Saturday, November 27, 2010

Break Ke Baad - Movie Review

Read more! Cast :: Imran Khan , Deepika Padukone

Aditya Chopra's DILWALE DULHANIYA LE JAYENGE, Karan Johar's KUCH KUCH HOTA HAI and Farhan Akhtar's DIL CHAHTA HAI continue to inspire and motivate film-makers to this date. Danish Aslam's debut film BREAK KE BAAD borrows from the above-mentioned films, besides Imtiaz Ali's LOVE AAJ KAL and several other films churned out by Yash Raj and Dharma.

I don't think it's sacrilege to seek inspiration from a great film, a taut script or soulful music, but the storyteller ought to take that extra effort to present something more than what we've watched before, in his/her film. That's where BREAK KE BAAD fails to connect.

BREAK KE BAAD deals with space issues in a relationship, a much exploited and abused word used a lot in the present-day scenario. Space is almost like a break-up mantra and BREAK KE BAAD explores this concept rather than being a conventional love story. It has that typical Hollywood inspired urban drollness, approach and responsiveness, but what comes across on screen is a poor replication of romance-laden movies that we have enjoyed over the years.

BREAK KE BAAD goes wrong, sorry horribly wrong in its writing. The screenplay is full of glitches, the writing is juvenile, the situations are amateurish and I actually wondered how a shoddy screenplay like the one in BREAK KE BAAD was green-lit and approved in the first place. The intention was to make a cool film for the urban youth, but the writers [screenplay: Renuka Kunzru and Danish Aslam] have messed up and how!

Abhay [Imran Khan] and Aaliya [Deepika Padukone] have known each other since they were kids. Their friendship turned into love at the tender age of 15, when Abhay realized that Aaliya is the girl for him.

Aaliya's life is defined by her burning desire to become an actress and she is unmindful of what or who comes in her way. Abhay, who is still unsure about what he wants to do, finds himself competing with Aaliya's incessant plans and projects to fulfill her dreams. Things come to a head when Aaliya decides to go to Australia to study and Abhay has to deal with the prospect of a long-term relationship, secretly fearing that he will lose Aaliya forever.

They decide to give their relationship a break, so that Aaliya can pursue her dreams. As time passes by, Abhay realises his skills, while Aaliya realises that there is no joy in achieving one's dreams if one has no one to share it with.

The basic idea of BREAK KE BAAD may compel you to think that it's going to charter a new path completely, but what comes across is a sham. I mean, the lovers break up for a flimsy reason [there's no persuasive rationale actually], then become friends, then go separate ways, then become friends again, then argue animatedly and then get married. Besides, the film is talk-heavy, extremely verbose and the chatter is pointless, senseless and ludicrous.

One fails to understand why the girl drops the guy like a hot brick. Actually, there's no valid reason for her to do so. He is so committed, so devoted, so trustworthy that any girl would give her left arm to be with him. But the girl comes across as a no-brainer and expectedly, realizes her folly only towards the finale [as expected in a screenplay of convenience]. Besides a faulty screenplay, even the supporting characters [Sharmila Tagore, Shahana Goswami] are wasted.

Director Danish Aslam has handled a few moments well, that's it. A love story ought to be embellished with a lilting musical score, but Vishal-Shekhar disappoint this time. The songs are strictly okay and one misses that winning track that makes a love story memorable. Cinematography [Andre Menezes] is alright.

Both Imran and Deepika take a step forward as actors. Having watched Imran closely from JAANE TU YAA JAANE NA days, I feel that he has come a long way in his fifth outing and you can see a marked difference in his performance. As far as Deepika is concerned, I like the spontaneity that she brings to the character. After LOVE AAJ KAL, this is another film that will make people sit up and notice her talent. Sharmila Tagore is wasted. Ditto for Shahana Goswami. Yudhishtir Urs irritates. Lillete Dubey gets to deliver some spicy lines. Navin Nischol gets minimal scope.

On the whole, BREAK KE BAAD has a vibrant Imran and Deepika as its USP, but a faulty and an unpersuasive screenplay as is its major stumbling block. Fails to impress!

Download Break Ke Baad MP3 Songs

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Tuesday, November 23, 2010

No Problem - Music Review

Read more! Cast :: Anil Kapoor, Sanjay Dutt, Akshaye Khanna, Suniel Shetty, Sushmita Sen, Kangna Ranaut, Paresh Rawal, Neetu Chandra

Honestly, one isn't overtly enthusiastic about checking out what exactly does No Problem have in store. It doesn't boast of a quintessential hero-heroine fare. Also, since it is an Anees Bazmee film, it isn't meant to be relying on music as it's USP as the story telling by itself is expected to bring in the audience. Moreover, the earlier promos of the film haven't quite placed music on the forefront. Add to that the fact that three set of composers - Pritam, Sajid-Wajid and Anand Raaj Anand - come together to get the album in place means one is further apprehensive about what really is in store here.

As it turns out, the opening song No Problem doesn't quite turn out to the best attraction that the title track of a film is supposed to offer. Coming from the same school of music as the title track of Welcome, this one does have a catchy rhythm to it with Wajid, Suzzane Demello, Khurram Iqbal, Bhishak Jyoti, Kamal Khan, Suganda Mishra and Altamash Faridi teaming up behind the mike. However, it somehow ends up being 'heard today, forgotten tomorrow' kind of a track. Yes, if the film ends up doing tremendously well at the box office, this song written by Shabbir Ahmed and put to tune by Sajid-Wajid can expect a decent recall value for it. However, unless that happens, this title track would have to make way for other songs in the album.

The album picks up miraculously with the arrival of 'Shakira', a fun number where the focus is on the leading ladies (Sushmita Sen, Kangna) ending up being far more enticing in their moves when compared to none other than Shakira. While Hard Kaur kick starts the song with her rap, Master Salim and Kalpana come together to get an authentic Punjabi flavour to this Pritam composition, hence making Kumaar written 'Shakira' a definite chartbuster in the making. The song, which also has a 'remix version' for itself has a distinct Pritam stamp to it and makes one wonder that why wasn't this celebration track the first to come on air.

Energy of the album continues to be on a rise with 'Babe Di Kripa' being the next to come. This one is akin to listening to two songs with Kalpana bringing on a Western rendition while new find Vikrant Singh brings on a hardcore Punjabi element. Yet another celebration track written by Kumaar, this one is not just foot tapping but also is noticeable for the way Vikran goes about singing this one. An original voice which is not quite an imitation of any other established singer, Vikrant does quite well in 'Babe Di Kripa' which should work well, especially up North with it's 'remix version' expected to find it's way into the DJ's collection.

Surprisingly, just when No Problem was reaching its peak comes a low in the form of 'We Are Innocent' which turns out to be totally wannabe. In fact after doubly checking the credit details, you are shocked to know that the man at the helm of affairs is none other than Pritam himself. His tune sounds like belonging to the world of late 80s/early 90s when such campus tracks like these were in the vogue. A forgettable track which is sung by Suraj Jagan and written by Kumaar, it tries to be all cool and fun but falls flat.

Thankfully it is the unusual suspect Anand Raj Anand who comes to the rescue with 'Mast Punjabi', third Punjabi based track in a row after 'Shakira' and 'Babe Di Kripa'. Does it work? Oh of course yes, as it turns out to be a highly addictive celebration track that gets hooked on to you in the first listening itself. In fact hearing this song (which comes again in a 'remix' version) makes you believe that Anand Raaj Anand needs inspiration to come up with a song belonging to the chartbuster variety since 'Mast Punjabi' is definitely one instance where he has delivered well. In fact he plays a triple role of a composer, lyricist as well as singer here with company from Sunishi Chauhan.

As stated earlier, there weren't many expectations from the music of No Problem. However, it ends up throwing a pleasant surprise with three of it's songs - 'Shakira', 'Mast Punjabi' and 'Babe Di Kripa' ensuring that there are enough foot tapping elements in the album. All that the makers have to do now is get aggressive on each of these three songs. Moreover, if the film turns out to be a huge success, these songs will have a greater distance to travel for sure.

Download No Problem MP3 Songs
01 - No Problem (2010) - No
02 - No Problem (2010) -
03 - No Problem (2010) - Babe Di
04 - No Problem (2010) - We Are
05 - No Problem (2010) - Mast
06 - No Problem (2010) - Babe Di Kripa (Remix)
07 - No Problem (2010) - Shakira (Remix)
08 - No Problem (2010) - Mast Punjabi (Remix)

01 - No Problem (2010) - No
02 - No Problem (2010) -
03 - No Problem (2010) - Babe Di
04 - No Problem (2010) - We Are
05 - No Problem (2010) - Mast
06 - No Problem (2010) - Babe Di Kripa (Remix)
07 - No Problem (2010) - Shakira (Remix)
08 - No Problem (2010) - Mast Punjabi (Remix)

Watch No Problem Videos

Thursday, November 18, 2010

Guzaarish - Movie Review

Read more! Cast :: Hrithik Roshan & Aishwarya Rai

Bollywood appears to be inclined towards exploring rare illnesses/disorders/disabilities, with directors casting megastars in characters to raise awareness about the lesser-known ailments. In GHAJINI, Aamir Khan had short-term memory loss [Anterograde Amnesia]. In PAA, Amitabh Bachchan played a child afflicted with Progeria. In MY NAME IS KHAN, SRK was shown suffering from Asperger Syndrome. In TAARE ZAMEEN PAR, Aamir Khan portrayed problems of Dyslexic children. In BLACK, Amitabh Bachchan was shown succumbing to Alzheimer's. In KARTHIK CALLING KARTHIK, Farhan Akhtar portrayed a Schizophrenic.

This is not the first time that master film-maker Sanjay Leela Bhansali has attempted a movie that has the protagonist suffering from a serious disability. In GUZAARISH, Hrithik Roshan suffers from Paraplegia, a complete paralysis of the lower half of the body, including both legs, usually caused by damage/injury to the spinal cord.

Bhansali has always been known for two things. The first thing is, of course, the visual splendour in his films [which was quite evident in HUM DIL DE CHUKE SANAM, DEVDAS and SAAWARIYA] and the second thing that he takes inspiration from various stories. The critically acclaimed BLACK was inspired from THE MIRACLE WORKER [a 1962 film] and SAAWARIYA from 'White Nights', a Russian short story.

There's talk that GUZAARISH is a remake of Christopher Nolan's Hollywood movie THE PRESTIGE, which, let me clarify, it is not. GUZAARISH brings back memories of two films, which may be coincidental: The Spanish Oscar and Golden Globe winning film MAR ADENTRO aka THE SEA INSIDE [2004], which, in turn, was based on a real-life story of Ramon Sampedro and WHOSE LIFE IS IT ANYWAY?, a television play which was later adapted into a play [theatre] and much later into a film [1981].

Bhansali has worked himself to the grind and his presence is felt in every frame of GUZAARISH. There is an inimitable intellect that Bhansali brings to his movies. Bhansali is also known to extract the best performances from his actors. In a light-hearted vein, I would go to the extent of saying that Bhansali has the ability to make a dumb man speak and a sightless man see. His devotion and dedication towards his craft is truly inspirational and motivating. In GUZAARISH, Bhansali puts behind all the glitter and glamour and comes up with yet another unique and sensitive story told through a series of flashbacks.

Final word? GUZAARISH is special in more ways than one. In my individualistic opinion, it easily ranks amongst Bhansali's best works so far. Just don't miss this one!

Set in Goa, it tells the story of an accomplished magician Ethan Mascarenhas [Hrithik Roshan]. Ethan suffers serious injuries when one of his magical trick goes horribly wrong, turning him to a Paraplegic. Confined to a wheel chair, Ethan becomes a Radio Jockey at an FM Station called Radio Zindagi. His show talks of hope, laughter and sunshine and it's difficult to imagine that the man behind it has been immobilized with a spinal injury for the last fourteen years of his life. Sofia [Aishwarya Rai Bachchan], a nurse, takes good care of him; they share a silent love.

Ethan files a petition in court for mercy killing. This decision of Ethan leaves Sofia stunned. Ethan takes the help of friend-lawyer Devyani [Shernaz Patel] to support his appeal. Even Ethan's mother Isabel [Nafisa Ali] supports him in his petition, although Ethan is persuaded by his physician Dr. Nayak [Suhel Seth] to retract his case. Alongside all this, Omar [Aditya Roy Kapur] enters Ethan's life with the aim of learning magic from him. Impressed by Omar's love for magic, Ethan agrees to pass on his legacy to him.

Only a sensitive raconteur can do absolute justice to a challenging subject like the one in GUZAARISH and Bhansali seems the right candidate for an extremely tricky theme like mercy killing/Euthanasia. The story is complex and can only be narrated by a storyteller who has the art of telling stories most convincingly. Sure, the protagonist in GUZAARISH wants to end his existence, but that doesn't mean the film is disheartening or unsettling. Clearly, the writing [screenplay: Bhavani Iyer and Bhansali] is smart, taut and absorbing.

GUZAARISH has a number of sequences that bear the unmistakable stamp of a genius. Sample these?

  • The courtroom sequence and Aishwarya's outburst towards the end of it.
  • The hearing of the petition at Hrithik's house.
  • Hrithik's act going wrong and the near-fatal accident.
  • The finale.

Any negatives? The generous usage of English in the narrative. The language is sure to act as a barrier in the hinterland specially. Agreed, the film is set in Goa, they are bound to speak that language, but despite everything, Hindi is a must for a pan-India appeal.

Irrespective of how his films fare at the box-office, Bhansali's films have always been embellished with rich and cherished music. The songs continue to linger in the hearts of the listeners with their dulcet and soothing tunes. After legendary Satyajit Ray and Vishal Bhardwaj, Bhansali is the next accomplished film-maker who has himself created the music of his film. The songs in GUZAARISH are more inclined towards poetry that's earthy and contemporary. However, it does take some time for the listeners to sense the pulse of the music. 'Tera Zikr Hai Ya Itra Hai' is a limerick to exquisiteness, 'Sau Gram Zindagi', with its philosophical tone, leaves a lasting impression, the title track 'Guzaarish' casts a spell on you and 'Udi' is, of course, memorable.

GUZAARISH has been magnificently shot. The indoors as well as outdoors [the gorgeous panorama] add so much to the film. There's no refuting that cinematographer Sudeep K. Chatterjee has created some really alluring and enthralling visuals. The very effective and subtle background score [Tubby and Parik] of GUZAARISH is its very backbone. The feelings of intrigue, anxiety, anguish and romance come across so well. In fact, for the very first time, I felt that I was not hearing the background score, I was feeling it. Dialogue [Bhavani Iyer and Vibhu Puri] belong to high standards that touch your soul. Costumes [Sabyasachi] are absolutely wonderful; they gel well with the setting and mood of the film.

Hrithik and Aishwarya are seen in a lackluster facade and that's what makes the characters so plausible. While Hrithik is seen sporting a beard and has even put on weight, Aishwarya is seen in sober outfits. In fact, the two actors have gone through a drastic appearance change and both pressurize you to believe that they are indeed Ethan and Sofia. It must be said that Hrithik and Aishwarya exude a certain dignity and elegance, much needed for a sensitive film of this magnitude and caliber.

It must have been an arduous task for Hrithik to carry off the Paraplegic character of Ethan Mascarenhas, but he depicts the part with flourish. It's a great risk in filmy norms to have the hero of the film almost entirely on a wheel chair, but Hrithik has never hesitated or been irresolute in putting himself to adverse conditions, in order to achieve excellence, in whatever character he chooses to depict. Kudos to Hrithik for accepting a role that's truly opposite to his larger-than-life image and portraying it with elan.

Aishwarya, as Ethan's nurse who is the epicenter of his world, has approached this role with rare understanding, not going overboard even once. So effective is she that she not only influences you but also compels you to believe that their love is solid in its quiet strength and also spirited in their verbal sparring. The sensational chemistry, which sizzled the silver screen in DHOOM 2 and JODHAA AKBAR and won hearts all over, sizzles yet again, but this time in a distinctive aspect.

Aditya Roy Kapur is truly outstanding in a pivotal character. Shernaz Patel is exceptional. Nafisa Ali makes her presence felt in a small but significant role. Suhel Seth is in terrific form. Moni Kangana Dutta is okay. Vijay Crishna [judge] is effective. Rajit Kapoor does complete justice to his role. Makarand Deshpande leaves an impression. Ash Chandler and Achint Kaur lend good support.

On the whole, GUZAARISH is an invigorating tale. Bhansali, as a film-maker, has scaled several notches above his past accomplishments to create a near-perfect cinematic experience. The highpoint of the motion picture is the magnificently penned story of an incapacitated and debilitated man who desires to end his being with dignity. The film sedu.ces the viewer with a strong emotional quotient, soulful music and of course, the crackling and wonderful onscreen chemistry between Hrithik and Aishwarya. Without doubt, GUZAARISH is one of the most profound, insightful and enriching dramas of the year.

Download Guzaarish MP3 Songs
01 -
02 - Sau Gram
03 - Tera
04 -
05 - Jaane Kiske
06 -
07 - Keh Na
08 - Chaand Ki
09 - Daayein
10 - Dhundhli

01 -
02 - Sau Gram
03 - Tera
04 -
05 - Jaane Kiske
06 -
07 - Keh Na
08 - Chaand Ki
09 - Daayein
10 - Dhundhli

Watch Guzaarish Videos

Sunday, November 14, 2010

Tees Maar Khan - Music Review

Read more! Cast :: Akshay Kumar, Katrina Kaif & Akshaye Khanna

Can you make a wild guess that which film was most expected this year as well in music? The Answer is “TEES MAAR KHAN” and if you ask the reason, that is - “Farah Khan-Vishal-Shekhar” Trio. Om SHANTI OM was the blockbuster of all time and the same in music. 'Dard-E-Disco', 'Ajab Si' were the masterpieces of their time. So anyone would expect awesome compositions from TEES MAAR KHAN. And anyway, the production house has already created havoc propaganda for the music of the film. They are still claiming “SHEILA KI JAWANI” the item song of the year, two greatest enemies in the song “WALLAH RE WALLAH” & they have already telecast-ed the title track and we have also loved it.

You will hear the most strange voice making the introduction of the song. Then side vocals arrive saying “Abhi Abhi Mili Khabar Ke Anusaar...”. Then the man Sonu Nigam starts to sing the most 'Crooky' song of the year “TEES MAAR KHAN”. Picturised on the full cast of the movie, the title track is impressive enough to top the charts soon. A damn confident dialog in vocal of Akshay Kumar himself adds charm to the song. Then unnecassary “Mai Baap” type of screams arrive & from then, the charm stars to lose and slowly, the song begins to change track and at last with some dhols, trumpets and “Tees Maar Khan” screams playing in the background, the song finally comes to an end. The most best part of the song was the theme music playing in the background which reminds us of some 70's or 80's movies that were based on robbery and criminals. Allover, a title track can't be better than this.

Remember Chhaliya? The heroine in mini dresses flaunting to raise your temperature. The introduction by a Harmonium already starts to groove you to the rhythm and later, drums and thumps unitedly will make you sweep you off your feat. This most-promised, various times claimed as the best item song of the season can't make you sit still in your chair. One of the most groovy item numbers of all time, “SHEILA KI JAWANI” is sure to create a sensation in no time. Superly sung by Sunidhi Chauhan, the song impresses you by the passion, maturity & temptation within it. Timely vocals(mostly Qawali) by Vishal Dadlani also create a great appeal. As a furious feminine track, this one's gonna stay and gonna stay for a long period and believe me, This Song's “Too Sexy For You”.

Rocking Qawali is nothing new today. But the sensations gonna arrive when Salman 'DABANGG' Khan, Katrina 'SHEILA' Kaif & Akshay 'Tees Maar Khan' Kumar come together to shake you heads by Qawali. If you deduct extra beat, then “WALLAH RE WALLAH” is totally a Qawali that has every sign to be a authentic one. Some artificiality has been added by the composer thinking about the listeners but they didn't need to do that. Some not-so-shiny voices like Kamal Khan, Shekhar Ravijani, Raja Hassan along with Shreya Ghoshal set the floor on fire this time unitedly. You are sure gonna see some college gores shaking their booty to this song competing with the stars on-screen. You have to come to the decision that Vishal-Shekhar delivers variety with quality.

Make way for the fourth track of the album which is entitled “BADE DILWALA” and is sung by Sukhwinder Singh along with Shreya Ghoshal. We Have heard this particular theme based song previously which is none other than “HUD HUD DABANGG”. But this one does not make such an appeal. The song does make a good effort by different & fresh lyrics by Anvita Dutt Guptan but loses tempo as it follows. Allover, this heroic number's a decent listen.

Make way for the whole team of vocalist coming from Television. Prajakta Shukre, obtained 4th place in Indian Idol Season 1(Sony); Abhijeet Sawant, Winner of Indian Idol Season 1(Sony); Harshit Saxena, Runner-up of Amul Star Voice Of India(Star Plus) & Debojit, Winner Of Zee Sa Re Ga Ma Pa Challenge 2005(Zee TV) – these four most-talented champs come together for the final track of the album “HAPPY ENDING”. Recently, we have listened “Apna Har Din” from Golmaal 3 which one was almost same like “Happy Ending”. A Free-spirited, happily lyricised by Anivita Dutt & sportingly composed by Vishal-Shekhar, “Happy Ending” surely makes an happy ending for this gonna-be-a-superhit music album.

TEES MAAR KHAN is the specific type of album which consists versatile type of tracks. Where you shake your booty with tracks like “SHEILA KI JAWANI”, “WALLAH RE WALLAH”, you can nod your heads with “HAPPY ENDING” and sing along the “TEES MAAR KHAN” way. With such reputation, expectations & big-budget, the music is appropriate and respectable, but one or two tracks more would have been more sufficient or we should say satisfying. Even with a bit displeased heart, every listener will move their body to the numbers. TEES MAAR KHAN is completely unemotional and fun-loving album in every means that doesn't have a single boring second to make you yawn. So, start pleasing yourselves by listening to the groovy songs of this big-budgeted, most-expected & most-promising movie that is to make arrival at the final moment of this year.

Download Tees Maar Khan MP3 Songs

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Thursday, November 4, 2010

Golmaal 3 - Movie Review

Read more! Cast :: Ajay Devgn, Kareena Kapoor, Arshad Warsi, Tusshar Kapoor, Shreyas Talpade, Kunal Khemu, Mithun Chakraborty

Brand GOLMAAL is back again. Its equity continues to soar upwards. Naturally, every film of this franchise carries the burden of humungous expectations. Touted as India's first-ever trilogy, GOLMAAL 3 [G-3], the third installment of GOLMAAL and GOLMAAL RETURNS, promises to mesmerize, tickle your funny bone and entertain moviegoers of all ages. G-3 promises to be bigger, better, funnier and far more entertaining and amusing than the first two parts.

There's a flipside of having a thriving brand. No matter how hard you try, comparisons with the earlier parts are inevitable. The question everyone's keen to ask is, does it supersede the forerunners in terms of entertainment? The best thing about G-3 is that it lives up to its undertaking of amusing you from the word go, till the very culmination. From inception to conclusion, save for a few lax moments, G-3 is high on fun and entertainment quotient.

By now one is well versed with Rohit Shetty's funda: Come, have a blast at the movies. Frankly, there's no word called 'logic' in Shetty's cinematic dictionary and the moviegoer too has attuned himself/herself to Shetty's high-on-entertainment laughathons. I've often said that comedy is serious business and a director attempting one has to walk a tightrope. But Shetty has mastered the art by now and G-3 proves that when it comes to entertainers, he's amongst the best in the business.

G-3 rocks! It may not go down in history as the best side-splitting entertainer ever made, but it should go down in history as the first trilogy that would pass the audience test with flying colors. G-3 raises the bar for G-4, what say Mr. Shetty?

G-3 highlights the story of hatred between two bunch of siblings. Ajay Devgn [Gopal] lives with his brother Shreyas Talpade [Laxman], mother Ratna Pathak Shah [Geeta aka Guddi] and best friend Kareena Kapoor [Daboo]. Their world collides with another trio, Arshad Warsi [Madhav], Tusshar Kapoor [Lucky] and Kunal Khemu [Laxman].

Arshad, Tusshar and Kunal's father Mithun Chakraborty [Pritam] and Ajay and Shreyas' mother Ratna Pathak Shah decide to rekindle their relationship and with Kareena's persuasion even get married. But there's a problem: The kids detest each other. To complicate matters further, there's a thief Johnny Lever [Puppy] and his henchmen [Vrajesh Hirjee and Sanjay Mishra] and a necklace that's hidden somewhere.

Two things. One, before watching G-3, I had felt that focusing on eight main characters would lead to chaos only as there would be no scope for character development. But I was proven completely wrong because each character is well etched out and by the time the movie concludes, you don't feel that the show belongs to 'x', while 'y' was sidelined. The movie belongs to everyone!

Two, it's said that G-3 is inspired by Basu Chatterjee's KHATTA MEETHA [1978; starring Ashok Kumar and Pearl Padamsee], Umesh Mehra's HAMARE TUMHARE [1979; starring Sanjeev Kumar and Raakhee] and the Hollywood film YOURS, MINE AND OURS [1968], wherein an elderly couple, having their own kids, decide to live under one roof. Rohit Shetty and his team of writers [screenplay: Yunus Sajawal; script consultant: Robin Bhatt] may be inspired by these films, but they have given G-3 a completely different flavor and dimension altogether. The writing, I wish to forewarn, defies logic, sense and reason, therefore one has to go with the flow. It has a skeletal plot, but is packed with jokes, jibes, pranks and of course, stunts/action [Rohit Shetty's movies are incomplete without cars being blown to smithereens].

The casting of Johnny Lever as the absentminded and scatterbrained thief is a master stroke. The writing, execution and portrayal of this part must've been an arduous task, but what comes across on screen is remarkable. In fact, this track would work wonders with the audience, especially those who swear by the Johnny Lever brand of humour. Johnny's sequence on the water scooter, to cite an instance, is sure to bring the house down. Besides the sequences involving Johnny Lever, I'd like to single out yet another sequence that shows the siblings threatening each other. It's a sequence without words but a super background score [Sanjoy Chowdhury], with the siblings trying to threaten one another with every possible thing in the house - be it a cactus plant or a rose, be it a tomato or a pumpkin, while their parents [Mithun and Ratna] watch HUM SAATH-SAATH HAIN on TV. Also, Kareena's pet dog called Facebook trying to get the bone out of Mithun's pocket is bizarre, but will be loved by the hoi polloi. Prepare to laugh your guts out in the above-mentioned scenes.

Any hiccups? The climax could have been a little more imaginative. It follows the trademark Priyadarshan style of getting together the entire cast, including supporting actors to villain sidekicks, for the finale. No issues with that, but a more innovative and ingenious finale would have only proven the icing on the cake.

Relying more on treatment than content, G-3 has the by-now-famous stamp of Rohit Shetty all over it. The director gets ample help from writer Yunus Sajawal and dialogue writers Farhad-Sajid and Bunty Rathore [additional dialogues]. The screenplay doesn't give you time to think, while the dialogues are truly funny at most times. As the third installment in the GOLMAAL series, G-3 has a lot to live up to and so does the soundtrack [Pritam]. 'Golmaal' is fun, while 'Ale' moves at a feverish pace. Cinematography [Dudley] is perfect, while the action scenes [Jai Singh Nijjar] are exciting.

Like I pointed out earlier, every actor in the film contributes his/her bit in making this fun ride enjoyable. Yet, I'd like to single out Ajay, who goes for a grungy makeover. The rugged style, diamond ear studs, tattoos and cropped hair suits the hyper character that he portrays. He's excellent. Another well-written character is of Kareena, who fits in so well with the boys. She looks every bit the tomboy she is expected to be. She's matchless. Tusshar gives a brand new dimension to the character he has learnt so well to portray. He is sure to have the audience in splits with his class act. I'd also like to single out the emotional sequence, which Tusshar performs with gusto. Arshad oozes sufficient confidence to carry off the role, while Shreyas and Kunal are wonderful as well.

Mithun Chakraborty and Ratna Pathak Shah are genuinely lovable, while Johnny Lever is simply fantastic. Ditto for his henchmen, enacted by Vrajesh Hirjee and Sanjay Mishra. Mukesh Tiwari, Murli Sharma, Vijay Patkar, Viju Khote and Ashwini Kalsekar lend very good support. Prem Chopra is superb in a cameo.

On the whole, GOLMAAL 3 is an ideal fun ride with thrice the enjoyment and gratification, thrice the magic and thrice the hilarity. Go on, have a blast and make this Diwali thrice more entertaining for you. An out-and-out entertainer, it's sure to light up the celebratory festive mood.

Download Golmaal 3 MP3 Songs

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Wednesday, November 3, 2010

Action Replayy - Movie Review

Read more! Cast :: Akshay Kumar, Aishwarya Rai, Neha Dhupia, Randhir Kapoor, Om Puri, Kirron Kher, Rajpal Yadav

'Action Replayy' is one film which is arriving as an underdog this Diwali. The film doesn't scream and excites audience by proclaiming - 'Hey, look I am cool' or 'See, Akshay Kumar would be seen as a Mr. Smart Know All' once again' or 'The gags are such that you would fall off your seats'. Instead it does it all in a subtle manner when it comes to treatment though the look of the film does gain audience attention, courtesy the 70s setting that had a psychedelic flavour to it.

No wonder, when the curtains go up, the film begins and a few minutes later, Akshay is introduced as a nerd from the 70s, everyone collectively goes 'eeks' along with his son (Aditya Roy Kapoor) who has made a visit to the past. Forget the flamboyance or the energy that one expects from Akshay Kumar, he actually gets into a garb as never worn before. Donning an ill fitting 'kurta-pyajama', a pair of TV screen style glasses, a 'champu' haircut, an awkward walk and last but the most visible aspect of his personality - two protruding teeth, Akshay is as unlike a hero as one can expect from him or any other supporting actor filling a frame.

Vipul Shah gets the retro flavour bang on right from the time opening credits start rolling. The anthem music, background score, colours, costumes, sets, props - everything blends in truly well to actually traverse audience to the era gone by.

This is not all as the characters too turn into the kind that one expects from the 70s. Aishwarya Rai as a talkative mini skirted young tomboyish girl could well have taken a cue from Neetu Singh, Rannvijay Singh as a harmless villain is a diluted version of Ranjeet & Prem Chopra while Rajpal Yadav is a mini version of the boisterous Rajendra Nath. However, Akshay does something that has never been done by an actor either from the 70s or the current times and this is where the win of the character lies.

So while Aditya tries to develop love between next door neighbours Akshay and Aishwarya, everything that is possibly goes wrong between the duo. A street-smart Ash makes life miserable for Akshay and though he has a soft corner for her, he manages to let go off his feelings when he sees her get out of a mini skirt and don a saree. His heart goes 'dhak dhak' and he is all set to propose to her, but not before he goes through some real transformation. It is time for some 'awaaz neeche' and the game of one-upmanship as he is the one to take the upper seat now with Ash eventually falling in love with her.

A storyline as simple as that has to be sustained by peppering the screen with some interesting ingredients. This is something that is made possible through some fantastic tunes that have been put in place by Pritam. 'Zor Ka Jhatka', 'Chann Ke Mohalla' and 'Ae Bekhabar' arrive one after another and are a treat for the audience. There is a medley of four songs (set in a dance competition) in the second half of the film which is immediately followed by a love song (Tera Mera Pyaar); something that will have mixed reactions from audience as there are too many songs that come in one go.

This is immediately followed by a chase sequence, hence leading to a climax which seems to be set in a Priyadarshan/Anees Bazmee mode. For those who had liked the subtle yet engaging narrative of the film so far, this part of the film has a different flavour to it, something that may entice different reactions from different segments (mass v/s class) of the audience.

Coming back to the film in totality, to its credit there is no dull moment. While some of the fun sequences (Akshay proposing to Ash for the first time in a garden, the series of 'awaaz neeche' episodes, the one where Ash brings a cake for Akshay) do bring on the laughs, there are a few lump in the throat moments as well (Akshay touching Aditya's feet, his sob story on the reason behind his personality). What makes 'Action Replayy' further endearing is the chemistry between Akshay and Ash, something which is unconventional and yet makes one wonder that why the two had never been paired together.

Amongst other actors, Aditya turns out to be a surprise package as he does justice to his lengthy role in the film. He has a pleasant screen presence, is confident and quite natural. Om Puri and Kirron Kher are as usual, Rajpal Yadav is controlled, Rannvijay Singh decent while Randhir Kapoor and Sudeepa Singh are hardly there. Neha Dhupia has a miniscule screen time in a friendly appearance though she makes her presence felt in 'Zor Ka Jhatka'.

Overall, 'Action Replayy' turns out to be a clean musical entertainer that has a young feel to it without turning loud and brings with it an appeal that would cater to audience across all age groups. If in look out for some clean entertainment this Diwali, step into 'Action Replayy'; you would enjoy some harmless fun that would follow in those two hours.

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