Indian movies

Since almost a decade, Priyadarshan has been specializing in comic capers. Priyan has tickled the funny bone of viewers time and again and in DHOL, the comic scenes override the thrill quotient. The comedy, like always, is targeted at those who appreciate the Priyan brand of humor -- irrational, but funny. The chemistry between the four pivotal characters is tremendous, especially Rajpal Yadav, who's bound to walk away with ceetees and taalis.

Let's look at the other side of the coin! The gangster portions remind one of the 1980s cinema, which has been beaten to death in film after film. These portions are an aberration and the accomplished director should trim them by at least 20 minutes so that the impact created by the comedy track remains intact, not getting diluted in the process.

Yet, in all fairness, DHOL has some hilarious moments to make you beat the dhol once the show has ended!

DHOL revolves around the lives of four friends -- Sam [Tusshar Kapoor], Pakkya [Sharman Joshi], Maru [Rajpal Yadav] and Goti [Kunal Khemu]. The guys are good for nothing with no motivation. But they're bound together by their child-like notoriety and aimlessness.

They all want to make it big in life with the least efforts possible. The four wish to live life on their own terms, leading everyone to nowhere. As a result, each one tries their hand at finding a short cut to success but ends up being in even deeper trouble instead. Things get worse as the four decide to take some desperate measures to end their misery once and for all.

According to them, the only way to get rich without working hard is to get married to a rich girl. Surprisingly, to unlock their fates arrives the rich girl Ritu [Tanushree Dutta] in their neighborhood. All four set out with their individual plans to marry Ritu, but end up discovering a chilling truth.

Inspired by PARDA HAI PARDA, which in turn was a remake of the Malayalam film HARIHAR NAGAR, DHOL has the by-now-famous Priyan stamp on the comic portions. Come to think of it, you expect laughter in generous doses and DHOL doesn't disappoint on that front.

DHOL has several funny moments, but most importantly, they make you laugh as well. The loan sequence at the start [when the four avail of a loan from Tiku Talsania in exchange of gold jewelry], followed by the four pushing Om Puri's car till it falls off a cliff, plus the four spraying water with hose pipes to douse the fire [actually, a havan is taking place inside the mansion] and Murli Sharma enquiring about the dhol from the four are sequences that bring the house down.

On the flip side, the flashback is a big yawn. Plus, Murli Sharma cornering Tanushree and Payal Rohatgi in the mansion is monotonous and only adds to the length. Looks like the editor forgot to use the scissors in those scenes.

Pritam's music is functional. 'Dhol Bajake' is a decent number, while the remaining songs are ordinary. Piyush Shah's cinematography is of standard. Dialogues are funny at times.

The four actors compliment each other very well. But the one who steals the show is Rajpal Yadav, who, with his dumbness, endears himself to the masses completely. He's brilliant! However, that doesn't mean the others are less impressive. Sharman Joshi has always had a great timing for comedy and he proves it yet again in DHOL.

Tusshar looks fresh and gets into the skin of the character skillfully. Kunal Khemu's role is in sharp contrast to his first two films [KALYUG, TRAFFIC SIGNAL] and he proves his versatility by attempting comedy now. Tanushree Dutta's role doesn't have the meat since DHOL is an all-boys show. Nonetheless, she's okay. Payal Rohatgi has a brief role; she's passable.

Om Puri is efficient. Tiku Talsania and Asrani have their moments. Rasika Joshi is in form yet again. She's too good! Farida Dadi [grandmother] does a fine job. Arbaaz Khan is fair. Murli Sharma is good.

On the whole, DHOL is a decent entertainer that has some really funny comic moments. At the box-office, the Priyadarshan brand should ensure impressive footfalls at cineplexes despite the dull period and coupled with its moderate pricing, DHOL should find a place in the director's successful films.

Go, have a laugh!

‘Dhol – Kiska Bajega’ revolves around the lives of four friends – Sam (Tusshar Kapoor), Pakkya (Sharman Joshi), Maru (Rajpal Yadav) and Goti (Kunal Khemu). The guys are good for nothing with no motivation. But they’re bound together by their child-like notoriety and aimlessness. They all want to make it big in life with the least efforts possible. The four wish to live life on their own terms, leading everyone to nowhere. As a result, each one tries their hand at finding a short cut to success but ends up being in even deeper trouble instead. Things get worse as the four decide to take some desperate measures to end their misery once and for all.

According to them, the only way to get rich without working hard is to get married to a rich girl. Surprisingly, to unlock their fates, arrives the rich girl Kanchan (Tanushree Dutta) in their neighborhood. All four set out with their individual plans to marry Kanchan but end up discovering a spine-chilling truth.

This leads to much confusion, creating hilarious twists and turns, along with an element of thrill, crime, murder and suspense.

Suspense thrillers are tough to make. And film-makers need to follow three golden rules to make a thriller work: Cast fine actors… The needle of suspicion should vacillate from one character to another, keeping the viewer guessing till the finale… The suspense should come as a surprise.

RAQEEB, directed by debutante Anurag Singh, holds your interest at crucial points. Even though the story bears a striking resemblance to two films -- Venus/Abbas-Mustan's HUMRAAZ [in turn inspired by A PERFECT MURDER] and Tips/Ken Ghosh's FIDA -- the film in actuality borrows from a different film altogether -- MURDER BY NATURAL CAUSES [1979] -- a lesser known English film. In the original, one of the leads wears a pacemaker. In RAQEEB, he's asthmatic.

RAQEEB is not without its share of deficiencies. Fortunately, the uppers outnumber the downers in this case. The twists in the storyline and the dangerous games indulged by the lead characters make up for the drab moments in the enterprise. In actuality, the film gathers speed minutes before the intermission and the graph only goes upwards as the reels unfold. But here's a direct question to the debutante storyteller: Why didn't you opt for an unconventional end, for that would've been the perfect icing on the cake? Sometimes, evil also wins!

In a nutshell, RAQEEB isn't great cinema. It isn't low on substance either. It floats somewhere in between. Watch it without expectations and you wouldn't be disappointed.

Remo [Rahul Khanna] is the owner of a highly successful software company. Remo's parents had died in a car crash when he was a child. Siddharth [Sharman Joshi] is his employee and probably, only friend. Siddharth is the exact opposite of Remo who is shy, introvert and asthmatic.

Siddharth constantly pesters Remo to socialize so that he can meet a few girls and fall in love with one of them. Remo seems to be averse to the idea until, one day, Siddharth plays a prank and sets Remo up for a blind date.

Remo meets the girl and after a misunderstanding falls in love with her. The girl is Sofie [Tanushree Dutta], a theatre actress. Everything is perfect until Remo and Sofie discover that her parents died in the same car crash in which Remo's parents had been killed. Sofie realizes that Remo's parents were responsible for the death of her parents.

Remo doesn't know how to deal with this tragic discovery. Siddharth persuades him to propose to Sofie. Remo proposes and after the initial hesitation, Sofie accepts. Remo and Sofie get married.

Sunny [Jimmy Shergill] is a struggling actor who is in love with Sofie. But Sofie always desired a luxurious life which Sunny was unable to provide. Hence, Sofie married Remo. When Sunny and Sofie meet again, the old love is rekindled. Thus begins a torrid affair between them.

Tired of having to meet secretly and only occasionally, they plan to kill Remo. The plan is to hide Remo's asthma medicine and then aggravate his asthma so as to trigger an asthma attack. Once the asthma attack occurs, Sunny has to pretend to shoot Remo with fake bullets so as to aggravate his condition further, eventually leading to death. The post mortem will reveal that Remo died of natural causes and hence, no one will be suspected of any foul play.

The D-day arrives and Sunny comes to Remo's house to execute the plan. But there is another twist in the tale. Sofie double crosses Sunny as well and he is arrested and accused of Remo's murder. But there's more to this story…

Unlike most thrillers that reveal it all in the climax, RAQEEB peels off the mask of the scheming wife much before the intermission card is flashed on the screen. The reason why this film works is because everyone's playing games here. That makes it extremely difficult for the viewer to guess the prime suspect -- the manipulative and scheming mind.

The reason that prompts the prime suspect to indulge in dangerous games is completely justified. But the writer-director messes it up with such a tame ending.

Debutante Anurag Singh succeeds in presenting an unconventional theme with care. The idea of an ambitious woman in a relationship with three men at the same time is undoubtedly interesting. In terms of execution, Anurag handles the drama well, building the suspense beautifully.

Pritam's music is foot-tapping. 'Channa Ve Channa', 'Dushmana' and 'Qateel' are nice compositions. Fuwad Khan's camerawork could've been better. The locales of Thailand are striking, but the visuals don't make you scream 'Wow!'. Dialogues are well worded at places.

RAQEEB belongs to Sharman Joshi, who is evolving into a powerful actor. He slips into the role effortlessly and looks natural all through. Rahul Khanna is perfect as the suave tycoon. Why doesn't one see more of you, Rahul? Jimmy Shergill's role reminds you of the obsessed lover in DARR, but after he's shown getting arrested, this track is sidelined completely. Nonetheless, Jimmy does a worthy job.

Tanushree Dutta is a revelation. Although her makeup and outfits [why so much skin show?] continue to be atrocious, you have to give credit where it's due. She enacts her part very well, expressing a lot through her eyes. Vishwajeet Pradhan is hardly there. Rekha Rao is wasted. Vivek Shauq excels. He provides the much-needed light moments.

On the whole, RAQEEB is a fairly engrossing fare. At the box-office, the bold theme may find its share of advocates and adversaries. Besides, the not-as-aggressive promotion and minimal hype will tell on its business.

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.