A kiddie film can go either ways. Entertain and enlighten or fizzle out while trying too hard to entertain the kid in you.Years ago, music composer Vishal Bharadwaj made a striking directorial debut with MAKDEE, with Shabana Azmi enacting the role of a witch. BHOOT UNKLE has a somewhat similar plot of a haunted lighthouse and a kid exploring the place. The only difference is, Shabana was a crooked witch in MAKDEE, while Jackie is the friendly ghost in BHOOT UNKLE. He's the Indian Casper!For a film that relies on chills and thrills, besides moments that would appeal to kids, BHOOT UNKLE runs out of gas after a fairly interesting first half. There are two reasons for its downfall: One, the special effects are shoddy and tacky and two, the second half transforms into a masala flick that moviegoers have witnessed a million times before.If the idea is to woo the kids, sorry, the execution of the subject ruins whatever chances it may have had!
http://www.indiafm.com/movies/review/12799/index.html
Tuesday, October 10, 2006
Mera Dil Leke Dekkho
Comedy is the flavor of the season. And Punam S. Sinha, wife of actor Shatrughan Sinha, opts for this genre in her film production debut. MERA DIL LEKE DEKKHO is not the David Dhawan brand of comedy. It's a comedy of errors, where almost every character accuses the other of being gay.
The wife [Archana Puransingh] thinks her husband [Jackie Shroff] is a bisexual. She also thinks her son [Punit Tejwani] is gay, having an affair with his best friend [Carran Kapoor]. Punit's girlfriend [Koel Purie] also thinks he's gay for the same reason. Jackie's mistress also accuses him [Jackie] of having a relationship with his son's friend [Carran]. And wonder of wonders, Koel falls in love with a guy she thinks is straight [Premjit Singh], but is actually gay. Whew!
Something like this hasn't been witnessed on the Hindi screen before and debutante director Rohit Kaushik and writer Nandita C. Puri create situations that are funny at times, but flippant and ridiculous in parts.
http://www.indiafm.com/movies/review/12701/index.html
The wife [Archana Puransingh] thinks her husband [Jackie Shroff] is a bisexual. She also thinks her son [Punit Tejwani] is gay, having an affair with his best friend [Carran Kapoor]. Punit's girlfriend [Koel Purie] also thinks he's gay for the same reason. Jackie's mistress also accuses him [Jackie] of having a relationship with his son's friend [Carran]. And wonder of wonders, Koel falls in love with a guy she thinks is straight [Premjit Singh], but is actually gay. Whew!
Something like this hasn't been witnessed on the Hindi screen before and debutante director Rohit Kaushik and writer Nandita C. Puri create situations that are funny at times, but flippant and ridiculous in parts.
http://www.indiafm.com/movies/review/12701/index.html
Sunday, October 01, 2006
Dor
A Nagesh Kukunoor film needs no introduction. Associated with qualitative cinema over the years, the one thing that binds all Kukunoor films is the emphasis on content. In DOR, his new outing, the efficient storyteller tells the story of two women, reportedly based on a real-life incident.
If IQBAL, his last effort, looked at the sport and the politics that came with it as also the story of an underdog who aspires to play cricket on the national level, Kukunoor changes tracks in DOR. Sensitively handled with bravura performances from the entire cast, this one's a triumph for everyone associated with it.
More than anything else, Kukunoor ought to be complimented for having the courage to make his kind of cinema. A number of scenes in DOR leave you spellbound and the locales of Rajasthan only give DOR a distinct flavor.
But there' a flipside to DOR as well…
DOR caters to a niche audience. It seems, Kukunoor has targeted his film for an audience that's not in the majority. Although handled with utmost sensitivity, you cannot close your eyes to the fact that the execution of the material would appeal to a tiny segment of viewers. And also the Festival circuit.
Awards and glowing critical acclaim, yes, DOR has the power to win it. But box-office rewards and a mandate from the aam junta will elude it. The lethargic pacing will also go against it.
DOR tells the story of love, loss, friendship, hope and ultimately, redemption. It is a tale of two women from two different worlds.
In ways that neither Zeenat nor Meera can perceive, their worlds are about to collide. A life-changing piece of news reaches both women at the same instance and sets into motion a series of events that will change their lives forever.
Zeenat [Gul Panag] is compelled to make the long journey from the hills of Himachal Pradesh to Rajasthan's deserts, in search of Meera [Ayesha Takia]. Along the way she encounters a Behroopiya [Shreyas Talpade], whose uncanny instincts and good humor help to make the difficult journey easier.
As different as they are, Zeenat and Meera form an uncommon bond of friendship and respect when they meet. But can it endure the uneasy truth that Zeenat hides? One of these women will hold the power of life and death in her hands. One will be helpless at the hands of fate.
DOR is an intense/serious subject that has been handled with utmost sincerity. In fact, it's difficult to single out any one sequence in particular since DOR has a consistency that's visible from start to end. Yet, it must be noted that you can't ignore the remarkable executed sequences between the two women. Kukunoor also pads the proceedings with light moments in the form of Shreyas, whose mimicry of various actors is quite enjoyable.
Kukunoor's choice of the subject is laudable and otherwise too, you cannot find technical faults vis-à-vis the way story unfolds. The culmination to the story is also justified and instead of beating around or taking its own sweet time to come to the point, the end is just right. But DOR tends to get dry and heavy at regular intervals and even the slow pacing tests the patience of the viewer.
The music is traditional and although it's in sync with the genre of the film, it has its limitations. The background score [Salim-Sulaiman] is effective in parts. The camerawork does justice to the scenic beauty of Rajasthan. The ambience [art: Muneesh Sappal] deserves special mention. His work in PINJAR, PAHELI and DOR proves that there's a lot of detailing involved.
DOR is embellished with noteworthy performances. Gul Panag dominates the first hour and Ayesha Takia the second. Gul is tremendous in a role that offers her ample scope to showcase her talent. Ayesha is only emerging into a powerhouse performer with every film. Also, she has the courage to swim against the tide by accepting a non-glamorous role, which most actors don't do at the start of their career.
Shreyas springs a pleasant surprise. To stand out in a women-dominated theme is indeed tough and the young actor manages to register a strong impact. Girish Karnad is flawless yet again. Nagesh Kukunoor is perfect.
On the whole, DOR is a well-made film that caters to those with an appetite for qualitative cinema. While the film will win glowing reviews and praise from the gentry, its appeal will be restricted to the elite at select multiplexes. Awards yes, box-office rewards no!
If IQBAL, his last effort, looked at the sport and the politics that came with it as also the story of an underdog who aspires to play cricket on the national level, Kukunoor changes tracks in DOR. Sensitively handled with bravura performances from the entire cast, this one's a triumph for everyone associated with it.
More than anything else, Kukunoor ought to be complimented for having the courage to make his kind of cinema. A number of scenes in DOR leave you spellbound and the locales of Rajasthan only give DOR a distinct flavor.
But there' a flipside to DOR as well…
DOR caters to a niche audience. It seems, Kukunoor has targeted his film for an audience that's not in the majority. Although handled with utmost sensitivity, you cannot close your eyes to the fact that the execution of the material would appeal to a tiny segment of viewers. And also the Festival circuit.
Awards and glowing critical acclaim, yes, DOR has the power to win it. But box-office rewards and a mandate from the aam junta will elude it. The lethargic pacing will also go against it.
DOR tells the story of love, loss, friendship, hope and ultimately, redemption. It is a tale of two women from two different worlds.
In ways that neither Zeenat nor Meera can perceive, their worlds are about to collide. A life-changing piece of news reaches both women at the same instance and sets into motion a series of events that will change their lives forever.
Zeenat [Gul Panag] is compelled to make the long journey from the hills of Himachal Pradesh to Rajasthan's deserts, in search of Meera [Ayesha Takia]. Along the way she encounters a Behroopiya [Shreyas Talpade], whose uncanny instincts and good humor help to make the difficult journey easier.
As different as they are, Zeenat and Meera form an uncommon bond of friendship and respect when they meet. But can it endure the uneasy truth that Zeenat hides? One of these women will hold the power of life and death in her hands. One will be helpless at the hands of fate.
DOR is an intense/serious subject that has been handled with utmost sincerity. In fact, it's difficult to single out any one sequence in particular since DOR has a consistency that's visible from start to end. Yet, it must be noted that you can't ignore the remarkable executed sequences between the two women. Kukunoor also pads the proceedings with light moments in the form of Shreyas, whose mimicry of various actors is quite enjoyable.
Kukunoor's choice of the subject is laudable and otherwise too, you cannot find technical faults vis-à-vis the way story unfolds. The culmination to the story is also justified and instead of beating around or taking its own sweet time to come to the point, the end is just right. But DOR tends to get dry and heavy at regular intervals and even the slow pacing tests the patience of the viewer.
The music is traditional and although it's in sync with the genre of the film, it has its limitations. The background score [Salim-Sulaiman] is effective in parts. The camerawork does justice to the scenic beauty of Rajasthan. The ambience [art: Muneesh Sappal] deserves special mention. His work in PINJAR, PAHELI and DOR proves that there's a lot of detailing involved.
DOR is embellished with noteworthy performances. Gul Panag dominates the first hour and Ayesha Takia the second. Gul is tremendous in a role that offers her ample scope to showcase her talent. Ayesha is only emerging into a powerhouse performer with every film. Also, she has the courage to swim against the tide by accepting a non-glamorous role, which most actors don't do at the start of their career.
Shreyas springs a pleasant surprise. To stand out in a women-dominated theme is indeed tough and the young actor manages to register a strong impact. Girish Karnad is flawless yet again. Nagesh Kukunoor is perfect.
On the whole, DOR is a well-made film that caters to those with an appetite for qualitative cinema. While the film will win glowing reviews and praise from the gentry, its appeal will be restricted to the elite at select multiplexes. Awards yes, box-office rewards no!
Rocky - The Rebel
Old wine in new bottle. That's the appropriate way to describe ROCKY. Since time immemorial, we've watched heroes going on a killing spree to avenge the murder of their beloved. Fighting for the rights. Revolting against injustice. That's the essence of ROCKY. Nothing has changed, only the faces have.
The problem with ROCKY is that it doesn't even try to step out of the set rules of cinema. It's a typical masala film with loads of songs, generous doses of action scenes, a good dose of London… except an innovative plotline. In fact, the viewer can actually predict the story fifteen minutes into the film.
To sum up, watching ROCKY is like revisiting the cinema of 1970s and 1980s, which, unfortunately, is a big yawn today.
Rocky [Zayed Khan], the rebel, hates anything and everything that is wrong… the system… the people, who take things lying down without raising a finger… Rocky cannot accept the indifference towards injustice and the rebel in him revolts. This attitude creates irreconcilable differences between him and his father and their relationship is fraught with friction.
Though his father loves his son, he emphatically disagrees with Rocky's philosophy of life and advises him not to invite trouble unnecessarily by interfering in matters that doesn't concern him, as this could put his life in grave danger. But the defiant Rocky feels, the irresponsible attitude of people is destroying the social fabric of the country.
The family manages to still laugh it off until one day Rocky gets into 'shark infested waters' -- Anthony [Rajat Bedi].
Rocky's world is shattered when his beloved [Isha Sharvani] is killed right in front of his eyes. He is blamed for everything. His parents take him to London. But the truth is, you cannot run from reality forever. And Rocky returns to avenge the death.
It's difficult to find anything novel in ROCKY. You've seen it a zillion times before. In fact, amidst the modern packaging lies an outdated script and an equally outdated execution. This is all the more surprising since director Suresh Krissna has helmed several interesting projects in Hindi and regional films.
Barring a few well executed stunts, there's nothing you carry home. Also, the music comes up at unwanted points. There's a song, whether or not the situation warrants it.
Suresh Krissna's direction is mechanical. This film, in fact, just doesn't look like the work of the accomplished director. Ditto for the script. Himesh Reshammiya's music is sounding the same these days. Barring 'Junoon Junoon' and 'Laagi Ghhute Na', the remaining tracks are plain mediocre. Action scenes are well executed at places.
Zayed does well in stunts, although the role doesn't offer him scope to display histrionics. Isha Sharvani dances exceptionally well, but doesn't get the opportunity to go beyond the mandatory part. Minissha doesn't get scope either, but she does reasonably well. Rajat Bedi is as usual. Suresh Menon tries hard to evoke mirth. Smita Jaykar and Ashwin Kaushal are okay.
On the whole, ROCKY is an outdated concept with nothing except action to fall back upon. At the box-office, an also-ran.
The problem with ROCKY is that it doesn't even try to step out of the set rules of cinema. It's a typical masala film with loads of songs, generous doses of action scenes, a good dose of London… except an innovative plotline. In fact, the viewer can actually predict the story fifteen minutes into the film.
To sum up, watching ROCKY is like revisiting the cinema of 1970s and 1980s, which, unfortunately, is a big yawn today.
Rocky [Zayed Khan], the rebel, hates anything and everything that is wrong… the system… the people, who take things lying down without raising a finger… Rocky cannot accept the indifference towards injustice and the rebel in him revolts. This attitude creates irreconcilable differences between him and his father and their relationship is fraught with friction.
Though his father loves his son, he emphatically disagrees with Rocky's philosophy of life and advises him not to invite trouble unnecessarily by interfering in matters that doesn't concern him, as this could put his life in grave danger. But the defiant Rocky feels, the irresponsible attitude of people is destroying the social fabric of the country.
The family manages to still laugh it off until one day Rocky gets into 'shark infested waters' -- Anthony [Rajat Bedi].
Rocky's world is shattered when his beloved [Isha Sharvani] is killed right in front of his eyes. He is blamed for everything. His parents take him to London. But the truth is, you cannot run from reality forever. And Rocky returns to avenge the death.
It's difficult to find anything novel in ROCKY. You've seen it a zillion times before. In fact, amidst the modern packaging lies an outdated script and an equally outdated execution. This is all the more surprising since director Suresh Krissna has helmed several interesting projects in Hindi and regional films.
Barring a few well executed stunts, there's nothing you carry home. Also, the music comes up at unwanted points. There's a song, whether or not the situation warrants it.
Suresh Krissna's direction is mechanical. This film, in fact, just doesn't look like the work of the accomplished director. Ditto for the script. Himesh Reshammiya's music is sounding the same these days. Barring 'Junoon Junoon' and 'Laagi Ghhute Na', the remaining tracks are plain mediocre. Action scenes are well executed at places.
Zayed does well in stunts, although the role doesn't offer him scope to display histrionics. Isha Sharvani dances exceptionally well, but doesn't get the opportunity to go beyond the mandatory part. Minissha doesn't get scope either, but she does reasonably well. Rajat Bedi is as usual. Suresh Menon tries hard to evoke mirth. Smita Jaykar and Ashwin Kaushal are okay.
On the whole, ROCKY is an outdated concept with nothing except action to fall back upon. At the box-office, an also-ran.
Khosla Ka Ghosla
In this era of big-budget extravaganzas, films that reflect the simple joys of life have suddenly taken a backseat. Films that follow the Hrishikesh Mukherjee/Basu Chatterjee cinema are as good as extinct. But once in a while comes a film that strikes a chord due to its simplistic and unadulterated entertainment. The emphasis is not on paraphernalia like special effects or opulent sets as much as on content.
KHOSLA KA GHOSLA is one such film.
The prime reason why KHOSLA KA GHOSLA works is because you come across characters depicted in the film in everyday life. The setting [middle class family] makes it a slice of life episode, the plotline [land grabbing] is identifiable and the characters, believable. KHOSLA KA GHOSLA reiterates the fact that a simple story, well told, has the power to keep you focused to the screen for the next two hours.
KHOSLA KA GHOSLA gets filmy in the latter half, you do feel that writer Jaideep Sahni and director Dibakar Banerjee could've stuck to realism. In fact, the film loses the sparkle towards the middle of the second hour. But you don't grudge it simply because you can't get hardcore realistic in the cinematic format while trying to find a solution for land usurping cases.
All said, KHOSLA KA GHOSLA is eminently watchable for various reasons. An honest effort, this one's an ideal tribute to the Hrishikesh Mukherjee cinema that has got eclipsed behind all the glitz and glamour of multi-crore budgets.
The dream of every middle class man is to own a house. K.K. Khosla [Anupam Kher] is no different. On retirement, he invests his entire life's earnings into a plot of land to build his dream house. Only to be cheated by a corrupt, greedy Khurana [Boman Irani], who usurps the land that belongs to Khosla.
Khosla's family joins hands to pull off a scam on the biggest goon in the property business.
The first thing that catches your eye in KHOSLA KA GHOSLA is the assorted characters. If the head of the family nurses an ambition to make a kothi with his hard-earned earnings, the elder son is looking at a career in the U.S., while the younger is still aimless. On the other side of the fence is a land shark, who encroaches on others' land. Then there are the estate agents who are hand-in-glove with such crooks. Really, there's not one unbelievable character in the entire film.
Besides the life-like characters, the humor injected at regular intervals keeps the interest alive. The dilemma of a middle class family and the deteriorating human values are depicted with utmost honesty. The helplessness of the common man is highlighted most effectively at three levels -- first, when he realizes that his plot has been encroached upon, then, wonder of wonders, the lawful owner is put behind bars for trying to use force against the encroachers and later, when he's asked for a ransom by the land shark.
But the narrative dips when the middle class family takes the help of stage actors to free the land. The modus operandi of planting an actor as a Dubai-based entrepreneur holds your attention at the start [Navin Nischol's first scene with Boman Irani is remarkable], but isn't believable in latter portions. In fact, the film gets formulaic in the latter reels as the middle class family successfully cons the scamster.
The best of ideas evaporate into thin air if entrusted to inept people. Fortunately, debutante director Dibakar Banerjee knows what he's talking about. In fact, it's hard to believe that KHOSLA KA GHOSLA has been helmed by a first-timer. The drama keeps you engrossed and the performances by each and every member of the cast are sparkling.
Jaideep Sahni's script is almost flawless. You may tend to disagree with the route Khosla's family adopts to get the land back, but you can't deny that the overall material is powerful. There's no scope for music in the film, but the promotional video ['Chak De Phattey'] has already caught on in a big way and will only add to the popularity of the film.
Although every performance in the film is faultless, KHOSLA KA GHOSLA actually belongs to two impeccable performers -- Anupam Kher and Boman Irani. Anupam is tremendous and portrays the victim with flourish. This performance is in league with SAARANSH, DADDY and MAINE GANDHI KO NAHIN MAARA. Boman is fantastic. Right from his appearance to mannerisms to dialect, Boman is wonderful. In fact, after MUNNABHAI M.B.B.S., this is another performance Boman will be best remembered for.
Parvin Dabas stands out in a role that suits him well. Tara Sharma does justice to her character. Ranveer Shorey is brilliant. He is sure to win accolades for this role. Kiran Juneja is able. Navin Nischol is adequate. Vinay Pathak is first-rate. The actor enacting the role of an estate agent is equally good.
On the whole, KHOSLA KA GHOSLA is a well scripted and executed film that is sure to stand out in the crowd. At the box-office, the film should fare very well at multiplexes of big centres mainly.
KHOSLA KA GHOSLA is one such film.
The prime reason why KHOSLA KA GHOSLA works is because you come across characters depicted in the film in everyday life. The setting [middle class family] makes it a slice of life episode, the plotline [land grabbing] is identifiable and the characters, believable. KHOSLA KA GHOSLA reiterates the fact that a simple story, well told, has the power to keep you focused to the screen for the next two hours.
KHOSLA KA GHOSLA gets filmy in the latter half, you do feel that writer Jaideep Sahni and director Dibakar Banerjee could've stuck to realism. In fact, the film loses the sparkle towards the middle of the second hour. But you don't grudge it simply because you can't get hardcore realistic in the cinematic format while trying to find a solution for land usurping cases.
All said, KHOSLA KA GHOSLA is eminently watchable for various reasons. An honest effort, this one's an ideal tribute to the Hrishikesh Mukherjee cinema that has got eclipsed behind all the glitz and glamour of multi-crore budgets.
The dream of every middle class man is to own a house. K.K. Khosla [Anupam Kher] is no different. On retirement, he invests his entire life's earnings into a plot of land to build his dream house. Only to be cheated by a corrupt, greedy Khurana [Boman Irani], who usurps the land that belongs to Khosla.
Khosla's family joins hands to pull off a scam on the biggest goon in the property business.
The first thing that catches your eye in KHOSLA KA GHOSLA is the assorted characters. If the head of the family nurses an ambition to make a kothi with his hard-earned earnings, the elder son is looking at a career in the U.S., while the younger is still aimless. On the other side of the fence is a land shark, who encroaches on others' land. Then there are the estate agents who are hand-in-glove with such crooks. Really, there's not one unbelievable character in the entire film.
Besides the life-like characters, the humor injected at regular intervals keeps the interest alive. The dilemma of a middle class family and the deteriorating human values are depicted with utmost honesty. The helplessness of the common man is highlighted most effectively at three levels -- first, when he realizes that his plot has been encroached upon, then, wonder of wonders, the lawful owner is put behind bars for trying to use force against the encroachers and later, when he's asked for a ransom by the land shark.
But the narrative dips when the middle class family takes the help of stage actors to free the land. The modus operandi of planting an actor as a Dubai-based entrepreneur holds your attention at the start [Navin Nischol's first scene with Boman Irani is remarkable], but isn't believable in latter portions. In fact, the film gets formulaic in the latter reels as the middle class family successfully cons the scamster.
The best of ideas evaporate into thin air if entrusted to inept people. Fortunately, debutante director Dibakar Banerjee knows what he's talking about. In fact, it's hard to believe that KHOSLA KA GHOSLA has been helmed by a first-timer. The drama keeps you engrossed and the performances by each and every member of the cast are sparkling.
Jaideep Sahni's script is almost flawless. You may tend to disagree with the route Khosla's family adopts to get the land back, but you can't deny that the overall material is powerful. There's no scope for music in the film, but the promotional video ['Chak De Phattey'] has already caught on in a big way and will only add to the popularity of the film.
Although every performance in the film is faultless, KHOSLA KA GHOSLA actually belongs to two impeccable performers -- Anupam Kher and Boman Irani. Anupam is tremendous and portrays the victim with flourish. This performance is in league with SAARANSH, DADDY and MAINE GANDHI KO NAHIN MAARA. Boman is fantastic. Right from his appearance to mannerisms to dialect, Boman is wonderful. In fact, after MUNNABHAI M.B.B.S., this is another performance Boman will be best remembered for.
Parvin Dabas stands out in a role that suits him well. Tara Sharma does justice to her character. Ranveer Shorey is brilliant. He is sure to win accolades for this role. Kiran Juneja is able. Navin Nischol is adequate. Vinay Pathak is first-rate. The actor enacting the role of an estate agent is equally good.
On the whole, KHOSLA KA GHOSLA is a well scripted and executed film that is sure to stand out in the crowd. At the box-office, the film should fare very well at multiplexes of big centres mainly.
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