Posts tagged climax
By Taran Adarsh, October 15, 2010 – 08:32 IST
Several factors compel you to ponder over your decision whether or not to watch KNOCK OUT…
- There’s talk that KNOCK OUT is a blatant copy of PHONE BOOTH. If you’ve watched the original, why watch its clone?
- You rush to a nearby cineplex only if the film excites you and in this case, the buzz is missing.
- Sanjay Dutt – the lead actor – hasn’t been a part of a worthy film, post MUNNABHAI. That automatically robs the sheen from the film.
You can’t turn a blind eye to the fact that KNOCK OUT borrows from PHONE BOOTH. Even otherwise, a man held hostage in a telephone booth by a sniper automatically compels you to think that PHONE BOOTH is the prime source of inspiration, but what follows after a point bears no resemblance to that film. In fact, KNOCK OUT also bears an uncanny resemblance to A WEDNESDAY, although the two films are as diverse as chalk and cheese in terms of how the storyline progresses.
KNOCK OUT is a thriller that keeps you hooked at regular intervals. The best thing about the film is that it remains focused to the plot and there are no deviations [thankfully!] in terms of songs, comedy or any other parallel track. Of course, there are hiccups, but the finale and the message it conveys camouflages the defects largely.
Final word? If one goes with minimal expectations, chances are you may like this film.
KNOCK OUT takes place almost entirely inside a public phone booth on a busy street. Bachchu aka Tony Khosla [Irrfan] uses the phone booth to carry out all the odd jobs he’s into. After one such call, when Irrfan is about to leave the phone booth, the phone rings and he instinctively picks it up. On the other end of the line is a menacing caller [Sanjay Dutt].
The voice demands that Irrfan stay in the phone booth or else, the caller would destroy his marriage [Rukhsaar plays Irrfan's wife] and ruin his reputation of an investment banker. Irrfan tries to hang up the phone, but the voice on the phone threatens to kill him. Stuck in the phone booth, he’s forced to ward off anyone who tries to get him out, including a drug addict.
The drug addict is shot dead by the caller and the police as well as the media arrive on the scene. The caller makes Bachchu dance to his tunes for a valid reason.
Come to think of it, KNOCK OUT is a difficult film to execute because the two characters – Sanju and Irrfan – never cross paths, except for a fleeting moment towards the end. In fact, they are constantly talking to each other over phone. Now watching a man trapped in a phone booth [for the entire film] could make the viewer restless. But the engaging screenplay and the energetic pacing keeps the viewer on toes. You just don’t know what to expect next, since the story doesn’t follow the beaten path.
What sets it apart from not just PHONE BOOTH, but also other films [including LIBERTY STANDS STILL] is the fact that Sanju is not out to settle personal scores with the wrongdoers [Irrfan, Gulshan Grover]. He wants to book those who have cheated India by stashing unaccounted money across various banks abroad. In fact, the finale is the best part of the enterprise and stirs up patriotic feelings.
On the flipside, the film tends to get repetitive at times. The middle of the second hour stagnates, albeit for a few minutes. Also, there’s a reference to a woman that makes Sanju extremely emotional. One assumes that the woman is linked to Sanju is some way, but that remains a mystery all through.
Mani Shankar illustrates his ability as a fine storyteller. His handling of the subject is commendable. Also, the director employs the split-screen style to tell the story, which comes across very well. Cinematography [N. Natarajan Subramanian] is striking. Action scenes [Allan Amin] are vibrant. However, the one-on-one fight in the climax or prior to that, when the cops enter Sanju’s apartment and Sanju kills all of them single-handedly, should’ve been avoided. It robs the film on realism. Dialogues [Shiraz Ahmed] are razor sharp and an asset. I wish to make a special mention of the background score [Sanjay Wandrekar, Atul Raninga], which is truly fantastic.
The casting is just perfect. Sanju seems to be in form after a really long time, after MUNNABHAI in fact. Besides, the performance is consistent from start to end, which only goes to show the involvement of the actor in the script and director. Irrfan is akin to a chameleon. Cast him in any role and he emerges trumps. A lesser actor in his place and KNOCK OUT would’ve got knocked out. Kangna is efficient, as always. But her diction is faulty at places.
Gulshan Grover is excellent. He plays the corrupt politician with natural ease. Sushant Singh is first-rate. Rukhsar is good in a brief role. Apoorva Lakhia carries the stern look well. Asif Basra does a commendable job.
On the whole, KNOCK OUT is a watchable fare, but its English title and also Sanjay Dutt’s box-office pull, which is minimal currently, will act as deterrents. Therefore, the film will require a very strong word of mouth to find a foothold.
Sanjay Leela Bhansali makes his debut as a music director
Meena Iyer | TNN (BOMBAY TIMES; October 14, 2010)
The music of Khamoshi, Hum Dil De Chuke Sanam, Devdas and Saawariya were credited to various composers, but unknown to most people, Sanjay Leela Bhansali made a silent contribution to each of these albums. And in Guzaarish, a co-production of UTV Motion Pictures and Sanjay Leela Bhansali Productions that is releasing worldwide on November 19, he takes a bow as a music composer.
The songs of the film are already a talking point. But to understand Sanjay’s deep-rooted passion for this art, one must understand where it all began. Says Sanjay, “Any film that I start, starts with the sound-track, with a piece of music or a song.” He explains how he has to have a collection of songs for the characters that he is writing: “Besides songs, I must even have the background pieces that I will use for each of my characters.’’
As a boy, radio was his raison de etre. Listening to songs on the radio was his passion. Slowly the passion translated into an all consuming affair. From an avid listener, Sanjay went on to become a participant in the whole process of composing. He recalls how Vidhu Vinod Chopra and he spent two years with the legendary R D Burman during the making of 1942 — A Love Story. And before he knew it, he had started on a musical journey.
Sanjay counts five people who have contributed to this passion of his. Melody Queen Lata Mangeshkar, who he reveres; and, music directors Jaidev, Roshan, Hridaynath Mangeshkar and R D Burman. Talking of composing for Guzaarish, the music of which will be out on the stands soon, Sanjay says everyone in the film participated in the process. “For me, my heroine must come alive when a song plays on screen,’’ he explains animatedly. “I gave these two-and-a half years of my life to this music. Everyday there would be music sessions even during shooting. I had a guitarist, my two assistants Shail and Raja, my lyric writers Turaaz and Vibhu always ready to break into song. Hrithik and Aishwarya would also sing along. I shot the climax of Guzaarish to a song I made on the set. We would have live musicians. And we just went with the flow.’’
He explains that music is the soul of the film. “My idea was to have my characters converse in music. The reason I chose to compose this album is not because I’m arrogant but because I didn’t find the energies to fully communicate all that I want to another music director and then have him interpret it. Some of it would have been lost in translation.’’ Guzaarish directed by him has 10 songs in the album and eight on screen. And Sanjay, who has choreographed his songs in the past, just felt this time he had to reach within himself and discover one more aspect.
“Over the years I have interacted with music directors so completely and so beautifully that the sound tracks of all my previous films have had a part of me,” he concludes.
Other directors who were music composers
Though Aamir Khan tried to play peacemaker, Resul Pookutty is at war with a multiplex for botching up the screening of Rajni’s hit
It’s ironic that at a screening of Robot, of all things, the machines failed to work. Rajnikanth’s power show for his film at a suburban multiplex was full of glitches. And the sound editor of the film, Resul Pookutty, was certainly not amused.
Dissatisfied with the sound quality three hours prior to the show, Resul had voiced his discomfort too. But apparently, the theatre officials paid no heed and started the show. Sure enough, the sound crashed in the second half of the film, which had to be stalled as a result for over 30 minutes. Pookutty was livid with the organisers and only on Aamir Khan’s insistence was he pacified.
He felt that what happened on Monday night was unfortunate and symptomatic of how theatre owners are lackadaisical about the technical finesse involved in screening films. Said Pookutty, “We had a show for the biggest people in the industry but the sound quality was so inferior. I spent 45 days to design the sound of the film and this is the result we got. If this happens in the presence of the cream of the industry what must the common man be going through? This is like Husain making a classic painting and somebody throwing ink all over it.”
Pookutty feels that theatre owners are only interested in making their money and nothing else. “All our hard work goes down the drain. I hope that the government makes certain guidelines for the exhibition sector of our film industry, or else their licenses should be cancelled. I believe that every viewer who spends money to watch a film should get the best and nothing less than that. The Robot show was a blatant example of the entire system and the problems in it.”
Aamir Khan played truce-maker and the film was thus screened after this forced interval. Pookutty added, “I had predicated that something would go wrong. The sound was blown up and then we had to do a lot of damage control. We apologised to the invitees.”
For justice in the wake of this humiliation, Pookutty has drafted a letter to the Indian Motion Pictures and Producers’ Association. “I hope that the association, which is also aware of this, does something about it. I feel angry and humiliated at what is happening and I will continue my struggle to get these things sorted out,” he concluded.
Resul Pookutty to file RTI against multiplexes for poor sound & picture quality
By Subhash K. Jha, October 6, 2010 – 10:59 IST
On Monday evening, Rajinikanth’s warm and unparalleled gesture of bringing Robot to Mumbai personally for a special screening before his Bollywood friends, culminated in a horrendous mess with the sound being completely disrupted in the 7th reel, leading to a long and embarrassing and unscheduled break just before the crucial climax of the film.
The screening, it might be mentioned was, was leading man Rajinikanth and director Shankar’s belated but critical attempt to familiarize Bollywood’s who’s-who with Robot which had already swept the nation. Its disruption has hurt the film’s crew in both emotional and more practical ways.
And now heads will roll. The team behind Robot plans to sue the chain of theatres and also approach the government to specify quality-control methods to check sound systems in the multiplexes of Mumbai.
Speaking about the evening’s nightmarish, fiasco Robot’s bitterly disappointed enraged and now redressal-seeking sound designer Resul Pookutty says, “From the start of the screening I knew there was something seriously wrong. Then I came to know three sets of speakers were not working. I was so upset that I immediately wanted to stop the screening. But Aamir Khan pacified me, explaining it would look very improper in front of all these stalwarts to stop the show.”
Then Resul’s worst fears came true. “After seven reels with 40 minutes of playing-time to go, the sound collapsed completely. It was a nightmare. When finally the screening was restored the sound was worst than before. It was one of the most humiliating evenings of my life. I haven’t slept the whole night. And now I won’t sleep until I receive justice on behalf of all the technicians of Indian cinema, not to mention the average patron who is not aware of the deplorable standards of sound and projection provided by almost all the multiplex chains in Mumbai.”
The disappointment and sense of betrayal is so enormous that Resul chokes with emotion while talking. “We (the Robot core crew) had decided on the show after seeing the impact it had made in the South. Down there I have fought a relentless battle to change the sound quality in theatres. And now patrons in the South are so conscious of their rights to get optimum-quality sound and visual value that in Kerala, audiences broke seats and disrupted screenings at theatres with sub-standard technical value.”
Resul wants to create the same value-awareness among audiences in Mumbai, and a critical step ahead in his fight against sub-standard projection and sound in Mumbai’s multiplexes is an RTI being filed before the government.
Says Resul, “After that evening’s experience I have already approached the IMPPA (Indian Motion Pictures Producers’ Association) on behalf of the sound association of the Indian film industry. I’m next filing an RTI (Right To Information) with the government seeking to know what are the yardsticks applied before multiplexes are granted licences for operation. Are sound and projection quality a part of the licensing checks?”
Resul won’t sit easy until the matter is resolved. “After Slumdog Millionaire and the national and international awards, I at least have voice about sound in our movie theatres. While in South India the sound-quality in theatres has been drastically upgraded, in the North I am sorry to say theatres continue to use an inferior technical infrastructure. Sometimes smuggled machines are employed. I’ve often bribed projectionists to do their jobs better. During Black, Sanjay Bhansali and I went personally from theatre to theatre to check the sound. What we discovered was shocking. Does the average patron who pays Rs.150 for a ticket know how he’s being cheated? This is why I’m filing an RTI with the government.”
Legal action against the multiplex chain that was behind the Robot team’s shame on Monday evening is also being taken.
Says Resul, “We were already fighting an intense battle against the quality of visuals and sound provided by the multiplexes. After being so humiliated and shamed in front of the film industry on Monday evening, it’s an all-out battle for our rights and the rights of the cinema-going audience. Actually what happened on Monday evening was a shame not just for the Robot team but the entire Indian movie industry.”
In the wake of Rajni’s blockbuster, King Khan called for a day-long meeting with the RA.One team, deciding to make it the first-ever interactive gaming flick
The spectacular success of Rajnikanth’s Robot has made Shah Rukh Khan and his team of RA.One sit up and become doubly alert about their pet project.
An SOS meeting was summoned at Mannat on Sunday. Those present at the meeting included director Anubhav Sinha, sound recordist Resul Pookutty and producer Shah Rukh.
After viewing the rushes, a number of vital strategic ideas were devised, following a heated debate, after which everyone let their hair down at a Bandra bar. The most startling resolution during the day-long meeting was to convert RA.One into a full-fledged gaming movie. Sound designer Resul Pookutty says, “The challenge with RA.One is to create a balance between the two distinctly different worlds of gaming and movies.
We met at Shah Rukh’s home on Sunday and watched the film. And yes, we’ve come up with a number of strategies to make RA.One different from all other super-hero films.”
Says a source, “The climax of the film will actually allow audiences to play the RA.One game in theatres as they watch the film. This kind of participative cinema has never been done before in any part of the world.” We can’t wait to push the right buttons.
It has also been decided that a super-hero film without the drama and emotions won’t appeal to Indian audiences. Says the source, “Shah Rukh feels Robot worked so well because it combines special effects with emotions and drama. In RA.One he wants the spectacle and the emotions in equal measures.” Shah Rukh has invited Martin Walsh, the editor of Rob Marshal’s musical feature film Chicago, to edit RA.One. Says the source, “The choice was between the editor of Avatar and Chicago. Shah Rukh has chosen the latter because he feels Chicago is closer to the pulse of a Bollywood drama than Avatar.”
RA.One is 80 per cent complete. The remaining 20 per cent would be completed only when Shah Rukh is sure that James Cameron’s Avatar and not Shankar’s Robot is given a run for its money. Beep, beep. Game Over.
|A still from RA.One|
By Taran Adarsh, September 29, 2010 – 14:40 IST
I must admit, I am no couch potato. I find it difficult to stay glued to television for hours, surfing channels randomly. Perhaps, that’s one of the reasons why I never watched an episode of this hugely popular TV show called KHICHDI. But, of course, I had heard of its popularity, about its comic quotient, about the zany characters…
KHICHDI – THE MOVIE borrows the characters from the show, but the movie has a new story to offer. In the West, popular shows are adapted on the big screen, but the trend is in nascent stages here. For someone like me, who was absolutely clueless about what to expect from the big screen adaptation, I’d say KHICHDI – THE MOVIE vacillates between absurd and ridiculous, but the fact remains that it makes you laugh at most times. KHICHDI – THE MOVIE may not push the envelope as far as the written material is concerned, but you exit the auditorium with a radiant smile, which most laughathons promise, but don’t deliver.
|BY BOLLYWOOD HUNGAMA.COM
Final word? I haven’t laughed as much in weeks as much I did in those 2 hours. Do pay a visit to this mad family if laughter is what you seek in a movie. This khichdi is appetizing, for sure.
Hansa’s [Supriya Pathak] brother Himanshu [J.D.] has a ridiculous ambition: to have a memorable, legendary love story. Parminder [Kirti Kulhari], Himanshu’s neighbour, falls in love with Himanshu for no logical reason and the two get engaged to get married. That’s when this ridiculous story takes a ridiculous turn. Himanshu realizes on the eve of the wedding that the impending ceremony would mean impending doom to his desire to have a legendary love story. For, nothing interesting ever happened in his love story to make it memorable.
No resistance, no conflict, no separation, no sad song, no climax, nothing. So the dumb family sets out to stall the wedding. Thus begins their journey to create all those missing stages in Himanshu’s love story in order to make it legendary.
Even if you’re clueless about the characters in the story – like I was – it doesn’t take time to know that the family has its brains in its knees. At the very outset, the Almighty [Satish Shah, in a cameo] arrives at the doorstep to distribute akal ke laddoos, but the family will have none of it. From this point onwards, the characters get into weird and outlandish situations and the humour gets bizarre and wacky.
There’s hardly any serious moment in the film. Humour has been injected even in serious situations, like the death of a parent [Supriya and J.D.'s father] and the condolence meet thereafter, where a parody of ‘Beedi Jalaile’ and ‘Bheege Honth Tere’ are rendered for the grieving family members.
However, writer-director Aatish Kapadia’s screenplay has its share of potholes. The love story isn’t convincing at all. Also, the crime angle [the suicide portions] doesn’t cut ice. However, the courtroom sequence in the climax salvages the show and is, in fact, the highpoint of the enterprise. The entire sequence is so funny that you’ve to see it to believe it. It’s nothing short of a mirthquake!
Aatish Kapadia, the writer may not be in complete form, but Aatish Kapadia, the director knows his job well. His choice of actors, who’ve the right comic timing, comes handy at most times. Also, like I said, his handling of the courtroom sequence especially is noteworthy. Music is a sore point, but I am not complaining. I was not expecting musical gems either. Sanjay Jadhav’s cinematography is full of vibrant colors.
Every actor works in tandem with each other, instead of trying to have a game of one-upmanship and that’s what makes every single character stand out. Supriya Pathak is splendid. Anang Desai is top notch. Rajeev Mehta [as Supriya's husband] is fantastic. Nimisha Vakharia is first-rate. J.D. is excellent. Kirti Kulhari looks good. Girish and Keith are alright. Kesar Majethia and Markand Soni are cute. Farah Khan, Satish Shah, Deven Bhojani and Paresh Ganatra are lovely in cameo appearances.
On the whole, KHICHDI – THE MOVIE is a fun-ride that tickles your funny bone from start to end. Do visit this mad Indian family and get thoroughly entertained. Logic be damned, laughter is what matters. This one’s a great stress buster!
- By Taran Adarsh, September 10, 2010 – 19:11 IST
As expected and predicted by this writer time and again, DABANGG opened to an earth-shattering and record-breaking response across the country. The film drew full houses from its first show onwards everywhere. Even at multiplexes, where ceetees and taalis are a rarity, the response to DABANGG was overwhelming, with fans clapping and whsitling at Salman’s intro, Salman’s dialogue [at several places] and of course, the climax fight.
DABANGG has opened in 1,584 screens in India and in terms of numbers, the film is expected to have a bigger Friday than RAAJNEETI [the biggest opener of 2010, which collected Rs. 10.5 cr. nett on Friday] and should be at par [or bigger] than 3 IDIOTS, which is the biggest opener ever [collected Rs. 13 cr. nett on Friday]. Eid will be celebrated on Saturday, so once can imagine the [grand] business on not just Saturday and Sunday, but also Monday. As per initial trends, DABANGG will be competing with just one film – 3 IDIOTS.
TOP 5 OPENING FRIDAYS
|3 IDIOTS||Rs. 13 cr.|
|RAAJNEETI||Rs. 10.5 cr.|
|KITES||Rs. 10.5 cr.|
|HOUSE FULL||Rs. 10 cr.|
|GHAJINI||Rs. 9 cr.|
TOP 5 3-DAY OPENING WEEKENDS
|3 IDIOTS||Rs. 41 cr. [incl. Thursday previews]|
|RAAJNEETI||Rs. 34 cr.|
|MY NAME IS KHAN||Rs. 33.2 cr.|
|HOUSE FULL||Rs. 32 cr.|
|GHAJINI||Rs. 30 cr. [4-day wknd. was Rs. 40 cr.]|
There was a time when masala action flicks were the order of the day. Such films were regularly churned out and it had a dedicated audience who wholeheartedly endorsed this kind of cinema. However, as time passed, the number of such films began to decline drastically. But still the love for these flicks hasn’t died down and we won’t mind watching them once in a while. Aamir Khan’s Ghajini re-popularized the trend followed by Salman Khan’s Wanted. And Sallu is now back with another sureshot masala entertainer Dabangg, a film that is meant to just fully entertain the viewers! Nothing new in terms of storyline, what works in Dabangg is solely Salman and his brilliant performance!
The story of the movie: Chulbul Pandey (Salman Khan) is a fearless but corrupt police officer in the town of Laalgunj, Uttar Pradesh. He family consists of his mother Naini (Dimple Kapadia), step father Prajapati Pandey (Vinod Khanna) and step brother Makhanchan aka Makkhi (Arbaaz Khan), the latter two who are hated by Chulbul due to bitter experiences of childhood. Chulbul at this point comes across Rajo (Sonakshi Sinha), a girl with a unique perspective of life and he instantly falls for her. Things were going smoothly for Chulbul when his world turns upside down with a sudden catastrophe. A ruthless villain enters his life-Cheddi Singh (Sonu Sood). How he fights evil and emerges triumphant is what the rest of the film is all about.
Dabangg at several points reminds of Wanted. Remember Salman’s intro scene in Wanted where he enters the goon’s adda and attacks them single-handedly which is followed by a foot-tapping song? Something similar is to be seen in Dabangg too! Thankfully, the action scenes are much more refined and have a dash of humour too. Same with the interval scene which is similar to Wanted (Salman bashing up goons while the heroine looks on with an expression of shock)! Yet, the film doesn’t give a reason to complain as the treatment for both the films is drastically different. Also, as mentioned before, Dabangg is a full on entertainer. The film is made only to give the viewers a paisa-vasool experience and special care is taken by the director and writers for the same. There’s not a single dull moment and although the film slows down at places, it still keeps the viewers gripped.
The film begins with a bang with Salman’s rocking entry followed by the title song. Chulbul’s ways of wooing Rajo bring a smile on the face! The film jumps to a new level after the song Humka Peeni Hai with an interesting development in the plot. Post-intermission, its Chulbul’s unique way of marrying Rajo that was too good. The bomb blast and Makkhi realizing he has been used was damn impactful. And as for the climax, it was just outstanding and perfect for such kind of a film! See it to believe it!
However, while the director focused on making this film totally mass-centric, he didn’t prefer to give some additional touches to the plot and the characters which might have improved the film to some extent. Chulbul Pandey had a bitter childhood as he never got the love and affection from his father. The director could have treated this angle in a better way. Also, maybe, they could have focused on how Chulbul became a positive person and realized the importance of having a family after meeting Rajo. However, all these aspects were ignored in the quest for delivering a ‘massworthy’ product. Still no complaints as the film entertained!
The film obviously belongs to Salman Khan! He is totally rocking as Chulbul Pandey aka Robinhood Pandey! He’s an expert when it comes to playing such kind of roles. He proved it in Wanted and does the same good job in Dabangg as well. To be frank, I am at a total loss of words and will simply end by saying-Salman, you may be giving couple of duds here and there but still you were and you are THE SUPERSTAR! Rock on Sallu!
Sonakshi Sinha looks extremely beautiful and has loads of talent which she unfortunately doesn’t get to exhibit here. Hope to see her in better roles in future! Sonu Sood entered the narrative in the beginning, disappeared midway but came back into focus in the 2nd half. Performance-wise, he was too good and delivers as per expectations. He proved his worth with Singh Is Kinng and Ek Vivaah Aisa Bhi (where he was the solo hero) that he has immense talent and with Dabangg, he’s going to be noticed by more and his fan base is bound to increase! Arbaaz Khan (who’s also the co-producer of the film) plays his part well. Malaika Arora Khan (also a co-producer and the sexiest one ever!) was sizzling in the item song Munni Badnaam Hui! Vinod Khanna was okay while Dimple Kapadia leaves a mark. Mahesh Manjrekar, Om Puri, Anupam Kher, Tinnu Anand and Mahie Gill were good in their respective roles.
Sajid-Wajid’s music was foot-tapping and had the wonderful rustic touch to it. Tere Mast Mast Do Nain and Udd Udd Dabangg are the best of the lot followed by Munni (by Lalit Pandit). Special mention should be made of the choreography, especially of Salman’s phaadu dance steps in Tere Mast Mast Do Nain and Munni! Sandeep Shirodkar’s background score was topnotch.
Wasiq Khan’s production design was damn impressive. The sets seemed very authentic (especially Salman’s residence). Mahesh Limaye’s cinematography was flawless. S Vijayan’s action is one of the best things about the film. Some of the action scenes are creatively handled and executed which makes it a pleasure to witness them especially on the big screen.
Dilip Shukla and Abhinav Singh Kashyap, the writers, deserve credit and appreciation mostly for the fast-paced script and dialogues. In such kind of films, the dialogues have to be clapworthy and sharp. Dabangg fortunately has many such dialogues that enhance impact in many sequences. As for the story, well, as mentioned above, it was very ordinary and nothing special! Abhinav’s direction is excellent for most part of the film. He knew his job well and what he actually wanted to deliver and he does it convincingly. But as commented above, if he would have taken care of finer details of some characters, the film might have touched and impacted the viewers more. But notwithstanding the same, he shines and succeeds!
Some of the best scenes:
1. Chulbul’s entry
2. The title song, Tere Mast Mast Do Nain and Munni
3. Chulbul trying to woo Rajo
4. The intermission point
5. Chulbul marries Rajo
6. Makkhi joins Cheddi Singh
7. Makkhi realizes that he has been betrayed
8. The climax
On the whole, Dabangg is a totally rocking entertainer that delivers as per the expectations. Don’t go looking for a nice story. Just sit back, relax and enjoy Salman’s histrionics which is much more worth than a movie ticket any day! Another advice: if possible, watch this film in a single-screen theatre. The seeti-taali crowd present in such theatres will ensure you have a rocking time when you see Dabangg, something which you won’t be able to experience in multiplexes! Enjoy!
My rating-*** ½ out of 5!
It’s now an accepted fact that small films getting churned out at regular intervals have lots to entertain and give a good time than the biggies. To this list, one can now add one more flick and that is ‘The Film Emotional Atyachar’. The film is as unusual and weird as its title but manages to give a paisa vasool experience!
The story of the movie: Vikram Jaiswal (Mohit Ahalawat) is all set to sign a deal with Mr Khanna (Nasser Abdullah). But at the last moment, Khanna ditches Vikram and refuses to work with him. Khanna instead strikes a deal with Bosco (Abhimanyu Singh) and buys his club in Goa. Junior Bhai (Ravi Kishan), a small time goon, comes to know about the exchange of money between Bosco and Khanna and decides to attack them and rob all the cash. He takes the help of 2 wannabes, Goti (Snehal Dabhi) and Pichhku (Rajkumar Kanojia). Bosco on the other hand needs the money desperately to pay off to 2 corrupt cops, Joe (Vinay Pathak) and Leslie (Ranvir Shorey). The cop duo fears that Bosco might dump them after getting the money. Hence they take Bosco’s muse Sophie (Kalki Koechlin) as hostage until Bosco pays them their share. How all these characters unintentionally clash with each other on a secluded Mumbai-Goa highway at night is what the film is all about!
The film initially fails to impress and is damn confusing. Although all characters get introduced in style, you get a feeling that it’s not been a fine ride. However, the film picks up dramatically with the scene where Vinay and Ranvir enter when Abhimanyu’s room whose hands are tied up! The thrilling shootout minutes before the intermission escalates the impact. And if that wasn’t good, then the film turns better and better during the second half with each passing minute. A series of double cross by various characters and the unpredictability of the plot ensure that viewers remain gripped to their seats with no idea of what will happen next. The climax seemed totally justified.
The film might give you a déjà vu feeling of many films of this genre. The highway drama and heist episode gone wrong reminds one of Johnny Gaddaar, the somewhat-inferior production values is a remembrance of Ek Chalis Ki Last Local while the marvelous interconnection between characters bring back memories of Sankat City! But yet, the film and its script can be considered as completely original!
Without a shred of doubt, Vinay Pathak is the scene-stealer! His mannerisms and his sexy style works very well and put a smile on the faces of viewers although he is a baddie in the film (just like everyone else). Although he and Ranvir Shorey are together in every scene, it’s Vinay who leaves a mark. Ranvir on his part puts his best foot forward but fails up to match up to Vinay this time. It was nice to see Mohit Ahlawat after a long time (the RGV effect has totally waned away from for the better!). Kalki Koechlin looks stunning and gives a brilliant performance as expected from her! It’s indeed great that she has a number of films lined up! Ravi Kishan was very impressive and convincing. He was tailor-made for this role! Snehal Dabhi rocks in the scene where he is in the van sitting injured. Anand Tiwari (as Hiten Sardesai) comes up with yet another brilliant performance. Abhimanyu Singh and Rajkumar Kanojia play their part well. Others were okay.
There was no need for music in this film at all. However, the background score (Mangesh Dhadke) was simply fantastic. Editing (Pranav Dhiwar) was slick. Kartik Krishnan and Bhavini Bheda’s dialogues were witty and raise laughs at many places (esp the ones mouthed by Vinay). Story was truly hatke and very well written. So was the screenplay.
Director Akshay Shere scores a sixer with his debut! A film like The Film Emotional Atyachar wasn’t easy to make since there are so many characters and so much happening at every moment. But doing total justice to the script (not to forget that its Akshay’s first film) is a great feat indeed. The film has lots of abuses thrown in and some scenes are damn violent and gory. But that works and gives the film a real look. A great job indeed!
Some of the best scenes:
1. Hiten helps the injured Vikram
2. Joe and Leslie at Bosco’s club
3. Goti and Pichhku go to buy a gun
4. Junior, Goti and Picchku attempt the robbery
5. Junior and Picchku arguing as to what should be done about Goti
6. Vikram meets Sophie
7. The last 20 minutes
On the whole, The Film Emotional Atyachar is a neat little surprise of this season! It is extremely fast paced and gives 100 minutes of total thrill and entertainment! If you aren’t interested in any of the recent releases, giving The Film Emotional Atyachar a try would surely be no harm! Go for it!!
My rating-**** out of 5!
The makers of Hello Darling were surely at an advantage as their film dealt with sexual harassment at workplaces, something which is common in today’s time and also not to forget, there are handful of films which have tackled this issue. Unfortunately, while the writing is impressive, the execution is damn messy. Result: another disappointing flick from Mukta Arts!
The story of the movie: Mansi (Gul Panaag), Candy (Celina Jaitly) and Satvati (Eesha Koppikhar) work in a fashion designing company. Their boss is Harddick Vasu (Jaaved Jaafery), who leaves no stone unturned to lure young and good-looking girls working under him. No wonder that the trio hate him. By a small error, Mansi one day mixes rat poison in Harddick’s coffee who has to be immediately hospitalized. Fearing the worst, the Mansi and the other two try to hide her crime but they get caught by none other than Harddick himself. He lays down a condition in front of them-he’ll bury the issue and not take them to police if they agree to spend 7 nights with him at his Khandala bungalow! The ladies agree but silently decide that they will teach their lecherous boss a nice lesson.
Hello Darling has a fairly dry narrative in the beginning portions. The film picks up when Mansi puts rat poison instead of milk in Harddick’s coffee. The hospital sequence that follows was unbelievable but grips your attention. And not to forget, the fight between Chunky Pandey and Sanjay Mishra was the funniest sequence of the film although it was one of the most absurd scenes of Bollywood!
However, post-interval, the film just drops to a low and doesn’t pick up except in the track of the NGO dealing with erratic husbands and the mix up that occurs. Several scenes don’t make sense at all. Eesha’s transformation from a small-town girl to a glamorous babe was too sudden. Jaaved Jaffery, while chained, manages to access the telephone and calls his wife (Divya Dutta) who doesn’t respond properly. He could have called the cops because what the girls had done to him was akin to kidnapping! The climax, involving Sunny Deol, could have been great but disappoints.
Gul Panaag was the best of the three girls. Eesha Koppikhar comes next although some of her jokes were not funny at all. Celina Jaitly was alright. Jaaved Jaffery was totally convincing as the playboy. Divya Dutta plays her part perfectly like everytime! Chunky Pandey, who rocked the show in Housefull, does a brilliant job yet again in Hello Darling! Asawari Joshi as Tanya doesn’t get much scope. Seema Biswas as Phoolan Tai was too good. Vrajesh Hirjee was funny although he was there only for one scene. Sunny Deol makes a guest appearance and didn’t seem much in form. Others were okay.
Pritam’s music was plain mediocre. All songs are forgettable and unnecessarily placed. Sanjoy Chowdhury’s background score, however, was decent. So was Ravi Yadav’s cinematography.
Pankaj Trivedi and Sachin Shah have written the story which was great but was totally lifted from 1980s Hollywood Hit Nine To Five. While some dialogues are indeed funny and witty, the rest are unimpressive. Debutant Manoj Tiwari’s direction was disappointing. He had a nice story in hand and if he had treated it well, he could have come up with a better film. Alas, that doesn’t happen!
On the whole, Hello Darling boasts of a good plot but unfortunately isn’t well made.
My rating-** out of 5!
By Taran Adarsh, August 20, 2010 – 17:10 IST
Sometimes, your reputation precedes you. Pradeep Sarkar carries the reputation of making women-centric movies. Films like PARINEETA and LAAGA CHUNARI MEIN DAAG prove it. Who would’ve ever thought Sarkar would do a 360 degree turn in his third film by calling it LAFANGEY PARINDEY, set it in a chawl and make his characters speak tapori lingo? Hard to digest, isn’t it? Frankly, the skilled storyteller takes you on a trip least expected from him.
When you attempt something you haven’t attempted earlier or ventured into before, you either fall flat on your face or walk with your chin up in air. Sarkar doesn’t slip, although LAFANGEY PARINDEY does have its share of hiccups that show up intermittently. Unlike PARINEETA and LAAGA CHUNARI MEIN DAAG, Sarkar narrates a simple story this time around and though it has nothing to do with the Rajesh Khanna – Mumtaz – Meena Kumari starrer DUSHMUN, you can’t help but draw parallels with it, which, frankly, could be a coincidence as well. Yet, to be fair to Sarkar, he ventures in an unknown territory like a seasoned player.
|BY BOLLYWOOD HUNGAMA.COM
On the flipside, the film has a major flaw and that dilutes the impact to an extent: Casting Neil Nitin Mukesh as a tapori. He just doesn’t look like one. Even if he tries very hard to get into the skin of the character, you just can’t connect with him since the suave and dashing demeanor makes him look like a Harvard returned, not someone from the streets or wadis of Mumbai definitely.
Final word? Sure, it has its share of shortcomings, but is an engaging watch nonethess.
LAFANGEY PARINDEY is about a group of youngsters living in the backstreets of Mumbai. It is the love story of Nandu [Neil Nitin Mukesh] and Pinky [Deepika Padukone].
One-Shot Nandu takes boxing to a new level by knocking down his opponents – blindfolded. Needless to say, One-Shot lives life on his own terms and is a local hero amongst his friends. But all that changes when he meets Pinky.
Pinky works at a mall, but is a kickass dancer on skates. Strong-headed, talented and fiercely ambitious, she aspires to rise above all the ‘losers’ living in her locality and carve a niche for herself. Two different personalities. Two different lives. Destined to meet.
LAFANGEY PARINDEY starts with gusto! Also, it moves on a singular path, without diversifying into unwanted sub-plots and superfluous characters. In fact, the story takes off at the commencement of the film itself and how Neil and Deepika’s lives get intertwined makes for interesting viewing.
The film has some truly engaging moments and most of them are in its first hour. Sequences between Neil and Deepika after the accident are wonderful and keep you hooked. However, things begin to slacken in the post-interval portions, when the love story takes over and Neil and Deepika realize that they share a deeper bond. Just when things are about to go downhill, the climax happens and LAFANGEY PARINDEY is back on track. In fact, the drama in the finale – when Deepika and Neil have to perform the final act for a television show – is the highpoint of this film. The skating sequences and choreography are stunning and awe-inspiring.
Blemishes? Oh yes! The love story is conventional and dreary. Also, the investigating officer’s track is half-baked and looks like an add-on. Besides, the film is embellished with a mediocre musical score [R. Anandh]. Also, the Bambaiya Hindi has its limitations.
Like I pointed out earlier, Neil is the wrong choice for this part. Also, he lacks the fire to carry off the role with flourish. LAFANGEY PARINDEY clearly belongs to Deepika Padukone, who suits the character and enacts it with such competence that it leaves you amazed. The pretty lass is only getting better with every film. Piyush Mishra is first-rate. Kay Kay Menon is okay in a brief role. The friends, each them, leave a mark. Especially Namit Das, who’s wonderful. Shiamak Davar, Juhi Chawla and Javed Jafferi feature in brief roles.
On the whole, LAFANGEY PARINDEY may be predictable, but is engaging and entertaining nonetheless. A decent watch!