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.

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Watch Golmaal 3 Videos



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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Saturday, October 30, 2010

Khelein Hum Jee Jaan Sey - Music Review

Read more! Cast :: Abhishek Bachchan , Deepika Padukone

There are good expectations from the music of Khelein Hum Jee Jaan Sey. After all Ashutosh Gowariker has been an accomplished film maker and when it comes to films that bring with them a sense of patriotism (Lagaan, Swades), the music has always been a highlight. He may have moved on from A.R. Rahman to Sohail Sen but the latter's compositions in What's Your Raashee? had proved that the replacement was not a bad idea at all. Now that Ashu has entrusted Sohail to create a much bigger (and relatively serious) soundtrack in the form of Khelein Hum Jee Jaan Sey, one hears the album with keen interest to know if the man manages to deliver.

First things first - Khelein Hum Jee Jaan Sey takes time to sink in. Music here is not bad by any means but it is not instant coffee that hooks on to audience in the very first listening. In fact one has to give the album a hearing - once, twice, thrice - and it is only then that the songs start registering themselves. This is what is evidenced in 'Yeh Des Hai Mera' which reminds one of the namesake tracks in Swades. However, the mood, treatment and setting of the song is totally different here as the revolutionaries get together to see that light at the end of the tunnel. Sung by Sohail Sen himself, this soft sounding number has a distinct Rahman touch to it and gives the album an expected start.

There is some fun immediately after with 'Naiyn Tere' following the same route as SD Burman's 'Dheere Se Jaana Bagiyan Mein'. This one is far peppier though and has a sweet innocent feel to it that makes you fall in love with it instantly. In the times when beats have taken over the proceedings, the world is dancing to the tune of 'Munni Badnaam' and rock is becoming an integral part of Bollywood compositions, 'Naiyan Tere' is like a whiff of fresh air. Credit must also go to Pamela Jain and Ranjini Jose who get the flavour of the first half of 20th century bang on and remind one of the eras gone by. 'Sad version' of the same song also arrives later in the album. This time around, the song is mainly hummed with instrumentals and chorus adding on the appeal.

What one was waiting for till now was an anthem song though and one finally gets to hear it in the form of the title song 'Khelein Hum Jee Jaan Sey'. Taking one back to the days of Lagaan, this anthem track comes with just the right kind of energy, pace, exuberance and styling that establishes loud and clear that one would hear this piece multiple times in the film's narrative. Following Rahman approach, right from the manner in which it is tuned to orchestrated, 'Khelein Hum Jee Jaan Sey' - which is a kids chorus sung quite effectively by members of Suresh Wadkar Ajivasan Music Academy - should find audience for itself.

If you liked 'Naiyan Tere', rest assured you would play on 'Sapne Saloney' repeatedly as well. A love song about the protagonist promising his beloved all the dreams to eventually come true, provided he first attains what he has set out for in life, 'Sapne Saloney' has a serene appeal to it with no Western adulteration whatsoever. While Javed Akhtar's lyrics here are simple and effective, singing by Sohail Sen and Pamela Jain is heartfelt as well that makes it the kind of number which fits in perfectly well with the setting of Khelein Hum Jee Jaan Sey.

If you have caught the promo of Khelein Hum Jee Jaan Sey, you would have heard the 'Vande Mataram' piece that goes in the background. Full fledged version of this song is heard here with the words being translated from Sanskrit to Hindi. Cine Singers Association Chorus Group delivers quite well in this high energy track that should add on to the momentum that visuals are expected to create in this action-drama affair. A much shorter version of 'Vande Mataram' appears later in the album with just strings doing a good enough job to keep the composition flowing.

From this point on, the album is entirely made of instrumental tracks which have mainly been set for different moods in the film. 'Long Live Chittagong' carries the exuberance of Khelein Hum Jee Jaan Sey with a feel good factor to it that enlivens the proceedings. The longest of them all is 'The Teenagers Whistle' which again picks up from the title track Khelein Hum Jee Jaan Sey and makes one suspect if the sound of whistle would be a code call for the teenage revolutionaries in the film.

A pensive mood is created soon after with 'Surjya's Sorrow' and the way Sohail Sen brings flute, strings and chorus together, it does manage to make an impact. There is an instant shift in mood soon after with 'The Escape', as is expected from the theme, picking on pace and moving ahead quite rapidly. Last to arrive is 'Revolutionary Comrades' which starts off on a slow note with the sound of 'Yeh Des Hai Mera', continues to gain momentum and turn ferocious in his last one minute. Expect some dramatic fireworks at the juncture in the narrative when it appears.

Khelein Hum Jee Jaan Sey is a good quality album which, as stated above, needs multiple hearing from audience before it settles in entirely. An album like this is different from what is being churned out week after week and since it belongs to an era gone by, it further needs to gain a solid platform for itself before it consolidates its position. While majority of album is situational - whether songs or theme pieces - and does register an impact in each of the tracks, the ones that should find instant attention are the title track 'Khelein Hum Jee Jaan Sey' and 'Naiyn Tere'. Later, as the film manages a standing at the box office, 'Yeh Des Hai Mera' and 'Sapne Salone' could also find an audience building over in the long run.

Download Khelein Hum Jee Jaan Sey MP3 Songs
01 - Khelein Hum Jee Jaan Sey - Yeh Des Hai Mera@review-of-movies.blogspot.com
02 - Khelein Hum Jee Jaan Sey - Naiyn Tere@review-of-movies.blogspot.com
03 - Khelein Hum Jee Jaan Sey - Khelein Hum Jee Jaan Sey@review-of-movies.blogspot.com
04 - Khelein Hum Jee Jaan Sey - Sapne Saloney Hai Sach@review-of-movies.blogspot.com
05 - Khelein Hum Jee Jaan Sey - Vande Mataram (Revised Sanskrit To Hindi)@review-of-movies.blogspot.com
06 - Khelein Hum Jee Jaan Sey - Long Live Chittagong@review-of-movies.blogspot.com
07 - Khelein Hum Jee Jaan Sey - The Teenagers Whistle@review-of-movies.blogspot.com
08 - Khelein Hum Jee Jaan Sey - Surjya's Sorrow@review-of-movies.blogspot.com
09 - Khelein Hum Jee Jaan Sey - Vande Mataram@review-of-movies.blogspot.com
10 - Khelein Hum Jee Jaan Sey - The Escape@review-of-movies.blogspot.com
11 - Khelein Hum Jee Jaan Sey - Naiyn Tere (Sad)@review-of-movies.blogspot.com
12 - Khelein Hum Jee Jaan Sey - Revolutionary Comrades (Soft)@review-of-movies.blogspot.com


01 - Khelein Hum Jee Jaan Sey - Yeh Des Hai Mera@review-of-movies.blogspot.com
02 - Khelein Hum Jee Jaan Sey - Naiyn Tere@review-of-movies.blogspot.com
03 - Khelein Hum Jee Jaan Sey - Khelein Hum Jee Jaan Sey@review-of-movies.blogspot.com
04 - Khelein Hum Jee Jaan Sey - Sapne Saloney Hai Sach@review-of-movies.blogspot.com
05 - Khelein Hum Jee Jaan Sey - Vande Mataram (Revised Sanskrit To Hindi)@review-of-movies.blogspot.com
06 - Khelein Hum Jee Jaan Sey - Long Live Chittagong@review-of-movies.blogspot.com
07 - Khelein Hum Jee Jaan Sey - The Teenagers Whistle@review-of-movies.blogspot.com
08 - Khelein Hum Jee Jaan Sey - Surjya's Sorrow@review-of-movies.blogspot.com
09 - Khelein Hum Jee Jaan Sey - Vande Mataram@review-of-movies.blogspot.com
10 - Khelein Hum Jee Jaan Sey - The Escape@review-of-movies.blogspot.com
11 - Khelein Hum Jee Jaan Sey - Naiyn Tere (Sad)@review-of-movies.blogspot.com
12 - Khelein Hum Jee Jaan Sey - Revolutionary Comrades (Soft)@review-of-movies.blogspot.com

Watch Khelein Hum Jee Jaan Sey Videos


Friday, October 22, 2010

Jhootha Hi Sahi - Movie Review

Read more! Cast :: John Abraham, Pakhi, R Madhavan, Raghu Ram, Anaitha Nair, Manasi Scott

Every film should be judged purely on the basis of its merits/demerits. Comparisons or drawing parallels with another film, even if it's helmed by the same director, is not right, in my opinion. But if the posters/billboards/newspaper ads/promotional material of JHOOTHA HI SAHI has an eye-catching line that screams 'From the director of JAANE TU YA JAANE NA', if not comparisons, the expectations from JHOOTHA HI SAHI do multiply five-fold, since JAANE TU YA JAANE NA was, in terms of economics, the biggest hit of 2008.

Sadly, Abbas Tyrewala's new offering JHOOTHA HI SAHI falls flat for this reason [it doesn't meet the expectations] as well as several other reasons. What comes across is unexciting, boring and lethargic. Moments make a love story work and JHOOTHA HI SAHI never reaches there. It lacks the fizz and heart, to put it bluntly. Also, the chemistry between the lead pair - John Abraham and Pakhi - is plastic.

Another department where the film fumbles, besides writing, is its music. It's an unspoken rule that love stories should be embellished with terrific music, but maestro A.R. Rahman's compositions in JHOOTHA HI SAHI are lifeless.

When Siddharth [John Abraham] wakes up one night to a call from a desperate man threatening to jump out of the window, he isn't prepared for what lies ahead. A mixed-up phone number. A desi suicide helpline in London. And various callers demanding that Sid give them a reason to live. Or else... Until one fateful night, Mishka [Pakhi] calls. And they both discover an unlikely bond.

Sid becomes her nameless friend. Her faceless philosopher. And she becomes his reason to rethink about life. Along the way, he also lies to her. Lies about his exciting adventures and daring escapades. The mountains he has climbed and the sharks he has tamed. Until the day they accidentally meet. And Sid falls in love.

How can he tell her the truth? That he's just a simple bookseller? With four friends, a small apartment and a girlfriend whom no one likes and he doesn't love.

The first and foremost thing that you expect from a film is an engrossing story and of course, a cohesive screenplay that keeps your attention alive for the next two hours. But the screenplay [Pakhi] is devoid of moments that bring a smile on your face at the end of the screening. Ideally, one would expect the focus to be on the principal pair, but the sub-plots [the friends and their sequences] dominate a good chunk of the film. And that, consequently, makes the film verbose, talk-heavy, tedious and verrry lengthy.

On retrospection, the female protagonist [Pakhi] comes across as a confused character, who finds stability in her life when John stages an entry, but goes back to her ex [Madhavan] for no particular reason. And the moment she does that, she drops John like a hot potato. That's not all, she, all of a sudden, dumps her ex too and goes back to John. Thanks to this reason, the character comes across as someone who's stone-hearted, cold and confused and that's also the reason why you don't jump with joy when the lovers unite towards the end.

Also, like I pointed out earlier, the multiple tracks in the film are a deterrent. The track of the gay couple is silly and unimaginative, while the relationship between the aggressive and dominating pregnant sister and her Japanese fiance is weird. Also, if the sensibilities of the film are Western and the humour British, the ending becomes Bollywoodish conveniently. The entire sequence at the bridge looks so filmy.

Director Abbas Tyrewala has filmed a number of sequences impeccably, but the writing is flaccid and the prime reason why the film fails to register an impact. Rahman's music is of the fast-forward variety and that's all the more surprising since the duo [Rahman and Tyrewala] had come up with a winning score in JAANE TU YA JAANE NA.

John makes a sincere attempt to look the part, but he's awkward, especially in sequences when he stammers. Pakhi is a complete miscast. She looks too matured and has her limitations as an actor. Amongst the sundry characters, Raghu Ram is noticeable. R. Madhavan should avoid such flimsy characters.

On the whole, JHOOTHA HI SAHI is an absolute letdown in terms of content. Given its high costs on one hand and weak merits on the other, the film will make a big hole in the pockets of its investors.


Download Jhootha Hi Sahi MP3 Songs
01 - JHS - Cry Cry@review-of-movies.blogspot.com
02 - JHS - Maiya Yashoda (Jamuna Mix)@review-of-movies.blogspot.com
03 - JHS - Hello Hello@review-of-movies.blogspot.com
04 - JHS - Do Nishaaniyan@review-of-movies.blogspot.com
05 - JHS - Pam Para@review-of-movies.blogspot.com
06 - JHS - I.ll Be Waiting@review-of-movies.blogspot.com
07 - JHS - Maiya Yashoda (Thames Mix)@review-of-movies.blogspot.com
08 - JHS - Do Nishaniyaan (Heartbreak Reprise)@review-of-movies.blogspot.com
09 - JHS - Call Me Dil@review-of-movies.blogspot.com

01 - JHS - Cry Cry@review-of-movies.blogspot.com
02 - JHS - Maiya Yashoda (Jamuna Mix)@review-of-movies.blogspot.com
03 - JHS - Hello Hello@review-of-movies.blogspot.com
04 - JHS - Do Nishaaniyan@review-of-movies.blogspot.com
05 - JHS - Pam Para@review-of-movies.blogspot.com
06 - JHS - I.ll Be Waiting@review-of-movies.blogspot.com
07 - JHS - Maiya Yashoda (Thames Mix)@review-of-movies.blogspot.com
08 - JHS - Do Nishaniyaan (Heartbreak Reprise)@review-of-movies.blogspot.com
09 - JHS - Call Me Dil@review-of-movies.blogspot.com

Watch Jhootha Hi Sahi Videos



Friday, October 15, 2010

Break Ke Baad - Music Review

Read more! Cast :: Imran Khan , Deepika Padukone

After a rather quiet 2009 that saw a sole album release for Vishal-Shekhar - Aladin - the composer duo is on a roll. They had a peppy outing in I Hate LUV Storys, gave to audience a quality wholesome score in Anjaana Anjaani and now are delivering music for yet another young romcom Break Ke Baad. With Vishal & Shekhar staying on to be the first choice for many a filmmakers when it comes to music for an outing seems to be designed on the lines of Hollywood romcoms, their coming into Break Ke Baad is not a surprise. What's surprising though is to see Prasoon Joshi on the credits as a lyricist with whom Vishal-Shekhar are working for the first time. However, since Prasoon has worked in last three films made by Kunal Kohli (Hum Tum, Fanaa, Thoda Pyaar Thoda Magic), it is understandable as well. One looks forward to check out what does this unique pairing has to offer in their first outing together.

Expect something unconventional, yet striking, in the opening track of the album - 'Adhoore'. This isn't a word which is common when it comes to Bollywood lyrics. Also, it has a hint of sadness to it due to the meaning that it carries. Still, Vishal-Shekhar do an amazing job in making a cracker of a track that gets on you in the very first listening. A contemporary urban track that is miles away from being a conventional 'lambi judaai' affair, 'Adhoore' works for its modern take on love. Add to this fact that Vishal Dadlani is quite effective behind the mike as well along with Alyssa Mendonca and you know that this song has in it to find a way up in the charts. The 'remix version' further ensures that club hoppers won't mind playing it on at top volume all over again.

Neeraj Sridhar is a regular with composer Pritam and has delivered a dozen odd chartbusters with him already. However, when it comes to Vishal-Shekhar, they have used him quite sparsely. This is the reason why when one sees them roping in Neeraj for 'Ajab Leher', one waits to check out what they really have to offer. First thing that they succeed in achieving is to make Neeraj sound different. Of course, his voice - as heard before in many a song - is quite pleasant but he goes ahead with a different take in this fun number where the protagonist seems to be having a good time talking about his 'padosan'. Shekhar Ravjiani, Vishal Dadlani and Rhys D'Souza play a supporting role as back up vocalists in this song which basically belongs to Neeraj. A sweet number with a simple tune to it which is pretty much akin to a nursery rhyme, 'Ajab Lehr' should look good on screen and take the narrative forward.

When you read the credit details, it is hard to decipher what exactly would the lyrics 'Dhoop Ke Makaan' actually convey. Coming from Prasoon Joshi, one can expect a poetic outing every now and then and it is no different in case of the number in question. Also, one can see a strong Gulzar influence here as well. Nevertheless, the song is pretty soothing on ears, whether it comes in its regular or 'acoustic' version. The way Shekhar Ravjiani goes on to sing this one, it is crystal clear that the composer was just hiding behind his talent as a singer for long. His voice has that intrinsic happy feel to it, something which was the hallmark of Udit Narayan, and this is what that makes even this supposedly sad track turn out to be pretty engaging. This song which also has Sunidhi Chauhan and Hitesh Sonik as the co-singers may not reach out amongst masses but for those who like their music to be soft and carry a quality feel to it (a la 'Kucch Kam' in Dostana), 'Dhoop Ke Makaan' is the one to be played on a repeat mode.

The album picks up pace with 'Dooriyan Hain Zaroori' which again has a sad meaning to it, reason being that it deals with the distance that comes in due to a break up. Still, all credit to the way it has been designed that one never feels dejected, let down or bored when this song plays. In fact this track that has been designed as soft rock has some very good arrangements coming into play that turn it into an out and out youthful urban affair that should work amongst the cosmopolitan crowds. Monica Dogra, a rock band member, is pretty effective in this well paced song with Vishal Dadlani ensuring that he justifies his own inclusion as a singer.

By this time around, it is apparent that Break Ke Baad is the most loaded Vishal-Shekhar album ever, reason being that they also appear as singers in almost all songs, barring one. This solitary song where they have entrusted another singer to totally drive the proceedings is 'Main Jiyoonga' which has now-getting-popular Nikhil D'Souza taking centre-stage. Though there are additional vocals by Mikey Mcclearyu and Gino Banks, it is Nikhil who seems to be having all the fun in this yet another soft rock track which deals with the aftermath of a break and looking forward in future. Any sadness here though? Naah!

The same arrives in English as well with Vishal Dadlani giving an altogether different impression of him as a singer here. While he has been doing his bit with vociferous songs like 'Dan Te Nan' [Kaminey] in the past, it is nice to see him going subdued, yet energetic, for this fun take on living life to the fullest. Of course a track like this does have a restricted audience for itself but in the context of the film, it should fit in pretty well.

Break Ke Baad is an unconventional album, especially when one looks at it from the Bollywood standpoint. Change is good and it is slowly but steadily, audience too are warming up to conventional sound. Rock On was a prime example of that, the music of which was dismissed by many in the first hearing. However, when compared to Rock On, Break Ke Baad still has some elements that augur well with the romcom affair. While this is a quality album for sure, what has to be seen is the way the songs are picturised, promoted and brought to audience. If the film is a success, the songs should only take further leaps amongst the target audience which basically comprises of urban youth who have a taste for modern sound.

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Aakrosh - Movie Review

Read more! Cast :: Ajay Devgn, Bipasha Basu, Akshaye Khanna, Paresh Rawal, Amita Pathak, Raima Sen

Shameful as it may sound, honour killings still exist in many parts of the country. The misconception is honour killings are all about the murder of a female family member by one or more family members, since the perpetrators / wrongdoers believe that the victim has brought dishonor / disrepute upon the family by having a relationship with a man of different religion or social status or marrying against the parents' wishes.

The fact is men are also victims of this practice, especially when it affects the reputation of a particular caste and community. Many grooms have been killed by the father or brother of the bride and this is exactly what AAKROSH attempts to highlight.

Made with right intentions, AAKROSH enlightens you on the caste system which continues to be at its rigid best, with people from the rural areas refusing to change their attitude towards marriage. Having said that, I'd like to add that AAKROSH is strikingly similar to the Hollywood film MISSISSIPPI BURNING, which, reportedly, was loosely based on the FBI investigation into the real-life murders of three civil rights workers in Mississippi in 1964.

After attempting a series of some pleasant, some forgettable laughathons, ace director Priyadarshan embarks upon a hard-hitting drama that draws one's attention to a relevant issue in a non-compromising approach. But there's a flipside too: This one's a dark film. Also, a number of sequences in the narrative can make you uncomfortable [the brutal killings especially] and the spoken language, at places, is harsh, acidic and volatile.

Final word? A gripping fare.

AAKROSH revolves around a lower caste guy who, along with his two friends, goes to his hometown Jhanjhar. These three students go missing soon after. The government appoints CBI officers Siddhant [Akshaye Khanna] and Pratap [Ajay Devgn] to investigate the matter.

Investigating in Jhanjhar becomes a tough task for these officers as the local police [Paresh Rawal], with the help of local bigwigs, refuse to co-operate with the two officers. Besides, the officers cannot break the ice with the locals, due to years of fear instilled in them. The effect of their investigation causes mayhem in Jhanjhar, with the wrongdoers spreading terror and killing people in broad daylight.

There's no denying that Priyadarshan is a creative thinker with an amazing ability to handle comedy as well as intense drama. In AAKROSH, the director succeeds in giving an effectual and authentic look, but there's a problem: The unnecessary length, which dilutes the overall impact of the film. The first half is excessively lengthy and the second, though crisp, could've also done with trimming for a stronger impact.

A number of sequences hold your attention and I'd like to single out the penultimate 20 odd minutes, which leave a stunning impact. Also, the chase sequences - all of them - are executed with panache, especially the one when Ajay chases a key suspect on rooftops. But, like I pointed out earlier, a film like AAKROSH is dark and brutal and therefore, has its limitations. Also, the screenplay [Robin Bhatt, Akash Khurana] vacillates between engaging and not-too-engaging moments at times.

There's not much scope for music in the film and even otherwise, Pritam's score is bland. 'Issak Se Meetha', an item song filmed on Sameera Reddy, is strictly okay. Cinematography [Tirru S] is striking, while the sepia look gels well with the theme of the film. Dialogues [Aditya Dhar] are well-worded and powerful when required.

Ajay and Akshaye, known for intense acts, deliver bravura performances. Ajay pitches in a remarkable act, establishing himself as one of the iconic actors of the country. Akshaye is superb yet again and only someone who has complete understanding of the craft could've delivered such a fine performance.

Bipasha, who was seen in LAMHAA in a deglamorised role, has turned extremely sensitive and serious towards issue-based films. Though the length of her role isn't much, she sinks her teeth in the non-glam role and delivers a really fine performance. Paresh Rawal is menacing as the uncouth cop. In fact, this is amongst Paresh's best works. Reema Sen is excellent. Amita Pathak doesn't have much to do. Jaideep Ahlawat is good. Pankaj Tripathi is perfect. The remaining actors enact their parts well.

On the whole, AAKROSH is not the standard Bollywood fare with the usual song-and-comedy routine. This one strikes a punch. Being an issue-based cinema, it will magnetize the thinking viewer and the intelligentsia mainly. It should find more flavor with the North Indian audience.

Download Aakrosh MP3 Songs
01 - Isak Se Meetha@review-of-movies.blogspot.com
02 - Saude Bazi@review-of-movies.blogspot.com
03 - Man Ki Mat@review-of-movies.blogspot.com
04 - Isak Se Meetha (Dhol Mix)@review-of-movies.blogspot.com
05 - Sasural Munia@review-of-movies.blogspot.com
06 - Ramkatha@review-of-movies.blogspot.com
07 - Isak Se Meetha (Remix)@review-of-movies.blogspot.com
08 - Saude Bazi (Encore)@review-of-movies.blogspot.com

01 - Isak Se Meetha@review-of-movies.blogspot.com
02 - Saude Bazi@review-of-movies.blogspot.com
03 - Man Ki Mat@review-of-movies.blogspot.com
04 - Isak Se Meetha (Dhol Mix)@review-of-movies.blogspot.com
05 - Sasural Munia@review-of-movies.blogspot.com
06 - Ramkatha@review-of-movies.blogspot.com
07 - Isak Se Meetha (Remix)@review-of-movies.blogspot.com
08 - Saude Bazi (Encore)@review-of-movies.blogspot.com

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Knock Out - Movie Review

Read more! Cast :: Sanjay Dutt, Kangna Ranaut & Irfan Khan

Several factors compel you to ponder over your decision whether or not to watch KNOCK OUT...
  • There's talk that KNOCK OUT is a blatant copy of PHONE BOOTH. If you've watched the original, why watch its clone?
  • You rush to a nearby cineplex only if the film excites you and in this case, the buzz is missing.
  • Sanjay Dutt - the lead actor - hasn't been a part of a worthy film, post MUNNABHAI. That automatically robs the sheen from the film.
You can't turn a blind eye to the fact that KNOCK OUT borrows from PHONE BOOTH. Even otherwise, a man held hostage in a telephone booth by a sniper automatically compels you to think that PHONE BOOTH is the prime source of inspiration, but what follows after a point bears no resemblance to that film. In fact, KNOCK OUT also bears an uncanny resemblance to A WEDNESDAY, although the two films are as diverse as chalk and cheese in terms of how the storyline progresses.

KNOCK OUT is a thriller that keeps you hooked at regular intervals. The best thing about the film is that it remains focused to the plot and there are no deviations [thankfully!] in terms of songs, comedy or any other parallel track. Of course, there are hiccups, but the finale and the message it conveys camouflages the defects largely.

KNOCK OUT takes place almost entirely inside a public phone booth on a busy street. Bachchu aka Tony Khosla [Irrfan] uses the phone booth to carry out all the odd jobs he's into. After one such call, when Irrfan is about to leave the phone booth, the phone rings and he instinctively picks it up. On the other end of the line is a menacing caller [Sanjay Dutt].

The voice demands that Irrfan stay in the phone booth or else, the caller would destroy his marriage [Rukhsaar plays Irrfan's wife] and ruin his reputation of an investment banker. Irrfan tries to hang up the phone, but the voice on the phone threatens to kill him. Stuck in the phone booth, he's forced to ward off anyone who tries to get him out, including a drug addict.

The drug addict is shot dead by the caller and the police as well as the media arrive on the scene. The caller makes Bachchu dance to his tunes for a valid reason.

Come to think of it, KNOCK OUT is a difficult film to execute because the two characters - Sanju and Irrfan - never cross paths, except for a fleeting moment towards the end. In fact, they are constantly talking to each other over phone. Now watching a man trapped in a phone booth [for the entire film] could make the viewer restless. But the engaging screenplay and the energetic pacing keeps the viewer on toes. You just don't know what to expect next, since the story doesn't follow the beaten path.

What sets it apart from not just PHONE BOOTH, but also other films [including LIBERTY STANDS STILL] is the fact that Sanju is not out to settle personal scores with the wrongdoers [Irrfan, Gulshan Grover]. He wants to book those who have cheated India by stashing unaccounted money across various banks abroad. In fact, the finale is the best part of the enterprise and stirs up patriotic feelings.

On the flipside, the film tends to get repetitive at times. The middle of the second hour stagnates, albeit for a few minutes. Also, there's a reference to a woman that makes Sanju extremely emotional. One assumes that the woman is linked to Sanju is some way, but that remains a mystery all through.

Mani Shankar illustrates his ability as a fine storyteller. His handling of the subject is commendable. Also, the director employs the split-screen style to tell the story, which comes across very well. Cinematography [N. Natarajan Subramanian] is striking. Action scenes [Allan Amin] are vibrant. However, the one-on-one fight in the climax or prior to that, when the cops enter Sanju's apartment and Sanju kills all of them single-handedly, should've been avoided. It robs the film on realism. Dialogues [Shiraz Ahmed] are razor sharp and an asset. I wish to make a special mention of the background score [Sanjay Wandrekar, Atul Raninga], which is truly fantastic.

The casting is just perfect. Sanju seems to be in form after a really long time, after MUNNABHAI in fact. Besides, the performance is consistent from start to end, which only goes to show the involvement of the actor in the script and director. Irrfan is akin to a chameleon. Cast him in any role and he emerges trumps. A lesser actor in his place and KNOCK OUT would've got knocked out. Kangna is efficient, as always. But her diction is faulty at places.

Gulshan Grover is excellent. He plays the corrupt politician with natural ease. Sushant Singh is first-rate. Rukhsar is good in a brief role. Apoorva Lakhia carries the stern look well. Asif Basra does a commendable job.

On the whole, KNOCK OUT is a watchable fare, but its English title and also Sanjay Dutt's box-office pull, which is minimal currently, will act as deterrents. Therefore, the film will require a very strong word of mouth to find a foothold.

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01 - Knock Out@review-of-movies.blogspot.com
02 - Khushnuma Sa Ye Roshan Ho@review-of-movies.blogspot.com
03 - Jab Jab Dil Mile@review-of-movies.blogspot.com
04 - Tuhi Mere Hum Navaa@review-of-movies.blogspot.com
05 - Gangubai Pe Aai Jawani@review-of-movies.blogspot.com
06 - Khushnuma Sa Woh Mausam@review-of-movies.blogspot.com
07 - Jab Jab Dil Mile (Remix)@review-of-movies.blogspot.com

01 - Knock Out@review-of-movies.blogspot.com
02 - Khushnuma Sa Ye Roshan Ho@review-of-movies.blogspot.com
03 - Jab Jab Dil Mile@review-of-movies.blogspot.com
04 - Tuhi Mere Hum Navaa@review-of-movies.blogspot.com
05 - Gangubai Pe Aai Jawani@review-of-movies.blogspot.com
06 - Khushnuma Sa Woh Mausam@review-of-movies.blogspot.com
07 - Jab Jab Dil Mile (Remix)@review-of-movies.blogspot.com

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