MOVIE: Rab Ne Bana Di Jodi LENGTH: 1 Minute(s) 10 Seconds RELEASE DATE: 12/12/2008 PRODUCER: Yash Chopra Yash Chopra STARCAST: Shahrukh Khan, Anushka Sharma, Vinay Pathak, Kajol, Rani Mukherjee, Preity Zinta, Priyanka Chopra DIRECTOR: Aditya Chopra
Nov 1, 2008
MOVIE: Rab Ne Bana Di Jodi LENGTH: 1 Minute(s) 10 Seconds RELEASE DATE: 12/12/2008 PRODUCER: Yash Chopra Yash Chopra STARCAST: Shahrukh Khan, Anushka Sharma, Vinay Pathak, Kajol, Rani Mukherjee, Preity Zinta, Priyanka Chopra DIRECTOR: Aditya Chopra
Oct 28, 2008
Nirali Fozdar from Ahmedabad has been learning music since she was a toddler. She is young, fun loving and a complete foodie. Nirali is so determined to pursuit music professionally that she travels to Mumbai almost every weekend to train under Pandit Satyanarayan Mishra and Gautam Mukherjee. She has also performed in many live shows and won accolades for her performance at local music competitions. One of her big achievements was when she shared the same stage with singers - Sunidhi Chauhan, Shaan and KK. Nirali has also rendered her voice for a Guajarati film and advertising jingles. Today, her biggest support is her family who constantly encourage her to take her talent ahead with Indian Idol 4 and pursue her career in music.
Oct 27, 2008
Expectations from a soundtrack belonging to a Karan Johar film are straight forward -It has to be nothing but superb. With the kind of music that his films have boasted over the years (Kabhi Alvida Naa Kehna, Kaal, Kal Ho Na Ho, Kabhi Khushi Kabhi Gham, Kuch Kuch Hota Hai), there is no reason why Dostana should be any different. Add to it names like Vishal and Shekhar who truly understand the pulse of today's youth and you know that this Abhishek Bachchan-Priyanka Chopra-John Abraham starrer would boast of an entertaining soundtrack all the way.
After listening to Dostana, you know that it is not just entertaining in get-set-rocking mode. Instead it also has its moments, especially when it comes to the soft numbers (there are three of them) and this is exactly where the core strength of Dostana lies. The album has a mix of everything - from dance number to softer tracks - all of it ensuring that Vishal-Shekhar have yet another successful album up their sleeves after Bachna Ae Haseeno, Tashan and Om Shanti Om.
A love song with some unconventional lyrics by Anvita Dutt Guptan, 'Jaane Kyun' is an excellent track that gives Dostana a kick start. If the catchy tune isn't good enough, it is the singer who comes behind the mike for this youthful track, who surprises the most. He is none other than Vishal Dadlani himself who shows an entirely different facet of his personality. He is confident enough to entrust himself with the responsibility of going solo for this flagship number of Dostana and doesn't make one feel that any other singer would have done a better job with 'Jaane Kyun'. A fun number which would find immense popularity all over.
A track which requires just one hearing to be classified as a chartbuster being brought to you on a platter is 'Desi Girl'. Want some 'get-on-the-dance-floors' beats? Vishal & Shekhar get it for you. Need some catchy lyrics to get on your lips instantly? Lyricist Kumaar does the job right for you. Expect the singers to get some powerful energy in their vocals? Shankar Mahadevan and Sunidhi Chauhan along with Vishal Dadlani can always be entrusted to do that. And if you thought that the feel of 'Deewangee' (Om Shanti Om) couldn't ever be matched again, then choreographer Farah Khan is just a call away. Overall, a complete package deal where absolutely nothing goes wrong!
A quintessential Punjabi dance number as far as the tune and arrangements are concerned, 'Maa Da Laadla' is the next to come. However, it is the lyrics by Kumaar which makes the number special as there is a lot being conveyed in this hardcore Punjabi number. If one diverts attention away from the racy tune of this number (which is bound to make its presence felt in the discotheques and clubs) and instead delve deep into the lyrics, you would realize that 'Maa Ka Laadla', which has singer Saleem at the helm, is one fun number which would aid the film's narrative in a big way. Watch out for this one!
Next comes the much hyped item number in Dostana which features Shilpa Shetty jiving along with Abhishek Bachchan and John Abraham on the Miami beach. Titled 'Shut Up & Bounce', the song may sound like a routine/typical dance number but that doesn't come in the way of the potential it holds as far becoming popular in days to come. With Sunidhi Chauhan leading from the front and Vishal Dadlani providing additional vocals, 'Shut Up & Bounce' written by Anvita is all set to be an eye candy all the way, courtesy Miss Shetty and other bevy of beauties expected to dominate the frames captured on the Miami beach.
Vishal and Shekhar reserve the best for the end with two extremely soothing numbers bringing Dostana to an end. First to come is 'Khabar Nahi' which is just the kind that you wish to put in a repeat mode, switch off the lights, close your eyes and expect the song to make you go for that peaceful sleep. If Vishal excelled as a singer in 'Jaane Kyun', one has to hear him in 'Khabar Nahi' where is quite good yet again. A beautiful melody which keeps you smiling away as it plays in the background, 'Khabar Nahi' is a love song written by Anvita which also has Shreya Ghoshal and Amanat Ali lending their vocals along with Raja Hasan.
Shaan would indeed consider himself lucky as he is gifted the best tune and lyrics (Vishal Dadlani does an all around show in the album and also contributes with his writing) in the form of 'Kuch Kum'. A poetic track which moves at a serene pace and has in it the potential to scale the kind of height which the title song of 'Kal Ho Na Ho' did (as far as the soothing feel is concerned) 'Kuch Kum' is easily the best of the lot and is immensely likeable within first listening itself. It is a kind of number that you don't really want to over analyze and instead just hear it to enjoy it to the fullest. No wonder, it has the longest duration when compared to the rest and lasts for close to 6 minutes.
Dostana is an excellent album from Vishal-Shekhar and there is not one single number which doesn't work. In fact if three soft numbers ('Kuch Kum', 'Khabar Nahi' and 'Jaane Kyun') are the pick of the lot then 'Desi Girl' is a definite must for the dance floors. 'Maa Da Laadla' and 'Shut up & Bounce' have their own place under the sun and if the film works well at the theaters (which it should), there is no reason why Dostana won't go on to match the kind of sales that the biggest albums of 2008 (Race, Singh Is Kinng, Jannat, Tashan, JTYJN) have enjoyed this year.
Go for it!
Jul 12, 2008
DESCRIPTION: The Khans reunited on the reality show '10 Ka Dum' and spread their yester year's 'Andaz Apna Apna' magic on the sets. Take a look as Aamir Khan with nephew; Imraan Khan in tow, pulls Sallu Miya's leg and also charms everyone on the show. A Treat for all the Khan fans!
DESCRIPTION: The Bachchan's alongwith other big stars of Bollywood will set the world stage on fire with an 'Unforgettable' tour. We bring you exclusive excerpts from a press meet to announce the big plans. Take a look!
DESCRIPTION: Aamir Khan's new Ad for Titan is on air with an interesting tag line 'Be More'. The concept also matches with the way Aamir thinks in real life. This video has an attraction that you will feel like watching at it again and again. Must See!
You will see new again new look of Abhisehk Bachchan in this rap song in Mission Istaanbul.He is really rocking...
May 1, 2008
Kamal Hassan's much awaited Dasavathaaram is set for release and Bollywood Hungama gets you a glimpse into the audio release of the movie. Amitabh Bachchan released the music of the film at a star studded and crowded event at Chennai. Take a look as we get you some bytes from celebs like Mammootty, Jaya Prada, Big B and the man himself - Kamal Hassan. Also take a look at the uncontrollable crowd that gathered for the audio release of the superstar's movie. A Must Watch. Don't miss this!
Hey buddy suno zara with thodi shararat and kuch shaitani its Amitabh Bachchan back speaking exclusively to Faridoon Shahryar, content head, Bollywood Hungama (Broadband). In the second part of this exclusive interview Big B talks about his blog and its tremendous fan response. Bachchan sahaab also sings few lines from film 'Bhoothnath' which ironically is the 25th song he has sung in his carrier. Must see!
Five medical students from a capitation fee college in India, represent the youth hooked onto XBox's and Formula 1 Racing. That is the only India they have inherited and that is the only India they know, until one day, a game they play, goes too far. As an outcome, they land up in one of the most deprived villages in Maharashtra. Their rural posting turns into a soul-searching journey where they are forced to confront their own apathy, their own fears and their strange complicity in the circumstances of the village. Before they can run from there, they get sucked into the whirlpool of the counter currents. Each of the five undergo different kinds of catharsis and in the end, they have to make a choice. Do they leave the mess just as they had found it and get away from there? Or do they choose to get involved?
Apr 30, 2008
Kamal Hasan has come with something new charter as what he do all the time in his movies.. I hope once you look this promo of his upcoming movie you will definitely find about about his "10 Avatar".
After long time father and son coming together with director Ramgopal Varma.These crew has done one movie call Sarkar..i hope you all knows that.and now that have come togher again with part-2 Sarkar Raj. I have found some photos here they are
Anurag Basu's LIFE IN A METRO mirrored the lives of people living in a metropolis; their individual stories running parallel, rarely crossing each other's path. SIRF takes a look at the relationships of four couples in a metro and each of them crosses the other's path and, in some way, is connected with one another.
Although the premise of SIRF is interesting and given the fact that the film boasts of some solid actors to infuse life in the characters, the film falls like a pack of cards. Reason: The writers [Rajaatesh Nayar, Shashikant Verma] mess up big time. Resultantly, it doesn't hit you like a thunderbolt.
Let's get specific! In most movies, the problem lies with the conclusion. The culmination ought to give you the feeling that the questions have been answered, the knots have been untied. That's where SIRF suffers. The penultimate 20 odd minutes are a complete farce.
Most importantly, the 'problems' are not serious enough in some cases at least. Therefore, you don't empathise with those characters. To sum up, SIRF may star some solid actors, but it lacks a solid script to keep the interest alive!
SIRF revolves around four couples -- Kay Kay Menon-Manisha Koirala, Sonali Kulkarni-Ranvir Shorey, Parvin Dabas-Rituparna Sengupta and Ankur Khanna-Nauheed Cyrusi. While the first couple is financially well off, the one thing missing from their lives is love. Another couple [Ankur-Nauheed] is hopelessly in love, but don't have the financial security to realize their dreams. The third couple [Parvin-Rituparna] is searching for trust, while the fourth couple [Ranvir-Sonali] has to find time to nurture everything that they have.
Each couple has their own problems to deal with, but they cross each other's paths on the crossroads of life.
Life does look greener on the other side. This is something most of us must've experienced at some point of time. In SIRF too, the characters feel that the other's life is a bed of roses, which it isn't. The introduction of the characters and they way the director connects one to another is well depicted.
But problems arrive in the second hour. The stories barely move. Also, all you get to see in this hour is a repetition of what you've watched in the first hour. Worse, the climax takes the film down completely.
The culmination to every story is so strange that you wonder, what were the writers thinking when they wrote this? Ranvir-Sonali's daughter suddenly passes away. But didn't the doctor say she was hale and hearty a sequence or two ago?... Ankur suddenly has a change of heart and blurts out the truth to Kay Kay. But wasn't he thinking of himself all this while? Why this sudden somersault?... Kay Kay and Manisha, on the verge of a divorce, suddenly make up. No explanations are offered… Rituparna picks up the envelope, sees her husband's [Parvin] pics with Manisha and freaks out… and the movie ends. Now what was that? Scope for a sequel?
Debutante director Rajaatesh Nayar has handled a few scenes well, but the writing is ineffective and hence, it's impossible to salvage the show. Music [Sohail Sen and Shibani Kashyap] is strictly okay. Baba Azmi's cinematography is perfect.
The film has a number of powerful actors, but the ones who stand out are Sonali Kulkarni [excellent], Rituparna Sengupta [first-rate], Ankur Khanna [wonderful] and Ranvir Shorey [natural]. Kay Kay is wasted. Manisha needs to take care of her looks. Acting-wise, she's strictly okay. Parvin Dabas is passable. Nauheed Cyrusi is just okay.
On the whole, SIRF rests on a weak script and that is its biggest problem. At the box-office, the two major oppositions [TASHAN and IPL], coupled with its weak writing, will make it difficult for SIRF to breathe easy.
Good things come in small packages. HOPE & A LITTLE SUGAR [English] is a fine example of this adage. On face-value, you would be least interested in jumping the queue and grabbing its ticket. But once the reels unfold, you realize that sometimes small-budget films have more to convey than those multi-crore extravaganzas.
HOPE & A LITTLE SUGAR doesn't look at the tragedy [9/11]. Nor does it look for reasons that resulted in the tragedy. It looks at the trauma a family undergoes through and one has to move on in life. One of the prime reasons why it works is because the film has recall value. It affects you even after the show has concluded.
A film for mature audiences, HOPE & A LITTLE SUGAR packs a solid punch in those 90 minutes.
Set in New York in the weeks before and after 9/11, HOPE & A LITTLE SUGAR centers around the romance between a Muslim photographer and a young Sikh woman. Bike messenger Ali [Amit Sial] meets the beautiful but married Saloni [Mahima Chaudhry], a charismatic mithaai shop owner who encourages Ali's photography and becomes his muse. Despite Ali's secret and largely unrequited crush on Saloni, he develops a close friendship with her and her husband Harry [Vikram Chatwal].
When tragedy strikes with the terrorist attacks on September 11, her father-in-law, a retired army Colonel [Anupam Kher], devastated by grief and anger, directs his longstanding animosity towards Muslims at Ali, as the young man's affection for Saloni grows increasingly evident. Although the Colonel's wife [Suhasini Mulay] tries to pacify her husband, the Colonel, unable to accept life's pain, threatens to bring everything to a violent end.
Director Tanuja Chandra narrates an interesting tale and more importantly, it's topical even today, years after 9/11 occurred. Her storytelling technique is simple, yet powerful. A number of sequences, especially post 9/11, have been handled with dexterity. But the culmination could've been more impactful. Why does Kher have a change of heart all of a sudden? A solid reason is lacking. Also, the romance [from Mahima's side] should've been better established. A sequence or two should've been devoted to make things appear believable.
HOPE & A LITTLE SUGAR belongs to Tanuja Chandra; this is her most accomplished work so far. Also, every actor is in top form: Mahima [excellent], Kher [incredible], Suhasini Mulay [exceptional] and new-find Amit Sial [fine talent; confident]. Vikram Chatwal gets minimal scope.
On the whole, HOPE & A LITTLE SUGAR is a well-made, engrossing fare that caters to a niche audience. A film for select multiplexes in India.
Rating:- [critique] * * *
Aamir Khan has raised the bar with TAARE ZAMEEN PAR. Comparisons between Aamir and Ajay Devgan, who makes his directorial debut with U ME AUR HUM, would be erroneous, but you can't turn a blind eye to the fact that the viewer would expect an encore with U ME AUR HUM. Will U ME AUR HUM live up to the humungous hype and expectations? Does Devgan have the trappings of a fine storyteller? Oh yes, he does!
Let's come to the point right away. Devgan needs to be lauded for choosing a daringly different theme in his debut film and most importantly, doing justice to it, handling it with extreme care. We know him as a powerful actor, now there's yet another designation added to his name -- avant-garde director.
Let's move on to the next query! Is the real-life couple -- Ajay and Kajol -- as dynamic yet again? The answer is, they're electrifying. Both pitch in bravura performances, reaffirming the fact that this jodi is amongst the finest of this generation.
One of the prime reasons why U ME AUR HUM works, and works big time, is because it's aimed at the heart. Anyone who's into relationships, anyone who believes in love, anyone who thinks from the heart, anyone who has watched his/her partner grapple a grave disease, will identify with a film like U ME AUR HUM.
To cut a long story short, U ME AUR HUM marks the birth of a powerhouse of talent. Watch U ME AUR HUM for various reasons, but most importantly, watch it for a new director who respects your 2.30 hours and the hard-earned bucks that you invest on watching his movie. It's time to fall in love with love… again!
The first time Ajay [Ajay Devgan] saw Pia [Kajol], she served him drinks. She affected him more than the alcohol, it was love at first sight. The first time Pia saw Ajay, he had a drink too many. She watched him make a fool of himself and was relieved when he passed out.
Ajay is on a cruise with his friends -- Nikhil [Sumeet Raghavan] and Reena [Divya Dutta], unhappily married, and Vicky [Karan Khanna] and Natasha [Isha Sharwani], happily unmarried. Ajay is having a wonderful time dealing with martial strife, lots of bad language and huge hangovers, when he finds Pia and time stands still.
After a disastrous first meeting, Ajay tries everything to woo her. He wants her, by hook, crook or even her little private notebook. She's not an easy catch at all, but finally, by sheer perseverance, he dances his way into her heart. Ajay and Pia develop a strong and special bond.
Happy marriages begin when we marry the ones we love, and they blossom when we love the ones we marry. And Ajay-Pia love each other dearly, but no marriages can be complete without problems, and Ajay and Pia have also have to face hurdles. Kajol is diagnosed with Alzheimer's. How does the couple face the crisis?
The one thing you must carry when you set out to watch U ME AUR HUM is a kerchief. For, this film makes you shed a tear at times, cry at places and weep in at least two vital sequences. But it's not just rona-dhona that you get to see in U ME AUR HUM.
The first hour, strictly average in terms of writing, has several sunshine moments. It's breezy, funny, at times silly, but interesting. What also catches your eye is the eye-filling cinematography [Aseem Bajaj in top form, yet again] on the cruise. The songs, the glam look, the subtle humor… you don't take to the film instantly, but you know for a fact that a volcano is brewing.
And the volcano does erupt in the second hour! Ajay Devgan, the director, shows his expertise in this hour as the story does an about-turn, exposing the delicate, sensitive and fragile relationships. Devgan reserves the best for the concluding reels and you finally get the answers in the end.
U ME AUR HUM is more of a director's film, than anyone else's. A theme like the one projected in this film could go dangerously haywire if entrusted in inept hands, but Devgan seems to have done his homework well. The only glitch is the length in its second hour. A shorter narrative would've only helped!
Robin Bhatt, Sutanu Gupta and Akarsh Khurana's screenplay casts a hypnotic spell in the second hour. Sure, the germ stems from THE NOTEBOOK [2004; James Garner, Gena Rowlands, Rachel McAdams], but the writers have altered the screenplay keeping Indian sensibilities in mind. It works! Ashwani Dhir's dialogues touch the core of your heart. Every spoken sentence has a meaning. Vishal Bhardwaj's music may not be a chartbuster, but it alternates between soulful and melancholic beautifully. Aseem Bajaj's cinematography is topnotch. Monty Sharma's background score is effective.
Now to the performances! U ME AUR HUM is like a medal that glimmers on Ajay Devgan's body of work. He's exceptional! Kajol, well, what can you say of an actress who has proved herself time and again? That she's undoubtedly the best has been proved yet again. Sumeet Raghavan is first-rate. Divya Dutta gets into the groove in the subsequent portions. Karan Khanna and Isha Sharwani are okay. Sachin Khedekar does a fine job. Aditya Rajput and Hazel get minimal scope.
On the whole, U ME AUR HUM is a well-made, absorbing love story that's high on the emotional quotient. And that holds tremendous appeal for ladies/families mainly. At the box-office, it's the kind of film that will gather more and more speed with each passing show. Its business at multiplexes should be fantastic. Overseas too should be excellent. Very strongly recommended!
Hindi movies have undergone a sea-change in terms of content. From crude, been there seen that, done to death kind of movies, to films with substance, the audience tastes have changed over the years. Even though we've have grown up on the staple diet of desi food, we've cultivated a taste for Italian, Chinese, Thai and Mexican cuisine.
The experience with TASHAN is like, you enter a posh restaurant, waiting for a sumptuous meal to be served, but what's served on your plate is vada-pau. TASHAN takes you back to the 1970s Bollywood, when illogical situations, blood and gore, for no rhyme of reason, were the main ingredients that made the junta break into taalis. Sorry, the formula doesn't work anymore!
Seriously, what was debutante director Vijay Krishna Acharya thinking when he wrote this apology of a script? It's perfectly okay to revisit the classics and pay homage to the masala films of yore, but the new interpretation has to be contemporary, you need to change with the times.
The one thing that you realize after watching TASHAN is, no amount of gloss, glam and top notch stars can ever substitute for a riveting script. Great stars, great styling, great songs and great visuals work as long as the script is great.
So what's the verdict then? If you genuinely miss the 'Kamine, main tera khoon pee jaaonga' and 'Bhagwan ke liye mujhe maaf kardo' kind of movies that dominated the 1970s, pick up a DVD of those hits instead. TASHAN is regressive cinema with a capital R.
A call centre executive Jimmy [Saif Ali Khan] is entrusted the responsibility of teaching English to a gangster, Bhaiyyaji [Anil Kapoor]. But Bhaiyyaji's key help Pooja [Kareena Kapoor] uses Jimmy to swindle Bhaiyyaji of Rs. 25 crores. Obviously, Bhaiyajji wants his money back and also Jimmy and Pooja's heads.
He settles for Bachchan Pande [Akshay Kumar] to carry out the job of tracing Pooja, once Jimmy surrenders himself to Bhaiyyaji. What happens next?
Actually, TASHAN starts off very well and the first hour unwinds at a feverish pace. Besides, there're interesting twists and turns in this hour that make you jump with joy. Akshay's entry in the movie is the turning point and the actor only takes the film to a new level.
Alas, the joy is short-lived. The writer-director goes completely off the mark and loses focus. Instead of coming to the point right away, what the writer does is makes you run in circles and circles. It's like boarding a direct flight to London, but the pilot suddenly decides on having stopovers in Ahmedabad, Dubai, Budapest, Munich, Berlin, Amsterdam, before landing at London. You're exasperated!
What ails the film? Various factors. The film goes on and on and on. Unwanted scenes, the outdated love angle, the lenggggggthy fight sequences [people showering Akshay and Saif with bullets, but, well, nothing happens], the confrontation between good and evil in the climax… you actually pinch yourself, were you watching the same movie in the first hour? Or did the reels get changed?
Another minus factor is Vishal-Shekhar's music. Seems like the composers have run out of tunes and what they offer is best suited for the music systems in their cars only. With such impressive names on and off screen, the music directors should've ensured that they come up with tunes that remain etched in your memory… in this case, at least that could've been a redeeming aspect. But the music is awful. The picturisation of some songs is, however, quite eye-filling.
Debutante director Vijay Krishna Acharya seems to have taken the audience for granted. Cinematography is excellent. The locales are a visual treat. Dialogues are good at places.
TASHAN belongs to Akshay Kumar completely. No two opinions on that. Take Akshay out of this film and the movie is a big zero. He's the lifeline of this project and his performance will be loved by elite and masses, both. Kareena Kapoor is fantastic. She looks gorgeous, acts very well [her role is similar to the one she essayed in FIDA] and yes, she carries off the bikini with élan.
Saif Ali Khan is relegated to the backseat. What did Saif see in this role? He's hardly there in the second hour. Anil Kapoor entertains at the start, but after a point, the Hindi-English bhasha gets on your nerves. Also, it's very difficult to decipher what he's speaking most of the time.
On the whole, TASHAN is one of the weakest films to come out of the Yash Raj banner. This film has gloss aplenty, but no soul. At the box-office, the film will join the ranks of JHOOM BARABAR JHOOM, LAAGA CHUNARI MEIN DAAG and AAJA NACHLE sooner or later… Business in Overseas will also be weak despite a popular cast.
After crooning for Asha & Friends, Sanjay Dutt lends his voice once again for Ekta Kapoor's film C Kkompany. Take a look as we get you some footage of Sanju Baba at the recording studio fine tuning his vocal chords along with music director Anand Raj Anand. A Must Watch!
Mallika Sherawat and international star Jackie Chan were simply inseprable at the Audio Release function of Kamal Hassan's 'Dasavthaaram' in Chennai recently. We bring you a few interesting moments of the duo from the event
Arbaz Khan makes a guest appearance to cheer his wife and the host Malaika Arora Khan in music reality show 'Dhoom Macha De'. Also watch some beautiful performances of the participants of the show. A musical watch!
Aamir Khan is an avid blogger. In this exclusive video feature we bring you what Khan has to say in his latest post on his injury on the sets of 'Ghajini', receiving the prestigios Hridayanath Mangeshkar Award and he also introduces his talented nephew Imran Khan who shall be making debut in Abbas Tyrewala's 'Jaane Tu Ya Jaane Na'. We also include a few bytes from Aamir's interview given to us a few months ago about the film. Its an Exclusive!
Katrina Kaif the gorgeous actress is supporting Vijay Mallya's Bangalore Royal Challengers IPL cricket team. Watch her with some beautiful cricket action and groovy dance in this exclusive promotional music video. Must watch!
Apr 4, 2008
Check out the hot and sizzling Bengali babe, Rani Mukherjee enjoying some foot tapping songs from her movies that the finalists of the Star Voice of India Chhote Ustaads sing specially for her. Don't Miss Rani Mukherjee's speech in Bengali. Take a look!
Aishwarya Rai Bachchan unveiled the First Look of Kiron Kher's great looking son Sikander's debut movie 'Summer 2007'. There were some glass shattering moments that need to be savoured too. Must Watch!
Harry Baweja’s much awaited LOVE STORY 2050 will showcase their trailer to the audience along with the release of RACE. With the release of the theatrical trailer on 21st March, audiences worldwide will get their first look into the future with Love Story 2050.
Harry Baweja along with Priyanka Chopra showcased the three minute trailer at an exclusive preview screening at PVR Juhu along with the release of the first look of the film. Also present at the unveiling was Mike Rann, Premier, South Australia.
The film stars Priyanka Chopra, introduces Harman Baweja and Boman Irani, Archana Pooransingh, Dalip Tahil, and Shishir Saxena. The music of the film has been given by Anu Malik with lyrics by Javed Akhtar.
Watch out for 2050 in Summer this year.
Sridevi looked brilliantly resplendent at the final day of Lakme Fashion Week. Also, Dia Mirza, Malaika Arora Khan, Amrita Arora and Yana Gupta added loads of glamour in this fantastically edited video. Fantastic-Watch!
Salman Khan...... Chetan Bhagat (Special appearance)
Katrina Kaif...... Special appearance
Sohail Khan...... Varun Malhotra
Sharman Joshi...... Shyam Mehra
Isha Koppikar...... Esha Singh
Gul Panag...... Priyanka Kapoor
Amrita Arora...... Radhika Jha
Dilip Tahil...... Subhash Bakshi
Suresh Menon...... Hanapam Swamy
Sharat Saxena...... Vijay Pratap Chauhan
Sometimes, you miss out on a few movies due to their uninspiring promotion. You're so put off by the quality of promos/posters/billboards that you are in no mood to leave everything and rush to the nearby cineplex. There're times when inadequate publicity also plays a vital role in keeping the moviegoers away from theatres. Uninspiring promotion as also an unsung release goes against BHRAM largely.
Honestly speaking, BHRAM, helmed by Pavan Kaul, is engaging in parts. The film holds your attention intermittently, but the writing gets too predictable in the latter reels. The problem is, the incidents leading to the culmination appear to be a complete compromise from the writing point of view.
Let's explain. In BHRAM, director Pavan Kaul doesn't open the cards at the very outset. You've to be alert to grasp things since the past and present move concurrently in the first hour, which, let's face it, tends to get confusing at times. It's only at the interval point that you exclaim, 'Okay, got it' and you look forward to the second hour with enthusiasm.
Any thriller works if the culmination hits you like a ton of bricks. In BHRAM, it doesn't. The ending is so tame, so hackneyed that you know the answers even before they're spelt out on screen. That's when the impact evaporates into thin air!
Antra [Sheetal Menon] is a successful model, but is hiding behind the veil of a traumatic past. Shantanu [Dino Morea] is initially attracted to Antra, who snubs him initially, but the two develop a strong bond subsequently.
Things take a dramatic turn when Antra is introduced to Devendra [Milind Soman], Shantanu's elder brother. The wounds re-open and the skeleton tumbles out of the closet…
Pavan Kaul has managed to lay his hands on an intriguing story, but the writers let him down. While the first hour isn't faulty, things go awry in the second hour. When Dino lands up in Manali to experience the truth, he meets a series of people who were present on the fateful day. Now note this: Everyone seems to be talking of the birthday party, but the incident never takes place then. It happens at a time when only the young kid is a witness. So how would the entire town know what really transpired?
The assorted people Dino meets in Manali are suddenly told to keep their mouth shut. Wait, a still photographer is murdered as well. The question is, how does the key culprit [name withheld] enjoy such clout in an altogether different state, when, in the first place, people blame him for the rape and death? Clearly, the writers [writer: Bhavani Iyer, screenplay-dialogue: Radhika Anand] don't know how to culminate matters. Incidentally, the dialogues are too hot to handle. Sure, it's right to change with the times, one doesn't argue that, but why so many words and terms which are in poor taste? Not required!
As a storyteller, Pavan Kaul has chosen an interesting story and the execution of the subject supersedes his earlier efforts. He has handled a few sequences with maturity, especially the finale [filmed on a breath-taking location]. But why the sepia effect in most parts of the film? Not needed! Music [Pritam, Siddharth-Suhas] is quite okay, although the songs aren't too popular and therefore, don't come easy on your lips. Cinematography [Hiroo Keshwani] is first-rate. Editing [K. Rajgopal] is loose. The film should be tightened by at least 15 minutes.
Milind Soman gives a decent account of himself. There wouldn't be a reason to dislike him. Dino Morea carries off his part with sincerity. The vulnerable look comes across well at places. Sheetal Menon fits the role. Simone Singh is first-rate. Chetan Hansraj is strictly okay. Sheetal Shah is hardly there. Ditto for Deepshikha.
On the whole, BHRAM has an interesting story to tell, but lack of hype, face-value and uninspiring promotion will hit the business hard.
If given a choice between Pakistani movies and Pakistani TV shows/serials, I'd settle for the small screen any day. Not that all serials ['dramas' is what they call them in Pakistan] are engaging, but I am hooked to a few shows. From whatever I've seen of Pakistani movies, my ratings would not exceed 1 on a scale of 10. But KHUDA KAY LIYE, the first Pakistani film to release in India, is also the first Pakistani film that moved me.
The film depicts the dilemma the well-educated, progressive-thinking and liberal Pakistanis face, post 9/11. The West looks at them as potential terrorists, while fundamentalists frown on them. Director Shoaib Mansoor may not be a great technician, but is a fine storyteller nonetheless.
Honestly speaking, you don't take to the film at the outset. For, it takes time to come to the point, but once it does, there's no stopping it. However, there's a flip side as well. A theme like the one depicted in the film is not everyone's cup of tea. Although one does identify with the proceedings, the film is more for the thinking viewer, for those who dissect cinema after watching it, it's a film that sparks off debates and discussions.
Cinema in India has undergone a sea change and whether one likes it or not, the harsh fact remains that cinema here is entertainment driven. In that respect, KHUDA KAY LIYE has limited chances. Limited to the multiplexes of a handful of cities only. Yet, you cannot turn your eyes away from the fact that KHUDA KAY LIYE is a well-made film that reaffirms a dangerous fact - the world is only getting more and more divided!
The film is about the difficult situation in which Pakistanis in particular and the Muslims in general are caught up since 9/11. There is a conflict going on between the fundamentalists and the liberal Muslims. This situation is creating a drift not only between the western world and the Muslims, but also within the Muslim community.
The educated and modern Muslims are in a difficult situation because of their approach towards life and their western attire. They are criticized and harassed by the fundamentalists and on the other hand, the western world sees them as potential suspects of terrorism just because of their Muslim names.
The film has two stories running concurrently. The elder brother [Shan] wants to pursue music as a career and leaves for the U.S. The younger brother [Fawad Khan] is so influenced by the fundamentalists that he turns into an altogether different person completely. The younger brother's story of forcibly marrying a woman, the woman wanting to flee from his clutches but can't, takes you back to the Karisma Kapoor starrer SHAKTI - THE POWER and also the Manisha Koirala starrer ESCAPE FROM TALIBAN. The elder brother's story is novel and deftly executed. In fact, the elder brother's story is heart breaking.
Director Shoaib Mansoor knows exactly what he's talking about and has handled several portions with dexterity, especially the penultimate 20 minutes in the courtroom. Only thing is, the chaste Urdu spoken by Naseeruddin Shah will be difficult to decipher by most viewers. Cinematography could've been more eye-filling, in view of the fact that the locales are bewitching.
Shan is a fine actor, but he has put on a lot of weight and it shows. Imad Ali could've been more effective. Fawad Khan is strictly okay. Rasheed Naz is excellent. Naseeruddin Shah is the scene stealer. His portions are simply outstanding!
On the whole, KHUDA KAY LIYE is a well-made film, but it caters to the thinking audience, the intelligentsia mainly. At the box-office, the film caters to a handful of multiplexes in a handful of cites only. Sure, it would win tremendous critical acclaim, but box-office dividends in India are ruled out.
Let's clear a misconception before we get down to reviewing SHAURYA. It's not a war film. It's not jingoistic. It doesn't spew venom on the neighboring country. It doesn't show mutilated bodies or blood-soaked faces and limbs.
Sure, SHAURYA has the backdrop of the armed forces. But it's about a court martial. It's about two friends, who're pitched against each other in a courtroom. The 'culprit', in turn, doesn't want to defend himself and remains a mute spectator for reasons best known to him.
SHAURYA is a serious film and raises a serious issue in the penultimate 20 minutes. And that's where it scores. Director Samar Khan gradually builds up the tension and when it explodes in the finale, it leaves you stunned and speechless. Most importantly, it makes you uncomfortable… perhaps, that's one of the reasons why it succeeds.
SHAURYA is about the common man, but as a cinematic experience, it's more for the discerning viewer looking for a hatke theme, thirsting for a story in those 2 hours. Most importantly, it does justice to the tagline - 'It takes courage to make right… right'.
Captain Javed Khan [Deepak Dobriyal] is charged with mutiny, treason and killing a fellow officer. Even when he is held for court martial, he refuses to speak in his defense as the secret he holds is too powerful for the establishment to handle. Assigned for this task are Sid [Rahul Bose] and Akash [Jaaved Jaaferi], two best friends, lawyers and very ambitious individuals who have contrasting views on life.
Nevertheless, this one case changes their lives forever. The case takes them to Srinagar. While Akash, for whom winning the case matters the most, follows the blueprint, Sid discovers a new meaning in life, Kavya, Javed and of course, the man in question, Brigadier Pratap [Kay Kay Menon].
Why is Javed silent? What is the truth of that night? Why is Brigadier Pratap hell-bent on getting Javed convicted? Will Sid have the courage to save Javed's life?
SHAURYA isn't a flawless script. But it has been treated with utmost realism and sensitivity by Samar Khan. Talking of the narrative, the film could've done without the item song at the very start [and what was Pawan Malhotra doing in this song?]. Besides, one fails to understand why Deepak Dobriyal doesn't confide to his mother, since the family has always taken pride in the fact that they've adhered to principles all their lives. Besides, the film could've been shorter by at least 15/20 minutes. The second hour drags at places!
Despite the hiccups, SHAURYA delivers what it promises. At the end of the screening, you actually pinch yourself. Did the same guy who helmed this riveting fare called SHAURYA, direct KUCH MEETHA HO JAYE, a bitter cinematic experience? The execution of SHAURYA is impressive and Samar also succeeds in extracting stellar performances from the ensemble cast.
Despite the shortcomings, the screenplay is tight, not deviating from the core issue. The reason that compels Deepak Dobriyal to shoot a fellow officer and also the powerful climax prove that the writers [Jaydeep Sarkar, Aparnaa Malhotra and Samar Khan] know their job well. There's not much scope for music in a film like this, therefore the two songs don't make much of an impression. However, in terms of melody [Adnan Sami], 'Dheere Dheere' has a soothing effect on the listener. Carlos Catalan's cinematography is topnotch.
The story rests on five actors - Rahul Bose, Kay Kay Menon, Jaaved Jafferi, Deepak Dobriyal and Minissha Lamba. Rahul excels in a role that fits him like a glove. In fact, this performance easily ranks as one of his finest works. Kay Kay is dynamic. Watch him explode in the climax and you realize the potential this actor possesses.
Jaaved does a decent job. However, his character is relegated to the backseat after a point. Deepak conveys a lot even when silent - that's the sign of a fine actor. Minissha is effective. Besides, she looks the character. Amrita Rao handles her part with maturity. She's first-rate. Seema Biswas, as always, is a complete natural.
On the whole, SHAURYA is a well-made film that will have to rely on a strong word of mouth to sustain in the coming days. However, the film deserves to be tax-exempted since it's a genuinely deserving case.
Mar 29, 2008
Of late, the trend is to make entertainers that don't tax the viewers' brains. The mantra is simple: Plonk yourself on the cushy seat, munch popcorn, sip cola and enjoy the on-screen antics. Just don't ask questions. Just don't look for logic. No-brainer comedies are what the doctor ordered to keep the industry's heart live and ticking.
ONE TWO THREE, helmed by debutante Ashwani Dhir, follows the rules faithfully. But…
Like most films of its ilk, ONE TWO THREE rests on a waferthin plot. No issues with that, but after a point you don't react to the on-screen jhamela. Substituting a cohesive script with witty one-liners and funny situations has never been the shortcut to success and never will be.
Besides, the masti-mazaak works at times, but falls flat on several occasions. The on-screen characters try their level best to tickle your funny bone, to evoke mirth, but the viewer sits motionless and expressionless like a mannequin.
Comedy is serious business and Ashwani Dhir has proved his skills in the past [he had penned the immensely likeable OFFICE OFFICE], but cinema is a different medium altogether. Sure, Dhir has worked hard on wit-laden dialogues and individualistic sequences, but how one wishes he would've worked on presenting a tighter script.
It's like promising a sumptuous meal, but being offered just starters. The main course is conveniently forgotten!
Diamonds belonging to a Don [Manoj Pahwa] get stolen. The diamonds accidentally fall in the hands of Chandu [Upen Patel] and Chandni [Tanishaa], who hide them in a car. Papa [Mukesh Tiwari] and his henchmen [Vrajesh Hirjee and Sanjay Mishra] are desperately hunting for the diamonds, while hot headed police office Mayavati Chautala [Neetu Chandra] is on the prowl looking for offenders of any kind.
Enter the first Laxmi Narayan [Tusshar Kapoor]. He's from a khandani mafia family and his mother prays that with a few murders under his belt, he will be settled for life. He's got a final chance to redeem himself as a Bhai. He comes to Hotel Blue Diamond because he's taken a supari to bump off Papa.
Enter the second Laxmi Narayan [Suniel Shetty]. He is sent to Hotel Blue Diamond to collect a new car for his boss from Laila [Sameera Reddy]. The third Laxmi Narayan [Paresh Rawal] is a hawker who has made so much money selling under-garments on the footpath that he has set up a lingerie factory now. His son sends him to Hotel Blue Diamond to collect lingerie samples from upcoming designer Jiya [Esha Deol].
The three Laxmi Narayans are at the same place, at the same time. They get letters and photographs meant for the other. The first Laxmi Narayan gets lingerie designer Jiya's photo and goes to kill her, only to end up falling in love with her. The second Laxmi Narayan gets Papa's photo and goes to collect the car from him, only to be mistaken for a killer and gets beaten black and blue. The third Laxmi Narayan gets Laila's photo and asks her to show him the under-garments, only to be branded an old pervert.
Meanwhile, Chandu and Chandni are determined to stop anybody from buying the car where they have hidden the diamonds.
Lock your brains at home when you watch this movie, for ONE TWO THREE, like its predecessors, is more of a stress buster than anything else. Unfortunately, the absence of a strong screenplay evokes mixed reactions. You do laugh when you're supposed to laugh, but even those jokes are forgotten as you breeze out of the cineplex. You don't carry the story, the film, the gags and punches, the witty one-liners with you at the end of the show.
Ashwani Dhir is a far more accomplished dialogue writer than a screenplay writer. Directorially, the choice of actors is right and a few scenes are well canned. Raghav Sachar's music disappoints. Barring the title track, the remaining numbers are forgettable. Cinematography is inconsistent. It looks like a hurried job at times.
The film has a number of characters, but the one who actually makes you laugh the maximum is Sanjay Mishra, who impersonates the yesteryear villain Jeevan to perfection. Suniel Shetty too has his moments, but his 'Left-Right' dialogues, in scene after scene, tend to get monotonous. Tusshar does a decent job. Paresh Rawal is okay, but not the scene stealer -- something you've started expecting from him.
The girls enact their parts mechanically. The performances are in this order -- Sameera Reddy [okay], Esha [dull], Tanishaa [no scope] and Neetu Chandra [loud]. Manoj Pahwa excels. Mukesh Tiwari is alright. Ditto for Vrajesh Hirjee. And what is Upen Patel doing in this film? Murli Sharma doesn't deliver this time.
On the whole, ONE TWO THREE falls below the ordinary mark. At the box-office, don't expect much!
Mar 28, 2008
New Movie Coming
Sunil Shetty...... Laxminarayan
Tusshar Kapoor...... Laxminarayan
Paresh Rawal...... Laxminarayan
Upen Patel...... Chandu
Esha Deol...... Jiya
Sameera Reddy...... Laila
Tanisha Mukherjee...... Chandni
Neetu Chandra...... Inspector Mayawati
Manoj Pahwa...... Pinto
Vrajesh Hirjee...... Albert
new Movie coming
Rahul Bose...... Major Siddhant Chaudhry
Minissha Lamba...... Kaavya Shahstri
Kay Kay Menon...... Brigadier Rudra Pratap Singh
Javed Jaffrey...... Major Aakash Kapoor
Deepak Dobriyal...... Captain Jaaved Khan
Amrita Rao...... Apecial Appearance
"Oh, how we danced on the night we were wed,
We vowed our true love though a word wasn't said
The world was in bloom, there were stars in the skies,
Except for the few that were there in your eyes.
The night seemed to fade into blossoming dawn,
The sun shone anew but the dance lingered on.
Could we but relive that sweet moment sublime,
We'd find that our love is unaltered by time."
- Lyrics to "The Anniversary Waltz," composed by Dublin/Frankl
The first time Ajay saw Pia, she served him drinks. She affected him more than the alcohol, and he found true love. He was a leading psychiatrist, but she messed up his mind.
The first time Pia saw Ajay, he had too much to drink. She watched him make a fool of himself, and was relieved when he passed out. She was a woman who followed her heart, but despite his claims of true love, she had made up her mind.
Thus began the story of Ajay and Pia.
A love story, that begins at sea. Ajay is on a cruise with his friends - Nikhil and Reena, unhappily married, and Vicky and Natasha, happily unmarried. Ajay is having a wonderful time dealing with martial strife, lots of bad language and huge hangovers, when he finds Pia, and time stands still. After a disastrous first meeting, Ajay tries everything to woo her. He wants her, by hook, crook or even her little private notebook. She's not an easy catch at all, but finally, by sheer perseverance, he dances his way into her heart.
Ajay and Pia develop a strong and special bond. In each other, they find an anchor. But the tide goes against them. Weighted down by lies and deceit, their boat is rocked, and their relationship drowns.
But even oceans cannot keep true love apart. Against better sense, Ajay waits for Pia. In Pia's case, better case prevails, and she comes back to him. With no doubt in their minds about the way they feel for each other, they rush into marriage, despite the advice and failing relationships of their friends.
Happy marriages begin when we marry the ones we love, and they blossom when we love the ones we marry. And Ajay-Pia, love each other dearly, and their marriage flourishes, setting an example for their friends.
But no marriages can be complete without problems, and Ajay and Pia have also have to face hurdles, some of which seem insurmountable. We are taught in school how to do sums, how to read and write, and how to conduct scientific experiments. But what do we really know about the greatest social experiment of all, namely our ability to keep the love alive in our marriage, especially in the face of crises?
But even as things get much worse, and sometimes unsolvable, Ajay and Pia don't give up. They realize that marriage is not a ritual or an end. It is a long, intricate, intimate dance together and nothing matters more than your own sense of balance and your choice of partner. And Ajay and Pia are used to dancing together.
So they battle all odds, and dance, and sometimes they fall. But every time they fall, they fall in love. And that's what a successful marriage requires. Falling in love many times, always with the same person.
This is the special love story of Ajay and Pia. There may be no monuments dedicated to them and perhaps their names will soon be forgotten. But in one respect they succeed as gloriously as anyone who's ever lived: They've loved each other with all their heart and soul; and in life and marriage, that has always been enough.
New Movie coming... under Banner of Bhanwar Lal Sharma Production
Dino Morea...... Vikram Singh Sisodiya
Minissha Lamba...... Jia Rao
Aarti Chhabria...... Anamika
Jatin Garewal...... Special Appearance
Juhi Chawla is Dr Sonali: As a psychiatrist she knows what's wrong with her patients; as a sensitive woman she firmly believes that if you really want to make them well, you should treat them with your heart, not just your mind.
Arshad Warsi is Raja:Truly the angry young man! His blood boils, his fists clench and he's ready to beat the daylights out of anyone who upsets him in some way.
Irrfan Khan is Dr Mukherjee: He has decided that he's the Captain of the team! But so obsessed is he by the need to be in control of a situation, he doesn't realise he's totally lost control of himself and his mind.
Rajpal Yadav is Gangadhar: He's marching to a beat only he can hear; he's fighting for a cause that's long over. But in his muddled mind he's still fighting for Swaraj; still hobnobbing with the likes of Nehru and Mahatma Gandhi.
Suresh Menon is Dabboo: Cute and adorable, he's everybody's pet and however far gone the rest may be, when it comes to Dabboo, everybody's super protective. Even if he can hear and understand, Dabboo refuses to speak. And nobody knows why!
Dia Mirza is Shikha: As a TV reporter she controls the news on the channel, but as a woman she's unable to control the unruly and unmanageable rage of Raja - the man she loves.
Rajat Kapur is Industrialist R K Sanyal: who's also Dr Sonali's husband. But in his quest for power and money he takes a step that will have alarming consequences for his wife and her patients - the krazzy 4!
Zaakir Hussain is Srivastav: He is so neck deep in illegal activities that now he'll stoop to anything - even kidnapping and murder - to keep him ahead.
Gopi (Sunil Shetty) a simpleton, arrives in Goa from Hoshiyarpur. His mission – to hand over an incredibly tiny piece of land to his childhood friend Kishen, which was his father’s last wish.
Kishen (Arshad Warsi), now a conman, swindles people with a little help from his accomplice, Babu (Atul Kale), to earn enough money to educate his sibling Divya (Mahima Mehta) who’s studying in London.
Kishen, however, has managed to hide his profession from Anuradha (Rashmi Nigam) merely saying that it’s Hari, his twin, who is the bad guy.
Kishen avoids Gopi like he’s bad news. He’s not going to give up his flourishing business and travel to Hoshiyarpur just to take possession of a measly piece of land!
Gopi, in his mission of chasing Kishen, is given a helping hand by Tanya (Anishka Khosla), daughter of the owner of KG Resorts.
Flash: Diamonds worth crores have been stolen in a breathtaking heist by three gorgeous girls who are now holed up at KG Resorts.
Kishen, Babu and everyone else learns about this and they all make a mad rush for KG Resorts. Gopi finds himself a part of the gang.
Who gets the diamonds? Does Gopi manage to take Kishen to Hoshiyarpur? And was the land just a meager piece of land or something more? The answers are out in black and white by the time you go through this hectic cinematic maze!
Aishwarya Rai Bachchan has once again proved that she is really a Princess of Bollywood as her recent film Jodhaa Akbar has become a hit as it has collected a whooping sum of 96 crores in 1 month. According to the director Ashutosh the film has fetched quite a good amount in western countries than in India.
Now all eyes are on Mani Ratnam’s next which will again feature Abhi-Ash as a pair on screen. It is reported that though Mani has signed Vishal to act opposite to the diva, he also succeeded in tailoring a role for Abhishek. After GURU this film will gain be under the direction of Mani Ratnam which will feature Abhishek and Aishwarya on the silver screen again.
But will the audience accept them after marriage is a suspense which can only be read when the film shapes out and releases.
Mar 26, 2008
HOW can it be that a movie as beautiful to look at as "Saawariya" is so . . . boring?
Perhaps it has to do with the fact that the love story, directed by Sanjay Lella Bhansali, is the first Bollywood movie produced in Hollywood, which has an annoying habit of sucking the life out of material.
The setting is a fairy-tale land where a Hindu boy (annoying Ranbir Kapoor) falls for a Muslim girl (drop-dead gorgeous Sonam Kapoor) who is waiting for her lover who has been gone for a year but had promised to return. (Both leads come from famous show-business families, but are not related.)
The sets and costumes are gorgeous, and the blue-hued cinematography (by Ravi K. Chandran) is pleasing. But the story drags, despite the fact that at a little over two hours, it's short by Bollywood standards.
The characters fail to grab our interest, and the songs (10 of them) are instantly forgettable.
"Saawariya," which translates as "beloved," is yet another example of Hollywood trying to please everybody and, as a result, pleasing nobody.
Mar 25, 2008
Directed by - Rajat Kapoor
Starring - Naseruddin Shah, Neha Dhupia, Ranvir Shorey, Harsh Chhaya, Saurabh Shukla, Vinay Pathak, Iravati Harshe ...
We're experiencing a whole new world in cinema. Themes that were considered abstract and offbeat are slowly making inroads into Bollywood. These films are a complete contrast to what we've been experiencing thus far. You could actually mistake it for European cinema in general and French cinema in particular. MITHYA, directed by Rajat Kapoor, is one of those films. Conceal the faces of the actors and you'd never believe it's a Hindi film.
In this case, MITHYA, you can't draw parallels with any film, past or present. That's because something like this has never been attempted before. And that happens to be the flip side as well, for MITHYA is not everyone's cup of tea, everyone's idea of entertainment. It caters to a niche audience, those with an appetite for 'different' cinema. It's for the discerning viewer that wants a change, who wants to watch a new story unravel on celluloid.
Write your own movie review of Mithya
Seen individually, MITHYA is an experience you cannot forget easily. It leaves a solid impact, especially if you're receptive to out of the box experiences.
VK [Ranvir Shorey] has come to Mumbai, chasing big film dreams, like thousands of others. When fate makes him a pawn in a master game plan of the underworld, he unknowingly gets drawn into a whirlpool of events that will determine his future. Then an unexpected accident turns the tables for everybody involved.
Now begins a chase that won't stop at anything. VK is too deep into it now to step back. Unknowingly, he has become an imposter, an imposter who wasn't.
On script level, a film like MITHYA has layers and more layers and is indeed a complex theme to handle. Not everyone can attempt it, since a theme like this has to be handled very, very carefully, else it may boomerang. That's where an expert storyteller like Rajat Kapoor steps in.
You get instantly sucked into the struggler's world and gradually forget that you're a viewer. You become a bystander. You feel it's happening right there in front of your eyes, experiencing everything firsthand.
The best part of the script [writers: Saurabh Shukla, Rajat Kapoor] is that you cannot predict the next moment. Its unpredictability is its USP. The film moves about in a serpentine manner and as it reaches its culmination, you're emphathizing with the struggler, who started somewhere else and ended at an altogether different destination. That's destiny, isn't it?
But the best part is the concluding moments. The culmination to Ranvir's character -- the way it has been filmed -- leaves you stunned, speechless and of course, sad! Its execution cannot be described in mere words.
Director Rajat Kapoor takes a giant leap as a storyteller. If you understand cinema or are associated with it, you'd realize that MITHYA is more of a director's film, than an actor's. Although it's premature to talk at this juncture, but MITHYA should feature prominently in the 'Bests of 2008' when the year draws to a close. The writing too is topnotch. Ditto for the camerawork, which gives the film a cold, gloomy look.
Lavish praises must be reserved for Ranvir Shorey, who delivers an extra-ordinary performance in the central role. You've known him as a funster, now watch him in a role that you could never place him in. A brilliant performance! Naseeruddin Shah, as always, is hugely competent. Neha Dhupia is one of the most under-rated actors around. Watch her in this film as she slips into a role with such effortless ease. She deserves better roles for sure. Iravati is fantastic. Saurabh Shukla is first-rate. Harsh Chhaya excels. Vinay Pathak is relegated to the backseat this time; he's good. Brijendra Kala is excellent.
On the whole, MITHYA has the courage to tell one of the most novel stories we've ever watched on celluloid. Sure, it caters to the multiplex junta, but honestly, some films are beyond box-office and should just be lauded for the sheer strength of taking Hindi cinema beyond the stereotype.
Wait, here's a grievance. The promos give an impression that it's a comic fare. You may also believe that it's a laugh-riot in view of the fact that MITHYA comes from the BHEJA FRY team. It's not! The promos are misleading and ought to reflect the content to tap its potential.