Download Songs of 3 - idiots
Aal Izz Well
Aal Izz Well (Remix)
Behti Hawa Sa Tha Woh
Jaane Nahin Denge
Zoobi Doobi
Zoobi Doobi (Remix)
Give Me some sun shine
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Friday, April 9, 2010
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Vidya Balan to play Silk Smitha
By Bollywood Hungama News Network
 |
Vidya Balan has time again managed to bag roles which any other actress would give her right hand for. Whether it was the sensual performance in Parineeta, or playing the bold and sexy woman in Ishqiya or playing mommy dearest to Amitabh Bachchan himself in Paa.
So when casting for a film based on a strong yet sensual woman is being done, it's hardly a surprise that Vidya Balan seems like an obvious choice. Sure enough then Ekta Kapoor's next film, that chronicles the life of the infamous actress Silk Smitha, is into pre- production, the lead is being discussed and the buzz is that it's Miss Balan herself who will play the dare all Silk Smitha in the film.
Unlike what seems to be the obvious, the film does not revolve around the sleazy image that this late actress got stuck with, instead it's about how the industries complexity, stress and the eventual loneliness that led to her death. Silk Smitha was a south siren, a cult figure that defied conventions and made it on her own, circumstances and alcohol drove her to what is believed to be a death by suicide.
Milan Luthria, who is currently making Once Upon A Time In Mumbai for Ekta's banner will be directing this film.
Vidya Balan however hasn't confirmed the news.
But one thing is for sure, if Vidya is the one who would be playing this part, the film is a winner already.
So when casting for a film based on a strong yet sensual woman is being done, it's hardly a surprise that Vidya Balan seems like an obvious choice. Sure enough then Ekta Kapoor's next film, that chronicles the life of the infamous actress Silk Smitha, is into pre- production, the lead is being discussed and the buzz is that it's Miss Balan herself who will play the dare all Silk Smitha in the film.
Unlike what seems to be the obvious, the film does not revolve around the sleazy image that this late actress got stuck with, instead it's about how the industries complexity, stress and the eventual loneliness that led to her death. Silk Smitha was a south siren, a cult figure that defied conventions and made it on her own, circumstances and alcohol drove her to what is believed to be a death by suicide.
Milan Luthria, who is currently making Once Upon A Time In Mumbai for Ekta's banner will be directing this film.
Vidya Balan however hasn't confirmed the news.
But one thing is for sure, if Vidya is the one who would be playing this part, the film is a winner already.
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The Japanese Wife
An Aparna Sen film is always special. Like her previous endeavours, THE JAPANESE WIFE [a film in Bengali with English sub-titles] also looks at relationships. Only thing, this time it's about two strangers, who start off as pen friends, exchange letters, get drawn towards each other, even get married through letters, but never meet each other. Despite staying apart and not meeting even once, the couple share an honest and chaste relationship, confiding the smallest of incident to one another, thru letters and phone calls.
This unique story [penned by Kunal Basu] is translated beautifully on celluloid thanks to Aparna Sen's deft handling of the material. Of course, a story like this unwinds at a leisurely pace, but there's no denying that the proceedings keep you engrossed for most parts, mainly towards the penultimate moments.
Aparna Sen also gets it right because her choice of actors is perfect. And the characters they portray are real as well as unreal. Real, because there do exist people who look beyond physical relationships and who eventually become soul mates. It's unreal at the same time because, in today's times, when love, sex and dhokha have become a norm, characters like Snehamoy and Miyage appear straight out of dreams. Do they belong to this era, really? You may watch THE JAPANESE WIFE for varied reasons. But I recommend that you watch it with someone you love.
Snehamoy [Rahul Bose] and Miyage [Chigusa Takaku] are pen friends, who exchange wedding vows through letters. Yet, even after fifteen years of marriage, the two have not met. It is always a question of not having enough money or Miyage's sick mother or Snehamoy's mashi's [Moushumi Chatterjee] health. But their physical absence in each other's lives never comes in the way of their sense of belonging as a couple.
A young widow, Sandhya [Raima Sen], comes to stay with Snehmoy along with her eight-year-old son Paltu. Sandhya is Snehamoy's mashi's god-daughter. With Sandhya, Snehamoy discovers a bond of domesticity as they gradually start sharing household chores. With Paltu, Snehamoy discovers the joys of fatherhood. When Miyage falls sick and has to leave her home to live with her brother, Snehamoy is frantic with worry. As days pass by and Miyage's health worsens, it becomes clear that Snehamoy will need to visit an oncologist in Kolkata to get a proper assessment of his wife's condition. A storm strikes as he makes his way to the city and he returns disheartened and severely drenched.
Far from his wife and desperately worried over her health, Snehamoy's life hangs by the thread as he is tended by Sandhya, just as any beloved husband would be by a loving wife.
A compelling story comes alive if the writing has meat and the actors are on the same page as the director. Aparna successfully creates a world that's so simple and relatable. In fact, that's one of the highpoints of the film. The purity and simplicity is what wins you over.
On the flip side, the bond between Rahul and Paltu comes across well, but the relationship between Rahul and Raima isn't too convincing. The writing isn't coherent during these portions. Also, the sub-titles get merged with the colours on screen and aren't decipherable at most times. Talking of performances, Rahul Bose delivers a stellar performance. He portrays his character with panache. Chigusa Takaku is equally convincing, enacting her part with restraint. Raima doesn't get too many lines to deliver, but conveys a lot through her eyes. Moushumi Chatterjee is a revelation. She's exceptional.
On the whole, THE JAPANESE WIFE is an emotional journey that keeps you hooked for its sheer novel story. A film for connoisseurs of art house cinema mainly!
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Jaane Kahan Se Aayi Hai - Movie Review
Love stories seem to be the fav genre of dream merchants here. I've a hunch, if we ever do a count of romantic films made in Bollywood, it would easily score over other genres. The question is, how innovative can a love story get in today's times? Milap Zaveri provides the answer: Man from Earth, woman from Venus.
Having penned some likable comic capers in the past [MASTI, HEYY BABYY], Milap's directorial debut JAANE KAHAN SE AAYI HAI has liberal doses of light moments dominating the first half of the film and heartache and reunion following soon after, in its post-interval portions.
JAANE KAHAN SE AAYI HAI works for its light moments mainly. It's bizarre to think of a love story between a human and an alien, but Milap garnishes it well with assorted characters, sets the story in the film industry and has several laugh-inducing moments. Resultantly, the first half is paisa vasool in filmi lingo.
But the problem arises when the focus shifts to the prem kahani in its second half. For, the story follows the trodden path [it becomes a love triangle] and embarks on the same old route that all love stories usually embark upon. If Milap had the courage to think out of the box, he should've ensured that the film remained true to its essence. Why didn't he think of an equally wacky second hour?
Notwithstanding its predictable second half, JAANE KAHAN SE AAYI HAI is a decent watch that provides ample laughs.
JAANE KAHAN SE AAYI HAI is the story of Rajesh [Riteish Deshmukh], a simple Gujarati boy who's been looking for love since he was a baby. Thoroughly unsuccessful in his endeavours, he nearly gives up till he meets Natasha [Sonal Sehgal].
Desh [Ruslaan Mumtaz] is the youngest superstar in the country. Mothers want to adopt him and their daughters want to marry him. But when will he find the girl of his dreams? Their worlds turn upside down when Tara [Jacqueline Fernandez], an alien from Venus, lands on Earth in the search of true love.
Milap tickles your funny bone at the very outset. The story of a loser, his search for true love, his 'naughty' father, his 'oversexed' friend and his experiences at his work place [on a film set] bring a constant smile on your face. In fact, one of the key factors why the first half works is because the casting is just right and the actors carry off the assigned roles so well.
But the second half fumbles because the story gets very old-fashioned. If the alien could travel all the way to earth to find love, why couldn't she profess love to the man she loves the most? Why develop human emotions all of a sudden?
This is Milap's directorial debut and he clearly shows a flair for comic entertainers. Sajid-Wajid's music is pleasant, with the title track standing out. Attar Singh Saini's cinematography is perfect.
Riteish enacts his part efficiently. That he's at home in comedy is well-known by now, but the actor is equally at ease in emotional moments and also romantic sequences. Jacqueline is easy on the eyes. In fact, she seems more comfortable this time. Vishal Malhotra is superb and contributes enormously in making the proceedings lively. Ruslaan carries the teen heart-throb look very well. Sonal Sehgal is competent.
Farah Khan is a complete natural. Satish Shah is excellent. Supriya Pilgaonkar does well too. Akshay Kumar, Priyanka Chopra, Sajid Khan and Amrita Rao make special appearances in the film.
On the whole, JAANE KAHAN SE AAYI HAI is a light-hearted entertainer targeted at the youth. It has a thoroughly entertaining first half, but a routine second half. A decent watch!
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Prince - Movie Review
Hollywood has come up with so many movies on memory loss, while Bollywood too has had its share of films which depicted the protagonist losing his memory, GHAJINI being the most recent example. But what if someone robs your memory? Quite an interesting thought, isn't it? On the brighter side, PRINCE has great stunts and chase sequences [Allan Amin], fantastic visuals [South Africa] and of course, a chartbuster musical score [Sachin Gupta]. And these three factors, coupled with Vivek Oberoi's convincing performance, should take the film to safety!
One of the advantages of having a GenNext director is, he's ready to take risks, ready to tread the untrodden path, ready to go where no one has been before. But there's a disadvantage too: Visuals and technique take precedence, while story takes a backseat. PRINCE has a terrific first half, where technique and content go hand in hand, but technique overpowers the content in its post-interval portions.
What surprises you is that PRINCE is penned by the writer of RACE [Shiraz Ahmed] and like RACE, PRINCE too has several twists and turns every 15 odd minutes. But the twists and turns are a mixed bag here - captivating at times, not captivating at some places. More on that later!
One of the savviest thieves in the world [Vivek Oberoi] commits the biggest heist of his life. He wakes up next the morning to realize he has a gunshot wound on his arm that he doesn't remember getting. In his quest to find answers, he discovers his name is Prince, he used to work for a man named Sarang and his girlfriend's name is Maya.
He is being hunted by the secret service of India, the CBI and the biggest white collared criminals in the world. He is the most wanted man in the country because only he knows the whereabouts of the heist, which contains a secret that is linked not only to his loss of memory, but threatens the future of the human race.
Every day he meets a new girl claiming to be Maya. He doesn't remember where he has hidden the Heist. He has just dive days of his life. Time is running out...
Although PRINCE stands on a novel premise, flashes of the Dev Anand starrer JEWEL THIEF do cross your mind. PRINCE starts off with a heist and soon after, Vivek realises that his memory has been 'erased'. The mystery only deepens when he meets three different women, all posing as Maya and all having a new story to tell. So far, so good! But the difficult part is to keep the viewer's interest alive till the finale and that's where PRINCE starts crumbling. The second hour - the entire journey of Prince and the real Maya going on a wild chase to trace the coin and also regain Prince's memory - is exciting in bits and spurts.
The concept of erasing a person's memory and then inserting it back with chips and gizmos sounds wow, but the way it has been projected in the film is ludicrous and far from convincing. Ditto for the climax, when Prince traces the villain to the Afghan-Pakistan border. He does so after he had hidden a device in the villain's shoes, while he was being bashed in the earlier sequence. Also, showing Prince having the same qualities as Spiderman [he can cast a web anytime he's in distress] makes you wonder, is he an ordinary mortal or a super human?
Director Kookie Gulati has an eye for visuals and that's evident from the very start of the film itself. The film looks magnificent and wears an international look as well. Shiraz Ahmed's screenplay is watertight in the first hour, but leaves a lot to be desired in the latter portions. Dialogues [Mayur Puri] are well worded. Cinematography [Vishnu Rao] is top notch and the eye-filling locations are a visual treat. Allan Amin's stunts and chases are mesmeric. Sachin Gupta's musical score is trendy and catchy.
Vivek is super in a rather difficult role. He is excellent in dramatic portions especially and carries off the stunts with remarkable ease. Nandana is effective. Neeru doesn't get much scope. Aruna is the best of the lot. Sanjay Kapoor enacts his part well. Dalip Tahil is alright. Isaiah has screen presence and looks ferocious on screen. Rajesh Khattar is hardly there.
On the whole, PRINCE has great music, super stunts, Vivek Oberoi's bravura performance and terrific promotion as its trump card, but where it falters is in its writing [in its second half mianly]. Yet, all said and done, the film has the merits to strike a chord with the youth and lovers of masala movies.
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Soha Ali Khan
| Date of Birth : 04 Oct 1978 | |
| Place of Birth : New Delhi, India | |
| Biography : | |
Soha Ali Khan (born as Soha Ali Khan Pataudi on 4 October 1978 in New Delhi, India) is an Indian actress. Khan was born into the of the Royal Family of Pataudi. Both her father, Mansoor Ali Khan Pataudi, the current Nawab, and paternal grandfather, Iftikhar Ali Khan Pataudi, are former captains of the Indian cricket team. Her mother, Sharmila Tagore, is a film actress and a distant relative of Bengali Nobel Laureate Rabindranath Tagore. Her brother Saif Ali Khan is also a Bollywood actor and her sister Saba Ali Khan is a jewellery designer. She attended The British School in New Delhi. |
Her mother, Sharmila Tagore, is a film actress and a distant relative of Bengali Nobel Laureate Rabindranath Tagore. Her brother Saif Ali Khan is also a Bollywood actor and her sister Saba Ali Khan is a jewellery designer. She attended The British School in New Delhi.
Before embarking upon her film career, Soha worked for the Ford Foundation and Citibank. She is involved in a range of activities outside the acting world, including serving on the Advisory Board for a new project of the public entrepreneur group, Res Publica. She has also recently modeled for the spring-summer collection of Globus, an Indian chain of boutiques.
Soha made her acting debut with the Bollywood film Dil Maange More (2004), where she shared credits with Shahid Kapoor, Ayesha Takia and Tulip Joshi. She has since received critical acclaim for her performances in the Bengali film Antar Mahal (2005) and Rang De Basanti (2006). Khoya Khoya Chand, earned her critical acclaim, although it was not successful at the box office. Her latest release 99 was a critical and commercial success and her performance was acclaimed. Her Latest release Tum Mile is running in theatres n receiving a positive review.
Soha also hosted a show called Godrej Khelo Jeeto Jiyo on Star Plus, in which where Soha Ali Khan takes the opportunity to ask some crisp questions to the contestants on the show and making them win lots of Goodies in return of the right answer.
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Monday, April 5, 2010
Katrina-Ranbir new stills from Ajab Prem Ki Ghazab Kahani
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Kareena Kapoor’s Kurbaan Moviestills
Kareena Kapoor’s Kurbaan Moviestills. Kareena Kapoor will be seen staring opposite her boyfriend Saif Ali Khan in the movie along with other star cast like Vivek Oberoi and Dia Mirza. Kareena Kapoor has gone one step forward in exposing in front camera in the movie and gave lot steamy screens with Saif Ali Khan. Check out latest moviestills of Kurbaan film.
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Preity's IPL team loses again
Preity Zinta's IPL team, Kings XI Punjab, lost a thriller to the Mumbai Indians at the Brabourne Stadium in Mumbai today (March 30). The Mumbai Indians won by four wickets; Kings XI had scored 163, while the Mumbai team ended with 164/6. It was a close match until the end, with the Mumbai Indians needing six runs from six balls in the final over.Preity had predicted that the match would be thrilling. She’d tweeted, “We have always had the most exciting games with M.I in the past ! Hope today is also a thriller with lots of 6's,4's, and free hits !” Sportingly, she’d also admitted that the Mumbai Indians’ Sachin Tendulkar was her favourite player. Preity had posted on her Twitter account before the game, “Hey guys !All excited for the game tonight & 2 c Sachin, my fav player in this whole world play !”
But it wasn’t an exciting result for the actress. She looked very tense towards the end of the match. This defeat means that from the eight games her team has played, they’ve lost seven, and managed just one win. Preity is well aware of the equation. She tweeted post match, “Guys I need LUCK !!! Lots of it ! Only good thing about tonight was that v played well & Sachin got d Orange cap !”
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God and Sex is inspired by Swami Nityanand escapades - Ram Gopal Varma
By Subhash K. Jha
With around 20 more days of shooting left for his bio-pic Rakta Charitra on the life of the outlaw-politician Paritala Ravi, Ram Gopal Varma is already thinking of his next film. And what better fodder for filming than the allegedly lurid life of Swami Nityanand?Ramu doesn't deny that the film's title God & Sex comes in the wake of Dibakar Banerjee's Love Sex Aur Dokha. Says Ramu, "I won't deny that the word sex in a Hindi-film title seemed impossible before Love Sex Aur Dhokha. So to that extent, yes God & Sex is a title that owes its background to the earlier film."
The film would be inspired by the Swami Nityanand sex scandal. But it isn't prompted by Vivek Oberoi, a self-confessed devotee of the Swami and Ramu's close friend currently working in Rakta Charitra.
Smirks Ramu, "Vivek and I haven't been discussing Nityanand or the other god men and their sex lives. But I can't deny God & Sex is inspired by the Swami's escapades. But it's not his sexcapades that intrigue me. It's an image that I saw in the video of the Swami watching Hindi film songs on television. It just struck me that behind closed doors everyone from God men to gun-men is doing the same routine things."
Though the film will be called God & Sex it won't only be about god-men and sex scandals.
Says Ramu, "It's amazing how powerful our country's god-men get in the corridors of power. Whether its politics or sex people like Chandraswami and Nityanand exude power and command a mass following. I remember my aunt had gone to a prayer meeting for Satya Sai Baba. She came back and put up a large photograph of the man. I asked her what prompted her to do so, was she that impressed by his ideas? She said she couldn't follow a word of what he said. 'But so many people can't be wrong', that statement of her's stuck. These god-men generate mass hysteria because they are seen as a direct link with divinity. They are able to cash in on the gullibility, vulnerability and insecurities of the people because we live in desperate times and we need to have some faith to cling to."
God & Sex won't have a lot of sex in it. "How do these god-men manage to get so many women and girls interested in them? My film will dwell on that aspect. But it won't be a sleazy look at their world."
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Arjun Rampal came to Katrina's rescue
Katrina Kaif received a warm welcome at a media meet to promote her upcoming ‘Raajneeti’ in Gurgaon on Saturday, but the cold blast from the air conditioner had her shivering, until co-actor Arjun Rampal gallantly took off his coat and offered it to her.
Dressed in a short, sleeveless, pink dress, Katrina found it too cold at the venue.
"It's way too cold here. It's so cold!" Katrina was seen whispering to Ranbir Kapoor and Arjun Rampal on the stage.
While Ranbir chose to nod his head, Arjun displayed chivalry by taking off his black overcoat and handed it to Katrina. She immediately grabbed it and placed it on her legs, which were hidden behind a table on the stage.
Moments later, actor Nana Patekar too was seen trying to get the temperature in control by requesting hotel officials to do the needful.
'Raajneeti' is a dark political drama and features Manoj Bajpai, Ajay Devgn, Naseeruddin Shah, apart from Nana, Arjun, Ranbir and Katrina, who plays the role of a politician. The movie has been directed by Prakash Jha, known for his realistic films like 'Mrityudand', 'Gangaajal' and 'Apharan', and is slated for release in June.
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Hrithik rocks Dubai!
Hrithik Roshan couldn’t make his scheduled appearance on the first day of the Zee Dubai Mega Mela on April 1, but he made up for that absence by giving his fans an evening to remember on April 2. The Philips Fashion Catwalk, in association with Masala!, at the Amphitheatre, Dubai Media City, was where visitors to the Mela first got to see Hrithik. And believe us when we say that they brought the house down with their cheering, clapping and whistling for the Bollywood heartthrob.The catwalk arena was packed with HR fans, and when the man himself walked on stage, there was absolute dhoom. Wearing a black jacket and trousers, with a white shirt, his hair styled into a ponytail, Hrithik looked his usual fantastic self. “Ten years on stage, but I still get nervous. So keep the love coming,” he said. That got him a fresh round of cheering from the audience, as also the fact that he called Dubai his ‘home away from home’.
From the fashion catwalk, Hrithik moved to the Moulinex Chefs’ Theatre, where he confessed that boiling eggs was all the cooking that he did. “Boiled eggs are very healthy!” he said. And Hrithik revealed that he was a complete ‘foodaholic’. “If I weren’t an actor, I’d be fat, and happy-fat at that. People have actually said to me, ‘Stop eating now. I’m getting sick just looking at you.’” He added that he’s had to put on a lot of weight for the movie ‘Guzaarish.’ “Just two months ago, I had a 36-inch waist.” Forget the six and eight packs of other heroes, Hrithik says he had a ‘family pack’. “I had to quickly lose that weight so I was recognizable and not booed off stage.” And what’s the secret of his amazing physique? Hrithik says it’s all about eating healthy and exercising.
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“I’m very passionate in love” - Hrithik Roshan
It’s my first time interviewing Hrithik Roshan, and I expect the star to be, well, star-like. And sure enough, when he enters the lobby of the Grosvenor House where we’re meeting, he’s wearing a star staple – dark sunglasses. But then he does something surprising; he takes the sunnies off (revealing those gorgeous light eyes), says “Hello” with an oh-so-warm smile, and proceeds to speak with so much genuine humility that we’re quite blown away. We asked Hrithik if he’s had any weird experiences with crazy fans, and he looks mildly upset. “There are no weird fan experiences. I see every fan interaction as a huge compliment. The smiles and love that I get from people are what make everything worth it.” So what else makes Hrithik Roshan tick? Read on to find out.
How close is the character you play in ‘Kites’ (of a dance teacher) to you in real-life?
Any creative exercise has to be a reflection of you. It’s how you interpret it. There’s a lot of me in the character I play in ‘Kites’. He’s very passionate in love and so am I.
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Tthe green-eyed star -Ranbir Kapoor
Why is he jealous of Arjun Rampal’s wife, Mehr?
After working with model-turned-National Award winner Arjun Rampal in ‘Raajneeti’, Ranbir Kapoor considers him a "brother for life" and says he loves him so much that he feels extremely jealous of Arjun's wife.
"I have had a wonderful time working with Arjun in 'Raajneeti'. He is my brother for life. I love him a lot. In fact I love him so much, so much that I am jealous that Mehr is his wife," Ranbir said while addressing a press conference at the Galaxy Hotel in Gurgaon.
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Priyanka Chopra to contribute for Children's education
With India giving children the right to elementary education, Bollywood actress Priyanka Chopra has decided to be at the forefront of affairs and contribute in whatever which way she can in making the act a success.
"Education is now a fundamental right! The PM (Prime Minister Manmohan Singh) has enforced the Right of Children to free and compulsory Education Act...It's a landmark move," Priyanka posted on her Twitter account.
"This ensures that every child, irrespective of gender or social education, has a right to education. This is the first step...but there is much more to be done to ensure that this act translates into concrete and meaningful steps.
"Not preaching, but let's find ways to help make this a reality in whatever way we can. I'm reaching out to the NGO's I support to see how I can contribute," added the 27-year-old.
The Right to Education Act promises 10 broad objectives including free and compulsory education to all children in the 6-14 age group. This means millions of children will now get education at least up to class eight. Currently, in India, nearly 200 million children in the 6-14 age group are in schools while nearly 8.1 million do not go to schools.
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Pankh - Movie Review
A lot of bizarre experiments are being made in the name of art house/experimental cinema. Precious raw stock, precious time and precious resources are being utilised to create movies which are so weird that only its creator would know what he's actually trying to say. PANKH is one of those films, which, frankly, makes no sense.
Let's give the credit where it's due. The premise - of a young boy being cast in girl's roles in movies - is interesting, but the screenplay and direction [Sudipto Chattopadhyay] are so abstract that I was actually wondering, how could a reputed film-maker like Sanjay Gupta and celebrated actor Bipasha Basu green-light this project? Or, let me put it this way, what did they see in the script of this film?
Frankly, PANKH made no sense to me and at the end of the screening, I only felt sorry for myself since I wasted two precious hours of my life on something that wasn't worth it.
Baby Kusum was a child star. But Kusum was actually a boy, working as a girl in movies. Born as Jerry. Christened Master Jai for the movies. Rechristened Baby Kusum to play a girl. Mary and Jerry, the mother and son, are caught in a turbulent relationship.Frankly, PANKH made no sense to me and at the end of the screening, I only felt sorry for myself since I wasted two precious hours of my life on something that wasn't worth it.
Baby Kusum was a child star. But Kusum was actually a boy, working as a girl in movies. Born as Jerry. Christened Master Jai for the movies. Rechristened Baby Kusum to play a girl. Mary and Jerry, the mother and son, are caught in a turbulent relationship.
Nothing works in PANKH. The protagonist is besotted by a stunning looking actress and even fantasises about her, so why this hullabaloo about his sexual identity? And pray, what is Bipasha doing in so many avtaars? Did she walk on the set straight out of a fashion show?
Talking of performances, Maradona Rebello tries hard to look convincing. Bipasha suffers due to poor characterisation. Mahesh Manjrekar hams to the hilt. Ronit Roy is lifeless. Lilette Dubey is hysterical. Daya Shanker Pandey is quite good. Amit Purohit needs to polish his acting skills. Sanjeeda Sheikh is convincing. Asha Sachdev gets the role right.
Nothing works in PANKH. The protagonist is besotted by a stunning looking actress and even fantasises about her, so why this hullabaloo about his sexual identity? And pray, what is Bipasha doing in so many avtaars? Did she walk on the set straight out of a fashion show?Talking of performances, Maradona Rebello tries hard to look convincing. Bipasha suffers due to poor characterisation. Mahesh Manjrekar hams to the hilt. Ronit Roy is lifeless. Lilette Dubey is hysterical. Daya Shanker Pandey is quite good. Amit Purohit needs to polish his acting skills. Sanjeeda Sheikh is convincing. Asha Sachdev gets the role right.
On the whole, PANKH has nothing to offer!
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Tum Milo Toh Sahi - Movie Review
Love knows no language. Love knows no barriers. Love knows no age. It's this thought that director Kabir Sadanand tries to encapsulate in his second directorial venture TUM MILO TOH SAHI.
TUM MILO TOH SAHI may not be the most amazing take on relationships, but it has several moments that make you experience myriad emotions in those two hours. Especially the portions involving Nana Patekar and Dimple Kapadia. Having said that, it must be pointed out that the Rehan-Anjana portions are just not captivating. They lack the power to keep you hooked. Yet, the outcome is much better than what's being churned out in the name of cinema and entertainment these days.
Final word? Watch it, especially for veterans like Nana and Dimple, whose stellar act proves that old is gold, indeed!
Set in modern-day Mumbai, with all the demands and pressures of city life, the film weaves together the lives of three couples who connect with each other.
It is about the meeting of souls [Nana Patekar and Dimple Kapadia], the meeting of minds [Suniel Shetty and Vidya Malavade] and the meeting of hearts [Rehan Khan and Anjana Sukhani], underlining that love is the driving force in people's lives, irrespective of age.
TUM MILO TOH SAHI has three different stories running concurrently, but get merged into one after intermission. The Nana-Dimple chapter is the pick of the lot, in terms of writing and execution, followed by Suniel-Vidya track and Rehan-Anjana story.
Nana's eccentric persona is a delight. Watch him in scenes in the super-market or when he encounters a eunuch on the street. His interaction with Dimple's grandson is fantastic too. Suniel and Vidya's story has been treated sensitively, but a few moments are plain ordinary, especially their initial portions. Rehan and Anjana's sub-plot is the weakest link in the enterprise, although the actors make up with earnest performances.
This is director Kabir Sadanand's second venture and I see a distinct evolution in him as a storyteller. Kabir has handled several sequences with flourish. Sameer Siddiqi and Rajen Makhijani's screenplay, as mentioned earlier, has its share of engaging and non-engaging moments. The climax, of course, is the highpoint of the film. However, the film is very Mumbai-centric, which would restrict its appeal at other places. Sandesh Shandilya's musical score is decent, with the title track being the pick of the lot. Pushan Kripalani's cinematography is eye-catching.
It's a treat to watch Nana and Dimple on screen after a hiatus. Both deliver sterling performances. Nana is in terrific form, while Dimple is grace personified. Watch out for Dimple's courtroom sequence and you'd realize yet again that there's so much to be tapped. One is sure, after you exit from the auditorium, you'd carry Nana and Dimple in your heart.
Suniel too strikes a chord and plays his part with amazing maturity. Vidya Malavade is super, a dependable actor. Rehan springs a pleasant surprise. It's an honest performance. Anjana is a complete natural too, displaying the varied emotions with ease. Amongst the host of supporting actors, Mohnish Bahl and Amit Behl stand out. Raghav Sachar has a brief role; he looks photogenic. The child actor playing Dimple's grandson is very good.
On the whole, TUM MILO TOH SAHI has decent merits that should find flavour with the multiplex junta of Mumbai mainly, thanks to its Mumbai-centric theme. Watch it for the wonderful performances by Nana and Dimple!
Read more...
Sadiyaan - Movie Review
We rarely make desi movies these days. Palatial mansions, swanky cars, designer outfits, the latest handsets and gizmos have replaced large kothis, traditional outfits, ghoda-gaadis and makke di roti aur sarson ka saag. True to its name, SADIYAAN takes you to a different era, when the warmth of relations mattered the most, when blood was thicker than water, when promises were meant to be honoured.
SADIYAAN is set in the 1970s, but travels to the partition days. Raj Kanwar tackles a unique theme this time - of two mothers. The first is the biological mother, who gets separated from her child during the partition. The second raises the child like her own, when she crosses to India after partition. The basic premise is wonderful and you can draw parallels with Hindu mythology.
SADIYAAN is divided into two parts. The first part focuses on the love story, which falls on the predictable, mundane stuff, with the Hindu-Muslim angle thrown in. But Raj Kanwar reserves the best for the second part, when the two women meet and the story takes rapid turns. But, let's face it, SADIYAAN is not everyone's idea of entertainment, since the 'multiplex junta' doesn't patronise desi cinema anymore, unlike the single screen audience that adores this kind of cinema. So what's the final verdict? Watch it if you like desi melodrama of yore, which comes alive with SADIYAAN.
SADIYAAN is a period drama based on an incident which happened during the partition. It's the story of two mothers, a Hindu played by Rekha and a Muslim mother played by Hema Malini.
In the chaos and confusion during partition in 1947, Benazir [Hema Malini] leaves behind her child in the mansion she lived in, before moving to Lahore. The child is rescued by Amrit [Rekha] and Rajveer [Rishi Kapoor], who try hard to locate the parents of the child, but in vain. They decide to raise the child themselves. Ishaan [Luv Sinha] falls in love with Chandni [Ferena Wazeir], who lives in the same city [Amritsar]. However, Chandni's parents oppose the match, since Ishaan is a Hindu. Amrit and Rajveer decide to reveal the truth to Ishaan and also to Chandni's parents.
Two commonalities in Raj Kanwar movies… One, he has always stressed on drama in his movies and SADIYAAN is no exception. Two, the maker has often worked with newcomers [SRK in DEEWANA, Aarya Babbar and Amrita Rao in AB KE BARAS and Lara Dutta and Priyanka Chopra in ANDAAZ] and now, it's Shatrughan Sinha's son Luv Sinha in SADIYAAN.
SADIYAAN has two stories running concurrently - the love story [Luv, Ferena] and the story of two mothers [Rekha, Hema Malini]. While the love story is hardly exciting since it relies on the tried-and-tested stuff, the Indo-Pak angle in the mothers' story makes this part extremely watchable.
The best moments are reserved for the second hour, with the penultimate moments proving the mainstay of the enterprise. However, as mentioned earlier, desi themes aren't too popular these days, except in the hinterland. Hence, a film like SADIYAAN has its limitations to cut across to a universal audience. Another drawback is that a love story should be embellished with lilting music and unfortunately, Adnan Sami's music is a letdown.
Directorially, Raj Kanwar handles the dramatic moments with flourish, but the writing, especially the love story, is archaic. Also, what was the need to force comedy in the narrative? Cinematography is alright, but the locations are eye-filling.
Rishi Kapoor, Rekha and Hema Malini are the lifeline of the film. Rishi is top notch. Rekha is amazing, while Hema is perfect. In fact, it's a treat to watch the two actresses share screen space after a really long gap. Luv Sinha needs to polish his acting skills. He's slightly awkward in the first part, but decent in the second half, when the goings-on get emotional. Ferena is a decent actor, but needs to work on her makeup and wardrobe.
Javed Sheikh is appropriate. Deep Dhillon is good. Vivek Shauq is getting typecast. Avtar Gill is perfect.
On the whole, SADIYAAN is an emotional drama narrated in old-fashioned style. If old world charm still excites you, there are chances you may like this one.
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Friday, April 2, 2010
Wishing Ajay Devgn a very happy Birthday
By Bollywood Hungama News Network
Its not rocket science to know that the sun rises in the east and sets in the west. But today's Birthday boy is one 'son' who will never set. Instead, he has set many sparkling guidelines for others to follow and attain success! We are indeed talking about the one and only Vishal Devgn, whom we better know as Ajay Devgn, the illustrious son of the ace fight master Veeru Devgn.
Even though he was a 'star-son', Ajay chose to 'earn' his launch in the form of his debut film Phool Aur Kaante,
a film whose B-O collections, till date remains unparalleled! What followed after this were an array of films like Jigar, Divya Shakti, Platform, Dilwale, Naajayaz, Ishq, Pyaar Tho Hona Hi Tha, Hum Dil De Chuke Sanam, Golmaal to name a few. Ajay Devgn is indeed one of the very few actors in Bollywood today who has (well deservedly) earned his position as a romantic hero as well as an action man! Today, the whole of Bollywood is waiting with bated breath for each and every film of his. That's what we call as 'Star-Power'.
You too can join Indyarocks as we wish the one and only Ajay Devgn a very happy birthday by posting your wishes below:
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The Great Indian Butterfly
THE GREAT INDIAN BUTTERFLY mirrors a reality. You empathize with the on-screen characters and that's one of the reasons why this film works. But the flipside is that English-language films cater to a niche audience in India, which means you lose out on a big chunk of audience. Also, in this case, the awareness level of THE GREAT INDIAN BUTTERFLY is zilch. So that would hamper its prospects further, although the film has its heart in the right place.
Most movies are entertainment-driven, but a few movies, apart from entertaining, also raise pertinent questions that stay in your mind. THE GREAT INDIAN BUTTERFLY belongs to this group.
People travel miles, cross borders, go on an endless pursuit to attain happiness, peace, love and luck, which would make their journey on this planet memorable. THE GREAT INDIAN BUTTERFLY talks of a couple on the brink of a failed relationship and who travel from Mumbai to Goa to 'trace' the butterfly that would make their lives full of sunshine.
A beautiful thought undoubtedly, but how one wishes director Sarthak Dasgupta would've narrated the story concisely, without overstretching it to almost two hours.
A beautiful thought undoubtedly, but how one wishes director Sarthak Dasgupta would've narrated the story concisely, without overstretching it to almost two hours.
Krish [Aamir Bashir] and Meera [Sandhya Mridul], a young couple, go in search of a legendary magical insect -- The Great Indian Butterfly. Last seen by an unknown Portuguese explorer, in a remote valley located in Goa, the butterfly possesses a magical aura, granting immense happiness, peace, love and luck to the person who catches it.
Will Krish and Meera find the elusive and mystical Butterfly? Can they survive the journey?
Director Sarthak Dasgupta is clearly in a mood to narrate a real story. Hence, the conversation between the lead characters is equally real and also very relatable. A substantial part of the film has been shot in an open car, while the couple is having conversation and arguments on a road trip. The couple raves and rants about the incompleteness in their relationship and the pressures of career and stress in their lives. Sarthak captures this aspect beautifully on celluloid. The cinematography, while the car is in motion, is appreciable. But the story stagnates in the second hour. In fact, there's not much movement in the story and it also starts getting repetitive. Plus, an overdose of songs [not required]. But, thankfully, it picks up towards its finale.
The film is embellished with bona fide performances by Aamir Bashir and Sandhya Mridul. Aamir is a remarkable actor and it's a pity that we haven't tapped his acting abilities in our movies. Ditto for Sandhya, who deserves much more than what she's being offered. Koel Purie is efficient in a small role. Barry John is alright.
On the whole, THE GREAT INDIAN BUTTERFLY is for lovers of art house cinema mainly. Unfortunately, the awareness of this film is zilch and that would hamper its stay at theatres.
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Tum Milo Toh Sahi - Movie Review
Final word? Watch it, especially for veterans like Nana and Dimple, whose stellar act proves that old is gold, indeed!
Love knows no language. Love knows no barriers. Love knows no age. It's this thought that director Kabir Sadanand tries to encapsulate in his second directorial venture TUM MILO TOH SAHI.
TUM MILO TOH SAHI may not be the most amazing take on relationships, but it has several moments that make you experience myriad emotions in those two hours. Especially the portions involving Nana Patekar and Dimple Kapadia. Having said that, it must be pointed out that the Rehan-Anjana portions are just not captivating. They lack the power to keep you hooked. Yet, the outcome is much better than what's being churned out in the name of cinema and entertainment these days.
Set in modern-day Mumbai, with all the demands and pressures of city life, the film weaves together the lives of three couples who connect with each other.
It is about the meeting of souls [Nana Patekar and Dimple Kapadia], the meeting of minds [Suniel Shetty and Vidya Malavade] and the meeting of hearts [Rehan Khan and Anjana Sukhani], underlining that love is the driving force in people's lives, irrespective of age. TUM MILO TOH SAHI has three different stories running concurrently, but get merged into one after intermission. The Nana-Dimple chapter is the pick of the lot, in terms of writing and execution, followed by Suniel-Vidya track and Rehan-Anjana story.
Nana's eccentric persona is a delight. Watch him in scenes in the super-market or when he encounters a eunuch on the street. His interaction with Dimple's grandson is fantastic too. Suniel and Vidya's story has been treated sensitively, but a few moments are plain ordinary, especially their initial portions. Rehan and Anjana's sub-plot is the weakest link in the enterprise, although the actors make up with earnest performances.
This is director Kabir Sadanand's second venture and I see a distinct evolution in him as a storyteller. Kabir has handled several sequences with flourish. Sameer Siddiqi and Rajen Makhijani's screenplay, as mentioned earlier, has its share of engaging and non-engaging moments. The climax, of course, is the highpoint of the film. However, the film is very Mumbai-centric, which would restrict its appeal at other places. Sandesh Shandilya's musical score is decent, with the title track being the pick of the lot. Pushan Kripalani's cinematography is eye-catching.
It's a treat to watch Nana and Dimple on screen after a hiatus. Both deliver sterling performances. Nana is in terrific form, while Dimple is grace personified. Watch out for Dimple's courtroom sequence and you'd realize yet again that there's so much to be tapped. One is sure, after you exit from the auditorium, you'd carry Nana and Dimple in your heart. Suniel too strikes a chord and plays his part with amazing maturity. Vidya Malavade is super, a dependable actor. Rehan springs a pleasant surprise. It's an honest performance. Anjana is a complete natural too, displaying the varied emotions with ease. Amongst the host of supporting actors, Mohnish Bahl and Amit Behl stand out. Raghav Sachar has a brief role; he looks photogenic. The child actor playing Dimple's grandson is very good.
On the whole, TUM MILO TOH SAHI has decent merits that should find flavour with the multiplex junta of Mumbai mainly, thanks to its Mumbai-centric theme. Watch it for the wonderful performances by Nana and Dimple!
Read more...
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