Posts tagged boring
By Taran Adarsh, October 22, 2010 – 08:28 IST
Every film should be judged purely on the basis of its merits/demerits. Comparisons or drawing parallels with another film, even if it’s helmed by the same director, is not right, in my opinion. But if the posters/billboards/newspaper ads/promotional material of JHOOTHA HI SAHI has an eye-catching line that screams ‘From the director of JAANE TU YA JAANE NA’, if not comparisons, the expectations from JHOOTHA HI SAHI do multiply five-fold, since JAANE TU YA JAANE NA was, in terms of economics, the biggest hit of 2008.
|BY BOLLYWOOD HUNGAMA.COM|
Sadly, Abbas Tyrewala’s new offering JHOOTHA HI SAHI falls flat for this reason [it doesn't meet the expectations] as well as several other reasons. What comes across is unexciting, boring and lethargic. Moments make a love story work and JHOOTHA HI SAHI never reaches there. It lacks the fizz and heart, to put it bluntly. Also, the chemistry between the lead pair – John Abraham and Pakhi – is plastic.
Another department where the film fumbles, besides writing, is its music. It’s an unspoken rule that love stories should be embellished with terrific music, but maestro A.R. Rahman’s compositions in JHOOTHA HI SAHI are lifeless.
Final word? Thumbs down!
When Siddharth [John Abraham] wakes up one night to a call from a desperate man threatening to jump out of the window, he isn’t prepared for what lies ahead. A mixed-up phone number. A desi suicide helpline in London. And various callers demanding that Sid give them a reason to live. Or else… Until one fateful night, Mishka [Pakhi] calls. And they both discover an unlikely bond.
Sid becomes her nameless friend. Her faceless philosopher. And she becomes his reason to rethink about life. Along the way, he also lies to her. Lies about his exciting adventures and daring escapades. The mountains he has climbed and the sharks he has tamed. Until the day they accidentally meet. And Sid falls in love.
How can he tell her the truth? That he’s just a simple bookseller? With four friends, a small apartment and a girlfriend whom no one likes and he doesn’t love.
The first and foremost thing that you expect from a film is an engrossing story and of course, a cohesive screenplay that keeps your attention alive for the next two hours. But the screenplay [Pakhi] is devoid of moments that bring a smile on your face at the end of the screening. Ideally, one would expect the focus to be on the principal pair, but the sub-plots [the friends and their sequences] dominate a good chunk of the film. And that, consequently, makes the film verbose, talk-heavy, tedious and verrry lengthy.
On retrospection, the female protagonist [Pakhi] comes across as a confused character, who finds stability in her life when John stages an entry, but goes back to her ex [Madhavan] for no particular reason. And the moment she does that, she drops John like a hot potato. That’s not all, she, all of a sudden, dumps her ex too and goes back to John. Thanks to this reason, the character comes across as someone who’s stone-hearted, cold and confused and that’s also the reason why you don’t jump with joy when the lovers unite towards the end.
Also, like I pointed out earlier, the multiple tracks in the film are a deterrent. The track of the gay couple is silly and unimaginative, while the relationship between the aggressive and dominating pregnant sister and her Japanese fiance is weird. Also, if the sensibilities of the film are Western and the humour British, the ending becomes Bollywoodish conveniently. The entire sequence at the bridge looks so filmy.
Director Abbas Tyrewala has filmed a number of sequences impeccably, but the writing is flaccid and the prime reason why the film fails to register an impact. Rahman’s music is of the fast-forward variety and that’s all the more surprising since the duo [Rahman and Tyrewala] had come up with a winning score in JAANE TU YA JAANE NA.
John makes a sincere attempt to look the part, but he’s awkward, especially in sequences when he stammers. Pakhi is a complete miscast. She looks too matured and has her limitations as an actor. Amongst the sundry characters, Raghu Ram is noticeable. R. Madhavan should avoid such flimsy characters.
On the whole, JHOOTHA HI SAHI is an absolute letdown in terms of content. Given its high costs on one hand and weak merits on the other, the film will make a big hole in the pockets of its investors.
Rachel Fernandes (BOMBAY TIMES; October 10, 2010)
Irrfan Khan’s reputation for versatility is well know in the film industry. He is one of the few actor who has essayed a wide range of characters, both dark and romantic, with equal panache. And in Knock Out, where he plays the role of a street-smart investment banker, the target of a nameless foe (Sanjay Dutt) who turns his world upside down, Irrfan has gone a step further by getting himself a brand new look. It’s suave, sexy and “very metrosexual” as the actor chooses to describe it.
“My role is that of a flamboyant guy and it needed me to sport a metrosexual look. Hence, I got myself a different hairstyle and consequently, a new look. I must say I’m really looking different and I feel it’s made a huge difference to my role. Had I stuck to my regular look, I think it wouldn’t have made the same impact on my character,” says the actor. He adds that though the producers initially weren’t keen on him changing his look, they eventually ended up loving what they saw.
Flamboyant and Irrfan? That’s got to be something new for his fans, isn’t it? “If one has to look at the same face again and again, it gets quite boring. Sometimes the role demands a new look, but sometimes I do it just for the heck of it. ,” he says.
Talking about the experience of shooting this fast-paced thriller, Irrfan says, “It was a bit tedious. There was no face to look at. All through the movie, the other person was on the phone and hence, it became a bit mechanical. But I have seen the film and I am very excited by it,” he says. About the rumours that his role is a copy of Colin Farrell’s in Phone Booth, Irrfan has just one thing to say, “Watch the film and then give the verdict. Anyways, what’s the point of doing a role that’s already been done by someone else?”
So will he carry on with this metrosexual look post the film? “If my future roles and of course, the public demand it, I will definitely repeat it,” the actor concludes.
Knock Out releases on October 15.
(Contributed by Meena Iyer and Prithwish Ganguly)
Ajay Devgn and Akshaye Khanna combine forces again!
Meena Iyer | TNN (BOMBAY TIMES; October 6, 2010)
Ajay Devgn and Akshaye Khanna have proved to be a lethal combination in the past. Their last outing Deewangee hit the bullseye. On October 15 these two actors will share screen space in Big Screen Entertainer’s Aakrosh is an investigative thriller on honour killings.
Ajay and Akshaye share a healthy work relationship; in fact the reclusive Akshaye even confesses to being very fond of his screen partner. He says, “In Aakrosh Ajay and I are playing CBI officers sent to investigate a missing person’s case, which snowballs and becomes into a much bigger case. The film throws us into the life of a small town in India. And we get embroiled in the small town politics and its policing. We get caught in the web of issues of caste and religion. And of course we end up solving the case.”
Ajay says, “Aakrosh is done in an entertaining gripping way. it is not a boring social message kind of film. It’s an action drama.” Akshaye feels, unfortunately in our country honour killings have taken on huge proportions. “I have met activists who say that we should remove the word honur from these killings because there is no honour in this brutal reality,” says Akshaye. Both actors feel that the government statistics that say that almost 2,000 lives are lost each year to honour killings is very disturbing. Says Akshaye, “We know this is happening around us. Yet we as a collective society are so indifferent to social evils. We don’t bat an eyelid when we see beggars on the street. We do not react when we hear that 200 CRPF guys are gunned by rebels, or when a politician steals INR 2,000 crore from the country. We have become so thick-skinned, we have almost stopped reacting. We just treat everything as another headline in the newspaper… and continue with our daily lives.”
The star son feels that films like Aakrosh can create and change opinions. “Such films can be a wake-up call for a nation that is falling into a bottomless pit,” he says.
Besides making a memorable film, the two actors who shot together after nearly eight years say that they loved the time they spent on the outdoor. Says Akshaye, “I enjoyed working with Ajay on Deewangee. But this time I enjoyed working with him even more.” They laugh because during the long outdoor shoots of the film, they were stuck in a godforsaken town with no cell phones and other distractions. Ajay says, “I respect Akshaye as an actor; and I also enjoy his company.” Akshaye adds, “Well Ajay is a wonderful person and I like the personal equation we have.”
Manoj Bajpayee admits people are not as crazy about him as they are about ‘stars’
Diksha Kamra | TNN (BOMBAY TIMES; July 4, 2010)
Denial, it seems sometimes, is de rigueur in tinsel town. Tell an actor he’s known for his comic image, or his romantic image or serious image, and he’ll be quick to dismiss it — expressing a discomfort with ‘tags’. But tell Manoj Bajpayee, fresh from playing another intense role as the malcontent Veerendra Pratap in Raajneeti, that the work he’s doing is only establishing his image as a ‘serious’ actor, and he’s happy to agree. “I am okay with it. For I really am serious and disciplined about my work and don’t believe in stupid roles,” he says. “Unfortunately, all those who can sing and dance are worshipped in our country. Yes, I know people are not as crazy about me as they are about others. But I’m satisfied because people respect me as an actor. An actor’s work also lives on longer than a star’s. And stardom begins and ends on Fridays.”
But what about showcasing one’s versatility — has he ever considered doing love stories? “I’ve never liked love stories. I find them highly boring! My wife watches these mushy movies, but I simply cannot watch them, though I watch a movie everyday,” he laughs. So is Manoj unromantic? “I’m not the lover boy you see on screen. But I am a romantic. All my past girlfriends found me quite romantic,” says the actor who’s had his share of ups and downs in Bollywood. Like the injury that confined him to bed for almost two years. Describing his mental state in those days, the two-time National Award winner says, “My hand movements were gone. I was contemplating changing my profession. Anybody would grow insecure if he became physically handicapped, not being able to earn, and only sat at home spending his savings. It was all the more difficult as an actor. Public memory is short — people forget you. Even your socalled admirers. The media, the cameras shy away from you, since you are not talked about any longer. If you’re not doing well, you’re forgettable.”
SUBHASH K JHA Times News Network (BOMBAY TIMES; February 8, 2010)
What Katrina Kaif has refused to do in Dostana 2, John Abraham has expressed his willingness to take up. We’re talking of showing skin in Karan Johar’s sequel to the 2008 hit. Katz, who’s riding a new high in Bollywood, has flatly said ‘No’ to a body show in the film and the onus of providing the skin quotient has now fallen on John again. You remember, don’t you, how he stripped down to the briefest beachwear in Dostana and then got bolder by wearing just his birthday suit in New York? Now the Bollywood hunk, who is most comfortable with his body, is on call again. And the Dostana 2 team is frantically searching for ways to show him off. John, who will reluctantly admit that his physique stands out among Bollywood’s heroes, is happier discussing girlfriend Bipasha Basu’s body instead. He believes she has the best body in showbiz. About Dostana 2, he’s aware that there will be “more” of him to see but he’s not telling just how much more. The audiences will be shocked, is reportedly all that Johnny boy has promised. Director Tarun Mansukhani, too, is looking at how to take John’s physical appeal beyond the yellow briefs the actor wore in the first film.
Going back to the beach would be repetitive and boring. And they are wondering how to take John’s physique where it’s never been before. Any ideas?
Despite being down with the flu, Deepika Padukone had a blast on her birthday with Abhishek Bachchan and Farhan Akhtar
Ranbir who? There is no denying that Deepika Padukone has gotten over her break-up with the Kapoor lad with the pragmatism of a girl who knows her mind and would rather not waste her emotions. And she says that she won’t talk about Ranbir on her birthday – or any other day.
Deepika’s birthday this year could well have been a disaster, not because it happened just after her break-up, but because just the night before, she came down with viral fever. Nose clogged, head heavy, feeling feverish, she brought in her birthday sleeping in her bedroom, after an early night. “What to do?” she sighed. “I’m boring and single.”
But on her birthday (January 5), she was up to participate in Abhishek Bachchan’s new game show with Farhan Akhtar. “I couldn’t afford to take the day off – too much work. And the release of Karthik Calling Karthik is around the corner on February 26. Besides, I got to spend my birthday with two of my most entertaining co-stars, Abhishek and Farhan.”
However, rumours about her closeness to Farhan both annoy and embarrass her. “My rapport with all my co-stars is great on the sets. But that’s where it ends. I don’t socialise with any of them. Abhishek kept us in splits in Goa during Khelenge Hum Jee Jaan Se, but we didn’t meet after work. It was the same with Farhan. We had a great time working on Karthik Calling Karthik,” she says.
Getting slightly agitated, Deepika continues, “Farhan is a married man with children. I can’t enjoy this kind of gossip. People think they can say what they like because I don’t say anything. But silence in my case is not acceptance of any rubbish said and written about me.”
But is it a fact that she is suddenly doing more films than ever before because she’s using work as a balm for her wounded heart. The actress’ laughter reverberates. “I’m doing no such thing. Yes, I’ve signed three new films with Ashutosh Gowariker, Pradeep Sarkar and Danish Aslam. I’d have signed these three films even if they came to me a year back. Khelenge Hum Jee Jaan Se is my first period film. I’ve learnt so much from its director, Ashutosh Gowariker. He’s sorted out and clear-headed about what he wants from his actors.”
By Taran Adarsh, December 4, 2009 – 08:41 IST
When Himesh Reshammiya stars in a film, it’s got to be a musical. Musical it is, but RADIO also attempts to explore the man-woman relationship in a metropolis.
RADIO rests on a thin storyline. Superficially, it’s about a couple that goes separate ways, then man meets another woman, later ex-wife develops a soft corner, much later man is torn between the two women. Haven’t we witnessed similar themes in the past? Oh yes, aplenty!
|BY BOLLYWOOD HUNGAMA.COM
Only thing, director Ishan Trivedi places the story in a radio station and that gives the film a different texture. Also, the film is divided in various chapters – some interesting, some mundane, some yawn-inducing and boring.
The USP of RADIO is, without doubt, Himesh’s musical score. The film has some melodious tracks, but how one wishes the super music was complimented by an equally superior script.
Vivan [Himesh Reshammiya] is a successful RJ with a popular radio channel. His wife Pooja [Sonal Sehgal] seeks divorce and the reason cited is lack of compatibility between the two.
Enter Shanaya [Shenaz Treasurywala], who is like a ray of sunshine in Vivan’s insipid life. He discusses Shanaya with Pooja, but being a woman, she can see his love for Shanaya. In the end, however, Vivan realises that he may have a soft spot for Pooja, but he wants to spend his life with Shanaya.
RADIO rests on a fragile plot, with the writing holding your interest at places, but blowing away the hard work in its immediate chapter. That’s how erratic RADIO is.
Confusion kya hain? The ex-wife can’t decide if she wants her man back or not. It was she who wanted a divorce, not the man, but she can’t let go off her man for some inexplicable reason. Even the other woman, all of a sudden, wants the man she loves so dearly to go back to his ex-wife. That just doesn’t work!
Besides, the narrative is laced with too many songs. Whether or not the situation warrants them, you have one track ready to unspool every 10 odd minutes.
On the brighter side, RADIO has some tender moments too. Note the sequence towards the end, when Himesh pours his heart out to Shenaz. It’s a beautiful sequence and the writer in particular needs to be complimented for taking a mature look at relationships.
Directorially, Ishan Trivedi cannot do much given the fact that he’s handicapped by a sketchy screenplay, which, ironically, is also penned by him. Resultantly, the film grips in bits and spurts. Himesh’s music is top notch. ‘Mann Ka Radio’ is already a craze and its picturisation needs to be lauded. The other tracks – ‘Teri Meri Dosti’, ‘Zindagi Jaise Ek Radio’ and ‘Rafa Dafa’ – are lilting compositions as well. Attar Singh Saini’s cinematography is perfect.
Himesh has grown as an actor and that reflects in certain difficult moments of the film. Shenaz is natural. In fact, she gets it right this time. Sonal acts well, but her character is not well defined. Paresh Rawal’s track looks forced. Zakir Hussain is strictly okay. Rajesh Khattar is good.
On the whole, RADIO just doesn’t work… It’s complicated!