Bollywood Movie Review

Aashayein

2010-08-27 02:47:38

Practically every new-age film-maker wants to attempt a real story on celluloid. Stories which are straight out of life/newspapers/news channels. These stories, generally, strike a chord with the ticket buying audience if narrated convincingly and most importantly, narrated within commercial parameters. Nagesh Kukunoor has been a frontrunner as far as choosing and narrating real stories are concerned. AASHAYEIN too seems like 'our' story. Here's a man who suddenly discovers that he has a few months to live. The indomitable spirit of living life to the fullest, under all circumstances, is what you expect from him. But AASHAYEIN gets so bizarre and abstract that you feel anesthetized after a point. Sadly, you don't react to the characters, you don't react to the film either. Like Kukunoor's previous attempts, AASHAYEIN is sensitively told and has several poignant and heart wrenching moments, but the story strays from realism and ends up being a fantasy, which leaves a sour taste in your mouth. The entire RAIDERS OF THE LOST ARK track, with John imagining himself in Harrison Ford's boots, is weird. Final word? AASHAYEIN just doesn't meet the aashayein [hopes] of the viewer. At a party to celebrate his big win at gambling, Rahul [John Abraham] proposes to his girlfriend Nafisa [Sonal Sehgal]. Within minutes of announcing his engagement, he collapses on the floor. After a medical diagnosis, Rahul discovers that he has only a few months left to live. He is diagnosed with lung cancer. A distraught Rahul learns of a hospice and without sounding off his girlfriend about it, packs his bags and leaves in the middle of the night. He meets a number of people at the hospice, who may have failing health, but unfailing spirit. For millions of viewers worldwide, Hrishikesh Mukherjee's classic ANAND [Rajesh Khanna, Amitabh Bachchan] remains one of the best films on the matchless spirit of a person diagnosed with a terminal illness. The person in question [Rajesh Khanna] knows he doesn't have much time on hand and decides to spread light and cheer all around. Though AASHAYEIN has nothing to do with ANAND [although there's a reference to the film], the least Kukunoor could've done was to narrate the story without getting into the fantasy zone. When you talk of matters as serious as death, when you show people spending their last days in a hospice, you can't deviate from the topic. Even the hospice here looks more like a small-town resort where people have come for a vacation. The seriousness is clearly missing! On the brighter side, the sequences between John and Anaitha Nair are wonderful. Ditto between John and Farida Jalal. Salim-Sulaiman's music is in sync with the mood of the film. The song filmed on Shreyas Talpade is the pick of the lot. Sudeep Chatterjee's camera captures the outdoors well. But the writing is imprecise and like I pointed out at the outset, the culmination to this story is difficult to decipher. Kukunoor is a master when it comes to extracting performances and AASHAYEIN also boasts of sparkling performances by each and every member of the cast. John puts a whitewash on his previous works and comes up with an honest and sincere performance. In fact, this film makes you forget that he's blessed with a striking personality. Instead, you notice the fine actor beneath the good looks and that's what makes you relate to this character for most parts. Anaitha Nair is pure dynamite. Fiery, feisty, someone who can light fire in water. She's sure to make people notice her talent after this film. Sonal Sehgal is efficient. Girish Karnad, Farida Jalal and Prateeksha Lonkar are perfect. Ashwin Chitale [as Govinda] is natural to the core. Vikram Inamdar [as Xavier, John's friend] is alright. Sonali Sachdev [Doctor] is adequate. Shreyas Talpade appears in a song. On the whole, AASHAYEIN falters and fails on the writing level. Not much aasha [hope] from AASHAYEIN. Nonetheless, the film has been made on a shoe-string budget and therefore, the recovery from non-theatrical avenues would keep its distributors safe, although the returns from theatrical business would be disastrous.

PEEPLI [Live]

2010-08-10 05:15:14

When Aamir Khan produces a film, or is associated with any film in the capacity of an actor, be prepared for the unpredictable. Films like TAARE ZAMEEN PAR and 3 IDIOTS took pot shots at the education system in India and PEEPLI [LIVE], directed by Anusha Rizvi, is a tongue-in-cheek satire on the farmers' suicides and the role of vote-hungry politicians and the over-enthusiastic, TRP-seeking desperate electronic media jostling for eyeballs. Come to think of it, the concept [farmers' suicides] would instinctively translate into a serious, thought-provoking film. But PEEPLI [LIVE] takes a grim and solemn issue, turns it into a satire, garnishes it with populist sentiment and makes a far greater impact than a mere documentary, had it tackled the burning issue. In fact, like all Aamir Khan films, PEEPLI [LIVE] marries realism with a winning box-office formula most brilliantly. A sad fact of our society is that bad news attracts instant attention. In PEEPLI [LIVE], an impoverished man offers to commit suicide so that his family can benefit from a government grant - a dark subject matter which is dealt with in a delightfully humorous manner. In fact, it's a terrific satire about a troubled India, the shining India, the industrialised India that's rarely depicted on the Hindi screen. PEEPLI [LIVE] focuses on the poorest of the poor in India and it not only highlights the plight of a farmer in a tiny corner of a giant country, but also throws light on the varied people who exploit the situation to their advantage, right from the politicians to the bureaucrats to the television reporters to the local people. In fact, PEEPLI [LIVE] makes a scathing attack on the functioning of media in India and how media persons, depicted as vultures, generally stoop to the lowest levels to increase the ratings of their television channel/show. The best part is that at no point does the film gets preachy or starts offering solutions to the grave issue. It's a mere tool that the makers have used to discuss bureaucracy, the rural and urban divide and lack of concern of the administration. Final word? This tragi-comedy, a brilliant satire, is not to be missed. Natha [Omkar Das Manikpuri], a poor farmer from Peepli village in the heart of rural India, is about to lose his plot of land due to an unpaid government loan. A quick fix to the problem is the government's program that aids the families of indebted farmers who have committed suicide. As a means of survival, Natha chooses to die. His brother [Raghubur Yadav] is happy to push him towards this unique honour. Local elections are around the corner and what might've been another unnoticed event turns into a cause cÃ©lÃ¨bre, with everyone wanting a piece of the action. Political bigwigs, high-ranking bureaucrats, local henchmen and the ever-zealous media descend upon sleepy Peepli to stake their claim. Natha's mother [Farrukh Jaffer] screams at his wife [Shalini Vatsa], while his young son urges papa to go through with the suicide so he can use the money to become a policeman. One TV journalist, in a desperate search for a new angle, tries to examine Natha's faeces to determine his emotional state. Nobody seems to care how Natha really feels. PEEPLI [LIVE] tells the story of today: Rural society, the games politicians play, the bureaucracy and the manipulative electronic media. It's a well penned and well executed film that deals with a serious issue in a witty and entertaining manner. Although very real, it creates a world full of vivid characters and incidents and keeps the viewer engrossed throughout. First-time director Anusha Rizvi handles the subject material like a veteran. Her script is tight and witty and her handling of a difficult subject deserves kudos. What really sets the film apart is that it is unlike a typical Bollywood film. In fact, you can't draw parallels with any film, past or present. And that's what goes in favour of this film, since virgin subjects handled with utmost sensitivity and maturity is the order of the day. Even the finale is most appropriate and absolutely befitting the content of the film. In a nutshell, Anusha scores a sixer in her debut. The music, composed by multiple artists, is Indian to the core and borrows heavily from folk music. The hugely popular - 'Mehangayee Daayan' - is the pick of the lot, without doubt. Cinematography is appropriate. Dialogue, laced with expletives, are truly fantastic and most importantly, real. Manikpuri is brilliant as Natha. Raghubir Yadav shines as the opportunist brother. Malaika Shenoy [as the television reporter] is exceptional. Shalini Vatsa [as Natha's wife] is outstanding. Ditto for Farrukh Jaffer [Natha's bed-ridden mother]. In fact, the constant tu-tu-main-main between the saas-bahu is thoroughly enjoyable. Nawazuddin Siddiqui [as Rakesh, the local journalist] is natural. Vishal Sharma [as Kumar Deepak, the rival journalist] is top notch. Naseeruddin Shah is first-rate as the conniving, shrewd politician. The remaining cast - there're lots of actors in the film - pitch in believable performances. On the whole, PEEPLI [LIVE] is sure to ride initially on the strength and credibility of its iconic actor/producer Aamir Khan and once that is achieved, the powerful content is sure to speak for itself. PEEPLI [LIVE] is a film that would not only appeal to Indians, but is sure to reach out to audiences beyond India. Simply brilliant!

Once Upon A Time In Mumbaai

2010-07-26 07:59:49

The fascination with gangster movies has been immense worldwide. On this side of the Atlantic, several gangster films have left giant footprints on the sands of time. Films like DEEWAAR [Yash Chopra], DHARMATMA [Feroz Khan], NAYAKAN [Mani Ratnam], ANGAAR [Shashilal Nair], PARINDA [Vidhu Vinod Chopra], AGNEEPATH [Mukul Anand], SATYA and COMPANY [Ramgopal Varma], VAASTAV [Mahesh Manjrekar], GANGSTER [Anurag Basu], D [Vishram Sawant] and SHOOTOUT AT LOKHANDWALA [Apoorva Lakhia] have tremendous recall value to this day. ONCE UPON A TIME IN MUMBAAI recreates an era that so many of us have left behind and for those who arrived on this planet post 80s, I am sure, they must have visited the era through some medium or the other, mainly movies and internet or during their academic careers. ONCE UPON A TIME IN MUMBAAI is not part of history, but it attempts to portray on celluloid tales that are now considered legendary, that continue to make news to this date. Of course, the disclaimer claims that it bears no resemblance to a particular person, but you can't help but draw parallels with real-life characters. It could be a coincidence, though! ONCE UPON A TIME IN MUMBAAI is a fascinating story that talks of how the mafia came into force for the first time in Mumbai. A thriller that depicts the crime scenario in Mumbai during the 70s and 80s. The rise to power of two young boys, in different age-groups, who grew up to 'rule' the streets of Mumbai. Since there's tremendous speculation in the media that ONCE UPON A TIME IN MUMBAAI chronicles the lives of Haji Mastan and Dawood Ibrahim, the curiosity to watch the film increases manifold. Of course, I am no one to comment if it's actually based on their lives or merely borrows a few incidents from their lives or is pure fiction, but as a cinematic experience, I couldn't help getting transported to the bygone era, getting sucked into a world I had no clue of. Besides the gangster chapter, one enjoys this film also because of its riveting drama and the power play. It could've been set anywhere, in the corporate world, in politics, in the film industry. Anywhere. The rise and subsequent fall of the King and the emergence of the Prince as the super power is what makes this film a compelling watch. The icing on the cake is the magical and lilting song compositions that are juxtaposed so beautifully in the goings-on. On the sidelines of the power play, a game of hearts is being played and that's what makes ONCE UPON A TIME IN MUMBAAI a wholesome movie experience. Final word? ONCE UPON A TIME IN MUMBAAI is not to be missed. Set everything aside this coming weekend and watch this one. Strongly recommended! The film, set primarily in 1970s Mumbai, follows the rise of Sultan Mirza [Ajay Devgn] and the conflict that ensues, when his protÃ©gÃ© Shoaib Khan [Emraan Hashmi] challenges his supremacy and usurps power to rule the murky underbelly of Mumbai. ONCE UPON A TIME IN MUMBAAI is a power-packed drama that makes you thirst for more. You rewind to an era of romance, smuggling, cabaret and mafia, but director Milan Luthria and writer Rajat Aroraa ensure that there's no sleaze or bloodshed-n-gore. In fact, there's hardly any violent sequence in the movie, except for one when Ajay hammers a cop during a naaka-bandi. ONCE UPON A TIME IN MUMBAAI is not a biopic, but narrates the story through the eyes of a police officer [Randeep Hooda], who traces the changing face of the Mumbai underworld. The screenplay encompasses several moments that may compel you to draw parallels with real life, but talking strictly from the movie-going point of view, it satiates you completely. In fact, the writing is cohesive, smart and watertight and there's never a dull moment. Besides, there's no time to think whether it's factual or loosely based on someone's life or a work of fiction. As I look back and recall the movie, a number of sequences flash across my mind. Note the sequence when Ajay divides the city amongst gangsters... The train sequence at the very start... The introduction of Emraan Hashmi's character... Randeep Hooda's landing on a film set and confiscating the equipment... The subsequent sequence, when Randeep is framed for accepting bribe... The romantic moments between Emraan and Prachi in the jewellery shop... Emraan starting his business and the confrontation that ensues between Ajay and Randeep... The showdown between Ajay and Emraan, with Ajay slapping Emraan in full public view... The conclusion to the story is equally novel. It stays in your memory and sets you thinking. On the flipside, the story begins with Randeep attempting suicide, but the writer should've cited the reason that prompted him to take that drastic step. Sure, there's a mention at the start, but it doesn't register well. Also, you are keen to know the chain of events that drove Randeep to suicide. Also, the pace slackens in the middle of the second hour, but picks up dramatically when Ajay returns from Delhi and confronts Emraan. Besides, how I wish the film had a shorter, mass appealing Hindi title to attract more eyeballs and a big jump in footfalls [at single screens and smaller centres mainly] for a mass appealing subject like this. This is director Milan Luthria's best work to date, no two opinions on that. Recreating the bygone era is tough and the director, the writer and the art director [Nitin Chandrakant Desai] deserve brownie points for giving the film that authentic feel. In fact, the film wears a chic retro look throughout. Even otherwise, Milan's handling of the subject material is exemplary. This film is sure to catapult him to the top league. Rajat Aroraa's screenplay is powerful and engaging. The writer marries heavy-duty drama and subtle and delicate emotions beautifully. I would like to make a special note of the dialogue, also penned by Rajat Aroraa, which are simply fantastic. In fact, the dialogue writing is such it elevates even an ordinary sequence to great levels. One rarely comes across such potent dialogue in today's times. Pritam's music is another ace. Injecting songs and that too a terrific soundtrack in a gangster film is tough. He did it in GANGSTER. He does it again in ONCE UPON A TIME IN MUMBAAI. 'Pee Loon', 'Tum Jo Aaye' and the remix of APNA DESH track are super compositions, which are also placed appropriately in the plotline. Cinematography [Aseem Mishra] captures the look to perfection. Akiv Ali's editing is sharp. ONCE UPON A TIME IN MUMBAAI is embellished with fantastic performances. Ajay Devgn is splendid as Sultan. The actor had enacted a similar role in COMPANY, but it must be said that his interpretation is so different in ONCE UPON A TIME IN MUMBAAI. He adds so much depth to the character, which only goes to prove his range and versatility. This is, without a trace of doubt, Ajay's finest work so far. Emraan Hashmi is brilliant as the power greedy, wildly ambitious rebel. He plays the dark character to perfection. He's incredible in the penultimate moments of the film in particular. Besides carrying the look to perfection, Emraan is sure to break-free from the lover boy, serial kisser image with this film. Kangna Ranaut is extremely natural and performs very well. Also, she brings so much of sensuality and glamour to her character [an actress of the 70s]. In fact, Ajay and Kangna make a wonderful on-screen pair. Prachi Desai is a bundle of talent who proves her mettle yet again. She's proficient in emotional scenes and sizzles in the BOBBY song-sequence. Besides, the chemistry between Emraan and Prachi is exciting. Randeep Hooda is top notch. Even though the film belongs to Ajay and Emraan, Randeep makes his presence felt with a powerful performance. This film should prove to be the turning point in his career. Avtar Gill [as Home Minister] is good. Naved Aslam [as Patrick, Ajay's trusted lieutenant] is perfect. Mehul Bhojak [as Emraan's friend Javed] is competent. Ravi Khanwilkar [as Vardhan] is satisfactory. Gauhar Khan sizzles in the remix track. On the whole, ONCE UPON A TIME IN MUMBAAI is an extremely well-made film that lingers in your memory. The realism coupled with stellar direction, power-packed writing, exceptional performances and ear-pleasing tunes are its trump cards. An outstanding cinematic experience!

Red Alert - The War Within

2010-07-09 04:58:16

In most Hindi films, the first thing you notice at the very start is a disclaimer which states that the film is a work of fiction and bears no resemblance to any person living or dead. But RED ALERT - THE WAR WITHIN admits that it's based on a real story. Even otherwise, the issue it dares to portray -- the Naxalite movement -- is topical, piping hot and an issue that has been dominating the front pages of newspapers for quite some time now. Come to think of it, who'd be interested in knowing what happened in the life of a poor villager, living a hand to mouth existence in a hamlet in Andhra Pradesh? Aren't these stories covered on news channels and forgotten the next day itself? But the written material [screenplay: Aruna Raje] of RED ALERT - THE WAR WITHIN is so powerful and the execution of the subject so rivetting that you can't help but keep your eyes wide open as the story unfolds. You gradually realize that you aren't merely watching a film on the Naxal movement, but also the heart-wrenching story of a simpleton who gets embroiled in a mess only because he wants to feed his family and send his kids to school. Final word? Give this realistic film a dekho. It's worth it! RED ALERT - THE WAR WITHIN tells the story of Narsimha [Suniel Shetty], a farm labourer, who desperately needs money to fund the education of his children. He suddenly finds himself in the midst of Naxalites, when he goes to deliver the food in the jungles. From being a mere cook to actually training in weapons to being involved in shootouts and kidnapping, Narsimha finds himself in the thick of life he had never bargained for. A confrontation with the group leaders turns his life upside down; he is now on the run from both law and the militants. Almost a decade ago, LAAL SALAAM [2002], starring Nandita Das and Sharad Kapoor, tackled the Naxal movement quite effectively. RED ALERT - THE WAR WITHIN is real as well and though it stars well-known stars who're known for their work in hardcore masala films, immense care has been taken to present them as characters, instead of capitalising on their star status. This is evident at the commencement of the film itself, when Suniel Shetty, who has played a toughie in film after film, runs for cover and loses consciousness when the cops and Naxals indulge in gunfire. He's as helpless as you and I would be, if caught in a hazardous sitaution like that. That's not all, even Sameera Reddy is minus makeup and as shattered as any woman would be, after being gang-raped. The characters apart, RED ALERT - THE WAR WITHIN keeps you engrossed in most parts, more so towards its second hour. However, its ending, talking strictly in terms of impact, isn't as strong and impactful as the rest of the film. RED ALERT - THE WAR WITHIN is director Ananth Narayan Mahadevan's best work to date. It overshadows his previous works and proves that he has genuinely evolved into a fine storyteller. His handling of the difficult subject -- a complete contrast to what he has attempted earlier -- is simply first-rate. Aruna Raje's screenplay is watertight, save for the climax that tends to get predictable. Action scenes [Allan Amin] are as real as real can be. K. Rajkumar's cinematography is top notch. It must've been so tough to shoot this film in dense forests! Every actor in RED ALERT - THE WAR WITHIN delivers a splendid performance. Suniel Shetty delivers his most sensitive, most amazing performance that can easily be called his career-best. It makes you realize that there's a reservoir of talent that hasn't been tapped to the optimum. Sameera Reddy is a complete revelation, a complete shocker. She leaves a hammer-strong impact. Like always, Seema Biswas is excellent, while Ayesha Dharkar is supremely efficient. Ashish Vidyarthi is outstanding. Why don't we see more of him these days? Gulshan Grover leaves a mark. Bhagyashree is effective. Makrand Deshpande underplays his part very well. Zakir Hussain is super. Aditya Lakhia is perfect. Sunil Sinha and Ehsaan Khan are good. Vinod Khanna, in a brief role, and Naseeruddin Shah, in a lone sequence, are superb. On the whole, RED ALERT - THE WAR WITHIN is a well-made film that portrays realism effectively. It may not lure the audiences in hordes or set the box-office afire, like a typical entertainer generally does. Nonetheless, it will leave a strong, indelible impression on those watching it. Watch it for the sake of encouraging thoughtful, relevant and truly scorching content!

Raavana

2010-06-18 02:57:58

It's time for the modern-day version of 'Ramayana' to unfold this Friday, exactly two weeks after 'Mahabharata'. The very thought of watching an epic in the present-day milieu only enhances the curiosity for the film. And if the present-day adaptation of 'Ramayana' is helmed by a master storyteller [Mani Ratnam], the moviegoer should, and must expect the moon. Nothing less would suffice. After all, a Mani Ratnam film is not merely an experience, it's an event! Mani Ratnam, who has penned the screenplay of RAAVAN, models his characters on the lines of 'Ramayana': An upright cop, the punisher, the law/Lord Rama [Vikram]; His doting wife/Goddess Sita [Aishwarya Rai Bachchan]; The lieutenant he befriends in the forest/Hanuman [Govinda]; His confidante/Lakshmana [Nikhil Dwivedi]; The antagonist's sister, who triggers off the war/Surpanakha [Priyamani] And, of course, the antagonist, the Robinhood turned Raavan who kidnaps the top cop's wife and keeps her in his custody, in his Lanka/Raavan [Abhishek Bachchan]. Write your own movie review of Raavan Mani Ratnam has also included the part where Goddess Sita was banished from the kingdom of Ayodhya due to the gossip of kingdom folk. It was agni pariksha then, but in the film, the husband [Vikram] asks the wife [Aishwarya] for a polygraph test to prove her chastity/fidelity. At the same time, RAAVAN brings back memories of a movie that, coincidentally, had a similar storyline -- JUNGLE [Ramgopal Varma]. You've come to expect scintillating visuals in the master film-maker's films and RAAVAN is no exception. But RAAVAN falters in narrating the story with dexterity. In fact, this one's a game of see-saw, with a dull and lifeless first hour, an absorbing second half and a weak, lacklustre climax. Final word? RAAVAN comes with the baggage of humungous expectations, mainly for the one name attached to it: Mani Ratnam. Even though comparisons with the genius film-maker's earlier accomplishments like MOUNA RAAGAM, NAYAGAN, AGNI NAKSHATRAM, GEETHANJALI, ANJALI, ROJA, BOMBAY and GURU are sacrilegious since all belong to diverse genres, RAAVAN is nowhere close to those epics. The benchmarks only get higher and higher every time Mani Ratnam makes a film and RAAVAN, unfortunately, is a step down. Sorry, several steps down! Dev [Vikram] falls in love with Ragini [Aishwarya Rai Bachchan], a spunky classical dancer who is as unconventional as him. They get married and he takes up his new post in Lal Maati, a small town in northern India. A town where the world of law is not the police, but Beera [Abhishek Bachchan], a tribal who has, over the years, shifted the power equation of the place from the ruling to the have-nots of the area. Dev knows that the key to bringing order to any place is not to vanquish the big fish; in this case -- Beera. In one stroke Dev manages to rip open Beera's world and set in motion a change of event which will claim lives. Beera, injured but enraged, hits back, starting a battle that draws Dev, Beera and Ragini into the jungle. The forest becomes the battleground. The battle between good and evil, between Dev and Beera, between Ram and Raavan. Mani Ratnam's adaptation of 'Ramayana' begins with the wife getting kidnapped and her husband launching a massive hunt to track down his wife and nail Raavan aka Beera. The reason why Beera takes this extreme step is revealed much, much later, towards the post-interval portions, which means that Mani Ratnam follows the nonlinear pattern to narrate his story. Let's talk about the factors that pull this film down. First and foremost, when you've a title like RAAVAN, the demon king, who couldn't be vanquished by Gods, demons or spirits, you expect Raavan aka Beera to be equally powerful, who could send a chill down your spine, who spells terror and fear. But, in RAAVAN, Beera comes across as a psycho. The streak of madness in his character makes a mockery of the character itself. Also, his makeup and also the shabby avtaars of his family/henchmen is not something that makes them looks menacing. In fact, it makes the entire gang look repulsive. Even the finale leaves a lot to be desired. Ideally, the film should've ended after the fight on the bridge, but the entire track thereafter seems like an add-on, which is forced into the screenplay. Ash having a change of heart for Abhishek is equally unpalatable and makes you wonder, how and when did she develop such strong feelings/emotions for Beera? The writing is flawed, no two opinions on that! On the plus side, the track, which starts from Nikhil's kidnap to the entire flashback portion, is attention grabbing. The factors that prompt Beera to spell havoc in Dev's life are apt, although Beera's sister's portions, while narrating the atrocities committed on her, aren't easy to comprehend in entirety. What was she trying to say, frankly? Yet, the impact of the flashback portions is worth noting. The fight on the bridge -- between Abhishek and Vikram -- is astounding. One hasn't watched something like this on the Hindi screen yet, I'm sure. In fact, the execution of each and every stunt [Shyam Kaushal, Peter Hein] is exceptional. Every Mani Ratnam film is embellished with stunning visuals and RAAVAN boasts of mind-boggling visuals as well. Shooting the film at tough locales isn't easy and Santosh Sivan and V. Manikandan's vision creates magic on screen. Every frame is worth admiring and applauding. A.R. Rahman's music is excellent and the visual appeal only enhances the impact. I'd like to single out 'Behne De' and 'Thok De Killi', two tracks that I'd like to hum even after the show has concluded. In fact, the latter is very energetic in terms of choreography. Vijay Krishna Acharya's dialogue hit you like a sharp object at times, which is in sync with the mood of the film. I've admired Abhishek's work in Mani Ratnam's earlier films YUVA and GURU, but despite putting his best foot forward, for some strange, inexplicable reason, Abhishek doesn't look convincing for the part. Also, the dialogue delivered by him aren't coherent at times. Aishwarya is wonderful, looking ethereal and enacting her part with conviction. Vikram is first-rate, although the role isn't substantial enough. Govinda fails to create any impact whatsoever. Amongst the plethora of actors, Nikhil Dwivedi [a revelation; very good], Ravi Kishan [nice] and Priyamani [perfect] stand out. On the whole, RAAVAN is a king-sized disappointment, in terms of content. From the business point of view, a Mani Ratnam film might ensure a healthy opening [at plexes mainly], but the weak script on one hand and the heavy price tag on the other will make RAAVAN see red.

It's a Wonderful Afterlife

2010-05-07 04:49:30

It set me thinking as reel after reel of Gurinder Chadha's IT'S A WONDERFUL AFTERLIFE unspooled. We [the Bollywood reviewers/critics] are extremely harsh on films produced on hometurf. We go hammer and tongs after these film-makers, as if they have committed a crime that they cannot be absolved of. We tend to ridicule films, its makers, the actors in those filmsâ¦ in fact, just about everyone associated with those films. How about using the same yardstick for movies attempted by names that command tremendous respect in the West? We forgive them, most of the times. We even turn a blind eye, ignoring the deficiencies only because the West holds them in high esteem. The thought crosses our mind pretty often: Wouldn't we come across as complete nincompoops if we ridiculed them, even if they turn up with pure trash? I am not going to mince words. With IT'S A WONDERFUL AFTERLIFE, celebrated film-maker Gurinder Chadha hits a new low. It actually makes me wonder, was BEND IT LIKE BECKHAM a fluke? IT'S A WONDERFUL AFTERLIFE is so insipid and hollow that it makes her previous film BRIDE & PREJUDICE, considered by many as her weakest film, look like an epic in comparison. Final word? IT'S A WONDERFUL AFTERLIFE had everything going in its favour. But let's not forget that great vegetables don't necessarily make a yummy meal. This Gurinder Chadha curry is just not palatable! Mrs. Sethi [Shabana Azmi], a widow, can't bear the thought of her daughter being alone and unhappy. When Mrs. Sethi can no longer stomach the rudeness of families who refuse her daughter, she takes matters into her own hands with the only way she knows... suddenly a police hunt begins for a serial murderer. Mrs. Sethi doesn't feel too guilty until the spirits of her victims come back to haunt her, as they are unable to be reincarnated until their murderer dies. Mrs. Sethi has no problem killing herself -- she'll get to see her dead husband again -- but how can she go before her daughter is married? The spirits realize that helping Mrs. Sethi find a suitable husband for her daughter, before the police catch her, is their only chance for a wonderful afterlife. On paper, perhaps, the story of IT'S A WONDERFUL AFTERLIFE may sound tempting and alluring. At least I found it attention-grabbing when I first heard it, several weeks ago. But sitting through those 1.40 hours of this cinematic journey is an ordeal. Seriously, what were writers Chadha and Paul Mayeda Berges thinking when they wrote the screenplay? Barely a few minutes into the film, you realize that Chadha has lost the plot already. To state that the screenplay is shoddy would be putting it mildly. The only aspect that's amusing and which bears the unmistakable stamp of Chadha are the sequences between Shabana and the spirits. The love story is a total yawn, while the emotional moments are weak and the investigation of the murders is half-baked too. In fact, an investigating officer gets killed in the backyard of Shabana's home and guess what, the crime is conveniently forgotten, except when Senthil talks about it to Shabana. And why the beaten to death 'cancer' end? Gurinder seems to be watching too many [terrible] Bollywood films, seems like. Talking of performances, Shabana is dependable, as always. Goldy Notay as Shabana's daughter is efficient. Sendhil Ramamurthy is alright. Jimi Mistry doesn't get ample scope. Sally Hawkins is first-rate. Mark Addy is passable. Sanjeev Bhaskar is wonderful. Shaheen Khan and Zoe Wanamaker [Shabana's next-door-neighbour] are decent. On the whole, this one's a woeful experience, not wonderful by any standard!

Bird Idol

2010-04-23 05:04:54

In the U.S., the animation industry has come up with some amazing films. In India, the animation industry is still exploring and grappling to gain a foothold.. BIRD IDOL, directed by Jyotin Goel, is aimed at the kids primarily, but the story featuring birds, is very Bollywoodish. BIRD IDOL has it all too - lovers eloping, their kid winning a music-based show, his love story, the crooked villain and of course, loads of songs. I strongly feel that you should view animation films exactly the way a kid approaches it. Just keep your thinking caps aside and chances are, you might fall for its charm. BIRD IDOL has some endearing moments, but despite a running time of approx. 100 minutes, it looks like a lengthy exercise. That's because the film abounds in songs and some unwanted scenes and since they [the songs] aren't promoted at all, it reverses the impact created by a few interesting sequences. Most importantly, does BIRD IDOL offer more than what's being offered round-the-clock on television vis-a-vis animation shows? Will its target audience [the kids] prefer the animation film over popular animation shows on TV? The answer to both the questions is, unfortunately, negative. BIRD IDOL creates a fantasy world where the birds of Mumbai are as human as the people who inhabit it. They go to school, watch TV, go out on dates and yes, even watch reality shows, especially the musical show known for making stars overnight - Bird Idol. However, as of now, the birds still play bird music, full of chirps, tweets and the like. A group of four friends [Hummi, Surili, Chidi and Tuktuk] introduce a sound never heard before in the bird world - human music. The music is a hit among the birds and it catapults Hummi's group to stardom overnight. But the judges, old-time establishment musicians, begin to worry. What will happen to them? They hatch a plan to sabotage Hummi and his music before it's too late. Will they succeed? And what does the introduction of human music mean to the bird world? The animation quality is top notch and the dubbing is in sync. But the problem is that the viewer doesn't carry the characters home, like I did when I watched HANUMAN. On the whole, BIRD IDOL is watchable in parts, but the lack of awareness will make the effort go unnoticed.

Prince

2010-04-09 08:24:22

Hollywood has come up with so many movies on memory loss, while Bollywood too has had its share of films which depicted the protagonist losing his memory, GHAJINI being the most recent example. But what if someone robs your memory? Quite an interesting thought, isn't it? One of the advantages of having a GenNext director is, he's ready to take risks, ready to tread the untrodden path, ready to go where no one has been before. But there's a disadvantage too: Visuals and technique take precedence, while story takes a backseat. PRINCE has a terrific first half, where technique and content go hand in hand, but technique overpowers the content in its post-interval portions. What surprises you is that PRINCE is penned by the writer of RACE [Shiraz Ahmed] and like RACE, PRINCE too has several twists and turns every 15 odd minutes. But the twists and turns are a mixed bag here - captivating at times, not captivating at some places. More on that later! On the brighter side, PRINCE has great stunts and chase sequences [Allan Amin], fantastic visuals [South Africa] and of course, a chartbuster musical score [Sachin Gupta]. And these three factors, coupled with Vivek Oberoi's convincing performance, should take the film to safety! One of the savviest thieves in the world [Vivek Oberoi] commits the biggest heist of his life. He wakes up next the morning to realize he has a gunshot wound on his arm that he doesn't remember getting. In his quest to find answers, he discovers his name is Prince, he used to work for a man named Sarang and his girlfriend's name is Maya. He is being hunted by the secret service of India, the CBI and the biggest white collared criminals in the world. He is the most wanted man in the country because only he knows the whereabouts of the heist, which contains a secret that is linked not only to his loss of memory, but threatens the future of the human race. Every day he meets a new girl claiming to be Maya. He doesn't remember where he has hidden the Heist. He has just dive days of his life. Time is running out... Although PRINCE stands on a novel premise, flashes of the Dev Anand starrer JEWEL THIEF do cross your mind. PRINCE starts off with a heist and soon after, Vivek realises that his memory has been 'erased'. The mystery only deepens when he meets three different women, all posing as Maya and all having a new story to tell. So far, so good! But the difficult part is to keep the viewer's interest alive till the finale and that's where PRINCE starts crumbling. The second hour - the entire journey of Prince and the real Maya going on a wild chase to trace the coin and also regain Prince's memory - is exciting in bits and spurts. The concept of erasing a person's memory and then inserting it back with chips and gizmos sounds wow, but the way it has been projected in the film is ludicrous and far from convincing. Ditto for the climax, when Prince traces the villain to the Afghan-Pakistan border. He does so after he had hidden a device in the villain's shoes, while he was being bashed in the earlier sequence. Also, showing Prince having the same qualities as Spiderman [he can cast a web anytime he's in distress] makes you wonder, is he an ordinary mortal or a super human? Director Kookie Gulati has an eye for visuals and that's evident from the very start of the film itself. The film looks magnificent and wears an international look as well. Shiraz Ahmed's screenplay is watertight in the first hour, but leaves a lot to be desired in the latter portions. Dialogues [Mayur Puri] are well worded. Cinematography [Vishnu Rao] is top notch and the eye-filling locations are a visual treat. Allan Amin's stunts and chases are mesmeric. Sachin Gupta's musical score is trendy and catchy. Vivek is super in a rather difficult role. He is excellent in dramatic portions especially and carries off the stunts with remarkable ease. Nandana is effective. Neeru doesn't get much scope. Aruna is the best of the lot. Sanjay Kapoor enacts his part well. Dalip Tahil is alright. Isaiah has screen presence and looks ferocious on screen. Rajesh Khattar is hardly there. On the whole, PRINCE has great music, super stunts, Vivek Oberoi's bravura performance and terrific promotion as its trump card, but where it falters is in its writing [in its second half mianly]. Yet, all said and done, the film has the merits to strike a chord with the youth and lovers of masala movies.

The Japanese Wife

2010-04-09 03:04:02

An Aparna Sen film is always special. Like her previous endeavours, THE JAPANESE WIFE [a film in Bengali with English sub-titles] also looks at relationships. Only thing, this time it's about two strangers, who start off as pen friends, exchange letters, get drawn towards each other, even get married through letters, but never meet each other. Despite staying apart and not meeting even once, the couple share an honest and chaste relationship, confiding the smallest of incident to one another, thru letters and phone calls. This unique story [penned by Kunal Basu] is translated beautifully on celluloid thanks to Aparna Sen's deft handling of the material. Of course, a story like this unwinds at a leisurely pace, but there's no denying that the proceedings keep you engrossed for most parts, mainly towards the penultimate moments. Aparna Sen also gets it right because her choice of actors is perfect. And the characters they portray are real as well as unreal. Real, because there do exist people who look beyond physical relationships and who eventually become soul mates. It's unreal at the same time because, in today's times, when love, sex and dhokha have become a norm, characters like Snehamoy and Miyage appear straight out of dreams. Do they belong to this era, really? You may watch THE JAPANESE WIFE for varied reasons. But I recommend that you watch it with someone you love. Snehamoy [Rahul Bose] and Miyage [Chigusa Takaku] are pen friends, who exchange wedding vows through letters. Yet, even after fifteen years of marriage, the two have not met. It is always a question of not having enough money or Miyage's sick mother or Snehamoy's mashi's [Moushumi Chatterjee] health. But their physical absence in each other's lives never comes in the way of their sense of belonging as a couple. A young widow, Sandhya [Raima Sen], comes to stay with Snehmoy along with her eight-year-old son Paltu. Sandhya is Snehamoy's mashi's god-daughter. With Sandhya, Snehamoy discovers a bond of domesticity as they gradually start sharing household chores. With Paltu, Snehamoy discovers the joys of fatherhood. When Miyage falls sick and has to leave her home to live with her brother, Snehamoy is frantic with worry. As days pass by and Miyage's health worsens, it becomes clear that Snehamoy will need to visit an oncologist in Kolkata to get a proper assessment of his wife's condition. A storm strikes as he makes his way to the city and he returns disheartened and severely drenched. Far from his wife and desperately worried over her health, Snehamoy's life hangs by the thread as he is tended by Sandhya, just as any beloved husband would be by a loving wife. A compelling story comes alive if the writing has meat and the actors are on the same page as the director. Aparna successfully creates a world that's so simple and relatable. In fact, that's one of the highpoints of the film. The purity and simplicity is what wins you over. On the flip side, the bond between Rahul and Paltu comes across well, but the relationship between Rahul and Raima isn't too convincing. The writing isn't coherent during these portions. Also, the sub-titles get merged with the colours on screen and aren't decipherable at most times. Talking of performances, Rahul Bose delivers a stellar performance. He portrays his character with panache. Chigusa Takaku is equally convincing, enacting her part with restraint. Raima doesn't get too many lines to deliver, but conveys a lot through her eyes. Moushumi Chatterjee is a revelation. She's exceptional. On the whole, THE JAPANESE WIFE is an emotional journey that keeps you hooked for its sheer novel story. A film for connoisseurs of art house cinema mainly! Rating:- [critique] * * *.

Pankh

2010-04-02 05:22:10

A lot of bizarre experiments are being made in the name of art house/experimental cinema. Precious raw stock, precious time and precious resources are being utilised to create movies which are so weird that only its creator would know what he's actually trying to say. PANKH is one of those films, which, frankly, makes no sense. Let's give the credit where it's due. The premise - of a young boy being cast in girl's roles in movies - is interesting, but the screenplay and direction [Sudipto Chattopadhyay] are so abstract that I was actually wondering, how could a reputed film-maker like Sanjay Gupta and celebrated actor Bipasha Basu green-light this project? Or, let me put it this way, what did they see in the script of this film? Frankly, PANKH made no sense to me and at the end of the screening, I only felt sorry for myself since I wasted two precious hours of my life on something that wasn't worth it. Baby Kusum was a child star. But Kusum was actually a boy, working as a girl in movies. Born as Jerry. Christened Master Jai for the movies. Rechristened Baby Kusum to play a girl. Mary and Jerry, the mother and son, are caught in a turbulent relationship. Nothing works in PANKH. The protagonist is besotted by a stunning looking actress and even fantasises about her, so why this hullabaloo about his sexual identity? And pray, what is Bipasha doing in so many avtaars? Did she walk on the set straight out of a fashion show? Talking of performances, Maradona Rebello tries hard to look convincing. Bipasha suffers due to poor characterisation. Mahesh Manjrekar hams to the hilt. Ronit Roy is lifeless. Lilette Dubey is hysterical. Daya Shanker Pandey is quite good. Amit Purohit needs to polish his acting skills. Sanjeeda Sheikh is convincing. Asha Sachdev gets the role right. On the whole, PANKH has nothing to offer!

Tum Milo Toh Sahi

2010-04-02 02:23:24

Love knows no language. Love knows no barriers. Love knows no age. It's this thought that director Kabir Sadanand tries to encapsulate in his second directorial venture TUM MILO TOH SAHI. TUM MILO TOH SAHI may not be the most amazing take on relationships, but it has several moments that make you experience myriad emotions in those two hours. Especially the portions involving Nana Patekar and Dimple Kapadia. Having said that, it must be pointed out that the Rehan-Anjana portions are just not captivating. They lack the power to keep you hooked. Yet, the outcome is much better than what's being churned out in the name of cinema and entertainment these days. Final word? Watch it, especially for veterans like Nana and Dimple, whose stellar act proves that old is gold, indeed! Set in modern-day Mumbai, with all the demands and pressures of city life, the film weaves together the lives of three couples who connect with each other. It is about the meeting of souls [Nana Patekar and Dimple Kapadia], the meeting of minds [Suniel Shetty and Vidya Malavade] and the meeting of hearts [Rehan Khan and Anjana Sukhani], underlining that love is the driving force in people's lives, irrespective of age. TUM MILO TOH SAHI has three different stories running concurrently, but get merged into one after intermission. The Nana-Dimple chapter is the pick of the lot, in terms of writing and execution, followed by Suniel-Vidya track and Rehan-Anjana story. Nana's eccentric persona is a delight. Watch him in scenes in the super-market or when he encounters a eunuch on the street. His interaction with Dimple's grandson is fantastic too. Suniel and Vidya's story has been treated sensitively, but a few moments are plain ordinary, especially their initial portions. Rehan and Anjana's sub-plot is the weakest link in the enterprise, although the actors make up with earnest performances. This is director Kabir Sadanand's second venture and I see a distinct evolution in him as a storyteller. Kabir has handled several sequences with flourish. Sameer Siddiqi and Rajen Makhijani's screenplay, as mentioned earlier, has its share of engaging and non-engaging moments. The climax, of course, is the highpoint of the film. However, the film is very Mumbai-centric, which would restrict its appeal at other places. Sandesh Shandilya's musical score is decent, with the title track being the pick of the lot. Pushan Kripalani's cinematography is eye-catching. It's a treat to watch Nana and Dimple on screen after a hiatus. Both deliver sterling performances. Nana is in terrific form, while Dimple is grace personified. Watch out for Dimple's courtroom sequence and you'd realize yet again that there's so much to be tapped. One is sure, after you exit from the auditorium, you'd carry Nana and Dimple in your heart. Suniel too strikes a chord and plays his part with amazing maturity. Vidya Malavade is super, a dependable actor. Rehan springs a pleasant surprise. It's an honest performance. Anjana is a complete natural too, displaying the varied emotions with ease. Amongst the host of supporting actors, Mohnish Bahl and Amit Behl stand out. Raghav Sachar has a brief role; he looks photogenic. The child actor playing Dimple's grandson is very good. On the whole, TUM MILO TOH SAHI has decent merits that should find flavour with the multiplex junta of Mumbai mainly, thanks to its Mumbai-centric theme. Watch it for the wonderful performances by Nana and Dimple!

Sadiyaan

2010-04-02 02:26:15

We rarely make desi movies these days. Palatial mansions, swanky cars, designer outfits, the latest handsets and gizmos have replaced large kothis, traditional outfits, ghoda-gaadis and makke di roti aur sarson ka saag. True to its name, SADIYAAN takes you to a different era, when the warmth of relations mattered the most, when blood was thicker than water, when promises were meant to be honoured. SADIYAAN is set in the 1970s, but travels to the partition days. Raj Kanwar tackles a unique theme this time - of two mothers. The first is the biological mother, who gets separated from her child during the partition. The second raises the child like her own, when she crosses to India after partition. The basic premise is wonderful and you can draw parallels with Hindu mythology. SADIYAAN is divided into two parts. The first part focuses on the love story, which falls on the predictable, mundane stuff, with the Hindu-Muslim angle thrown in. But Raj Kanwar reserves the best for the second part, when the two women meet and the story takes rapid turns. But, let's face it, SADIYAAN is not everyone's idea of entertainment, since the 'multiplex junta' doesn't patronise desi cinema anymore, unlike the single screen audience that adores this kind of cinema. So what's the final verdict? Watch it if you like desi melodrama of yore, which comes alive with SADIYAAN. SADIYAAN is a period drama based on an incident which happened during the partition. It's the story of two mothers, a Hindu played by Rekha and a Muslim mother played by Hema Malini. In the chaos and confusion during partition in 1947, Benazir [Hema Malini] leaves behind her child in the mansion she lived in, before moving to Lahore. The child is rescued by Amrit [Rekha] and Rajveer [Rishi Kapoor], who try hard to locate the parents of the child, but in vain. They decide to raise the child themselves. Ishaan [Luv Sinha] falls in love with Chandni [Ferena Wazeir], who lives in the same city [Amritsar]. However, Chandni's parents oppose the match, since Ishaan is a Hindu. Amrit and Rajveer decide to reveal the truth to Ishaan and also to Chandni's parents. Two commonalities in Raj Kanwar moviesâ¦ One, he has always stressed on drama in his movies and SADIYAAN is no exception. Two, the maker has often worked with newcomers [SRK in DEEWANA, Aarya Babbar and Amrita Rao in AB KE BARAS and Lara Dutta and Priyanka Chopra in ANDAAZ] and now, it's Shatrughan Sinha's son Luv Sinha in SADIYAAN. SADIYAAN has two stories running concurrently - the love story [Luv, Ferena] and the story of two mothers [Rekha, Hema Malini]. While the love story is hardly exciting since it relies on the tried-and-tested stuff, the Indo-Pak angle in the mothers' story makes this part extremely watchable. The best moments are reserved for the second hour, with the penultimate moments proving the mainstay of the enterprise. However, as mentioned earlier, desi themes aren't too popular these days, except in the hinterland. Hence, a film like SADIYAAN has its limitations to cut across to a universal audience. Another drawback is that a love story should be embellished with lilting music and unfortunately, Adnan Sami's music is a letdown. Directorially, Raj Kanwar handles the dramatic moments with flourish, but the writing, especially the love story, is archaic. Also, what was the need to force comedy in the narrative? Cinematography is alright, but the locations are eye-filling. Rishi Kapoor, Rekha and Hema Malini are the lifeline of the film. Rishi is top notch. Rekha is amazing, while Hema is perfect. In fact, it's a treat to watch the two actresses share screen space after a really long gap. Luv Sinha needs to polish his acting skills. He's slightly awkward in the first part, but decent in the second half, when the goings-on get emotional. Ferena is a decent actor, but needs to work on her makeup and wardrobe. Javed Sheikh is appropriate. Deep Dhillon is good. Vivek Shauq is getting typecast. Avtar Gill is perfect. On the whole, SADIYAAN is an emotional drama narrated in old-fashioned style. If old world charm still excites you, there are chances you may like this one.

The Great Indian Butterfly

2010-04-02 02:31:39

Most movies are entertainment-driven, but a few movies, apart from entertaining, also raise pertinent questions that stay in your mind. THE GREAT INDIAN BUTTERFLY belongs to this group. People travel miles, cross borders, go on an endless pursuit to attain happiness, peace, love and luck, which would make their journey on this planet memorable. THE GREAT INDIAN BUTTERFLY talks of a couple on the brink of a failed relationship and who travel from Mumbai to Goa to 'trace' the butterfly that would make their lives full of sunshine. A beautiful thought undoubtedly, but how one wishes director Sarthak Dasgupta would've narrated the story concisely, without overstretching it to almost two hours. THE GREAT INDIAN BUTTERFLY mirrors a reality. You empathize with the on-screen characters and that's one of the reasons why this film works. But the flipside is that English-language films cater to a niche audience in India, which means you lose out on a big chunk of audience. Also, in this case, the awareness level of THE GREAT INDIAN BUTTERFLY is zilch. So that would hamper its prospects further, although the film has its heart in the right place. Krish [Aamir Bashir] and Meera [Sandhya Mridul], a young couple, go in search of a legendary magical insect -- The Great Indian Butterfly. Last seen by an unknown Portuguese explorer, in a remote valley located in Goa, the butterfly possesses a magical aura, granting immense happiness, peace, love and luck to the person who catches it. Will Krish and Meera find the elusive and mystical Butterfly? Can they survive the journey? Director Sarthak Dasgupta is clearly in a mood to narrate a real story. Hence, the conversation between the lead characters is equally real and also very relatable. A substantial part of the film has been shot in an open car, while the couple is having conversation and arguments on a road trip. The couple raves and rants about the incompleteness in their relationship and the pressures of career and stress in their lives. Sarthak captures this aspect beautifully on celluloid. The cinematography, while the car is in motion, is appreciable. But the story stagnates in the second hour. In fact, there's not much movement in the story and it also starts getting repetitive. Plus, an overdose of songs [not required]. But, thankfully, it picks up towards its finale. The film is embellished with bona fide performances by Aamir Bashir and Sandhya Mridul. Aamir is a remarkable actor and it's a pity that we haven't tapped his acting abilities in our movies. Ditto for Sandhya, who deserves much more than what she's being offered. Koel Purie is efficient in a small role. Barry John is alright. On the whole, THE GREAT INDIAN BUTTERFLY is for lovers of art house cinema mainly. Unfortunately, the awareness of this film is zilch and that would hamper its stay at theatres. Rating:- [critique] * * Â½.

Hum Tum Aur Ghost

2010-03-26 03:07:03

I've often said, interesting ideas don't necessarily translate into enthralling celluloid experiences. That's what I realized, for the umpteenth time, as HUM TUM AUR GHOST concluded. Hollywood has attempted several films wherein the living has been shown interacting with the dead. In fact, two decades ago, there was a mad rush to Indianize GHOST [Patrick Swayze, Demi Moore, Whoopi Goldberg]. The fascination with the dead continues to haunt Bollywood to this date. Arshad Warsi - who has been credited with the story of HUM TUM AUR GHOST - has denied that the film is inspired by GHOST TOWN. Yet, there're some similarities and that could be coincidental. So far, so good! Now here's the hitch. The screenplay - the lifeline of any film - is what makes a film stand on its feet and in this case, HUM TUM AUR GHOST suffers due to inept writing. Ideally, the writers and director should've come to the point right away, but the film takes its own sweet time to come to the point and what comes across is also not enticing, barring a couple of attention-grabbing moments. By then, the viewer has already lost interest in the film. The sole saving grace is the performances by the principal cast. Sadly, that's not enough! For Armaan [Arshad Warsi], life was picture perfect. He has a doting girlfriend Gehna [Dia Mirza] and also a great job. But there's a problem: Armaan hears voices. Voices that torture him. Voices that disturb him. More importantly, voices that nobody else can hear. Gehna is irritated with his weird behaviour. Add to that her father [Javed Sheikh] constantly berates him for his fondness for the bottle. No one seems to understand his predicament. What puzzles everyone is the fact that he talks to himselfâ¦ or rather, he talks to people, who no one can see, simply because they don't live. Soon, Armaan becomes aware of his special ability to connect with the dead. Equipped with a will to fulfil the wishes of these spirits who hound him, Armaan sets out on a mission to help out three souls - a child, an old man and a young woman. Generally, most Hindi movies come to the point at the very inception. HUM TUM AUR GHOST also opens its cards at the very outset, but loses focus soon after. In fact, the moment you're told that Arshad can see the dead, you expect to embark on a journey you've never embarked upon earlier. But there's hardly any movement in the story after a captivating start. No doubt, the concept is fascinating and had the writers concentrated on tackling the three stories that Arshad chooses to solve, and without wasting time on romance-n-songs, HUM TUM AUR GHOST would've been one journey you would've never forgotten. The build-up to the first story - a dead kid asking Arshad to help his father - is simply missing. The second story - involving Boman Irani - could've been tackled far more expertly. The entire sequence in the bank is bizarre and far from funny. In fact, you wonder, did the writers run out of ideas at this point? Of course, the sequence thereafter - between Boman and his wife [Asawari Joshi] - is touching. The third story - of a woman in search of her son - starts off very well, but midway through this story, the moment Arshad enters his father's house, the mystery never remains a mystery. You can predict what's in store next. The culmination to the film, although well shot, doesn't make the required impact either. Director Kabeer Kaushik was entrusted with a great idea, but his team of writers blew it up into smithereens. The impact generated by a few worthy of note sequences gets evaporated as the film reaches its culmination, primarily because the writing doesn't hold. Shankar-Ehsaan-Loy's music is strictly okay. Ashok Mehta's cinematography is of top quality. HUM TUM AUR GHOST has skilled performances, starting with Arshad, who's likable and believable. A complete natural, this is among his finest works. It's a new Dia you get to watch in this film. Not only does she look ethereal, but is exceptional in the acting department as well. Boman is tremendous, especially in the sequence when he's meeting his wife again. Sandhya Mridul doesn't get much to do. Zehra Naqvi is convincing. Shernaz Patel is wasted. Ditto for Tinnu Anand. Javed Sheikh is as usual. Asawari Joshi is perfect for her part. On the whole, HUM TUM AUR GHOST is a terrible waste of a terrific idea. Disappointing!

Hide & Seek

2010-03-11 16:49:25

Generally speaking, a film starring relative newcomers and helmed by a first-time director comes with zilch expectations. And if the film in question happens to be a suspense-thriller, the debutante director has to walk a tight rope. One false step and chances are he'd fall on his face. Debutante director Shawn Arranha surprises you in his very first outing. It may not be the most captivating thriller you've watched, but there are moments that keep you hooked to the proceedings. Also, a suspense saga works if you continue to play the guessing game till the end and in this case, you can't tell who the culprit is. That is nothing short of a victory for this film! On the flip side, the making could've been better in terms of production values and at times, it does give an impression of being a rushed job as far as the writing is concerned. Love slasher movies? Watch HIDE & SEEK. It has ample adrenaline pumping moments! They were kids - Om, Abhi, Jaideep, Imran, Gunita and Jyotika. And it all started as a game on a chilly Christmas night. But little did they expect that night that the game would change their lives forever. Twelve years later, while some still wrestled with memories of that fateful night and others left it buried deep within them, it was a past that came back to haunt them again. Twelve years later, someone was bringing them all together. To play that game all over again. Six best friends turn into worst enemies when trapped in a shopping mall. If you let logic take a backseat, chances are you'd enjoy this ride more. Just don't question how one person, single-handedly, kidnaps his friends the same night and assembles them at one location, without any help whatsoever. If you skip this gaffe, the journey ahead would be riveting in most parts. It takes time to get used to the plot. It does get confusing when the film goes back and forth with regularity and you wonder, what is the director trying to say? But the jigsaw puzzle slowly gets solved in the post-interval portions, although the end sends out confusing signals. In view of the fact that it is his first film, Shawn does a commendable job. Only thing, he should've simplified a few things, especially the end. The songs are okay, while the camerawork lacks finesse. The performances by the lead actors are neat, with every member putting his/her best foot forward. Purab Kohli is super-efficient, as always. Arjan Bajwa gets the look and feel of the character right. Samir Kochhar leaves a strong impact. Ayaz Khan is decent. Mrinalini Sharma springs a pleasant surprise with a 'spirited' performance. Amruta Patki impresses as well. On the whole, HIDE & SEEK is a gripping suspense drama that keeps you guessing till its end. Go for it, if a good suspense thriller is what you're looking at!