Posts tagged arjun
Bharati Dubey | TNN (THE TIMES OF INDIA; October 9, 2010)
Mumbai: Rajnikanth-starrer Endhiran has netted a collection of Rs 117 crore, surpassing the first-week collection of Bollywood’s highest firstweek grosser, Dabangg (Rs 82 crore).
Distributor and trade analyst Suniel Wadhwa said, “The film’s net collection is Rs 60 crore in Tamil Nadu, Rs 30 crore in Andhra Pradesh, Rs 8 crore in Karnataka and Rs 4 crore in Kerala. The Hindi version (Robot) has managed to collect Rs 15 crore. As the numbers suggest, the film has already crossed Dabangg’s two weeks’ net collection in just the first week of its release.’’
Incidentally, the entertainment tax structure and ticket-pricing formula are not uniform in India. “Ticket prices in south India are much lower as compared to other states in the country. This is the reason why boxoffice collection in the south pales as against the collection in northern states. Despite all this, the film’s BO collections prove the film has done remarkably well,’’ Wadhwa said.
Moreover, considering the fact that an additional 7% had to be paid as as entertainment tax to the government for being a dubbed movie, the collections are even more significant, an expert said. According to Wadhwa, the contribution of director Shankar too needs to be factored in . “Shankar is one director who has more brand value than Rajinikanth in AP. His films with Arjun, Prabhudeva and Vikram did wonders in the past. His last movie with Rajini did well at the box office though opinions were divided. Robot is an example of what a director like Shankar and a hero like Rajini can cumulatively deliver. ’’
Endhiran opened in 2,200 screens as compared to 1,400 for Dabangg. An industry source said, “More screens mean more revenue and this too has helped Robot. Also about 92 % of cinema halls are running the film and the collection continue to be rock steady,’’ another analyst said.
The film’s report in the Hindi belt too is quite good. Distributor Sunil Bohra said, `“The collection of the film in places like Jodhpur, Ghaziabad and Meerut is also impressive. The film is doing well both in single screens as well as at multiplexes.’’
Sources insist that though it is too early to speculate, the film has definitely grossed Rs 260 crore which is more than the entire collection of Aamir Khan starrer Ghajini.
The Hindi version of the film too has done a business of nearly Rs 30 crore in the first week. Amod Mehra said, “Robot has broken all the records of a dubbed film. I don’t remember any similar film crossing even the Rs 1 crore mark. In fact, Rajinikant’s last release Sivaji was a disaster at the box office.”
We all have tried to hook up two of our friends or at least someone has tried to hook us with someone, which most of the times fails miserably. But still there’s a matchmaker in most of us and this is especially to be seen in a marriage-centric country like India. Hence, Aisha reeks of a strong relatable factor and the makers and writers had won half of the battle by choosing a script like this one. Besides, they got some supremely fresh and talented actors on board and added some beautiful music too. With so many plusses in its favour, Aisha works but unfortunately only in parts. The treatment needed a mature touch which debutant director Rajshree Ojha failed to do so. A great chance lost!
The story of the movie: Aisha (Sonam Kapor) is an upmarket Delhi girl whose favourite pastime is matchmaking among her friends and relatives. Arjun (Abhay Deol), her childhood friend who has just returned from New York, detests this trait of Aisha. Aisha comes across Shefali (Amrita Puri), a small town girl, who’s in Delhi to marry. Her matchmaking side tells her that Shefali and one of her friend, Randhir (Cyrus Sahukar) can be a cute couple and she sets on a mission to hook them. She even involves Pinky (Ira Dubey), her friend since kindergarten, in her mission. Aisha loves when things go as she has planned. Hence, what would happen when she realizes that all her matchmaking plans are going for a toss? Watch the film to find out!
Aisha begins wonderfully, making you expect a lot as the film progresses. The introduction of all characters, which was done in the opening sequence itself, was cute and sets the mood for this chick flick. The story hardly moves in the first half and the only significant thing that happens here is the 7 important characters get to know each other. And also, the scene of Randhir minutes before the intermission (his proposal to Aisha at night and confession to Pinky next morning). However as the 2nd half unfolds, one realizes that the first hour was so much better! The problem is that when the writer so beautifully built up the plot in a fresh manner in the beginning reels, why did it switch to the track beaten to death so many times before in the later part? The emotional scenes tend to drag. Also, the 2nd half was where the makers were trying to go the Jaane Tu way but couldn’t do so. Moreover few developments in the story at this point seem to go over the head. Shefali telling Aisha that Arjun too likes her…what was that?!
However, the film gets back on track with the scene where Aisha shares halwa with her father at night and the scene next, where she gives a beautiful speech but to the wrong audience and wrong venue! However, the last scene (Arjun’s confession) was too filmy and although it was cute, it doesn’t work.
The film belongs to the female brigade who rocks the show! Sonam, of course, leads and this is easily her best work! This was a dream role for any actress in male-centric in Bollywood and she makes use of good use of the opportunity. Whatever kind of expression she emotes—angry, happy, sad, excited, crying—she does it in an extremely cute manner! As for her costumes, she has worn various types of clothes throughout the film and she looks a princess in each one of them! The film might not work but Aisha will surely be remembered for a long time as Sonam’s finest performance!
Ira Dubey looks and sounds very much like her mother, the talented Lilette Dubey! Performance wise, she was topnotch. With her role of Pinky, she proves that one can look superhot by wearing spectacles too! Amrita Puri gives an impactful performance. Watch out for her brilliant performance in the confrontational scene with Sonam!
As for the guys, Abhay Deol as usual gives a terrific performance. Although Sonam is the leading character here, Abhay too has an important part and does it well. Cyrus Sahukar was hardly there in the 2nd half but shines in the first hour, especially in Rishikesh sequence. Arunodhay Singh (Dhruv) does a fine job but looks horrible in his new haircut! Lisa Haydon (Aarti) didn’t much to do. Anand Tiwari, who rocked in Udaan and Kites does an equally good job here. M K Raina as Sonam’s dad leaves a mark only in the end scene. Anoordha Patel (Sonam’s masi) was good. The rest do a fine job.
Amit Trivedi’s music is soulful and easily one of his best works after Dev D, Wake Up Sid and Udaan. The best songs are the title track, By The Way, Gal Mitthi Mitthi, Shaam and Leherein. He even composed the background score which suited the film’s theme.
Maximum appreciation should go to hair stylist (Ity Aggarwal), make up artist (Namrata Soni) and Costume Designers (Pernia Qureshi, Kunal Rawal)! The girls and the film seemed glamorous and fresh thanks to them! Diego Rodriguez’ cinematography was flawless.
The film is adopted from Emma, a novel by Jane Austen. Adapting a 19th century novel into the present-day Delhi scenario wasn’t easy task and credit should go to screenwriter Devika Bhagat. However she could have done a better job towards the finale. Also the dialogues (Devika, Ritu Bhatia, Manurishi Chaddha) were very smart and witty.
Rajshree Ojha shows promise towards the beginning but her direction loses sheen during the later part. Overall, an okay debut and expecting her to do a better job in her next!
Some of the best scenes:
1. The introduction of characters
2. Shefali’s transformation from ‘behenji’ to ‘babe’
3. Aisha leaves Randhir and Shefali in the highway guest house
4. Dhruv repairs Aisha’s car
5. The entire Rishikesh sequence
6. Shefali destroying Randhir’s memoirs
7. Pinky and Shefali’s confrontation with Aisha
8. Aisha confesses about Arjun to her dad
9. Aisha’s speech in the marriage
On the whole, Aisha is strictly okay. It boasts of a great concept which could have turned into a brilliant film but the improper execution prevents that from happening. A must watch only for fashionistas and fans of Sonam!
My rating-** ½ out of 5!
By Taran Adarsh, August 5, 2010 – 22:30 IST
Recall the age-old adage: Marriages are made in heaven. Consummated on earth. But haven’t we encountered lots of people in real life who try to set things up between friends/acquaintances? In fact, they take upon themselves to make matches and meddle in other people’s affairs. That, in a nutshell, is the plotline of AISHA.
Let’s get one thing straight. You are not exploring virgin territory with AISHA. ‘Emma’, the Jane Austen novel, has been adapted on film and television in the past. Although first published in 1815, almost 200 years ago, director Rajshree Ojha and writer Devika Bhagat transport the characters from this novel to present-day New Delhi. But the essence remains the same: A simple plot and an equally simplistic love story.
|BY BOLLYWOOD HUNGAMA.COM
Unlike most love stories that we’ve witnessed on Hindi screen, there’s no heavy-duty dramebaazi in AISHA, no major hurdles to cross, no parental opposition to encounter, no major conflicts to solve. The director and writer remain faithful to the novel, which prompts you to ponder, wish the relationships were so uncomplicated in today’s times.
But there’s a flipside as well. The film runs a little longer [although the running time is 2 hours] and gets painfully slow in some portions. Besides, AISHA lacks the depth of passion and that could be because the makers were trying to make something lighter and breezier. Sweeping the minor complaints aside, AISHA is watchable for two factors mainly: Neat performances, especially by Sonam Kapoor and Amit Trivedi’s super musical score.
Final word? The romantic buried inside all of us may respond to AISHA well.
Aisha [Sonam Kapoor] is a girl with a simple diktat — everyone’s business is her business. Arjun [Abhay Deol] is a boy with even a simpler set of beliefs — Aisha should mind her own business. Caught in the Delhi upper class world with its own set of social rules, Aisha navigates her world with a great sense of style and even greater optimism.
Caught in her web are her best friend Pinky [Ira Dubey], the small-town girl Shefali [Amrita Puri], the West Delhi boy Randhir [Cyrus Sahukar] and the hunk Dhruv [Arunoday Singh]. Aisha will make sure everyone dances to her tune. And all Arjun wants to do is disentangle that web and get Aisha out of an impending sticky mess.
Director Rajshree Ojha and writer Devika Bhagat introduce the principal characters at the very outset and within minutes, you know their traits as well. The entire first hour is filled with the assorted characters interacting with one another and technically speaking, there’s hardly any movement in the story. In fact, the first hour is more of a collage of incidents and moments put together on a beautiful canvas.
But the wheels start moving towards the post-interval portions, when the lead characters [Abhay, Sonam] suffer from pangs of jealousy and the remaining characters find themselves at crossroads as far as relationships are concerned. From this point onwards, AISHA gets more and more engaging. Note the confrontation sequence between Sonam and Amrita, which leads to a bitter outburst by the latter. Note the sequence when Sonam professes love for Abhay at a marriage reception, only to realise later that she had walked into a wrong venue. Note the finale, which is very Mills & Boon type of culmination. Well penned and well executed sequences!
Director Rajshree Ojha has handled several moments well, but how one wishes she would’ve spruced up the proceedings by coming straight to the point, instead of depicting Abhay and Sonam in sulking moods in several sequences of the second hour. Also, from the writing point of view, Cyrus and Ira Dubey suddenly realise that they are made for each other. Why this sudden pyaar? Didn’t they detest each other? Loving the same musician doesn’t imply you are made for each other! There had to be a scene or two to indicate that they are drawn towards each other.
The production design [Shruti Gupte] is impressive. The film bears a striking look all through. The styling of all characters is up to the mark. The costume designers [Pernia Qureshi and Kunal Rawal] deserve full marks for choosing/making the trendy outfits. Diego Rodriguez’s cinematography is appealing. Music composer Amit Trivedi is in form, displaying his versatility in various numbers such as ‘Shaam’, ‘Suno Aisha’ and ‘Gal Mitthi Mitthi Bol’.
AISHA is sure to open eyes to the talent of its leading lady Sonam Kapoor, who gives face, form and expression to Aisha. She displays the essential characteristic of an actress who has the ability to shift quickly and effectively from one emotion to another. She can cry, look wistful and deliver a biting line with equal believability. Abhay Deol is a complete natural and the fact comes to the fore yet again as you watch AISHA. Although Sonam has an author-backed role, Abhay underplays his part well and registers a strong impact in several scenes.
The film is supported by a fine [read talented] cast. Also, one of the delights of the film is the cleverly written supporting roles. Ira Dubey is spunky, a damn good actor. Amrita Puri is a revelation, a powerhouse of talent. Cyrus Sahukar is first-rate. Arunoday Singh acts his part well. Lisa Haydon [as Aarti] is underused in a small role. Anuradha Singh is classy. M.K. Raina [Aisha’s father] is efficient. Anand Tiwari [as Saurabh] is competent. Sameer Malhotra and Vidhushi Mehra [Aisha’s brother-in-law and sister, respectively] have nothing substantial to do.
On the whole, AISHA holds appeal for the youth mainly and there’s a strong likelihood that this segment of movie-going audience will fall for its charms. From the business point of view, the makers have recovered a big chunk of their investment from the sale of Satellite Rights and Music Rights and recovering the balance amount from India theatrical, Overseas and Home Video should be a cakewalk.
We all have certain likes, interests and capacity. We would like to excel professionally in a field of our interest. However, most of the times, parental expectations, societal norms and such other pressures compel us to nip our wishes in the bud and instead alter our career which might not suit our taste. Udaan tells a similar tale of a teen who is forced to work and study against his wishes and how he breaks free from the shackles. The film is very relatable and touching and so brilliantly executed that it easily turns out to be the most outstanding film in recent times. A film which that no one should miss at any cost!
The story of the movie: After getting expelled from the boarding school, Rohan (Rajat Barmecha) returns back to his hometown, Jamshedpur. He meets his strict, authoritarian father Bhairav (Ronit Roy) for the first time in 8 years. He reaches home and comes across his half brother Arjun (Aayan Boradia) who he didn’t even know existed. Although Rohan wishes to take literature in college and become a writer, his father doesn’t allow him to do so. He is forcefully enrolled in an engineering college and also forced to work in his father’s steel factory. Will he toe the line or will the rebel in him break free and take his Udaan? Watch the film and find out!
Udaan begins with an extremely hilarious scene (Rohan and his pals going for semi-porn film) that brings the house down! It not only helps the story to progress but it also sets the viewers mood. Besides having a simple and a story that one can identify with, Udaan also works big big time because of the way it connects marvelously. You’ll laugh uncontrollably in the comic scenes but at the same time you’ll be pained terribly when you see the brothers in poignancy. And the best part is-since it’s a simple tale, everyone will be able to understand and decipher the message of the film.
The story takes its own sweet time to proceed but one won’t mind as there are a number of well-executed sequences that shall continue to linger in your mind for a long time to come. Rohan’s bonding with his half-brother and chacha (Ram Kapoor) was very cute and his relation with his strict father was of course the important part which was sensitively treated. The climax was totally justified and hopefully, every section of moviegoing audience would accept it.
The film rests on four actors and they all excel. Debutant Rajat Barmecha, the protagonist, gives a stunning performance that’ll leave you spellbound. This was a dream role for any newcomer and Rajat makes good use of it and comes out with flying colours. Watch out for him during the confrontational scenes and when he breaks down in front of Ram Kapoor and while talking to his friends on the phone! Here’s a great actor and let’s hope we see more of him in well-made films! Ronit Roy was awesome as the villainous father. It was great to see him on the big screen after a long time. Ram Kapoor, who did a great job in Karthik Calling Karthik, would be loved for his performance in this film. Simply a great job! And finally, Aayan Boradia leaves a deep impact with his cute facial expressions and eyes.
The rest of the actors do a great job too. Manjot Singh (last seen in ‘Oye Lucky! Lucky Oye!’) was absolutely rocking. Anand Tiwari (Apu), who played Robin in Kites, leaves a mark. The actors who played Rathore and the old man in hospital were marvelous. Others do a nice job.
Amit Trivedi’s music was, as usual, melodious and soulful. Naav, Kuch Naya To Zaroor Hai and the title track were the best songs of the lot. An interesting song, Motu Master, is missing from the film. The background score was used very minimally but was effective. Mahendra Singh’s cinematography was a bit innovative.
Dialogues were sharp and many of them leave a deep impact. Anurag Kashyap and Vikramaditya Motwane have written the story and screenplay and they surely deserve full marks. Story was brilliant and seemed to be inspired from personal experiences while the screenplay was terrific. Same goes for Motwane’s direction. It is evident that he knew what he was doing and had done his homework well. The result is the most confident directorial debut in a long time, probably after Ayan Mukherjee (Wake Up Sid). A big thank you to Kashyap and Motwane for giving us this wonderful film!
Some of the best scenes:
1. The first scene (hilarious!)
2. Rohan meets his step brother for the first time
3. Rohan and father at chacha’s place
4. First day of jogging
5. Rohan gets new friends
6. Drunk father talks to Rohan
7. The entire hospital sequence
8. Rohan talks to his school friends on phone
9. Rohan asked to smoke
10. The final 20 minutes
On the whole, Udaan is a beautiful touching tale that works big time. Besides giving a great message, it is an eye opener for many! It is really sad that the film failed to create excitement even trying its best. This is a film that shouldn’t be missed at any cost. It is the best film of 2010 so far…need I say anything more?!
My rating-***** out of 5!
…accuses filmmaker Rahul Rawail of using fiancee Avantika for publicity
Meena Iyer | TNN (BOMBAY TIMES; June 29, 2010)
Imran Khan has put his foot in his mouth. And it’s got to do with the BT story (June 7) about how his fiancee Avantika Malik ripped apart Ranbir Kapoor’s Raajneeti in a suburban theatre in the presence of filmmaker Rahul Rawail. The Bollywood director, who was sitting behind Avantika for the screening, had posted his “lousy experience” on a social networking site and then expressed his annoyance to BT. Now Imran has lashed back in a city newspaper at Rahul and said the reputed filmmaker wanted publicity and had therefore accused Avantika of disturbing the theatre with her mocking remarks of his arch-rival’s film.
Imran is justified in defending his woman. However, to dismiss something that happened in a theatre with a Friday crowd (including Farah Khan) as “nothing of the sort happened’’, is silly. Ideally, what Imran should have suggested to his fiancée was that she apologise to Rahul whose peace she disturbed during the film and move on. Instead, he ridicules the incident by saying “Ranbir and I make for a good story” while denying there is any hostility between them and suggesting that Rahul had done this to get his name on the front page of BT. Which, for a young star with just one hit (Jaane Tu… Ya Jaane Na) and two duds (Kidnap and Luck) to his name, is rather pompous and unbecoming.
Incidentally, Rahul Rawail started his career with the brilliant hit Love Story (1981) and went on to prove his mettle with box office grossers like Betaab (1983), the cult classic Arjun (1985), the thought-provoking Dacait and Anjaam (1994) to name just a few films. True, he has now reached the nadir of his creativity and given way to making embarrassing films. But his net worth as far as Bollywood cinema goes, is worth a lot more than what Imran is worth. And there is no question of him using Imran and Avantika to get media mileage.
By Bollywood Hungama News Network, June 9, 2010 – 11:03 IST
The first look of Anil Kapoor Films Company’s Aisha is finally out. This Abhay Deol and Sonam Kapoor starrer is an adaptation of the classic novel Emma. Sonam plays Aisha, a young upper class Delhite who has trouble minding her own business and loves interfering in other people’s lives while Abhay plays Arjun, a rich Delhi boy who has a problem with Sonam’s ways and is trying to get her out of the mess she merrily gets herself into.
Aisha navigates her world with a great sense of style and even greater optimism. Caught in her web are her best friend Pinky, the small town girl Shefali, the west Delhi boy Randhir and the hunk Dhruv. Aisha will make sure everyone dances to her tune. And all Arjun wants to do is disentangle that web. Who will succeed and who will succumb? Welcome to Aisha’s fabulous world where playing cupid is as easy as 123…if only that Arjun would stay out of her way!
A romantic comedy, this film is going to hit the big screens on August 6.
By Taran Adarsh, June 3, 2010 – 09:26 IST
I’ve never really followed politics. But I am truly fascinated by ‘Mahabharata’. Lord Krishna, Arjun, Karan, Bheema, Duryodhan… are legendary and the clash between Pandavas and Kauravas is equally unforgettable. Prakash Jha’s RAAJNEETI talks of warring cousins, dynastic rule and electoral politics of the Hindi heartland, besides the vicious and horrifying games some people play to attain power.
To me, RAAJNEETI is a human drama, a complex game that people indulge in to achieve power and how this greed envelopes them and transforms them into ruthless and conniving humans. I admit, it takes time for the story to sink in, but slowly and steadily, you get sucked into a world that’s dark, dangerous and demonish. The attire may be white, but the deeds are grey or black.
|BY BOLLYWOOD HUNGAMA.COM
RAAJNEETI is not only ‘Mahabharata’, but also ‘Godfather’. Despite knowing ‘Mahabharata’ or ‘Godfather’, one is not able to presume what games the present-day Pandavas and Kauravas would play in RAAJNEETI. In fact, the story alters constantly, unravelling in a serpentine manner and speed… so much so that you don’t know what’s gonna happen next. It keeps you awed at the constant turn of events. Clearly, unpredictability is the biggest strength of RAAJNEETI. Yet, let me clarify, this is not a documentary, tetchy or preachy film. This one not only entertains, but also enlightens.
The flipside? None, actually. The naysayers may point out that the subject material is ‘heavy’, ‘serious’ and ‘dry’, but you ought to know that when you adapt ‘Mahabharata’ in the current milieu [present-day politics], you can’t expect ‘item songs’ and ‘slapdash humour and mimicry’, for God’s sake. These naysayers may also state that the running time [almost 3 hours] is a no-no in today’s times, but let’s not forget that even 3 hours is too short a duration for a good film and vice-versa, even an hour is too lengthy for a terrible film. RAAJNEETI is a genuinely good product, so you definitely don’t mind its length. But one thing is for sure: RAAJNEETI doesn’t cater to an audience that keeps its brains at home while watching a film. You need to be alert while watching this one.
Final word? Prakash Jha, the persona, is known for qualitative cinema and RAAJNEETI, his new offering, stands tall on the list. Cinema is all about narrating interesting stories on celluloid and for that very reason, RAAJNEETI deserves distinction marks. Of course, the massive star cast and the sparkling performances are the icing on the cake.
I strongly advocate this film. Do yourself a favour: Watch RAAJNEETI.
Bhaskar Sanyal [Naseruddin Shah], the fire-brand leftist leader, is feared for his single-handed ability to challenge the most powerful of leaders. Until one private mistake of his hurtled him into a self-imposed exile.
Cut to the present day. Prithvi [Arjun Rampal] is the heir to a powerful political legacy and impatient to seize the top position. But his cousin, Veerendra [Manoj Bajpayee], proves his biggest political opponent. He’s a man who believes he was born to rule and who will now stop at absolutely nothing to claw his way back to the top.
Cornered by family and political colleagues, Veerendra plays a new game: He picks up Sooraj [Ajay Devgn], a youngster with anger in his heart and leadership on his mind. Sooraj doesn’t know the secret behind his identity, which, of course, is revealed much, much later.
Prithvi’s brother Samar [Ranbir Kapoor] is an ‘outsider’, with no political aspirations, but he gets sucked into the battle-ravaged arena of family rivalry. Only to turn into a master of the craft of political warfare. Indu [Katrina Kaif], daughter of a wealthy industrialist, is also caught in this web. Last but not the least, there’s Brij Gopal [Nana Patekar], who plays the role of mentor and guide to Prithvi and Samar as the battle gets bloodier by the day.
It requires courage to assemble a mammoth, ensemble cast, pick a story that does justice to each character and give the film the feel of an epic. Also, you ought to have comprehensive knowledge of the subject material – politics, in this case. And for all these and more Prakash Jha deserves all the praise possible. He knows the territory like the back of his hand, having observed the political culture very closely. Like I said at the outset, every character in RAAJNEETI is grey or black, not squeaky clean at all.
At an edited length of almost 3 hours, RAAJNEETI keeps the viewers glued to the goings-on for start to end. Anjum Rajabali and Prakash Jha’s screenplay brings to the fore the ugly face of democracy most realistically and convincingly. The constant twists-n-turns in the story, the characters who change colours faster than chameleons and the blood-bath they indulge in are the highpoints of this film. In fact, there are sequences that merit brownie points, but it wouldn’t be ethical to reveal them here since that would rob the fun while watching the film.
If the screenplay is watertight, the dialogue are equally remarkable. Every line is soaked in acid and only enhances the impact of several sequences. There’s no scope for music in the film and the songs, including the hugely popular ‘Mora Piya’, are interspersed briefly in the narrative. Cinematography is top notch. RAAJNEETI is not an easy film to shoot, given the fact that there are more than 3 or 4 actors in every frame, besides a massive crowd of course.
To slot RAAJNEETI as a multi-starrer film would be erroneous. It’s a multi-actor film and every actor delivers a sparkling performance. The film has some of the biggest names in the business, but the ones who stand out are Ranbir Kapoor, Arjun Rampal and Manoj Bajpayee. Ranbir surprises you with every film. Here’s an actor who can give the best in the business sleepless nights. Arjun is a revelation and what a terrific performance he pitches in. He’s like an untamed lion. Manoj delivers his career-best performance. He plays the evil part superbly.
Ajay Devgn is sidelined in the second hour, but you need to give it to the actor for accepting and enacting his part with complete conviction. Nana Patekar is brilliant. He utters the most acidic lines with a smile, which only an actor of calibre could’ve achieved. Actually, you can’t imagine anyone else in this role. Katrina Kaif is first-rate. The sincerity and earnestness shows in every sequence. She sheds her glam doll image and transforms into an actor with this film. Naseeruddin Shah, in a brief role, does well. Sarah is good.
The film has a number of talented names in supporting roles and each remain etched in your memory, especially Dayashanker Pandey, Chetan Pandit, Darshan Jariwala, Shruti Seth, Kiran Karmarkar and Vinay Apte. Nikhila Trikha, as Arjun and Ranbir’s mother, is admirable.
On the whole, RAAJNEETI makes a sweeping impact. A truly admirable effort, this brilliant film is not to be missed.
Ajay Devgn takes on Ranbir Kapoor in Prakash Jha’s political thriller
MEENA IYER Times News Network (BOMBAY TIMES; June 2, 2010)
Those who have watched Raajneeti’s promos on television have been myopic. Most have only noticed the screen chemistry between Ranbir Kapoor and Katrina Kaif. However, for the trade, distribution circles and hardcore cineastes, the real excitement rides on an even more potent face-off between Ajay Devgn and Ranbir.
“If media reports are true, then Raajneeti is based on the Mahabharata. And the crux of the Mahabharata is the confrontation between Karna (Ajay) and Arjun (Ranbir),’’ says a screen writer. “This is the twosome the trade is banking on. The Ajay-Ranbir combination, a virgin one. And Raajneeti wouldn’t be the same without one of them.” A trade consultant says, “If Ranbir spells excitement, then it is Ajay who spells trust. When you have a reported Rs 70-crore plus project on the anvil, you need two superstars to balance it out.’’
Prakash Jha, who is confident he will be third time lucky with Ajay — Gangajal, Apaharan and now Raajneeti, knows that he may have a galaxy of actors in his political thriller, but he wouldn’t have been able to pull off this gamble without Ajay on board. Ajay himself is very excited about the film. “It is hot,” he says, but underplays his own contribution. “Prakash and I have a good box office track record. More importantly, we have a terrific understanding with each other as filmmaker and actor. That is why even when there is an ensemble star cast as in the case of Raajneeti, I’m confident about the way Prakash handles me.’’ Ajay plays a Dalit leader with shades of grey who makes his way up the political ladder. “Prakash knows my strengths and he is intelligent enough to use them to the film’s advantage,’’ says the two-time National Award winner.
Raajneeti is also particularly significant for Ajay because the film is set to kickstart one of the finest acting seasons for him. On July 30, he will be seen in Milan Luthria’s Once Upon A Time in Mumbaai — a film where he plays a character reportedly modelled on the notorious Haji Mastan. Since the promos started in theatres, trade circles are once again abuzz with excitement. Says a tradewallah, “When Ajay plays a true-to-life character, he excels. If you recall he made a terrific Dawood in Company.’’
The next six months promise to be an exhilarating ride for the intense, brooding actor who plays an officer on special duty in Priyadarshan’s Aakrosh, a crazy guy in Rohit Shetty’s comic caper Golmaal-3 and a superhero in Kumar Mangat’s Toonpur Ka Superhero where he teams up with wife Kajol.
By Taran Adarsh, May 14, 2010 – 11:57 IST
First 3 IDIOTS. Then PAATHSHAALA. Now ADMISSIONS OPEN, which, like the above-mentioned films, takes a look at the present-day education system. The thought behind ADMISSIONS OPEN is very topical – let the youth pursue their vocation/ambitions/dreams – but director K.D. Satyam makes a complete mishmash of a terrific idea and you can’t help but feel sorry for those who might stroll into the cineplex to look for answers.
Let me put it bluntly: ADMISSIONS OPEN makes a mockery of the education system. Those expecting to watch a serious, issue-based film will be reeling under a shock. Like I am! The director has no clue about what it takes to make a film. This film falls to unimaginable lows in terms of writing, characters and storytelling.
Professor Tariq Siddiqi [Anupam Kher] is disappointed with the orthodox education system and hopes to start a college, which lets students chase their dreams. Arjun [Ankur Khanna] is an under-achieving student who doesn’t believe in the grading system. He feels his creativity and individuality are stifled by the current education system.
Since they posses the same perception towards our stereotype education system, they decide to go against to it and form an abstract pattern of education system to encourage the failure students of our society.
10 minutes into the film and you know ADMISSIONS OPEN is heading nowhere. Characters appear and disappear, there’s no high or low in the story and sadly, no conclusion that could give you the answers. The students have a bizarre mindset and what makes matters worse is that the institute that they are proud to be part of, SPIRIT, offers classes in bhaigiri, godmen, script writing, cookery, seduction, politics, music… And they all graduate into seasoned professionals after SPIRIT is shut by the government authorities. Really, what kind of cinema is this?
Amit Trivedi’s music is a letdown. Ditto for the performances. What did Anupam Kher see in this role? Ashish Vidyarthi hams. Ankur Khanna is decent. Pramod Moutho and Sudesh Berry are as usual. The newcomers are complete non-actors and the less said the better about their acting skills and pronunciation/diction.
On the whole, ADMISSIONS OPEN doesn’t enlighten or entertain.
Rann is 100% inspired by real life , says RGV
MEENA IYER Times News Network (BOMBAY TIMES; January 21, 2010)
The maverick Ram Gopal Varma can’t help but play with fire. It is alleged that his work Rann, that is based on the electronic media, is 100% inspired by real life. Though RGV hid behind a careful “Rann is a work of fiction, 100% inspired by real life” at a recent press conference, the grapevine says that the film draws specific references to certain politicians, media czars and industrialists.
Rann is a drama that shows the misleading, deceptive and devious side of the news business on the one hand, and the curious, generous and indispensable side on the other hand, in its effort to see which will carry more weight in today’s India.
Of course, what everyone is curious as hell about is who RGV has modelled his principle characters on. The filmmaker smiles mysteriously as he says, “Well you’ll have to watch the film to see the similarities between the reel and the real life characters who people are imagining that I have drawn inspiration from.’’ And though he won’t say it, talk is that in the plot line there is a passing reference to two industrialist brothers who are currently at war with each other.
Anyway, what RGV is ready to throw light on is the fact that he has modelled the character of his protagonist Amitabh Bachchan on the lines of a Dr Prannoy Roy. “When Prannoy launched his channel three decades ago he came with a lot of respectability and credibility. Mr Bachchan’s character is on those lines, but he has not been modelled exactly like Dr Roy.’’ About Riteish Deshmukh, Ramu says, “Riteish in Rann is a serious kind of a guy. In real life Riteish is a deep thinking serious guy. It is only in his cinema that they have made him some kind of comic actor. In Rann, I didn’t want him to be typecast. On the contrary, I wanted him to be in sharp contrast to his comic characters.” Again with Paresh Rawal, RGV says he wanted to bring out the menace the actor showed in his earlier films like Arjun and Dacait. “He is a sophisticated politician who people say has been modelled on Lalu Prasad Yadav. I don’t think so. He is an amalgamation of several politicians. He wears dark glasses like Dr M Karunanidhi. His other mannerisms are borrowed from various others.’’
The new actor find Sudeep in Rann is a famous Kannada actor whose voice and intensity are his strength. He plays Mr Bachchan’s son… and is the perfect negative character in this set up.
Rajat Kapoor plays Mr Bachchan’s son-inlaw, a person to whom nothing matters more than money.
Neetu Chandra is Sudeep’s wife, who believes completely in her man. And, Gul Panag is the sort who is only interested in her own life and the fluff surrounding it. A senior journalism watcher remarks, “It helps if the allusions are specific. The audience can easily identify the filmmaker’s reference points and the narrative then seems more powerful.” In jest, at the same press conference, RGV remarked, “The media thinks it is mine and Ritiesh’s revenge on them.” He was obviously referring to his ill-fated visit to Mumbai’s Taj post the 26/11 for which he drew a lot of flak.