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!
Apr 4, 2008
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.