Tanu Weds Manu - Movie Review

Read more! Cast :: R Madhavan & Kangna Ranaut

For some strange reason, Hindi cinema has often projected an NRI youngster as a cool and hep dude, pretending to speak Hindi with an English accent. But that, in my opinion, is merely a façade. It%s far from real. Sure, there could be exceptions, but every NRI who arrives in India isn%t wearing an Armani or Versace. Neither is he a die-hard romantic like Raj or Rahul. In fact, a lot of NRIs I know are amused to note that while they held on to the traditions, the ones in India are more inclined towards the West.

Yet, the East-West love story remains a pet theme that continues to invade the Hindi screen. Films like PURAB AUR PASCHIM, DILWALE DULHANIA LE JAYENGE and NAMASTEY LONDON have explored this topic most convincingly. In fact, a lot many people feel that YRF and Dharma have highlighted this aspect in various films, which the diaspora has lapped up with glee. But, of late, films that carry with them the scent of the soil are being attempted by our storytellers. TANU WEDS MANU too highlights this facet.

The NRI in TANU WEDS MANU is docile, unassuming and soft-spoken, has no accent or attitude, believes in arranged marriages, relishes the evergreen songs of Mohammed Rafi, is old-fashioned literally. The girl is contradictory. She%s belligerent and dominating, also smokes, drinks and uses expletives, has had many ¯fairs%, has her new boyfriend%s name tattooed on her chest, is a straight-forward and fearless babe. This is their story!

Like his directorial debut STRANGERS, director Aanand L Rai opts for unconventional and unpredictable situations in TANU WEDS MANU. Of course, the fact that Tanu and Manu would tie the knot sooner or later is at the back of your mind, even before the reels have begun to unfold, but you want to experience their journey - their voyage from strangers to lovers.

TANU WEDS MANU has some great moments, some standard ones, some tedious ones as well, when you feel that the story is being stretched for no particular reason. The drama tends to get heavy after a point and that takes a toll on the film. In fact, the writing gets shaky in the middle of the second hour, although the finale is well thought of and implemented. You may call it clichéd or formulaic, but it works big time.

Meet Manu [R. Madhavan], a seedha saadha Doctor from London. Intelligent, temperate and from a respectable family, the perfect groom which every parent wants for their daughter. When he arrives in India, he realizes that India has changed and so have the people. The Indian women in particular are more attracted towards the Western lifestyle. Family pressure leads him to Kanpur to meet Tanu [Kangna Ranaut], the quintessential small-town girl who has studied in Delhi.

Tanu is a smart, intelligent girl who will do everything that her parents will disapprove. With a mind of her own and a love for rebellion, Tanu is dead against an arranged marriage. But destiny holds something totally different for these diametrically diverse personalities.

Although not similar to JAB WE MET, TANU WEDS MANU conjures up memories of the Imtiaz Ali-directed film. The Punjabi setting and the rebellious girl are two prominent similarities that one recollects instantly. Besides, in HUM DIL DE CHUKE SANAM, PARDES, JAB WE MET as well as TANU WEDS MANU, the girl is in love with someone else and the protagonist helps them take the relationship forward. But director Aanand L Rai ensures that TANU WEDS MANU retains its individuality and doesn%t come across as a replica/clone of those immensely likable films. In fact, his handling of several light moments as well as dramatic ones is exemplary.

TANU WEDS MANU has some wonderful moments in the first hour, but I%d like to single out the sequence when Madhavan confides in Deepak Dobriyal about Kangna not wanting to marry him. Also, the sequence at the interval comes as a bolt from the blue. It%s the writing in the post-interval portions that bothered me. Jimmy Sheirgill%s sequences aren%t as convincing. Also, since Kangna is shown to be a blabber mouth and also forthright and outspoken, why does she turn docile all of a sudden? It doesn%t go with her character, honestly. Also, since Ravi Kissen has Madhavan%s photograph [presumably handed to him by Jimmy Sheirgill], why is Jimmy unaware that Madhavan is the same guy when he meets him for the first time? A few hiccups, but not the type that really go against the film. However, the penultimate 15/20 minutes bring the film back on tracks. Actually, the climax is the highpoint of this enterprise.

The soundtrack takes you by complete surprise. It is earthy and charming. %Sadi Gali% and %Jugni% are two tracks that act as pillars and would help attract moviegoers to cineplexes. Also, the popular track of yesteryears, %Kajra Mohabbat Wala%, is well integrated in the narrative. Chirantan Das%s cinematography captures the lush locales of North India well.

Even though Madhavan enacts the role of an NRI, he doesn%t come across as a stereotypical phoren returned desi. He is real, restrained, yet forceful. To essay a character in such an understated manner is a challenge for any actor and he does it with complete understanding of the character. Unlike her past films, Kangna plays a part that has a zest for life and is bold and fun-loving at the same time. She%s audacious, but lovable. Nonetheless, she needs to work on her pronunciation/diction, which sounds so peculiar.

Jimmy Sheirgill springs a pleasant surprise. Known for portraying soft/positive roles, this one comes as a complete shocker. Though his role isn%t well etched out, he leaves a solid impression in the latter reels. Ravi Kissen is wasted. What is he doing in this film? Deepak Dobriyal is superb yet again. This dynamic actor is under-utilized in our films. Rajendra Gupta, K.K. Raina, Navni Parihaar and Deepti Mishra are effective. Eijaz Khan and Swara Bhaskar are wonderful.

On the whole, TANU WEDS MANU is a feel-good, light-hearted entertainer with the right dose of humor, drama and romance, besides a popular musical score and some smart dialogue that act as toppings. If you like simple, uncomplicated films that tug at your heartstrings, then chances are that you might just like this sweet little rom-com. In terms of economics, the right holders have already recovered a substantial amount from the sale of Satellite Rights. The merits of the film coupled with no major opposition till 1 April will ensure healthy returns on their investment, thus making the investors recover the remainder amount easily. The only concern is the inopportune release period for movies [World Cup] and chances are its business might get affected on days when crucial matches are played, especially when India is on field.

Download Tanu Weds Manu MP3 Songs
01 - Tanu Weds Manu - Sadi Gali@review-of-movies.blogspot.com
02 - Tanu Weds Manu - Yun Hi@review-of-movies.blogspot.com
03 - Tanu Weds Manu - Rangrez@review-of-movies.blogspot.com
04 - Tanu Weds Manu - Piya@review-of-movies.blogspot.com
05 - Tanu Weds Manu - Mannu Bhaiya@review-of-movies.blogspot.com
06 - Tanu Weds Manu - Jugni@review-of-movies.blogspot.com
07 - Tanu Weds Manu - Rangrez (Hey Rangrez Mere Hey)@review-of-movies.blogspot.com

01 - Tanu Weds Manu - Sadi Gali@review-of-movies.blogspot.com
02 - Tanu Weds Manu - Yun Hi@review-of-movies.blogspot.com
03 - Tanu Weds Manu - Rangrez@review-of-movies.blogspot.com
04 - Tanu Weds Manu - Piya@review-of-movies.blogspot.com
05 - Tanu Weds Manu - Mannu Bhaiya@review-of-movies.blogspot.com
06 - Tanu Weds Manu - Jugni@review-of-movies.blogspot.com
07 - Tanu Weds Manu - Rangrez (Hey Rangrez Mere Hey)@review-of-movies.blogspot.com

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7 Saat Khoon Maaf - Movie Review

Read more!
Cast :: Neil Nitin Mukesh, Priyanka Chopra, Naseruddin Shah, John Abraham, Mohanlal, Irrfan Khan

The very thought of watching a Vishal Bhardwaj film excites a movie buff no end. Right from MAKDEE to KAMINEY, Bhardwaj's body of work stands out from the rest. The forward-thinking film-maker's fixation for adapting novels and plays is known to all and sundry by now. Continuing with his practice of adapting from the written form, the supremely talented storyteller now adapts Ruskin Bond's short story 'Susanna's Seven Husbands' for his new outing 7 KHOON MAAF. Known for walking the unusual path, Bhardwaj narrates an unconventional story yet again - of a woman who marries multiple times, following the untimely death of her husbands.

Till a few years ago, no one would've ever thought of making a film on a woman who marries, remarries, weds again, ties the knot yet again... in fact, she walks down the aisle multiple times. That's not all, the woman, we are told, kills each of her husbands subsequently. The theme might come as a jolt to the trditional moviegoers, since the wives on the Hindi screen are either depicted as docile and dutiful or fiercely independent and ambitious. The question is, will the orthodox Indian audience absorb a theme like this? It's blasphemous, some may opine. Imagine a murderous bride, some may rant.

There's talk that 7 KHOON MAAF is also loosely inspired from an Italian movie by the name SETTE VOLTE DONNA aka WOMAN TIMES SEVEN [1967], helmed by Vittorio De Sica. That one depicted seven short stories with adultery as the focal point [Shirley MacLaine, the protagonist, knits these stories together]. However, the resemblance could be coincidental and not an attempt to plagiarize that film.

7 KHOON MAAF works in parts. A few stories - involving Neil Nitin Mukesh, John Abraham, Irrfan Khan and Annu Kapoor - are absorbing, while at least two could've been better narrated - Naseeruddin Shah and Aleksandr Dyachenko. The unfortunate part is that the uninteresting ones come in the latter half and coupled with its excessive length, the impact generated by a captivating first hour gets diluted in the process. Even the culmination doesn't sweep you off your feet.

Not just the unconventional plot, even the execution of the subject material is offbeat and quirky. There are several instances in the narrative where the viewer has to stay very, very attentive. Unlike other films, Bhardwaj wants his viewer to stay attentive and use his mind while watching the various stories in 7 KHOON MAAF. In one sequence, the camera zooms and the funeral transforms into a marriage, while another sequence depicts the marriage transforming into a funeral. Also, the mystery of the killer with five fingers and one toe is disentangled towards the end, but the sequence doesn't register as effectively thanks to the way it has been depicted.

Susanna [Priyanka Chopra] is unlucky in love. Her first husband, Major Edwin [Neil Nitin Mukesh], is overtly possessive and suspicious. After his demise, Susanna marries Jimmy [John Abraham] as she is floored by his musical talent. Jimmy becomes successful, but with success comes girls and drugs. He dies of drug overdose.

Enter Wasiullah aka Musafir [Irrfan Khan]. Impressed by his poetry, Susanna marries him, but discovers that he's a romantic in daytime, but a beast at night. He too gets eliminated. Susanna falls for the suave Nicolai [Aleksandr Dyachenko] from Moscow, but this marriage doesn't last long as Susanna discovers that Vronsky has a wife in Russia.

Following the death of a foreign national, the police start taking keen interest in the case. The officer Keemat Lal [Annu Kapoor] enters Susanna's life. Initially, he asks for sexual favors and later, persuades her to marry him. He dies due to cardiac arrest. After the death of Keemat Lal, Susanna marries Dr. Modhusudon [Naseeruddin Shah]. Susanne is depressed and he puts her on a mushroom only diet. But he's the first guy in her life who wants to get rid of her. Instead, she murders him.

In the end, Susanna marries yet again... for the seventh time. This time, to someone who knows she has committed the murders and sins. What happens next?

Though Priyanka is shown killing her husbands with the help of her ever-faithful staff, let this be told that it's not a scary or frightful experience. Sure, it's intense, but at the same time Bhardwaj injects humor in the narrative and that's the prime reason why the narrative never gets heavy or serious. I'd like to say this film is in a space of its own.

Also, though the protagonist marries and remarries, you don't feel any kind of animosity or hatred for the character. On the contrary, one empathizes with her never-ending pursuit for true love. One feels the pain, loneliness and tragedy that she goes through and that's what makes her the woman that she eventually turns out to be. Wicked, she is, but Bhardwaj offers reasons for her to get rid of those men. The reasons, in most cases, are convincing. But the transition from one man/husband to another is so sudden that Susanna comes across as a desperate lady hankering for yet another marriage.

Bhardwaj, the writer, leaves the viewer clueless about the two stories in the second hour. Fine, Susanna had learnt that her Russian husband had a wife and two kids tucked away in Russia, but the manner in which the entire case is solved leaves you baffled. In fact, one often wonders if it was so easy to murder a person and move on in life. How could the law enforcement remain a silent spectator despite multiple murders/mysterious deaths involving the same woman? The writing didn't appear foolproof and convincing to me.

Bhardwaj shares yet another responsibility in his films - handling the music department. One is assured that Bhardwaj would come up with lilting and high quality compositions, but the soundtrack of 7 KHOON MAAF is strictly okay. The Indian version of the Russian song 'Kalinka', 'Darling', is already a rage and it goes without saying that it's the best track of the enterprise. Rendered brilliantly, the song is sure to be one of the reasons why people will be tempted to watch the film.

Always ready to accept challenges in her career [AITRAAZ, YAKEEN, FASHION] and raising the bar with her performances, Priyanka accepts the challenge to portray ages from 21 to 65 in 7 KHOON MAAF. It must've been an arduous task to get the different age-groups right, but she proves her infinite acting potential yet again. Known to be an actress who stays true to every character that she is portraying, Priyanka delivers yet another sparkling, award worthy performance this time. There are several love-making sequences with her husbands and Priyanka has handled those [bold] sequences without inhibitions.

Amongst the remaining cast, Annu Kapoor leaves the maximum impact. He's simply outstanding! John doesn't really get much scope, Neil is effective, Irrfan is wonderfully restrained, Naseer is believable and Aleksandr is passable. Vivaan Shah, who narrates the story of Susanna, is a talent to watch out for. Though it's his maiden film as an actor, it doesn't seem like one. He is not your regular debutant and that's what makes his character appear so real. Konkona Sen Sharma does well. Usha Uthup and the two male helps are good.

On the whole, 7 KHOON MAAF is a dark film that has its share of positives and negatives. However, the film will meet with diverse reactions - some will fancy it, while some will abhor it. The film will appeal more to the critics/columnists and the festival circuit. However, it is not the kind of cinema that will set the box-office ablaze. Ideally, I would've given a two star rating for this film, but I am going ahead with an extra star for Priyanka Chopra's sterling performance!

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01 - 7 Khoon Maaf - Darling@review-of-movies.blogspot.com
02 - 7 Khoon Maaf - Bekaraan@review-of-movies.blogspot.com
03 - 7 Khoon Maaf - O Mama@review-of-movies.blogspot.com
04 - 7 Khoon Maaf - Awaara@review-of-movies.blogspot.com
05 - 7 Khoon Maaf - Tere liye@review-of-movies.blogspot.com
06 - 7 Khoon Maaf - Dil Dil Hai@review-of-movies.blogspot.com
07 - 7 Khoon Maaf - Yeshu@review-of-movies.blogspot.com
08 - 7 Khoon Maaf - Doosri Darling@review-of-movies.blogspot.com
09 - 7 Khoon Maaf - O Mama (Acoustic)@review-of-movies.blogspot.com

01 - 7 Khoon Maaf - Darling@review-of-movies.blogspot.com
02 - 7 Khoon Maaf - Bekaraan@review-of-movies.blogspot.com
03 - 7 Khoon Maaf - O Mama@review-of-movies.blogspot.com
04 - 7 Khoon Maaf - Awaara@review-of-movies.blogspot.com
05 - 7 Khoon Maaf - Tere liye@review-of-movies.blogspot.com
06 - 7 Khoon Maaf - Dil Dil Hai@review-of-movies.blogspot.com
07 - 7 Khoon Maaf - Yeshu@review-of-movies.blogspot.com
08 - 7 Khoon Maaf - Doosri Darling@review-of-movies.blogspot.com
09 - 7 Khoon Maaf - O Mama (Acoustic)@review-of-movies.blogspot.com

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Patiala House - Movie Review

Read more! Cast :: Akshay Kumar, Anushka Sharma & Rishi Kapoor

Director Nikihil Advani and Akshay's last outing together, the infamous CHANDNI CHOWK TO CHINA, remains a favorite punching bag to this day. Besides, PATIALA HOUSE comes at a time when people have had an overdose of Akshay starrers. I reiterate, there ought to be at least six months' gap between two films of a major star, while this is Akshay's fourth release in six months [KHATTA MEETHA - 23 July, ACTION REPLAYY - 5 November and TEES MAAR KHAN - 24 December]. Moreover, the film opens exactly one week before the keenly anticipated World Cup cricket matches and coupled with that, it will have no breathing space as the very next week witnesses the release of another much-awaited film 7 KHOON MAAF. Expecting PATIALA HOUSE to overcome these hurdles is tough, mainly when the chips are down!

The chips are down also because people assume PATIALA HOUSE to be something which it is not. Let me clarify that PATIALA HOUSE is not an 'extension' of Akshay's previous films. Sure, PATIALA HOUSE has its share of humorous moments, but the humor is of the subtle kind here. Nor can one compare it to NAMASTEY LONDON, since that film was more of a love story between a British-born Indian and a desi Indian, while PATIALA HOUSE is more of an inspirational film. It's about chasing your dreams as and when you get another opportunity, if you don't succeed the first time.

Essentially, PATIALA HOUSE is a somber film, with the focal point being drama and histrionics rather than the slapstick wit or in-your-face comedy that one anticipates from an Akshay starrer. It's more about familial bonding, with a sport [cricket] interwoven in the screenplay. This one doesn't tickle your funny bone; instead it moistens your eyes thanks to the poignant moments in the narrative, especially the penultimate moments of the film. Those exhausted of watching Akshay getting typecast in similar genre films will drop the charges while watching this one. This is, without a shred of doubt, amongst Akshay's finest performances.

On the flip side, the screenplay of PATIALA HOUSE is erratic - vacillating between engaging to run of the mill to flaccid moments. In fact, a chunk involving the game plan - the family trying various gimmicks and ploys to conceal the truth from Rishi Kapoor - is lame and bizarre. Ditto for the romance between Akshay and Anushka; it comes across as half-baked and looks tame. Even the members of the family, most of them, have ill-defined characters. Fortunately, these deficiencies get camouflaged as the father and son get set for an emotional showdown in the pre-climax. From this point onwards, right till the euphoric victory, the film reaches its pinnacle.

PATIALA HOUSE is an underdog. The expectations are zilch, the odds are not in its favor, but the film throws a pleasant surprise. Go for it!

At Patiala House lives the Kahlon family ruled by Bauji [Rishi Kapoor]. They follow his diktats as he tries to hold onto his 'Indian values' in the land of the goras. The younger generation at Patiala House wants to assert themselves and follow their dreams, but is held back by their respect and love for Bauji and the shining example of Bauji's eldest son, Parghat Singh Kahlon aka Gattu [Akshay Kumar].

Gattu's decision to turn cricketer and play for England is unacceptable to Bauji, who tears his dream apart right in front of his eyes. A dejected Gattu decides to live the life that his father forces upon him. Gattu genuinely cares and respects his father's opinion, so much that he is prepared to let his own dream be sacrificed in the process. Will Bauji loosen his hold and let the youngsters find their own dreams, instead of following his? Will Gattu get a second chance to live his life?

There's no denying that the story of PATIALA HOUSE reminds you of Gurinder Chadha's BEND IT LIKE BECKHAM, wherein Parminder Nagra, as the second-generation Sikh girl, defied her parents' wishes to play football. However, PATIALA HOUSE is a film about attachments, affiliations and familial bonding, about respect and trying to adjust to contradictory values that generally crop up when one relocates to another country. More importantly, it's about dreams and aspirations and how fate offers you a second chance in life. PATIALA HOUSE is not one of those atypical mass entertainers that focuses only on providing entertainment, while the story takes a complete backseat. This one, thankfully, has a story to tell. And an interesting one, frankly. Also, as much as this film focuses on the relationship between the father and son, it also weaves the popular sport well in the narrative and that makes for an interesting viewing. However, the cricket factor is subsidiary; the focal point remains the father-son conflict. Nikhil Advani ensures that beneath the familial bonding and curbed aspirations, there's an underlined message as well: Chase you dreams, don't give up, you live only once!

The film has some striking moments and I would like to single out the ones when writers Nikhil Advani and Anvita Dutt Guptan take you back in time to a younger Rishi Kapoor and Akshay's childhood. The racist attacks and how it impacts the family is straight out of life. Besides, the vital sequence in the film - Rishi commands the young Akshay [enacted by Usman Qureshi] to abandon his plans of playing for England - is utmost convincing. The climax, of course, is powerful and the hallmark of this enterprise. It evokes emotions on dual levels - when the father decides to watch his son play cricket and also when Akshay wins the match for England. Ideally, the film should've concluded on this euphoric note, but the song thereafter lessens the impact of the exhilarated climax.

Director Nikhil Advani regains his position as a compelling storyteller, which he had lost post SALAAM-E-ISHQ and CHANDNI CHOWK TO CHINA. He illustrates his proficiency in the dramatic portions, handling the father-son sequences with dexterity. The soundtrack [music: Shankar-Ehsaan-Loy] is melodic, with 'Kyun Main Jaagoon' being the best track of the enterprise. The song conveys the spirit of the film well. The placement of 'Laungda Lashkara' may be debatable, but the song is tuneful nonetheless. The background score [also by S-E-L] is classy. Santosh Thundiyil's cinematography is stunning.

Gattu is a character anyone can relate to or empathize with and to portray that convincingly is indeed difficult, but Akshay plays this part with rare maturity. It's a complex role to portray since he has to conceal the emotional turmoil he is experiencing within, yet wear a cheery expression against all adversities. The viewer is sure to connect directly and indirectly with this character, even if he/she may have not have experienced what he does in this film. Also, Akshay ensures that his bowling skills look absolutely realistic on screen and he does justice to the sport.

Rishi Kapoor, cast as the patriarch of a family settled in U.K., gets it right yet again. Note his dialect and body language in particular. As Bauji, the veteran actor delivers a sparkling performance, which would rank amongst his superlative work when you look back at his illustrious career. Dimple Kapadia doesn't really get much opportunity initially, but is wonderful in the penultimate sequence when she confronts Rishi Kapoor.

Anushka is an integral part of the story. She is Akshay's shoulder, an unconditional support for him and she fits perfectly into her character. Amongst the plethora of actors, Armaan Kirmani [as Akshay's brother] is excellent, Jeneva Talwar [as Armaan's pregnant wife, Akshay's sis-in-law] is top notch and Usman Qureshi [essaying Akshay's earlier years] is natural. Tinnu Anand is competent, as always. Prem Chopra is okay. Soni Razdan does a fair job. The kid who plays Anushka's brother is smart.

On the whole, PATIALA HOUSE is a film about attachments, affiliations and familial bonding. It's a compelling watch, more for its drama and histrionics than anything else. It's a film that explores the father-son relationship and not just those in India, but around the world should be able to relate to the predicament depicted in this film. The hallmark of the film is the merging of its engaging drama with cricket and that's what makes this product stand out from the earlier Akshay starrers. Especially its penultimate 30 minutes, which is the brightest spot of this enterprise. If the movie succeeds in pulling the heartstrings of the moviegoer, it would propel Akshay back in the same position he once was after the victory of NAMASTEY LONDON and SINGH IS KINNG.

Download Patiala House Mp3 Songs
01 - Patiala House - Laung Da Lashkara@review-of-movies.blogspot.com
02 - Patiala House - Kyun Main Jaagoon@review-of-movies.blogspot.com
03 - Patiala House - Rola Pe Gaya@review-of-movies.blogspot.com
04 - Patiala House - Aadat Hai Voh@review-of-movies.blogspot.com
05 - Patiala House - Baby When You Talk To Me@review-of-movies.blogspot.com
06 - Patiala House - Tumba Tumba@review-of-movies.blogspot.com
07 - Patiala House - Kyun Main Jaagoon (Unplugged)@review-of-movies.blogspot.com
08 - Patiala House - Aval Allah@review-of-movies.blogspot.com
09 - Patiala House - Kyun Main Jaagoon (Remix)@review-of-movies.blogspot.com
10 - Patiala House - Baby When You Talk To Me (Remix)@review-of-movies.blogspot.com
11 - Patiala House - Rola Pe Gaya (Remix)@review-of-movies.blogspot.com
12 - Patiala House - Laung Da Lashkara (Remix)@review-of-movies.blogspot.com

01 - Patiala House - Laung Da Lashkara@review-of-movies.blogspot.com
02 - Patiala House - Kyun Main Jaagoon@review-of-movies.blogspot.com
03 - Patiala House - Rola Pe Gaya@review-of-movies.blogspot.com
04 - Patiala House - Aadat Hai Voh@review-of-movies.blogspot.com
05 - Patiala House - Baby When You Talk To Me@review-of-movies.blogspot.com
06 - Patiala House - Tumba Tumba@review-of-movies.blogspot.com
07 - Patiala House - Kyun Main Jaagoon (Unplugged)@review-of-movies.blogspot.com
08 - Patiala House - Aval Allah@review-of-movies.blogspot.com
09 - Patiala House - Kyun Main Jaagoon (Remix)@review-of-movies.blogspot.com
10 - Patiala House - Baby When You Talk To Me (Remix)@review-of-movies.blogspot.com
11 - Patiala House - Rola Pe Gaya (Remix)@review-of-movies.blogspot.com
12 - Patiala House - Laung Da Lashkara (Remix)@review-of-movies.blogspot.com

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Tanu Weds Manu - Music Review

Read more! Cast :: R Madhavan & Kangna Ranaut

There are limited expectations from the music of Tanu Weds Manu as the film hasn't been projected as a musical. Also, since there aren't many recognised names attached to the music department (composer Krsna, lyricist Rajshekhar), one doesn't quite know what to expect. However, since the film has a small town setting to it, one does expect the kind of score that would have a rustic flavour to it.

Though one doesn't know what exactly would arrive in the album, Tanu Weds Manu does boast of a cracker of a start with 'Sadi Gali' having all in it to turn into a smash hit in quick time. A Punjabi track by Lehmber Hussainpuri which is different from the routine 'bhangra' tracks, 'Sadi Gali' is a fun celebration number that hooks you in the first listening itself. A foot tapping number with a quintessential desi Punjabi flavour to it that carries the potential to find popularity wherever and whenever it is played, it will find good acceptance especially up North.

The album shifts track soon after with Mohit Chauhan humming around in his characteristic tone. A love song, 'Yun Hi' is about a guy professing his love and expecting the girl to nod in agreement as well. With easy on ears lyrics by Rajshekhar, the song maintains an overall simplicity in its tone and sails through smoothly. Though 'Yun Hi' is not the kind of song that has chartbuster written to it (due to an overall laidback presentation), it is harmless when given a hearing. Meanwhile Ujjaini can also be heard in the background as a backing vocalist.

Next to arrive is a Sufi number 'Rangrez' by Krsna. The longest track in the album which lasts over six minutes, 'Rangrez' has a core essence of love to it and is situational in appeal. Also, it can be expected to play a multiple times in the film's narrative. With an unadulterated presentation sans any external influences that would have threatened to take away from the traditional flavour that it carries, 'Rangrez' would primarily be appreciated by the followers of Sufi music. Later the song also arrives in another version which is rendered by Puranchand Wadali and Pyare Lal Wadali.

By this time around though one does start missing another terrific number like 'Sadi Gali'. However the album keeps it's soft and sober mood that had started with 'Yun Hi'. Resultantly the song that arrives is 'Piya' which actually turns out to be the best of the lot since 'Sadi Gali'. Sung by Roop Kumar Rathod, 'Piya' has a semi-classical flavour to it and shows the range of composer Krsna who spins a tune which is extremely easy on ears. With an old world charm to it, 'Piya' should sound even better when seen along with the film.

There is fun that returns to the proceedings with 'Mannu Bhaiya' which immediately reminds one of 'Genda Phool' [Delhi 6]. Call it the North Indian influence here but the combination of melody and rhythm is on the same lines as the one that was created by A.R. Rahman a couple of years back. Sung by Sunidhi Chauhan who goes restrained in this celebration number where friends and families of the bride and groom get together to tease the couple, 'Mannu Bhaiya' is yet another 'desi' track that maintains its essence. While Ujjaini Mukherjee and Niladri Debnath give Suidhi some support behind the mike, Manjeera, Rakhi Chand and Vivek Naik are the backing vocalists.

Last to arrive is a fun number 'Jugni' which is as Punjabi as it gets and gains that slot in the album which is reserved for a chartbuster. Even though the song's duration is a mere 3 minutes here, Mika makes it worth it by letting his hair down in this dance number that should be pronto aired across all music channels to gain added visibility.

Tanu Weds Manu would have settled down to just being a decent album if not for 'Sadi Gali' and 'Jugni'. These are the two numbers that acts as the pillars of Tanu Weds Manu that should not just add value to the album but also help the film gain added visibility in weeks to come. While 'Mannu Bhaiyya' and 'Piya' add further variety to the album, it's the aforementioned dance numbers that are most enjoyable.


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01 - Tanu Weds Manu - Sadi Gali@review-of-movies.blogspot.com
02 - Tanu Weds Manu - Yun Hi@review-of-movies.blogspot.com
03 - Tanu Weds Manu - Rangrez@review-of-movies.blogspot.com
04 - Tanu Weds Manu - Piya@review-of-movies.blogspot.com
05 - Tanu Weds Manu - Mannu Bhaiya@review-of-movies.blogspot.com
06 - Tanu Weds Manu - Jugni@review-of-movies.blogspot.com
07 - Tanu Weds Manu - Rangrez (Hey Rangrez Mere Hey)@review-of-movies.blogspot.com

01 - Tanu Weds Manu - Sadi Gali@review-of-movies.blogspot.com
02 - Tanu Weds Manu - Yun Hi@review-of-movies.blogspot.com
03 - Tanu Weds Manu - Rangrez@review-of-movies.blogspot.com
04 - Tanu Weds Manu - Piya@review-of-movies.blogspot.com
05 - Tanu Weds Manu - Mannu Bhaiya@review-of-movies.blogspot.com
06 - Tanu Weds Manu - Jugni@review-of-movies.blogspot.com
07 - Tanu Weds Manu - Rangrez (Hey Rangrez Mere Hey)@review-of-movies.blogspot.com

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Yeh Saali Zindagi - Movie Review

Read more! Cast :: Arunoday Singh, Chitrangda Singh, Irrfan Khan

A while ago, while chatting him up for my show on TV, someone queried Sudhir Mishra as to why Hindi film industry fails to produce qualitative movies, unlike the 1960s and 1970s, which have tremendous recall value even in the present day? I markedly remember, Mishra didn't blink an eyelid while answering this one: "That's because most producers are not literate enough to understand scripts that could elevate the standards of Hindi films. Film-making for them is limited to the weekend business these days." The proclamation stayed with me!

When you saunter into a cineplex to watch a Sudhir Mishra film, it's given that this maverick film-maker will serve you non-formulaic stuff. As a viewer, I liked some of his efforts [IS RAAT KI SUBAH NAHIN, HAZAARON KHWAISHEIN AISI], but a few didn't live up to my expectations. His new film, YEH SAALI ZINDAGI, has already generated the buzz for a variety of reasons. It's 'controversial' or 'provocative' title being the key one.

Before I proceed further, let me tell you that the title is of immense significance to the film. Sure, it may sound offensive [the Censor Board chief too raised a hue and cry, asking Mishra to change the title of the film], but why does a commonly used word ['saali'] create an uproar? Actually, I am quite amused at the brouhaha. In our society, we refer to the sister-in-law as saali, don't we? Besides, almost three decades ago, the Dilip Kumar starrer SAGINA had a very popular song [which we recall to this day], 'Saala Main To Sahab Ban Gaya' and more recently, 'Pappu Can't Dance Saala' from JAANE TU YA JAANE NA took the nation by storm. Even recently, the word 'Saali' was used in a song from NO ONE KILLED JESSICA, 'Aali Re Saali Re'. Also, when you view YEH SAALI ZINDAGI, you realize that 'saali' has been used as a symbol to the vagaries of life and not as a derogatory, abusive, swear word. It's not slang, but a flare-up of expression.

It requires a fearless and courageous film-maker [Prakash Jha] to back an audacious film-maker [Sudhir Mishra] to create a motion picture that defies stereotype. The risk involved is colossal, but the satisfaction of having created a product that has tremendous shelf life is incalculable. YEH SAALI ZINDAGI is a striking case in point.

In an industry where mediocre scripts rule and funds are readily available for projects only if 'saleable stars' are ready to sign on the dotted line, in an industry where tried and tested formula and shortcuts have become a habit, YEH SAALI ZINDAGI comes as a courageous attempt. It may not be this fiercely independent film-maker's most accomplished effort, but it has the guts and valor to narrate an innovative story with a brand new approach.

At the same time, I'd like to add that the content is quirky, the relationships depicted in the film are complex and twisted and the format of narrating the story [including the edit pattern] is poles apart from what one is used to watching in the customary Hindi film. Even the spoken language is harsh, crude, with lots of expletives and swear words thrown in. But that's the beauty of this film. It walks a different path.

Final word? Sudhir Mishra is back in form. You need a strong belly to stomach this one!

Arun [Irrfan Khan] has to save Priti [Chitrangda Singh], the woman he loves, but for that he first has to save the man Priti loves, Shyam [Vipul Gupta], the future son-in-law of a powerful Minister. Meanwhile, time is running out for Kuldeep [Arunoday Singh], the young gangster who is on his last job as his wife [Aditi Rao Hydari] is threatening to walk out on him and he begins to suspect she is leaving him to go into the arms of another man.

The job has gone haywire for it is still unknown to Kuldeep that the Minister's daughter's engagement with Shyam is off and now she doesn't care whether Shyam lives or dies and more importantly, neither does the Minister who Kuldeep hoped would pay the ransom. Priti finds herself inextricably caught in this mess and Arun has to save her life. But for that he has to risk everything and put his own life at stake, he wonders why he should do it at all, if she still loves another man. He's torn, but love knows no reason.

Sudhir Mishra has worked on a taut screenplay to ensure that at no point in those 2 hours monotony sets in. Multiple stories are running concurrently, but unlike other films, these stories are linked to each other till the very conclusion. There're twists aplenty and the punches that come at regular intervals startle you since they don't follow the set blueprint that most Hindi films follow.

But the film is not without blemishes. One, Mishra should've ensured that the narrative unfolded in the most simplistic manner, for there are sequences which leave behind queries and come across as difficult to comprehend. Since the film has too many characters and too many incidents taking place in the course of a few days, the treatment had to be simplistic, without confusing the viewer, who's seated on the fence and is overseeing the proceedings. Also, the inconsistent pacing is a deterrent. Besides, you find sequences that just add to the run time and have not much significance to the main plot whatsoever.

The climax would meet with mixed reactions, especially the 'bullet' sequence. It would've worked big time in a Manmohan Desai film, but in view of the fact that Sudhir Mishra walks the realistic path, it's a bit difficult to absorb. Nonetheless, it's a brilliant way to end the film!

The soundtrack of YEH SAALI ZINDAGI bears a different sound, especially the title track. Sachin Krishn's cinematography is perfect [the locales of Delhi and outskirts are well captured], but the only problem is that most of the shots have been dimly lit up, which may not be a problem at city plexes having good projection systems, but would pose a problem at smaller towns for sure. Something that even Vishal Bhardwaj had agreed with my viewpoint during KAMINEY. Dialogue [Mishra and Manu Rishi], like I pointed out earlier, are straight out of everyday conversation. The hoi polloi in particular would relish the cuss words, which are generously interwoven in the narrative. Background score is electrifying and the editing [most parts] makes the goings-on impactful.

YEH SAALI ZINDAGI is embellished with gifted actors and as always, it's Irrfan who leads the pack with a superb performance, holding your attention from the very start. He's aggressive when required [with Saurabh Shukla], but docile when handling matters of heart [Chitrangda Singh]. Chitrangda looks stunning and matches up to Irrfan in most parts. In fact, her screen persona is so strong you can't take your eyes off this lady.

Arunoday continues to climb the ladder with every film. The youngster excels in his part and stands out not only because of his towering personality, but also because he's a complete natural. Aditi Rao Hydari is very good. Saurabh Shukla is an accomplished actor and he proves it yet again. Sushant Singh is first-rate, Vipin Sharma is utmost convincing, Yashpal Sharma is remarkable and Prashant Narayanan is superb, as always. Vipul Gupta is another talent to watch out for.

On the whole, YEH SAALI ZINDAGI is a striking example of new age cinema. A daring film with a brand new approach, it's impulsive and engaging with skilful direction and power-packed performances as its strong points. This is one more solid attempt that takes the graph of Hindi cinema to a greater level.

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01 - Yeh Saali Zindagi@review-of-movies.blogspot.com
02 - Sararara@review-of-movies.blogspot.com
03 - Dil Dar-Ba-Dar@review-of-movies.blogspot.com
04 - Ishq Tere Jalwe@review-of-movies.blogspot.com
05 - Kaise Kahein Alvida@review-of-movies.blogspot.com
06 - Yeh Saali Zindagi (Bonus Track)@review-of-movies.blogspot.com
07 - Sararara (II)@review-of-movies.blogspot.com
08 - Yeh Saali Zindagi (Female Version)@review-of-movies.blogspot.com

01 - Yeh Saali Zindagi@review-of-movies.blogspot.com
02 - Sararara@review-of-movies.blogspot.com
03 - Dil Dar-Ba-Dar@review-of-movies.blogspot.com
04 - Ishq Tere Jalwe@review-of-movies.blogspot.com
05 - Kaise Kahein Alvida@review-of-movies.blogspot.com
06 - Yeh Saali Zindagi (Bonus Track)@review-of-movies.blogspot.com
07 - Sararara (II)@review-of-movies.blogspot.com
08 - Yeh Saali Zindagi (Female Version)@review-of-movies.blogspot.com

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