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!

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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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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

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.

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.

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

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...