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.
Sunday, June 04, 2006
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
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
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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