Indian movies

Teaming two superstars [Amitabh Bachchan, Shah Rukh Khan] in your directorial debut is as good as impossible. Opting for a novel story -- the relationship between a spirit and a mortal -- is an equally big challenge. Really, it requires courage to make a film that defies the stereotype, yet is seeped in emotions that work with the Indian junta. Vivek Sharma's first outing BHOOTHNATH is a simple story, well told and that's why it works!

Aimed at kids between 6 and 60, BHOOTHNATH relies on the belief that has been passed on to us through generations: Aatma amar hain.

Let's get a few things straight at the very outset. BHOOTHNATH is not an eerie experience [it does have a few moments though]. It's more of a kiddie film with a strong undercurrent of emotions. In fact, the bonding between the spirit and the kid makes you smile, even laugh at times and most importantly, makes you moist-eyed at two vital points of this 2.08 hour film.

One of the prime reasons why BHOOTHNATH works, besides the above-mentioned reasons, is due to the right casting. The story rests on two shoulders -- the experienced [Bachchan] and the raw talent [Aman Siddiqui] -- and both shoulder the responsibility beautifully, both compliment each other wonderfully well and make it a must-see experience.

You forget most films the moment you step out of the cineplex. But there're films that remain etched in your memory for their simplicity. BHOOTHNATH is one of those films. Go for it!

Banku's family [SRK, Juhi Chawla] comes to live in a mansion in Goa, considered haunted after the demise of the patriarch of the family. The spirit uses every rule in the book to scare the kid, but the kid is unaffected by it all. Slowly, a bond develops between the two. The story takes a turn when Kailash Nath's son [Priyanshu] decides to sell off the mansion.

Debutante director Vivek Sharma's fundas are clear. Emphasize on substance, not as much on style. 15 minutes into the film and you know that the director doesn't believe in Russian angles or fancy camera wizardry to create the spooky effect. Sure, BHOOTHNATH begins as a spooky fare, but changes lanes the moment the spirit and the kid become buddies.

For most parts, BHOOTHNATH is aimed at the kids. The portions in the classroom/school, the interaction with the school principal [Satish Shah], the game of one-upmanship between the kids brings the kid out of you.

Vivek Sharma reserves the best during the intermission point as also the climax. The unanticipated accident minutes before the intermission and the emotional moments that follow are brilliantly executed. Ditto for the penultimate 20 minutes, right up to a pooja being organized to 'free' the spirit. Simply outstanding! In fact, the emotional quotient takes the graph of the film to an altogether different level.

Any shortcoming? Oh yes! Vishal-Shekhar's music is outright tacky. Either the duo is disinterested or they've run out of stock already. This is the second film in a row [after TASHAN] where the music composers fail in their jobs. The film deserved a better musical score and also composers who have the range to exhibit their talent.

Director Vivek Sharma's choice of the subject as also his handling of a number of scenes deserves brownie points. Besides being a good storyteller, Vivek has also extracted a striking performance from the child artiste. The film would've fallen like a pack of cards if Bachchan would've performed and the kid wouldn't. Another aspect that deserves mention is visual effects. The effects gel beautifully with the goings-on. Cinematography is consistent.

BHOOTHNATH belongs to Amitabh Bachchan and Aman Siddiqui, both. Bachchan continues to surprise you in every film. Any other actor would've been exhausted by now. Not Bachchan. Here's another noteworthy performance by the master actor! The child artiste, Aman, is adorable and a complete natural as far as acting goes. He stands up to Bachchan at every step and that itself is worthy of the highest award.

SRK's there for a good 20/25 minutes. He's excellent. Juhi is first-rate. Satish Shah will be loved by the kids. Rajpal Yadav is wasted. Priyanshu leaves a strong impression in the latter reels. Aashish Chowdhary and Nauheed Cyrusi are okay.

On the whole, BHOOTHNATH is a well-told story that has all it takes to appeal to kids and kids at heart, besides striking a chord with the families. Has the merits and potential to end the dry spell at the box-office.

If given a choice between Pakistani movies and Pakistani TV shows/serials, I'd settle for the small screen any day. Not that all serials ['dramas' is what they call them in Pakistan] are engaging, but I am hooked to a few shows. From whatever I've seen of Pakistani movies, my ratings would not exceed 1 on a scale of 10. But KHUDA KAY LIYE, the first Pakistani film to release in India, is also the first Pakistani film that moved me.

The film depicts the dilemma the well-educated, progressive-thinking and liberal Pakistanis face, post 9/11. The West looks at them as potential terrorists, while fundamentalists frown on them. Director Shoaib Mansoor may not be a great technician, but is a fine storyteller nonetheless.

Honestly speaking, you don't take to the film at the outset. For, it takes time to come to the point, but once it does, there's no stopping it. However, there's a flip side as well. A theme like the one depicted in the film is not everyone's cup of tea. Although one does identify with the proceedings, the film is more for the thinking viewer, for those who dissect cinema after watching it, it's a film that sparks off debates and discussions.

Cinema in India has undergone a sea change and whether one likes it or not, the harsh fact remains that cinema here is entertainment driven. In that respect, KHUDA KAY LIYE has limited chances. Limited to the multiplexes of a handful of cities only. Yet, you cannot turn your eyes away from the fact that KHUDA KAY LIYE is a well-made film that reaffirms a dangerous fact - the world is only getting more and more divided!

The film is about the difficult situation in which Pakistanis in particular and the Muslims in general are caught up since 9/11. There is a conflict going on between the fundamentalists and the liberal Muslims. This situation is creating a drift not only between the western world and the Muslims, but also within the Muslim community.

The educated and modern Muslims are in a difficult situation because of their approach towards life and their western attire. They are criticized and harassed by the fundamentalists and on the other hand, the western world sees them as potential suspects of terrorism just because of their Muslim names.

The film has two stories running concurrently. The elder brother [Shan] wants to pursue music as a career and leaves for the U.S. The younger brother [Fawad Khan] is so influenced by the fundamentalists that he turns into an altogether different person completely. The younger brother's story of forcibly marrying a woman, the woman wanting to flee from his clutches but can't, takes you back to the Karisma Kapoor starrer SHAKTI - THE POWER and also the Manisha Koirala starrer ESCAPE FROM TALIBAN. The elder brother's story is novel and deftly executed. In fact, the elder brother's story is heart breaking.

Director Shoaib Mansoor knows exactly what he's talking about and has handled several portions with dexterity, especially the penultimate 20 minutes in the courtroom. Only thing is, the chaste Urdu spoken by Naseeruddin Shah will be difficult to decipher by most viewers. Cinematography could've been more eye-filling, in view of the fact that the locales are bewitching.

Shan is a fine actor, but he has put on a lot of weight and it shows. Imad Ali could've been more effective. Fawad Khan is strictly okay. Rasheed Naz is excellent. Naseeruddin Shah is the scene stealer. His portions are simply outstanding!

On the whole, KHUDA KAY LIYE is a well-made film, but it caters to the thinking audience, the intelligentsia mainly. At the box-office, the film caters to a handful of multiplexes in a handful of cites only. Sure, it would win tremendous critical acclaim, but box-office dividends in India are ruled out.

Let's clear a misconception before we get down to reviewing SHAURYA. It's not a war film. It's not jingoistic. It doesn't spew venom on the neighboring country. It doesn't show mutilated bodies or blood-soaked faces and limbs.

Sure, SHAURYA has the backdrop of the armed forces. But it's about a court martial. It's about two friends, who're pitched against each other in a courtroom. The 'culprit', in turn, doesn't want to defend himself and remains a mute spectator for reasons best known to him.

SHAURYA is a serious film and raises a serious issue in the penultimate 20 minutes. And that's where it scores. Director Samar Khan gradually builds up the tension and when it explodes in the finale, it leaves you stunned and speechless. Most importantly, it makes you uncomfortable… perhaps, that's one of the reasons why it succeeds.

SHAURYA is about the common man, but as a cinematic experience, it's more for the discerning viewer looking for a hatke theme, thirsting for a story in those 2 hours. Most importantly, it does justice to the tagline - 'It takes courage to make right… right'.

Captain Javed Khan [Deepak Dobriyal] is charged with mutiny, treason and killing a fellow officer. Even when he is held for court martial, he refuses to speak in his defense as the secret he holds is too powerful for the establishment to handle. Assigned for this task are Sid [Rahul Bose] and Akash [Jaaved Jaaferi], two best friends, lawyers and very ambitious individuals who have contrasting views on life.

Nevertheless, this one case changes their lives forever. The case takes them to Srinagar. While Akash, for whom winning the case matters the most, follows the blueprint, Sid discovers a new meaning in life, Kavya, Javed and of course, the man in question, Brigadier Pratap [Kay Kay Menon].

Why is Javed silent? What is the truth of that night? Why is Brigadier Pratap hell-bent on getting Javed convicted? Will Sid have the courage to save Javed's life?

SHAURYA isn't a flawless script. But it has been treated with utmost realism and sensitivity by Samar Khan. Talking of the narrative, the film could've done without the item song at the very start [and what was Pawan Malhotra doing in this song?]. Besides, one fails to understand why Deepak Dobriyal doesn't confide to his mother, since the family has always taken pride in the fact that they've adhered to principles all their lives. Besides, the film could've been shorter by at least 15/20 minutes. The second hour drags at places!

Despite the hiccups, SHAURYA delivers what it promises. At the end of the screening, you actually pinch yourself. Did the same guy who helmed this riveting fare called SHAURYA, direct KUCH MEETHA HO JAYE, a bitter cinematic experience? The execution of SHAURYA is impressive and Samar also succeeds in extracting stellar performances from the ensemble cast.

Despite the shortcomings, the screenplay is tight, not deviating from the core issue. The reason that compels Deepak Dobriyal to shoot a fellow officer and also the powerful climax prove that the writers [Jaydeep Sarkar, Aparnaa Malhotra and Samar Khan] know their job well. There's not much scope for music in a film like this, therefore the two songs don't make much of an impression. However, in terms of melody [Adnan Sami], 'Dheere Dheere' has a soothing effect on the listener. Carlos Catalan's cinematography is topnotch.

The story rests on five actors - Rahul Bose, Kay Kay Menon, Jaaved Jafferi, Deepak Dobriyal and Minissha Lamba. Rahul excels in a role that fits him like a glove. In fact, this performance easily ranks as one of his finest works. Kay Kay is dynamic. Watch him explode in the climax and you realize the potential this actor possesses.

Jaaved does a decent job. However, his character is relegated to the backseat after a point. Deepak conveys a lot even when silent - that's the sign of a fine actor. Minissha is effective. Besides, she looks the character. Amrita Rao handles her part with maturity. She's first-rate. Seema Biswas, as always, is a complete natural.

On the whole, SHAURYA is a well-made film that will have to rely on a strong word of mouth to sustain in the coming days. However, the film deserves to be tax-exempted since it's a genuinely deserving case.