Indian movies

Remaking a yesteryear hit is considered an easy route for winning plaudits and paisa. With a readymade script at your disposal, all you need to do is cast the right set of actors, hire a director who's equally charged to remake the film and who'd do complete justice to the material, retain the popular songs from the original [if need be]… Presto, the new avatar is ready for public viewing!

But the new avatar may not necessarily be as effectual as the original. That holds true for VICTORIA NO. 203, directed by Ananth Narayan Mahadevan. It's a great idea to remake a rollicking entertainer like VICTORIA NO. 203, but the 2007 interpretation lacks the heart and soul of the original.

One of the prime reasons why the original worked was courtesy the fun element, besides packing every available ingredient in those 2 hours. The new version starts off brilliantly, but runs out of breath after the initial 20 minutes. And the graph only goes downhill thereafter.

To sum up, this Victoria is hardly a fun ride. Not all diamonds sparkle!

VICTORIA NO. 203 takes off with a display of diamonds worth Rs. 300 crores. Bobby [Javed Jaffrey], a rich industrialist and his moll Devyani [Preeti Jhangiani], are smitten by the diamonds. Bobby is willing to do anything to acquire them. When the diamond owner denies his offer to buy the diamonds, his ego is hurt. He hires the services of Ranjit [Kamal Sadanah], who in turn hires a burglar, Tora [Tora Khasgir], to steal the diamonds.

Tora performs a daredevil heist and escapes with the diamonds. She has an agenda of her own and plans a double cross with her brother Karan [Rajesh Khera]. Just as she is about to escape, Ranjit stabs her. She escapes though and falls next to Victoria No. 203 in which she hides the diamonds. The Victoria driver Raman [Jatin Sial] offers to take her to the hospital and in the process gets caught by the police, who suspect him for attempted murder.

Raman's daughter Sara [Soniya Vinod Mehra] is forced at this stage to ride the Victoria in order to earn money for her father's trial. She is unaware that she is riding around Mumbai with diamonds worth Rs. 300 crores in her Victoria. Jimmy [Jimmy Joseph], an expert on diamonds, takes a ride on the Victoria and instantly falls in love with Sara.

Raja [Anupam Kher] and Rana [Om Puri] are two small time crooks who are released from jail. They hear about the diamond heist and are extremely impressed, hoping one day they will be able to do something of the sort. All the characters meet in a climax and none of them know where the diamonds actually are.

If you watch VICTORIA NO. 203 with a magnifying glass, you'd agree that it packs every masala on the shelf. There's a heist, there're light moments aplenty [courtesy Raja and Rana], there's emotional bonding [father - daughter], there's romance, a dash of oomph and of course, thrills. And all this is merged to create a wholesome entertainer that doesn't bore you even for a minute.

But the new version looks disjointed. Sure, the script remains the same, but the holding power is clearly missing. The heist at the very start is superb [reminds of SHALIMAR], but the comic scenes are far from funny. You do break into a chuckle at times, but Raja and Rana here aren't as impactful. The comedy falls flat. The romance too is far from exciting. Ditto for the thrills!

Director Ananth Narayan Mahadevan is a talented storyteller, but he's not in his elements this time. The music is a mixed bag. The two tracks from the original ['Do Bechare' and 'Thoda Sa Thehro'] are the only ones that work. Cinematography is eye-catching.

Om Puri is in form, but Anupam Kher isn't. Om seems to be enjoying his part, while Anupam looks mechanical. Jimmy Sheirgill deserved more footage. He's okay. Soniya Vinod Mehra has a long way to go before she can be called an actress. Javed Jaffrey is competent, as always. Preeti Jhangiani is a revelation. She looks alluring and enacts her part well. Kamal Sadanah does a fine job. Tora sizzles. Rajesh Khera and Jatin Sial are wasted.

On the whole, VICTORIA NO. 203 doesn't work. It's a bumpy journey for this Victoria at the box-office!

Let's get one thing straight! To remake a film that not only set box-office records and is referred to as a classic, but also one that by far has the biggest recall value, is playing with aag. Ramgopal Varma, the maverick film-maker, has the courage to remake SHOLAY, a film that continues to be one of the favorite entertainers across the globe.

Comparisons with SHOLAY are obvious and one presumes, RGV knew it all along that's he's bound to feel the heat by those who swear by SHOLAY. To give the credit where it's due, RGV remains faithful to the classic, not once does he deviate from the plot, not once does he twists facts… you know exactly what to expect and where the story is heading.

Jai, Veeru, Thakur, Basanti and above all Gabbar are characters that attained cult status over the years, especially Gabbar. RAMGOPAL VARMA KI AAG does justice to those characters, especially Gabbar, who wore a sinister look on his face all the while. Terror has a new name now. It's Babban!

Shortcomings? Oh yes! The romantic track, involving Ajay - Nisha Kothari, is a yawn. To be more specific, the by-now-famous 'suicide' sequence doesn't work. Prior to that, Prashant and Sushmita's meeting with Nisha's parents to seek her hand in marriage for Ajay also falls flat. Besides, this is not for the faint-hearted who detest violent films. RAMGOPAL VARMA KI AAG is sure to give them hiccups.

To cut a long story short, the comparisons with SHOLAY will tell on RAMGOPAL VARMA KI AAG.

In the dark underbelly of Mumbai city, a nihilistic new leader has risen to rule the fetid underworld. His name is Babban [Amitabh Bachchan]. Cruel beyond imagination, psychotically violent and far more devious than any gangster the city has ever known.

Nobody has ever seen him and if they did, they didn't survive to tell the tale. But one man believed in his existence. And that is Inspector Narsimha [Mohanlal], who has a single-minded determination to finish Babban.

RAMGOPAL VARMA KI AAG is SHOLAY, yet different. Sure, the story is the same, but the setting and interpretation of the story are different, very contemporary. As a storyteller, the RGV stamp is visible in a couple of sequences. Note Bachchan's spine-chilling introduction. Nisha's introductory sequence also makes you break into a chuckle. The Sachin episode that gives birth to a bitter enmity is tremendous. The sequence outside the courtroom [Bachchan - Mohanlal face off] is remarkable. Bachchan avenging his brother's death by eliminating Mohanlal's family is terrifying…

After a riveting first half, the pace suddenly slackens in the post-interval portions. Courtesy: The prem kahani. These scenes are far from exciting and only add to the length of the film. In fact, the second hour should be judiciously trimmed by at least 20/25 minutes so that the events unfold at a feverish pace.

There aren't many songs in the narrative. The song that deserves 10 on 10 is 'Mehbooba'. The track is foot-tapping and Urmila's presence sets the screen ablaze. Abhishek Bachchan's appearance in the number will be greeted with surprise and of course, whistles. The Holi track is interesting as well, more for the picturization, not as much for the tune.

Amit Roy's cinematography is outstanding. Note the scene when Bachchan plays with an apple and simply watch the movement of the camera. Awesome! Dialogues [Sajid-Farhad] are in sync with the mood of the film. Besides, the writers haven't lifted any of those legendary lines ['Kine aadmi thhe?', 'Soja, warna Gabbar aa jaayega', 'Yeh haath mujhe de-de Thakur'], but provide interesting alternatives. Action scenes [Pradhyumna] cater more to the desi audiences. Do not expect the MATRIX stunts here!

Bachchan as Babban is exemplary. The veteran has portrayed a variety of roles in his illustrious career: Vijay in ZANJEER, Vijay in DEEWAAR, Jai in SHOLAY, Anthony Gonsalves in AMAR AKBAR ANTHONY, Don/Vijay in DON, Vijay in TRISHUL, Sikandar in MUQADDAR KA SIKANDAR, Vijay Dinanath Chavan in AGNEEPATH, Baadshah Khan in KHUDA GAWAH, DCP Anant in KHAKEE, Debraj Sahai in BLACK, Sarkar in SARKAR and Eklavya in EKLAVYA. Now add Babban to this enviable list!

Mohanlal is topnotch. He matches up to Bachchan in every sequence. Ajay Devgan is competent and balances the mischievous streak with the serious one with ease. Newcomer Prashant Raj does very well. He stands up to the veterans and looks confident all through. Sushmita Sen is restrained. Her performance is perfect. Nisha Kothari does well in her introductory sequence and maintains the pace all through. Sushant Singh is first-rate. Rajpal Yadav irritates. Virendra Saxena is okay. Rasika Joshi makes her presence felt. Sanjay Narvekar, Jeeva, Raju Mavani, Ravi Kale, J.D. Chekravarthy and Suchitra Krishnamoorthi are adequate.

On the whole, RAMGOPAL VARMA KI AAG has a strong first half, but a lengthy and violent second half plays a spoilsport. At the box-office, the film will find the going tough in the wake of its comparisons with the mighty SHOLAY. Its dull opening coupled with uninspiring publicity [the posters/billboards give an impression of an outdated film] will make a dent in its prospects.

Powerful. Thought-provoking. Disturbing. That sums up DHOKHA, directed by Pooja Bhatt.

After attempting PAAP and HOLIDAY, Pooja charters into a new -- and most difficult -- terrain with DHOKHA. With terrorism raising its ugly head in Hyderabad recently, a film like DHOKHA is all the more topical. In this case, the suicide bomber is the cop's wife. Whew, piping hot stuff indeed!

What sets DHOKHA apart from films of its ilk is that the film never takes sides. It doesn't blame any particular community, in fact it's not pro or anti any religion. It blames the people who spread terror in the name of religion. Also, it denounces terrorism in very clear words. DHOKHA hits where it hurts. You want to know the reason why people turn into jehadis. DHOKHA probes into the issue and provides the answers.

To sum up, DHOKHA is one of the finest and powerful films to come out of the Bhatt camp. This one dares to unruffle a few feathers!

Zaid [Muzamil Ibrahim] is a Muslim police officer in Mumbai. On the night of a deadly bombing at the New Century Club, he works tirelessly to help the shocked and shattered patients brought to the hospital. But this night of turmoil and death takes a horrifying personal turn. His wife's body, the beautiful Sara [Tulip Joshi], is found amongst the dead. Things turn even more horrific when the police coldly announce that Sara's injuries were typical of those found on fundamentalist suicide bombers.

As evidence mounts that his wife, Sara, was responsible for the catastrophic bombing, Zaid is torn between cherished memories of their years together and the inescapable realization that the beautiful woman he loved had a life far removed from their comfortable existence together. DHOKHA is two creative minds at their best -- director Pooja Bhatt and writer Shagufta Rafique. Sure, a film like this is not everyone's idea of entertainment, but let's get real. Cinema isn't only entertainment, but enlightenment. With terrorism raising its ugly head time and again, in Mumbai, Delhi, Hyderabad, New York and London, you cannot shut your eyes to all that's happening around us.

DHOKHA tells the story well. The director and her competent writer open the cards at the very outset, within 10 minutes of the start. But it's the second hour that's a complete eye-opener. The ugly past, narrated by Anupam Kher, shakes you completely. Brilliantly penned and executed, you're stunned by the atrocities committed by the men in uniform.

The writing wobbles at times. Take the end, for instance. Ashutosh Rana getting caught for his misdeeds looks too sudden. Prior to that, the confrontation between Munish Makhija and Muzamil, although interesting, is long-drawn and tends to get preachy. However, the climax at a Mumbai Railway Station -- the culmination to the horrific tale -- is spell-binding.

DHOKHA is Pooja's third and also her finest work so far. She has handled the disturbing issue with utmost maturity. Shagufta Rafique's writing packs a solid punch. Music [M.M. Kreem] is soothing and the best part is, it's smartly woven in the narrative. Anshuman Mahaley's cinematography is topnotch.

Muzamil Ibrahim is a discovery to watch. Sure, there're rough edges [at times] that he needs to work on, but considering it's his debut film, he pitches in an incredible performance. A real surprise, a pleasant surprise! Tulip Joshi looks gorgeous and although she hardly has any lines to deliver, she makes it up with the right expressions.

Anupam Kher is first-rate. Only a veteran with a terrific range could've essayed the part with such understanding. Gulshan Grover is perfect. He looks the character. Ashutosh Rana is menacing; very effective. The actor enacting the role of Tulip's brother is good. Bhanu Uday is admirable. Aushima Sawhney does a fine job. Anupam Shyam is alright. Munish Makhija is competent.

On the whole, DHOKHA is a well-made film. At the box-office, it's for multiplexes of big centres mainly.