Indian movies

To recreate the bygone era is not only strenuous, but a challenging task as well. It's equally arduous to capture the essence of Bollywood of 1950s and 1960s with precision on celluloid. In that respect, Sudhir Mishra's KHOYA KHOYA CHAND succeeds in transporting the viewer to the golden era.

Although the story doesn't focus on any person in particular or highlight any incident or event, the director drops enough hints to draw parallels with real life characters. So far, so good!

Wait, you can't turn a blind eye to the deficiencies… KHOYA KHOYA CHAND looks like an assemblage of smartly executed sequences. You remember KHOYA KHOYA CHAND not because of its stirring and gripping storyline and the impact it creates in totality, but the recall value is thanks to the individualistic scenes.

Also, the pace dips at several points and what also goes against it is its length. The film goes on and on, testing the viewer's patience towards the second hour. Ideally, Mishra should've shortened the narrative by 20 minutes at least. Besides, the execution of the subject restricts its appeal to those who tilt towards offbeat cinema.

To sum up, KHOYA KHOYA CHAND does not hold universal appeal. It's for a niche audience with an appetite for unconventional movies, catering more to the festival circuit and a tiny section of moviegoers.

Set against the Hindi film industry in 1950s and 1960s, KHOYA KHOYA CHAND is the tumultuous story of Nikhat [Soha Ali Khan] and Zafar [Shiney Ahuja]. Nikhat, a fledgling actress, becomes a big star with the help of superstar Prem Kumar [Rajat Kapoor]. But in return of favours.

Zafar helps Nikhat get free from the iron grip of Prem Kumar. But the relationship is short-lived.

Sudhir Mishra captures the behavioural pattern of stars, budding actors and film-makers to perfection. Note the tantrum-throwing heroine or the finicky producer who's more of a 'Yes Man' to the superstar or the heroine's mother and her companion who live off the heroine's money -- only an insider who knows Bollywood inside out or has watched them from close quarters would get it right.

Mishra's execution of a number of scenes is exemplary. But the grip to keep you hooked non-stop, from start to end, is missing. The film dips at regular intervals in both the first and second hour. Also, the culmination to the story is abrupt.

Shantanu Moitra's music is in sync with the old-world charm. The title track is lilting, while 'Ye Nigahen' is equally exuberant. Sachin Krishn's cinematography is striking. The production design [Gautam Sen] is first-rate. Ditto for the costumes [Ashima Belapurkar and Niharika Khan].

It would be erroneous to give the credit to just one actor, when the fact is that all three -- Shiney, Soha and Rajat Kapoor -- deliver sterling performances. Shiney is a complete natural, expressing the anguish through his eyes. Soha is a revelation. This film exhibits her potential to the optimum. Rajat Kapoor is only getting better with every film. Sonya Jehan is effective. Saurabh Shukla is in terrific form. Sushmita Mukherjee deserved more footage. Vinay Pathak is excellent. Dipannita Sharma is okay.

On the whole, KHOYA KHOYA CHAND has some interesting moments, but the impact it ought to create as also its slow pacing and excessive length dilute the effect. At the box-office, the film caters to a tiny section of moviegoers, but that's not enough!

Hold on! The moment someone mentions BHOOL BHULAIYAA, images of a comic caper conjure up in front of your eyes. After all, accomplished storyteller Priyadarshan has successfully delivered laughathons in the past that made the viewer go ha-ha-hee-hee-ho-ho.

But BHOOL BHULAIYAA, a remake of the Malayalam hit MANICHITRATHAZHU, is a complete departure from Priyan's films. How, did you ask? Here's why… There's comedy, but in minimal doses. There're songs, but only when the situations warrant. In BHOOL BHULAIYAA, it's all about suspense and spirits. It's eerie and [certain] portions of the film are not for the faint hearted.

A good looking film with superior performances and a stunning suspense, BHOOL BHULAIYAA is not the usual run-of-the-mill fare. It would be interesting to see how the viewer reacts to the film.

But there's a flip side too! Those expecting a laughathon from the Priyan - Akki combo would be caught unaware. Two factors that can't be ignored are its length [it tends to get taxing in the second hour] and the placement of the chartbusting track 'Hare Krishna Hare Ram' [in the end credits].

From America to his hometown in the interiors of India, it was a long journey indeed for Siddharth [Shiney Ahuja]. But nothing could match the mind-boggling journey that now lay in front of him. For, it was a journey into an astounding maze in which each step meant mystery, discovery, surprise, shock and revelation.

With open arms, his large extended family welcomes the U.S.-based Siddharth and his newly-wed wife Avni [Vidya Balan], when they come home. But what the family resists is Siddharth's insistence on staying in his royal ancestral mansion during his stay. His uncle Badrinarayan Chaturvedi [Manoj Joshi] particularly has no qualms about voicing his displeasure. For, it was that very mansion that held in its realm a deadly secret that had repeatedly destroyed the family for generations.

The scientifically inclined Siddharth pays no heed and starts staying at the palatial mansion with Avni, who is equally modern in her thinking... But, soon enough, the couple is forced to rethink their decision. Unforeseen happenings, mysterious elements, horrific indications and life-threatening incidents swarm their path. Suddenly, it becomes a situation that urgently had to be dealt with before it got too late.

Siddharth instinctively finds the solution in his dynamic Doctor-friend Aditya [Akshay Kumar]. When Dr. Aditya finds his way into the mansion, he is a man on a mission. He just had to find the cause of all the upheaval before the effects caused more harm than could be imagined. Where did the answer lie?

You can't overlook the fact that BHOOL BHULAIYAA is an extremely well-shot film. Right from the production design to the styling of the film to its overall look, BHOOL BHULAIYAA is a visually attractive film.

Priyan spells out the genre at the very start itself, when Paresh Rawal visits the haunted ancestral home and an eerie calm welcomes him. The mystery only deepens in the first hour and with the introduction of Akshay's character in the narrative [a bit late entry, though!], things only get better. Expectedly, you look forward to an exhilarating second hour.

Although the screenplay isn't too convincing in the latter half, you have to admit that the suspense does come as a jolt. The flashback that follows is equally interesting. But what ensues thereafter isn't as convincing. Actually, the length is also to blame in this hour. One strongly feels that the story should've concluded when Akshay solves the mystery.

You also await, with bated breath, the chartbusting song that's taken the nation by storm to make an entry. And when it eventually does arrive [in the end credits], it doesn't make the impact that it should've.

BHOOL BHULAIYAA is glossy, stylish and well executed, technically speaking. But Priyan treads a difficult path. As mentioned at the outset, BHOOL BHULAIYAA is not the atypical fare with laughs and more laughs. Here, Priyan opts for horror, not humor and that may have its share of advocates and adversaries.

Music composer Pritam is in top form this time around. 'Hare Krishna Hare Ram' is splendid, while 'Zindagi Ka Safar' comes easy on the lips. The flashback song is excellent in terms of choreography. Cinematography [Thiru] is excellent. Production design [Sabu Cyril] is topnotch.

Akshay enacts his part with effortless ease. A role with comic shades comes easy to him and he's on familiar ground in BHOOL BHULAIYAA. Vidya is splendid, especially in the second hour. Shiney gets scope initially, but is sidelined the moment Akshay arrives. Amisha Patel is efficient in a substantial role.

Paresh Rawal and Rasika Joshi are first-rate. Rajpal Yadav manages a few laughs in a brief role. Manoj Joshi is very much with the character. He performs well. Vikram Gokhale doesn't work because his role comes across as an unwanted track. Asrani is fair. Vineeth and Tareena Patel are average.

On the whole, BHOOL BHULAIYAA has two solid factors going in its favor -- the Priyadarshan - Akshay combo and the chartbusting 'Hare Krishna Hare Ram' track -- which have resulted in tremendous hype. Although the reactions to the film will vary, the Idd period coupled with the two factors will ensure a terrific start for the film, in turn making it a profitable venture for its investors.

Characters

Akshay Kumar as Dr. Aditya Shivastav
Restrained, practical, serious... That is what being a Doctor is about! And that is exactly what Dr. Aditya is not!! Radical, eccentric, unpredictable... none of these are the hallmark of Doctors... And that is exactly what Dr. Aditya is all about! No wonder when he is faced with a case like none other, his brilliant brain comes up with a solution like never before.

Vidya Balan as Avni Chaturvedi
She is every man's dream come true. Simple & beautiful to look at and easy - going to be with. No wonder Avni is a wife Siddharth is proud to have. She walks shoulder to shoulder with her husband sharing the good times and the bad. But this time what the two have to combat is beyond comprehension. Now it is time for Avni to share the biggest anxiety her husband can ever face...

Paresh Rawal as Batukshankar Upadhyay
He carries fear in his pocket, apprehension in his eyes and suspicion in his gait. He is Siddharth's uncle whose very presence is enough to guarantee laughs - Even at a time when things happen, that are certainly of no laughing matter.

Shiney Ahuja as Siddharth
Mind caught in a mythical situation! His predicament was peculiar! Should he trust his own sensibilities or believe what his eyes see? The US based Siddharth is comfortable with his royal lineage. But while this face is a matter of quiet pride, it soon proves to be his biggest undoing.



Amisha Patel as Radha
The petite and demure Radha is so loved by the whole family that it is hard to believe that she has been adopted into their fold. She has a special place in her foster father's life, but could never find a place in her childhood love Siddharth's heart. Even as she is dealing with this dejection, she finds herself embroiled in a web that threatens to entangle them all... Is she a mere spectator to this or something more?

Rajpal Yadav as Chhote Pandit
He is a local priest who is also the local all-over-the-place man. He is here, there, everywhere - Not only physically but even mentally. You find him where least expected and do not find him when expected. Hardly surprising, that the most unexpected things happen to him.



Manoj Joshi as Badrinarayan Chaturvedi
He is the perfect opposite of his brother-in-law Batukshankar Upadhyay. The eldest uncle of Siddharth, Badrinarayan is a solid man who carefully gauges situations and never ignores the slightest doubt that enters his astute mind. Serious in his demeanor and serious about what he believes in, Badrinarayan knows when something is too serious to be overlooked

Synopsis

From racy America to his hometown in the interiors of India, it was a long journey indeed for Siddharth (Shiney Ahuja). But nothing could match the mind-boggling journey that now lay in front of him. For it was a journey into an astounding maze in which each step meant mystery, discovery, surprise, shock and revelation.

With open arms, his large extended family welcomes the US based Siddharth & his newly wed wife Avni (Vidya Balan) when they come home. But what the family resists is Siddharth's insistence on staying in his royal ancestral mansion during his stay. His uncle Badrinarayan Chaturvedi (Manoj Joshi) particularly has no qualms about voicing his displeasure. For it was that very mansion that held in its realm, a deadly secret that had repeatedly destroyed the family for generations.

The scientifically inclined Siddharth pays no heed and starts staying at the palatial mansion with Avni who is equally modern in her thinking... But soon enough the couple is forced to rethink their decision... Unforeseen happenings, mysterious elements, horrific indications and life threatening incidents swarm their path. Suddenly it becomes a situation that urgently had to be dealt with before it got too late.

Siddharth instinctively finds the solution in his dynamic Doctor friend Aditya (Akshay Kumar). When Dr. Aditya finds his way into the mansion, he is a man on a mission. He just had to find the cause of all the upheaval before the effects caused more harm than could be imagined... Where did the answer lie??? The Scientific world or the Mystical one??? The puzzle had to be solved... It is not long before Dr Aditya discovers that nothing is what it seems and what seems, is not... and that the devastating reality was enough to shatter all truths.

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.