Movie Review : Sacred Evil - A True Story
Based on a true story, SACRED EVIL is a slow paced, off-beat and intense movie. Interestingly, the story is borrowed from real life [Ipsita Roy Chakraverti].The story revolves around three women: a nun [Sister Martha], a witch [Ipsita] and a girl in search of her mother [Claudia]. Martha, a 45-year-old withering woman, lives in a secluded convent in Kolkata. Even in the sanctuary of the Church, she is haunted by a spirit that threatens her sanity.The witch, Ipsita, is called upon by the unconventional Mother Superior to heal Martha's soul. The task is difficult as Martha is uncomfortable talking about the events in her past. Using her skills as a healer, Ipsita gradually opens the door to Martha's story.Claudia. A young Anglo-Indian girl, growing up with the angst of not knowing her mother, Maureen, alienated in her Indian surroundings by her blue eyes and blonde hair. The story goes back and forth as events from Claudia's life begin to intersect Martha's and Ipsita tries to sort out the tangled threads of the past and the present.As far as the writing is concerned, SACRED EVIL is a pleasant change and a break from the monotony of the regular Hindi films. However, the subject is one that caters to a niche audience only. However, the fact cannot be denied that the narrative does not go off-track nor does it seem as if some sequences have been incorporated for the sake of it. Despite its slow pacing, SACRED EVIL has the knack to hold the interest of its viewer. It's definitely a fine effort by directors Abiyaan Rajhans and Abhigyan Jha. The performances are above average, with Sarika dominating the show.On the whole, SACRED EVIL is worth a watch for its interesting theme and execution. However, at the box-office, the lack of promotion may make the effort go unnoticed
Sunday, June 04, 2006
Movie Review : Fanaa
The industry has been thirsting for a good film that works at the box-office as well. With a majority of Hindi films sinking faster than Titanic, all hopes are pinned on the first big release this summer: FANAA. Quite naturally, the expectations are humungous and there're two vital reasons for it: Yash Raj and the principal star cast.A Yash Raj film is special. The illustrious banner has cemented its position as the Numero Uno production house by churning out memorable films and successfully transporting us to a world of make-believe in those three hours, over the years. And if the avant-garde production house teams Aamir Khan and Kajol -- two of the finest talents of Indian cinema -- together for the first time, you expect nothing short of a landmark film.Now to the question every avid moviegoer is curious to ask: Does FANAA work? Does this much-hyped film live up to the colossal expectations? Is it worth the price of the ticket?FANAA is one of the finest products to come out of Yash Raj. In fact, it wouldn't be erroneous to state that it's one of the most accomplished products to hit the Indian screens in a long, long time. The film works on every level: script, music, visuals, technique and yes, the performances.It would be gross injustice if one overlooks the contribution from the captain of the ship: Kunal Kohli. While Kohli showed a meteoric rise as a teller of tales in HUM TUM, he establishes himself as a master storyteller with FANAA. Kohli catches you by your finger, introduces you to Rehan and Zooni, makes you peep into their lives and also the varied emotions they experience -- from joy, elation, euphoria and contentment to grief, distress, sorrow and anguish. And at the end of the day, the proficient craftsman narrates a story that leaves you with a tear in your eye and a smile on your face. In short, FANAA is not just worth the price of the ticket, but also the price of the samosas, popcorn, sandwiches and soft drinks that you stock up in your lap while watching the film. In short, FANAA is an experience to cherish!Choices... to choose between right or wrong is simple, but what defines one's life is the decision between the greater of two goods or the lesser of two evils. This is the advice that Zooni [Kajol], a blind Kashmiri girl, receives from her father [Rishi Kapoor] just as she is about to venture into the world on her own for the very first time. Little does she know that these very words will shape her life.Zooni meets Rehan [Aamir Khan], a local tour guide and an incorrigible flirt, who goes from city to city exploring their architecture as also the women. Her friends warn her against this good-for-nothing roadside Romeo, but she chooses to ignore them. She is not the one to be protected. It is now her time to discover life and love.Rehan is fascinated by Zooni. He truly wants her to see life as it should be seen, in its many colors -- and he promises her, the time spent with him will be the most precious in all her life. Zooni sees Delhi, life and love like she never has before, because of Rehan.What Zooni doesn't know is that there's more to Rehan, the other dark side of his life that he has kept away from her… something that cannot only change her life, but also destroy it. Originality is a prized commodity because there is so little of it in Bollywood these days. Of late, critics [and non-critics, for that matter] are fond of complaining about how cineplexes are populated by motion pictures that follow safe, formula-derived patterns, designed to please audiences who want a different version of a story they have already seen dozens of times. While there's some truth to the maxim that 'There's nothing new under the sun,' FANAA is an exception.The initial portions of FANAA may give an impression that it's one of those archetypal Hindi films that follow the similar route of boy meets girl, romance blossoms, song-n-dance routine…, but there's more to it as it unfolds. The terrorism aspect, the emotional moments in the post-interval portions and the climax specifically hits you like a thunderbolt. FANAA is powerful and disturbing stuff. It is not for those who strongly believe in fairy tale endings. While hearts and flowers are great for a fantasy, this is the kind of expression of emotion that touches a deeper chord.Any blemishes? The length and the pacing. Most of the times, three hour movies have a few flat spots and FANAA is no exception. The film tends to get very lengthy and also, the narrative tends to get very slow towards the second half. Slight trimming would help tremendously.The writing [screenplay: Shibani Bathija] pushes the envelope, taking us in new and unexpected directions. Every time you thought you recognized where the story was headed, the movie surprises you. Cinematically speaking, this is a well-balanced, multi-course meal. Dialogues [Kunal Kohli] are excellent, specially the shayari throughout the movie. FANAA is gorgeously composed and photographed by cinematographer Ravi K. Chandran. The locales of New Delhi and Poland enhance the visual impact. Music [Jatin-Lalit] is pleasing to the ears. 'Chand Sifarish' and 'Mere Haath Mein' are two melodious gems. 'Chanda Chamke' [the tongue twister] appeals because it comes at a time when you yearn for some relief. The action scenes [George Aguilar ], in minimal doses, are kinetic and exciting. Background score [Salim-Sulaiman] is topnotch. The sound quality [Dileep Subramaniam] is excellent. Visual effects [Tata Elxsi] could've been better, especially the blasts of the helicopters.The acting is of the highest caliber. In fact, most performances in the enterprise are perfect -- no hints of artifice or fakery. Yet, there's little doubt that one of the assets of the film is the chemistry between the lead pair. For Aamir, FANAA is another opportunity to broaden his range. He successfully buries his personality beneath Rehan's, allowing the character to come to the fore. The ferocity with which Aamir delivers his lines and the restless energy he imparts to his character, electrifies every scene that he's in.It's an altogether different experience watching Kajol after a hiatus. It is her complex work, depicting a woman torn by love for and fear of the same man, that elevates the film to a higher level. Without doubt, FANAA ranks amongst her strongest works. Her performance only makes you realize why she's still the best in the business. Moreover, she looks gorgeous all through!Rishi Kapoor is efficient. Kiron Kher is lovable. Tabu gets limited footage; she's just okay. Shiny Ahuja is wasted in an inconsequential role. Ditto for Lara Dutta, who is there for just one scene. Shruti Seth is excellent as Kajol's friend. Satish Shah, Sharat Saxena, Lilette Dubey, Jaspal Bhatti and Vrajesh Hirjee are effective. The child artist is fantastic. On the whole, FANAA is a beautifully written, effectively acted and meticulously crafted effort that is likely to remind many viewers of a simple axiom: A movie doesn't have to be groundbreaking to be compelling. At the box-office, the film has already embarked on a record-breaking start and thanks to [i] the massive print count, [ii] the 12-14-16 shows being performed at movieplexes every single day and [iii] the inflated ticket rates will yield rich dividends in days to come. The first weekend business will be historic, the first week billing will be unprecedented and in the wake of no major oppositions for the next two weeks, FANAA will attain the 'Hit' status in a matter of days. In short, FANAA is yet another landmark film in the remarkable and enviable repertoire of Yash Raj.
The industry has been thirsting for a good film that works at the box-office as well. With a majority of Hindi films sinking faster than Titanic, all hopes are pinned on the first big release this summer: FANAA. Quite naturally, the expectations are humungous and there're two vital reasons for it: Yash Raj and the principal star cast.A Yash Raj film is special. The illustrious banner has cemented its position as the Numero Uno production house by churning out memorable films and successfully transporting us to a world of make-believe in those three hours, over the years. And if the avant-garde production house teams Aamir Khan and Kajol -- two of the finest talents of Indian cinema -- together for the first time, you expect nothing short of a landmark film.Now to the question every avid moviegoer is curious to ask: Does FANAA work? Does this much-hyped film live up to the colossal expectations? Is it worth the price of the ticket?FANAA is one of the finest products to come out of Yash Raj. In fact, it wouldn't be erroneous to state that it's one of the most accomplished products to hit the Indian screens in a long, long time. The film works on every level: script, music, visuals, technique and yes, the performances.It would be gross injustice if one overlooks the contribution from the captain of the ship: Kunal Kohli. While Kohli showed a meteoric rise as a teller of tales in HUM TUM, he establishes himself as a master storyteller with FANAA. Kohli catches you by your finger, introduces you to Rehan and Zooni, makes you peep into their lives and also the varied emotions they experience -- from joy, elation, euphoria and contentment to grief, distress, sorrow and anguish. And at the end of the day, the proficient craftsman narrates a story that leaves you with a tear in your eye and a smile on your face. In short, FANAA is not just worth the price of the ticket, but also the price of the samosas, popcorn, sandwiches and soft drinks that you stock up in your lap while watching the film. In short, FANAA is an experience to cherish!Choices... to choose between right or wrong is simple, but what defines one's life is the decision between the greater of two goods or the lesser of two evils. This is the advice that Zooni [Kajol], a blind Kashmiri girl, receives from her father [Rishi Kapoor] just as she is about to venture into the world on her own for the very first time. Little does she know that these very words will shape her life.Zooni meets Rehan [Aamir Khan], a local tour guide and an incorrigible flirt, who goes from city to city exploring their architecture as also the women. Her friends warn her against this good-for-nothing roadside Romeo, but she chooses to ignore them. She is not the one to be protected. It is now her time to discover life and love.Rehan is fascinated by Zooni. He truly wants her to see life as it should be seen, in its many colors -- and he promises her, the time spent with him will be the most precious in all her life. Zooni sees Delhi, life and love like she never has before, because of Rehan.What Zooni doesn't know is that there's more to Rehan, the other dark side of his life that he has kept away from her… something that cannot only change her life, but also destroy it. Originality is a prized commodity because there is so little of it in Bollywood these days. Of late, critics [and non-critics, for that matter] are fond of complaining about how cineplexes are populated by motion pictures that follow safe, formula-derived patterns, designed to please audiences who want a different version of a story they have already seen dozens of times. While there's some truth to the maxim that 'There's nothing new under the sun,' FANAA is an exception.The initial portions of FANAA may give an impression that it's one of those archetypal Hindi films that follow the similar route of boy meets girl, romance blossoms, song-n-dance routine…, but there's more to it as it unfolds. The terrorism aspect, the emotional moments in the post-interval portions and the climax specifically hits you like a thunderbolt. FANAA is powerful and disturbing stuff. It is not for those who strongly believe in fairy tale endings. While hearts and flowers are great for a fantasy, this is the kind of expression of emotion that touches a deeper chord.Any blemishes? The length and the pacing. Most of the times, three hour movies have a few flat spots and FANAA is no exception. The film tends to get very lengthy and also, the narrative tends to get very slow towards the second half. Slight trimming would help tremendously.The writing [screenplay: Shibani Bathija] pushes the envelope, taking us in new and unexpected directions. Every time you thought you recognized where the story was headed, the movie surprises you. Cinematically speaking, this is a well-balanced, multi-course meal. Dialogues [Kunal Kohli] are excellent, specially the shayari throughout the movie. FANAA is gorgeously composed and photographed by cinematographer Ravi K. Chandran. The locales of New Delhi and Poland enhance the visual impact. Music [Jatin-Lalit] is pleasing to the ears. 'Chand Sifarish' and 'Mere Haath Mein' are two melodious gems. 'Chanda Chamke' [the tongue twister] appeals because it comes at a time when you yearn for some relief. The action scenes [George Aguilar ], in minimal doses, are kinetic and exciting. Background score [Salim-Sulaiman] is topnotch. The sound quality [Dileep Subramaniam] is excellent. Visual effects [Tata Elxsi] could've been better, especially the blasts of the helicopters.The acting is of the highest caliber. In fact, most performances in the enterprise are perfect -- no hints of artifice or fakery. Yet, there's little doubt that one of the assets of the film is the chemistry between the lead pair. For Aamir, FANAA is another opportunity to broaden his range. He successfully buries his personality beneath Rehan's, allowing the character to come to the fore. The ferocity with which Aamir delivers his lines and the restless energy he imparts to his character, electrifies every scene that he's in.It's an altogether different experience watching Kajol after a hiatus. It is her complex work, depicting a woman torn by love for and fear of the same man, that elevates the film to a higher level. Without doubt, FANAA ranks amongst her strongest works. Her performance only makes you realize why she's still the best in the business. Moreover, she looks gorgeous all through!Rishi Kapoor is efficient. Kiron Kher is lovable. Tabu gets limited footage; she's just okay. Shiny Ahuja is wasted in an inconsequential role. Ditto for Lara Dutta, who is there for just one scene. Shruti Seth is excellent as Kajol's friend. Satish Shah, Sharat Saxena, Lilette Dubey, Jaspal Bhatti and Vrajesh Hirjee are effective. The child artist is fantastic. On the whole, FANAA is a beautifully written, effectively acted and meticulously crafted effort that is likely to remind many viewers of a simple axiom: A movie doesn't have to be groundbreaking to be compelling. At the box-office, the film has already embarked on a record-breaking start and thanks to [i] the massive print count, [ii] the 12-14-16 shows being performed at movieplexes every single day and [iii] the inflated ticket rates will yield rich dividends in days to come. The first weekend business will be historic, the first week billing will be unprecedented and in the wake of no major oppositions for the next two weeks, FANAA will attain the 'Hit' status in a matter of days. In short, FANAA is yet another landmark film in the remarkable and enviable repertoire of Yash Raj.
Movie Review : Aatma
After reviving the trend of horror films in India and making a career by scaring the daylights of viewers in films like DO GAZ ZAMEEN KE NEECHE, DARWAZA, GUEST HOUSE, HOTEL, SANNATA, PURANA MANDIR, SAAMRI and VEERANA, the Ramsays are back with AATMA, directed by Deepak Ramsay. To be honest, AATMA is old wine presented in a new bottle. The content is similar to what the Ramsays offered in the 1970s, 1980s and early 1990s. The scary eyes, the screams, the lightning… nothing has changed. But the audiences have changed, haven’t they? At a time when horror films have gone beyond skulls and skeletons, Deepak Ramsay should’ve ensured that the film is very much with the times. Sad, he didn’t! AATMA tells the story of a doctor, Aman [Kapil Jhaveri] and his wife Neha [Neha]. Aman has to perform postmortem of a man who has been killed by his treacherous brother Mukesh Tiwari, his lawyer Sadashiv Amrapurkar and other accomplices. They deceitful gang kidnap Neha and force Aman to prepare a false postmortem report, stating that he had a natural death. The ghost of the deceased person decides to punish Aman and enters Neha’s body to seek revenge. AATMA has nothing new to offer. Armed with a flimsy plot, the film tries everything in the book to scare the viewer, but in vain. The problem, as stated above, is lack of novelty. Deepak Ramsay’s direction is handicapped by an outdated script. Music is also a letdown. Neha is the lone performer who stands out. She is effective in the sequence when the ghost enters her body. Kapil Jhaveri is strictly okay. He needs to loosen up. Vikram Singh hams. Amreina only adds to the glamour quotient. Mukesh Tiwari is wasted. Sadashiv Amrapurkar, Deep Dhillon, Usha Bachani, Yateen Karyekar and Sikander Kharbanda are passable. On the whole, AATMA is a dull fare.
After reviving the trend of horror films in India and making a career by scaring the daylights of viewers in films like DO GAZ ZAMEEN KE NEECHE, DARWAZA, GUEST HOUSE, HOTEL, SANNATA, PURANA MANDIR, SAAMRI and VEERANA, the Ramsays are back with AATMA, directed by Deepak Ramsay. To be honest, AATMA is old wine presented in a new bottle. The content is similar to what the Ramsays offered in the 1970s, 1980s and early 1990s. The scary eyes, the screams, the lightning… nothing has changed. But the audiences have changed, haven’t they? At a time when horror films have gone beyond skulls and skeletons, Deepak Ramsay should’ve ensured that the film is very much with the times. Sad, he didn’t! AATMA tells the story of a doctor, Aman [Kapil Jhaveri] and his wife Neha [Neha]. Aman has to perform postmortem of a man who has been killed by his treacherous brother Mukesh Tiwari, his lawyer Sadashiv Amrapurkar and other accomplices. They deceitful gang kidnap Neha and force Aman to prepare a false postmortem report, stating that he had a natural death. The ghost of the deceased person decides to punish Aman and enters Neha’s body to seek revenge. AATMA has nothing new to offer. Armed with a flimsy plot, the film tries everything in the book to scare the viewer, but in vain. The problem, as stated above, is lack of novelty. Deepak Ramsay’s direction is handicapped by an outdated script. Music is also a letdown. Neha is the lone performer who stands out. She is effective in the sequence when the ghost enters her body. Kapil Jhaveri is strictly okay. He needs to loosen up. Vikram Singh hams. Amreina only adds to the glamour quotient. Mukesh Tiwari is wasted. Sadashiv Amrapurkar, Deep Dhillon, Usha Bachani, Yateen Karyekar and Sikander Kharbanda are passable. On the whole, AATMA is a dull fare.
Movie Review : Ankahee
Vikram Bhatt goes the Mahesh Bhatt way. After making a series of masala films with flourish, Vikram narrates a story that is straight out of life -- his life, to be precise. When a celebrity-storyteller gets into an autobiographical mood, narrating incidents from his life, which have never been told/heard/written about before, anyone and everyone is bound to be curious and inquisitive.ANKAHEE takes a look at relationships. The premise -- a married man torn between two women -- has been done to death in Bollywood. But it’s the treatment that makes or mars a concept. Thankfully, ANKAHEE works because Vikram narrates his story in the most convincing fashion. For any emotional story to strike a chord, it ought to be embellished with [i] Emotional moments that touch the core of your heart and [ii] Dexterous performances by the principal star cast. And in both these departments, ANKAHEE works in a big way. Shekhar [Aftab Shivdasani] is married to Nandita [Amisha Patel]. The relationship only gets better with the birth of a girl, Sheena. Everything seems perfect. Till Miss World and Bollywood star Kavya Krishna [Esha Deol] walks into his hospital with a slit wrist. Kavya is beautiful. Like the rest of the world, Shekhar falls in love with her. For Kavya, Shekhar is the lifeline. Her anchor. The only person in the world who can make her happy. And Kavya wants, needs, struggles to be happy. Nandita, of course, is stuck in the middle. Shekhar is her husband. The only man she has ever loved. And yet, he finds it only too easy to walk away. From her. From their home. From Sheena. ANKAHEE is about the truth that was left unspoken between a man, his wife and their daughter. And the lies that need to be uncovered. In many ways, ANKAHEE bears a striking similarity to Mahesh Bhatt’s ARTH. The other woman [also from the glamour industry here] is also a maniac, suffering from acute depression. Then, when the wife gets to know of her husband’s affair with a beauty queen/actress, she pleads her case to the other woman in a manner similar to Shabana Azmi’s telephonic conversation with the silent Smita Patil. Much later, the wife decides to start life afresh and when the husband does return to her, she slams the door on him. The difference between ARTH and ANKAHEE is that there’s a child involved when the break-up occurs and how it affects not just the couple, but also the kid. If ANKAHEE is autobiographical by nature, purportedly based on Vikram Bhatt’s life, then you’ve got to give it to the director for accepting the blame for the failed relationship. In fact, Aftab actually emerges as the culprit for the failed marriage, walking out on his wife and kid, smitten by a beauty queen who seems overtly possessive of him. In terms of execution, ANKAHEE is embellished with a number of brilliant sequences. Sample these:
Esha’s introduction in the initial reels sets the mood.
Amisha confronting Aftab after the affair is out in the open, courtesy Midday, has been handled with élan.
Amisha visiting Aftab in his clinic, requesting him to work on the marriage, is straight out of life.
The estranged parents visiting the school principal and the child asking her father if it’s true he’s having an affair with Kavya, would melt even the stone-hearted.
Amisha going to Esha’s house and pleading her case is handled with utmost sensitivity. On the flip side, the subject caters to a particular section of moviegoers mainly. It’s more for the mature viewers, the elite, the ladies in particular. For all those who have an appetite for refined, true to life cinema. But definitely not for the aam junta that looks for time pass or meaningless entertainers. Also, the slow narrative throws a spanner. The sequence of events unfolds at a lethargic pace, more so in the first hour. Besides, there’s not much movement in the story in the first half, once the characters are established. Screenplay writers Yash-Vinay and Vikram Bhatt have penned a script that gallops straight into your heart. It wouldn’t be wrong to state that the director gets a major boost only because the writing is cohesive and consistent. Not once does the story deviate towards unwanted tracks. Even the dialogues [Girish Dhamija] compliment the emotional graph of the story. There’s no denying that ANKAHEE is Vikram Bhatt’s most accomplished work to date. Not only is the film rich in emotions, so vital for a film that tackles relationships, even the performances that Vikram has extracted from his actors is commendable. The subject material would’ve fallen flat in inept hands, no two opinions on that. Pritam’s music is in sync with the mood of the film. ‘Tumse Yun Milenge’ is the pick of the lot. Cinematography [Praveen Bhatt] is up to the mark. It would be unfair to single out any one performance. But, of course, Esha’s character stands out due to the grey shades. Esha makes you sit up with a power-packed performance this time. She never got an opportunity to prove herself earlier and now that she does get one in ANKAHEE, she comes up with an award-worthy performance this time around. Aftab excels in a role that would’ve been difficult to portray by an average actor. He enacts the role of a weak man with complete understanding, not looking out of place even once. ANKAHEE easily ranks as his finest performance so far. A performance that’s bound to be noticed and talked about. Amisha is in form after a long, long time -- after GADAR to be precise. She is controlled, expressive and portrays her part with gusto. Hrishita Bhatt and the child artist are both expressive. Amin Hajee and Ashwini lend admirable support. On the whole, ANKAHEE is a sensitive tale that has been executed and performed with flourish. At the box-office, it caters to the elite crowd and ladies mainly -- those who have an appetite for true to life, mature and meaningful cinema. The film has the merits to grow with a strong word of mouth in days to come. Its business at multiplexes of metros should be the best. Recommended!
Vikram Bhatt goes the Mahesh Bhatt way. After making a series of masala films with flourish, Vikram narrates a story that is straight out of life -- his life, to be precise. When a celebrity-storyteller gets into an autobiographical mood, narrating incidents from his life, which have never been told/heard/written about before, anyone and everyone is bound to be curious and inquisitive.ANKAHEE takes a look at relationships. The premise -- a married man torn between two women -- has been done to death in Bollywood. But it’s the treatment that makes or mars a concept. Thankfully, ANKAHEE works because Vikram narrates his story in the most convincing fashion. For any emotional story to strike a chord, it ought to be embellished with [i] Emotional moments that touch the core of your heart and [ii] Dexterous performances by the principal star cast. And in both these departments, ANKAHEE works in a big way. Shekhar [Aftab Shivdasani] is married to Nandita [Amisha Patel]. The relationship only gets better with the birth of a girl, Sheena. Everything seems perfect. Till Miss World and Bollywood star Kavya Krishna [Esha Deol] walks into his hospital with a slit wrist. Kavya is beautiful. Like the rest of the world, Shekhar falls in love with her. For Kavya, Shekhar is the lifeline. Her anchor. The only person in the world who can make her happy. And Kavya wants, needs, struggles to be happy. Nandita, of course, is stuck in the middle. Shekhar is her husband. The only man she has ever loved. And yet, he finds it only too easy to walk away. From her. From their home. From Sheena. ANKAHEE is about the truth that was left unspoken between a man, his wife and their daughter. And the lies that need to be uncovered. In many ways, ANKAHEE bears a striking similarity to Mahesh Bhatt’s ARTH. The other woman [also from the glamour industry here] is also a maniac, suffering from acute depression. Then, when the wife gets to know of her husband’s affair with a beauty queen/actress, she pleads her case to the other woman in a manner similar to Shabana Azmi’s telephonic conversation with the silent Smita Patil. Much later, the wife decides to start life afresh and when the husband does return to her, she slams the door on him. The difference between ARTH and ANKAHEE is that there’s a child involved when the break-up occurs and how it affects not just the couple, but also the kid. If ANKAHEE is autobiographical by nature, purportedly based on Vikram Bhatt’s life, then you’ve got to give it to the director for accepting the blame for the failed relationship. In fact, Aftab actually emerges as the culprit for the failed marriage, walking out on his wife and kid, smitten by a beauty queen who seems overtly possessive of him. In terms of execution, ANKAHEE is embellished with a number of brilliant sequences. Sample these:
Esha’s introduction in the initial reels sets the mood.
Amisha confronting Aftab after the affair is out in the open, courtesy Midday, has been handled with élan.
Amisha visiting Aftab in his clinic, requesting him to work on the marriage, is straight out of life.
The estranged parents visiting the school principal and the child asking her father if it’s true he’s having an affair with Kavya, would melt even the stone-hearted.
Amisha going to Esha’s house and pleading her case is handled with utmost sensitivity. On the flip side, the subject caters to a particular section of moviegoers mainly. It’s more for the mature viewers, the elite, the ladies in particular. For all those who have an appetite for refined, true to life cinema. But definitely not for the aam junta that looks for time pass or meaningless entertainers. Also, the slow narrative throws a spanner. The sequence of events unfolds at a lethargic pace, more so in the first hour. Besides, there’s not much movement in the story in the first half, once the characters are established. Screenplay writers Yash-Vinay and Vikram Bhatt have penned a script that gallops straight into your heart. It wouldn’t be wrong to state that the director gets a major boost only because the writing is cohesive and consistent. Not once does the story deviate towards unwanted tracks. Even the dialogues [Girish Dhamija] compliment the emotional graph of the story. There’s no denying that ANKAHEE is Vikram Bhatt’s most accomplished work to date. Not only is the film rich in emotions, so vital for a film that tackles relationships, even the performances that Vikram has extracted from his actors is commendable. The subject material would’ve fallen flat in inept hands, no two opinions on that. Pritam’s music is in sync with the mood of the film. ‘Tumse Yun Milenge’ is the pick of the lot. Cinematography [Praveen Bhatt] is up to the mark. It would be unfair to single out any one performance. But, of course, Esha’s character stands out due to the grey shades. Esha makes you sit up with a power-packed performance this time. She never got an opportunity to prove herself earlier and now that she does get one in ANKAHEE, she comes up with an award-worthy performance this time around. Aftab excels in a role that would’ve been difficult to portray by an average actor. He enacts the role of a weak man with complete understanding, not looking out of place even once. ANKAHEE easily ranks as his finest performance so far. A performance that’s bound to be noticed and talked about. Amisha is in form after a long, long time -- after GADAR to be precise. She is controlled, expressive and portrays her part with gusto. Hrishita Bhatt and the child artist are both expressive. Amin Hajee and Ashwini lend admirable support. On the whole, ANKAHEE is a sensitive tale that has been executed and performed with flourish. At the box-office, it caters to the elite crowd and ladies mainly -- those who have an appetite for true to life, mature and meaningful cinema. The film has the merits to grow with a strong word of mouth in days to come. Its business at multiplexes of metros should be the best. Recommended!
Movie Review : Aparichit
Certain directors belong to an altogether different league. You may like their films. You may hate their films. But you can never ignore their films. Acclaimed director Shankar belongs to this club. That’s one of the reasons why you await his new outing APARICHIT – THE STRANGER with bated breath.APARICHIT – THE STRANGER is the dubbed Hindi version of the Tamil blockbuster ANNIYAN and you expect the Hindi version to repeat history as well. Like all Shankar films, APARICHIT – THE STRANGER bears a grandiose look, with special effects and technical wizardry blowing your mind away. But the problem with APARICHIT – THE STRANGER is that moviegoers in Bollywood have moved past themes that depict a common man’s battle against the dishonest, corrupt lot. In fact, it wouldn’t be wrong to state that the film bears an uncanny resemblance to Shankar’s own NAYAK [Anil Kapoor, Rani Mukerji]. The protagonist in both NAYAK and APARICHIT – THE STRANGER wants a change, to do away with the corrupt and corruption. The difference lies in the path that both adopt to fulfill/achieve their goals/desires. APARICHIT – THE STRANGER is the story of Ramanujam alias Ambi [Vikram], called as Rules Ramanujam as he goes by the rule book. A lawyer by profession, he reacts to people who break the rules like disobeying traffic rules, not helping people in distress, eve-teasing in transport buses, spitting on roads, not providing standard meals in trains and so on…His good intentions and proper approach do not take him anywhere. He is a stickler for rules and that does not always work. His father Parthasarathy [Nedumudi Venu] keeps advising him that he cannot change the world single-handedly. He gets shattered when he realizes that his childhood friend and now a medical student Nandhini [Sada] refuses his love. He comes across a website aparichit.com which follows the Garudapuranam, the Hindu folklore which is similar to the Christian judgment which reveals that those who commit misdeeds will be punished in hell according to the degree of their deeds. And Ambi takes the avatar of Aparichit. He kick-starts a process through which he starts punishing the wicked people on earth. In the meantime, there is another character Remo, a ravishing supermodel, who tries to cajole Nandhini and she falls head over heels in love with him. Remo is none other than Ambi. One day, on seeing Nandhini cheating the income tax people, Ambi transforms to Aparichit and attempts to kill her. Realizing that something is wrong with Ambi, Nandhini takes him to a psychiatrist [Nasser], who discovers that Ambi suffers from Multiple Personality Disorder [MPD]. In a split second, Ambi transforms into Aparichit and then to Remo much to the surprise of the doctors and Nandhini. Amidst all this drama, an untiring policeman Prabhakar [Prakash Raj] gets down to track all the killings and the mystery behind them. Whether the police manage to nail Ambi forms the climax. Like Shankar’s previous films, the one thing that deserves distinction marks in APARICHIT – THE STRANGER is the stunning look. Every frame has been worked upon in detail and the result is awe-inspiring. But, as pointed out at the outset, the writing has its limitations. The director seems to get carried away which results in some portions looking unbelievable. The film abounds in special effects and some of them are at par with international standards. Even the stunts [Peter Hein] easily rival those in Hollywood. On the flip side, the dubbing could’ve been better. Even the music [Harris Jayaraj] isn’t the type that would compel you to buy its audio CD. Vikram is tremendous in a role that suits him like a glove. Sada makes her presence felt. Nedumudi Venu is efficient. Nasser, Vivek and Prakash Raj enact their parts convincingly. Yana Gupta sizzles in the dance number. On the whole, APARICHIT – THE STRANGER has worked big time in South, but you can’t expect similar results in its dubbed Hindi version.
Certain directors belong to an altogether different league. You may like their films. You may hate their films. But you can never ignore their films. Acclaimed director Shankar belongs to this club. That’s one of the reasons why you await his new outing APARICHIT – THE STRANGER with bated breath.APARICHIT – THE STRANGER is the dubbed Hindi version of the Tamil blockbuster ANNIYAN and you expect the Hindi version to repeat history as well. Like all Shankar films, APARICHIT – THE STRANGER bears a grandiose look, with special effects and technical wizardry blowing your mind away. But the problem with APARICHIT – THE STRANGER is that moviegoers in Bollywood have moved past themes that depict a common man’s battle against the dishonest, corrupt lot. In fact, it wouldn’t be wrong to state that the film bears an uncanny resemblance to Shankar’s own NAYAK [Anil Kapoor, Rani Mukerji]. The protagonist in both NAYAK and APARICHIT – THE STRANGER wants a change, to do away with the corrupt and corruption. The difference lies in the path that both adopt to fulfill/achieve their goals/desires. APARICHIT – THE STRANGER is the story of Ramanujam alias Ambi [Vikram], called as Rules Ramanujam as he goes by the rule book. A lawyer by profession, he reacts to people who break the rules like disobeying traffic rules, not helping people in distress, eve-teasing in transport buses, spitting on roads, not providing standard meals in trains and so on…His good intentions and proper approach do not take him anywhere. He is a stickler for rules and that does not always work. His father Parthasarathy [Nedumudi Venu] keeps advising him that he cannot change the world single-handedly. He gets shattered when he realizes that his childhood friend and now a medical student Nandhini [Sada] refuses his love. He comes across a website aparichit.com which follows the Garudapuranam, the Hindu folklore which is similar to the Christian judgment which reveals that those who commit misdeeds will be punished in hell according to the degree of their deeds. And Ambi takes the avatar of Aparichit. He kick-starts a process through which he starts punishing the wicked people on earth. In the meantime, there is another character Remo, a ravishing supermodel, who tries to cajole Nandhini and she falls head over heels in love with him. Remo is none other than Ambi. One day, on seeing Nandhini cheating the income tax people, Ambi transforms to Aparichit and attempts to kill her. Realizing that something is wrong with Ambi, Nandhini takes him to a psychiatrist [Nasser], who discovers that Ambi suffers from Multiple Personality Disorder [MPD]. In a split second, Ambi transforms into Aparichit and then to Remo much to the surprise of the doctors and Nandhini. Amidst all this drama, an untiring policeman Prabhakar [Prakash Raj] gets down to track all the killings and the mystery behind them. Whether the police manage to nail Ambi forms the climax. Like Shankar’s previous films, the one thing that deserves distinction marks in APARICHIT – THE STRANGER is the stunning look. Every frame has been worked upon in detail and the result is awe-inspiring. But, as pointed out at the outset, the writing has its limitations. The director seems to get carried away which results in some portions looking unbelievable. The film abounds in special effects and some of them are at par with international standards. Even the stunts [Peter Hein] easily rival those in Hollywood. On the flip side, the dubbing could’ve been better. Even the music [Harris Jayaraj] isn’t the type that would compel you to buy its audio CD. Vikram is tremendous in a role that suits him like a glove. Sada makes her presence felt. Nedumudi Venu is efficient. Nasser, Vivek and Prakash Raj enact their parts convincingly. Yana Gupta sizzles in the dance number. On the whole, APARICHIT – THE STRANGER has worked big time in South, but you can’t expect similar results in its dubbed Hindi version.
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