shekhar's music is of the fast-forward variety. One looked forward to a better score for sure. However, the picturization of a few songs camouflages the defect to an extent. The kiddie song -- merging live with animated characters -- catches your attention. The animation here matches international quality.

Saif is extremely likable. He conveys the varied emotions with complete understanding. Rani enacts the role of the mother/wife proficiently. Jaaved Jaaferi is first-rate in a serious role. Bharat Dabholkar is efficient. Victor Banerjee suits the character. Shruti Seth is alright. Angelina Idnani and Ali Haji are adorable.

On the whole, TA RA RUM PUM easily ranks amongst better films from the Yash Raj factory. Surprisingly, the film has opened to a below-the-mark response at several screens. But it has the potential and power to gather speed in days to come since it has something for everyone -- emotional quotient for families, thrilling car races to woo the youth and the kiddie factor to attract this huge movie-going segment [kids]. Its business in Overseas should be excellent and in India, the multiplexes will help the distributors reap a harvest. Strongly recommended!