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!
May 1, 2008
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!