Posts tagged cop
Image courtesy: Prasad Naik
Being a small-town 17-year-old from Bhambla in Himachal Pradesh didn’t stop this stunner from taking on Bollywood. Waiting in her vanity van to front the camera for Knock Out, her latest movie with Sanjay Dutt and Irrfan Khan, where Kangna plays a crime journalist – today’s Kangna is confident, composed and totally at ease with being ‘real’.
Excerpts from the interview:
What made you become an actor?
I was restless when I was 15/16. I was pursuing science but I was more attracted towards art. So I started pursuing theatre. Thereon, I also tried modelling because people kept harping that I looked different. I signed up with a modelling agency and took it quite seriously. Unfortunately, modelling didn’t take me very seriously! I figured that in India, modelling is only something you can be happy doing part-time. In the mean time, I was pursuing theatre and my guruji, Arvind Gaur encouraged me a lot. I started giving auditions for movies. The truth is even if I wasn’t selected for Anurag Basu’s Gangster, I would’ve tried other projects. However, I got selected and Bollywood became my career.
What is the creative process that goes behind every character you etch?
Each role is challenging. You have to do your homework. For instance, in Abhinay Deo’s Game, I play a cop from London and she has a Brit accent. It was difficult for me to emulate that. Acting is a job where you have to learn to look, talk and project a certain body language. The trick is to remain focused, yet flexible.
With no filmi background, how do you hold yourself in this fiercely competitive industry?
People in Mumbai are judgemental. Here, your fate changes every Friday. Also, it’s true that if you’re a star kid or if you’re a star girlfriend, you get extra mileage. But if none of these things work in your favour, you tend to work on your talent. My challenge was to be able to fit in here. People criticised the way I talked, walked and even the way I looked—more so because I come from a small town. There are two ways of dealing with such a situation: either you care a damn; or you can improve yourself.
You’ve gone through several ups and downs in your personal life. Do you think the media has been fair to you?
I feel that the media, somewhat, is nicer to people coming from a filmi background, or personalities they have connections with. The media doesn’t accept you easily. A Shah Rukh Khan or Aamir (Khan) have been around for two decades and have established a relationship with the media and the public. That’s why their films get 90% opening. So, tomorrow, of course their children will get special treatment because the rapport is already there. But now I realise that if I connect with the media personally, it always works better. They figure out your dimension too.
And how have you evolved as an actor?
I’ve always been surrounded by very creative people—whether it’s Bhatt saab, Anurag Basu, Mohit Suri, Madhur Bhandarkar. I can write a whole book on my experiences and the craft I’ve learnt in the last five years! (laughs) When I entered Bollywood, (Mahesh) Bhatt saab made me unlearn everything – he taught me not to act and be real in front of the camera. You don’t fake crying or laughing. You actually do it.
But the turning point came when one day Bhatt saab told me I was the ugliest woman he’d seen. I asked, why? He retorted, asking where my dark circles, pimples were and why I was hiding behind makeup. He called me a mannequin! That’s when I realised that it’s important to be real.
Can you actually be ‘real’ in Bollywood?
It’s difficult. It’s almost like being naked in front of the public. Every time you’re in front of the camera, there are so many emotions you let out and you’re not scared. You may even portray emotions that might not be familiar to you. But you need to be you, your real self, to give that astounding performance.
How do you keep fit?
I take care of my body and make sure that I’m happy. I work out, but I don’t over-do. I don’t remove that cheese slice from my sandwich; or remove the oil when I’m having kheema pav! I try to be as normal as I can be in my habits. I love food and I love life. So I’m not the kind who’d count calories everyday and kill myself in the gym, or die doing yoga. I listen to myself and my body. I don’t push myself very hard.
What’s more important to you: critical acclaim vis-à-vis box office success?
For me, there are two kinds of movies– good or bad. To please only a particular group of people is not my goal. I think a film should be entertaining.
Kangna’s hit list
Holiday destination: Paris
Perfume: I wear men’s perfume. But I like Chanel.
Dream director: Aamir Khan
By Subhash K. Jha, September 22, 2010 – 11:14 IST
Get this. Ram Gopal Varma embarks on what he calls the most populist Bachchan film he has ever shot.
In Department, which starts shooting early next year, Amitabh Bachchan plays a gangster turned politician whose exploits are the stuff Chulbul Pandey would enjoy getting high on.
At the moment the film, said to be the ambitious Ramu’s most expensive project to date, is being feverishly scripted. Details are being kept desperately under wraps since it involves some volatile characters.
When confronted, Ramu says, “All I can tell you at the moment is that Mr. Bachchan plays a gangster turned politician in Department. Whom he’s modelled on is open to conjecture and I am certainly not telling. There’re too many misconceptions floating around about the project. Mr. Bachchan is not playing a cop in Department. It is not a sequel to Company (I wonder where that came from) nor a prequel to Ab Tak Chappan.”
Ramu wants the Big B’s character to be a kind of grass root-level super-hero. “I’ve always seen Mr. Bachchan as a hero of the masses. I want him to be cast as larger-than-life hero in Department.”
Interestingly, Ramu who has cast the father son Bachchan in their real-life roles twice will not cast them as father-son in Department.
Reveals Ramu reluctantly, “No, Mr. Bachchan and Abhishek are not father and son in Department. Abhishek and Sanjay Dutt are cops. They share a pupil-mentor relationship.”
In real-life too Abhishek looks up to Dutt. Says Ramu, “That’s why I cast them as mentor and pupil.”
When asked about playing a gangster -turned-politician in Department, Mr. Bachchan said, “Oh is that what Ramu has cast me as in Department? I’ve not yet discussed the antecedents of my role with him.”
Kangna Ranaut has drifted apart from mentor Anurag Basu because he was typecasting her as a neurotic woman in all his films
He spotted her in a five-star hotel and took an instant fancy to her. Gave her the first break in Bollywood in Gangster and then cast her again in Life in a Metro. The two got along like a house on fire. And then came Kites that strained their friendship.
As on date, a latest development has jeopardized this director-muse equation even further. Says a source, “Ranaut still cares for Basu. But he has been really unfair to her. You don’t consider people as your lucky mascot, but in return give them a raw deal.”
Ranaut and Basu started drifting apart soon after Life In A Metro hit the theatres. Explaining why, our source says, “Kangna was quite upset with the way Basu edited out her portions in the film; she had shot for much more than what was portrayed on the screen.”
However, Ranaut was not only upset but also extremely shocked when she saw Kites. Says a source, “This time Ranaut felt cheated. Large chunks of her role were spliced out. Kangna had been promised that she would be enjoying as much screen time as Barbara Mori throughout the film. Sadly, this wasn’t the case.”
The flashpoint in Ranaut and Basu’s equation was reached when Basu approached Ranaut yet again to play a mentally challenged girl in his forthcoming Ranbir Kapoor starrer Silence.”
Ranaut felt truly short-changed professionally when she realized that once again Basu wanted her to play a role which was similar to what she had done for him in Life in a Metro and Kites,” reveals the source.
Ranaut was livid. And her fury intensified when she suddenly remembered that Anurag had already cast Priyanka for the same role. When the actress asked him about Priyanka’s role, he told her that Priyanka was playing another role, someone with no mental issues. This obviously meant that once again Kangna was being asked to play the psycho. Ranaut told Basu to stop typecasting her as a mentally challenged person in every film he directs, and hung up.
Adds the source, “There is much more to Ranaut than playing only demented females. She has it in her to display a gamut of emotions. Else why would filmmakers cast her in Dhamaal 2 (secretary), Game (cop), Knockout (journo), Manu Weds Tanu (rebel), Actor (film critic) and No Problem (shack owner on a beach who makes cocktails), none of which will see her as a psycho?”
Basu and Ranaut remained unavailable for comment. Hope they didn’t go nuts with our query.
By Subhash K. Jha, September 3, 2010 – 12:37 IST
For those who have been wondering where Ram Gopal Varma’s prized discovery Mohit Ahlawat vanished, the young ‘gym-toned’ actor made his debut in Ram Gopal Varma’s James in 2005. He had the guts to tell his mentor in his face that his script for the remake of Sholay would never work.
Mohit paid heavily for his outspokenness. He was banished not only from Ram Gopal Varma’s production house but also from Bollywood.
Last heard he had walked out of Ghajini because he found his role (of the cop) too inconsequential.
Thereafter, Mohit seemed to disappear from the face of earth. His phone number has changed and apparently he has gone back to his family business in Panipat and Delhi.
But now one sees him part of the ensemble cast in debutant director Akshay Shere’s Emotional Aatyachar.
Mohit and Shere go a back a long way, to their days together in Ram Gopal Varma’s production house. Even Shere seems unaware of Mohit’s whereabouts. But he does let out that Mohit was in hospital lately.
“I think it is for some intestine or stomach problem. Too much work-out has taken its toll on him,” informs the director.
Ironically, the bout of ill health has deprived Mohit of the little bit of attention that his new film would have got him.
Even more ironically, director Mohit Shere says Mohit plays, “A businessman who meets some bizarre people.”
Sounds like Mohit’s own story.
By Taran Adarsh, September 3, 2010 – 11:07 IST
Certain stories that the Ramsay Brothers attempted a few decades ago are being rehashed and packaged in new avtaars to this date. The revenge of the restless soul, the reincarnation bit, the spate of murders, the decomposed dead body coming to life… haven’t we watched it all in the past? MALLIKA is hackneyed, uninspired and clichéd from start to end. Also, there’s nothing in the film that would make you jump out of your seat or give you sleepless nights at home. On the contrary, the film is unintentionally funny and also makes you chuckle at the absurdities at several points in the story.
|BY BOLLYWOOD HUNGAMA.COM
In today’s times, when storytellers are daring to break the shackles of stereotypical cinema, MALLIKA comes across as an obsolete fare that offers nothing new to the viewer.
Final word? One of the cheesiest films of all times!
Sanjana [Sheena Nayyar] is haunted by nightmares and vivid visions of a murder that took place in her house. Unable to take it any longer, Sanjana decides to go for a vacation, hoping that those visions will stop chasing her. She lands up at a fort cum resort in Rajasthan. However, little does she know that things are going to go from bad to worse at the fort, which holds a dark secret deep inside its chest.
MALLIKA holds a new record in recent times: Practically every woman in the film goes for a shower or heads for a bathing tub every 10/15 minutes. If that’s not enough, the women wear the skimpiest of outfits, which makes it looks like a skin-fest of sorts. Besides the aatma seeking revenge, there’s a half-baked love story, a weirdo cop and a couple of songs thrown in to complete the package.
The writing is shoddy and the direction, non-existent. In fact, director Wilson Louis ought to know that skin-show cannot substitute for a riveting story. The music is of fast-forward variety as well, barring the remix of the yesteryear hit, ‘Woh Bhuli Dastaan Lo Phir Yaad Aa Gayee’. Visual effects are tacky.
The performances are below par. Sheena Nayyar can’t act. Sammir Dattani sleepwalks through his role. Mamik wears one expression all through. Himanshu Mallik gets no scope. Rajesh Khera is stereotypical. Suresh Nair hams. The remaining actors are a bunch of non-actors.
On the whole, sitting through MALLIKA is an exasperating experience!
Pradeep Sarkar carved a niche with his directorial debut Parineeta but his reputation took a beating with his second venture, Laaga Chunari Mein Daag. That was one of the two reasons as to why everyone is so skeptical about Lafangey Parindey. The second reason being, Lafangey Parindey seems so different from Sarkar’s kind of cinema. The promos showed Mumbai, its gritty streets, chawls, boxing, dance and skating…something which is surely isn’t his forte. But surprise! Lafangey Parindey turns out to be a neat film! Pradeep Sarkar handles it very well and is surely worth the 250 bucks ticket!
The story of the movie: Nandu (Neil Nitin Mukesh) is a street fighter who has a unique way of fighting with his opponents-blindfolded. Confident, charming and carefree…he lives a content life fighting and roaming with his chawl friends. In the same chawl lives Pinky Palkar (Deepika Padukone). She works at a mall but can wonderfully dance on skates and dreams of winning a reality show. One rainy night, hell breaks loose as Nandu has a dreadful experience. On the same night, Pinky loses her eyesight in an accident. Fate brings them together and how Nandu and Pinky teach each other lessons of life is what the film is all about.
You fall for Lafangey Parindey in the intro scene itself (Nandu explaining his fighting strategy). Nandu’s interaction with Anna (Kay Kay Menon) and the accident takes the film higher and higher! Especially the accident sequence was nicely executed (by showing it in 2 different ways). It also adds a nice surprise in the narrative. The scene thereafter right till the intermission keep you hooked thanks to interesting sequences and a fast-paced narrative! In short, the first half is just awesome!
Post-interval, the film tries to maintain the flow but gets dragging at places. Also Neil’s dance was weird in the elimination round sequence. Perhaps he could have worked better at his moves. The writer could have added some more turns towards the finale. But that would have not only increased the length of the film but also could have failed. Hence he kept it simple but at the same time predictable. Thankfully it works but also reminds you of the climax of Rab Ne Bana Di Jodi! Nevertheless, overall the film turns out to be a decent attempt!
Neil Nitin Mukesh was a surprise for such a role. But he does total justice to it and although he doesn’t look like a chawl guy, his terrific performance compensates for it. The actor will soon be seen in 2 exciting films-Vishal Bhardwaj’s Saat Khoon Maaf and Abbas-Mustan’s The Italian Job remake! Way to go NNM!
Deepika Padukone is undoubtedly the best performer in the film! Her dance, mannerisms, expressions and her beautiful smile…everything about her shall leave you spellbound! Another amazing performance from an amazing actor! Piyush Mishra was great no doubt but he doesn’t leave a mark as he did in Tere Bin Laden and Gulaal. Manish Choudhary was decent as the cop. Namit Das who played Ranbir’s pal in Wake Up Sid was too good. So was Palomi. Kay Kay Menon has a special appearance in the film and nice to see him after a long time. Others were good.
M Anandh’s music wasn’t outstanding but made for decent listening. The title song was the best song of the lot followed by Man Lafanga and Nain Parindey. Zubin Balaporia’s background music was perfect. N Nataraja Subramaniam’s cinematography was as usual excellent. Sanjib Datta’s editing works especially in the beginning scenes. Sham Kaushal’s action was terrific and very realistic. Bosco Caesar and Sandro Guerra, the choreographers do a great job and they contribute in the film’s success considering that dance and skates have an important role in the film.
Newbie Gopi Puthran has written the story, screenplay and dialogues and has excelled in all 3! Story was novel but it’s the screenplay that is really terrific. Dialogues seem very real for the setting of the film.
Finally Pradeep Sarkar springs a surprise! He enters a new territory but does an exceptional job! Good to see that he’s back in form and hoping that his next film, too, would work!
Some of the best scenes of the film:
1. The first scene
2. Nandu with Anna
3. Pinky’s accident
4. The song Nain Parindey
5. Nandu trains Pinky
6. The intermission point
7. Nandu puts on the skates for the first time
8. The cop’s investigation
9. Nandu and Pinky watching movie (hilarious!)
10. The last 15 minutes
On the whole, Lafangey Parindey is a great attempt and succeeds in impressing. Surely worth putting your money for! At the box office, it has all the time upto the release of We Are Family (September 2) to rule and emerge as a hit!
My rating-*** ½ out of 5!
By Taran Adarsh, July 26, 2010 – 13:29 IST
The fascination with gangster movies has been immense worldwide. On this side of the Atlantic, several gangster films have left giant footprints on the sands of time. Films like DEEWAAR [Yash Chopra], DHARMATMA [Feroz Khan], NAYAKAN [Mani Ratnam], ANGAAR [Shashilal Nair], PARINDA [Vidhu Vinod Chopra], AGNEEPATH [Mukul Anand], SATYA and COMPANY [Ramgopal Varma], VAASTAV [Mahesh Manjrekar], GANGSTER [Anurag Basu], D [Vishram Sawant] and SHOOTOUT AT LOKHANDWALA [Apoorva Lakhia] have tremendous recall value to this day.
ONCE UPON A TIME IN MUMBAAI recreates an era that so many of us have left behind and for those who arrived on this planet post 80s, I am sure, they must have visited the era through some medium or the other, mainly movies and internet or during their academic careers.
|BY BOLLYWOOD HUNGAMA.COM
ONCE UPON A TIME IN MUMBAAI is not part of history, but it attempts to portray on celluloid tales that are now considered legendary, that continue to make news to this date. Of course, the disclaimer claims that it bears no resemblance to a particular person, but you can’t help but draw parallels with real-life characters. It could be a coincidence, though!
ONCE UPON A TIME IN MUMBAAI is a fascinating story that talks of how the mafia came into force for the first time in Mumbai. A thriller that depicts the crime scenario in Mumbai during the 70s and 80s. The rise to power of two young boys, in different age-groups, who grew up to ‘rule’ the streets of Mumbai.
Since there’s tremendous speculation in the media that ONCE UPON A TIME IN MUMBAAI chronicles the lives of Haji Mastan and Dawood Ibrahim, the curiosity to watch the film increases manifold. Of course, I am no one to comment if it’s actually based on their lives or merely borrows a few incidents from their lives or is pure fiction, but as a cinematic experience, I couldn’t help getting transported to the bygone era, getting sucked into a world I had no clue of.
Besides the gangster chapter, one enjoys this film also because of its riveting drama and the power play. It could’ve been set anywhere, in the corporate world, in politics, in the film industry. Anywhere. The rise and subsequent fall of the King and the emergence of the Prince as the super power is what makes this film a compelling watch. The icing on the cake is the magical and lilting song compositions that are juxtaposed so beautifully in the goings-on. On the sidelines of the power play, a game of hearts is being played and that’s what makes ONCE UPON A TIME IN MUMBAAI a wholesome movie experience.
Final word? ONCE UPON A TIME IN MUMBAAI is not to be missed. Set everything aside this coming weekend and watch this one. Strongly recommended!
The film, set primarily in 1970s Mumbai, follows the rise of Sultan Mirza [Ajay Devgn] and the conflict that ensues, when his protégé Shoaib Khan [Emraan Hashmi] challenges his supremacy and usurps power to rule the murky underbelly of Mumbai.
ONCE UPON A TIME IN MUMBAAI is a power-packed drama that makes you thirst for more. You rewind to an era of romance, smuggling, cabaret and mafia, but director Milan Luthria and writer Rajat Aroraa ensure that there’s no sleaze or bloodshed-n-gore. In fact, there’s hardly any violent sequence in the movie, except for one when Ajay hammers a cop during a naaka-bandi.
ONCE UPON A TIME IN MUMBAAI is not a biopic, but narrates the story through the eyes of a police officer [Randeep Hooda], who traces the changing face of the Mumbai underworld. The screenplay encompasses several moments that may compel you to draw parallels with real life, but talking strictly from the movie-going point of view, it satiates you completely. In fact, the writing is cohesive, smart and watertight and there’s never a dull moment. Besides, there’s no time to think whether it’s factual or loosely based on someone’s life or a work of fiction.
As I look back and recall the movie, a number of sequences flash across my mind. Note the sequence when Ajay divides the city amongst gangsters… The train sequence at the very start… The introduction of Emraan Hashmi’s character… Randeep Hooda’s landing on a film set and confiscating the equipment… The subsequent sequence, when Randeep is framed for accepting bribe… The romantic moments between Emraan and Prachi in the jewellery shop… Emraan starting his business and the confrontation that ensues between Ajay and Randeep… The showdown between Ajay and Emraan, with Ajay slapping Emraan in full public view… The conclusion to the story is equally novel. It stays in your memory and sets you thinking.
On the flipside, the story begins with Randeep attempting suicide, but the writer should’ve cited the reason that prompted him to take that drastic step. Sure, there’s a mention at the start, but it doesn’t register well. Also, you are keen to know the chain of events that drove Randeep to suicide. Also, the pace slackens in the middle of the second hour, but picks up dramatically when Ajay returns from Delhi and confronts Emraan. Besides, how I wish the film had a shorter, mass appealing Hindi title to attract more eyeballs and a big jump in footfalls [at single screens and smaller centres mainly] for a mass appealing subject like this.
This is director Milan Luthria’s best work to date, no two opinions on that. Recreating the bygone era is tough and the director, the writer and the art director [Nitin Chandrakant Desai] deserve brownie points for giving the film that authentic feel. In fact, the film wears a chic retro look throughout. Even otherwise, Milan’s handling of the subject material is exemplary. This film is sure to catapult him to the top league. Rajat Aroraa’s screenplay is powerful and engaging. The writer marries heavy-duty drama and subtle and delicate emotions beautifully. I would like to make a special note of the dialogue, also penned by Rajat Aroraa, which are simply fantastic. In fact, the dialogue writing is such it elevates even an ordinary sequence to great levels. One rarely comes across such potent dialogue in today’s times.
Pritam’s music is another ace. Injecting songs and that too a terrific soundtrack in a gangster film is tough. He did it in GANGSTER. He does it again in ONCE UPON A TIME IN MUMBAAI. ‘Pee Loon’, ‘Tum Jo Aaye’ and the remix of APNA DESH track are super compositions, which are also placed appropriately in the plotline. Cinematography [Aseem Mishra] captures the look to perfection. Akiv Ali’s editing is sharp.
ONCE UPON A TIME IN MUMBAAI is embellished with fantastic performances. Ajay Devgn is splendid as Sultan. The actor had enacted a similar role in COMPANY, but it must be said that his interpretation is so different in ONCE UPON A TIME IN MUMBAAI. He adds so much depth to the character, which only goes to prove his range and versatility. This is, without a trace of doubt, Ajay’s finest work so far. Emraan Hashmi is brilliant as the power greedy, wildly ambitious rebel. He plays the dark character to perfection. He’s incredible in the penultimate moments of the film in particular. Besides carrying the look to perfection, Emraan is sure to break-free from the lover boy, serial kisser image with this film.
Kangna Ranaut is extremely natural and performs very well. Also, she brings so much of sensuality and glamour to her character [an actress of the 70s]. In fact, Ajay and Kangna make a wonderful on-screen pair. Prachi Desai is a bundle of talent who proves her mettle yet again. She’s proficient in emotional scenes and sizzles in the BOBBY song-sequence. Besides, the chemistry between Emraan and Prachi is exciting. Randeep Hooda is top notch. Even though the film belongs to Ajay and Emraan, Randeep makes his presence felt with a powerful performance. This film should prove to be the turning point in his career.
Avtar Gill [as Home Minister] is good. Naved Aslam [as Patrick, Ajay's trusted lieutenant] is perfect. Mehul Bhojak [as Emraan's friend Javed] is competent. Ravi Khanwilkar [as Vardhan] is satisfactory. Gauhar Khan sizzles in the remix track.
On the whole, ONCE UPON A TIME IN MUMBAAI is an extremely well-made film that lingers in your memory. The realism coupled with stellar direction, power-packed writing, exceptional performances and ear-pleasing tunes are its trump cards. An outstanding cinematic experience!
The Kashmir issue is the most persistent and complicated issue ever since India got independence, especially after 1989. Naturally any crisis catches the eyes of filmmakers and Kashmir problem was no exception. However, many films failed to give a true account of the problem and at such a point, Rahul Dholakia comes up with Lamhaa which promises to present the ‘untold story of Kashmir’. To an extent, the storyline is untold at least on celluloid but those closely or even remotely following the problems of the valley, Lamhaa offers nothing new. Still, a good direction would have helped but very unfortunately, Lamhaa is badly executed. A great chance gone totally waste!
The story of the movie: Vikram (Sanjay Dutt) is sent to Kashmir by the Military Intelligence to investigate the possible destructive plan that is likely to create havoc in the state. After reaching Srinagar, he assumes the identity of Gul Jehangir. On the same day, Haji (Anupam Kher), a popular separatist leader, survives attack by a suicide bomber but his close aide, Shabbir is killed. Aziza (Bipasha Basu), Haji’s aggressive and fierce protégé wants to know who is behind the blast and sets on a trial. Vikram aka Gul realizes that there might be a link between the blast and the possible destruction and starts investigating. Since both Gul and Aziza were aiming for the same goal, they team up. Soon, Gul finds out that the entire conspiracy is far deeper than expected and a lot of top politicians, powerbrokers, cops and ISI agents are just playing with feelings of lakhs of Kashmiris and are soon going to do something destructive.
There is no doubt that Lamhaa has a great story to tell. However, Lamhaa disappoints simply because it tries to pack too much in 2 hours. There are lots of characters, conflicts and sub-plots. The narrative is extremely fast-paced which doesn’t help as viewers don’t get gripped and absorbed into the story totally. What stays after leaving the theatre are just a few well-shot individualistic scenes.
The relevation of the destructive attack ever on Kashmir was lame. The climax should have been nail-biting for such a film but it wasn’t. Also showing Sanjay Dutt retired and drunk towards the end wasn’t justified at all.
Every actor gives an impressive performance. The script might be the worst but even in such situations, Sanjay Dutt never disappoint. The same happens here! The actor gives a convincing performance and he looked brilliant in his rugged look. Bipasha Basu comes up with one of the finest performances of her career. It is evident that she has worked and was completely in her character. Same goes for Kunal Kapoor who gives a terrific performance. He has a natural Kashmiri look that aided him to give a convincing performance. It is really sad that such a fine actor isn’t getting enough roles. Shernaz Patel was the best performer of the film although she had a miniscule role. Hers was the only track that actually moves you. Anupam Kher as usual was excellent. Murli Sharma (Dhruv Raina) and Rajesh Khera (Parvez) leaves a mark. Yuri was good as the ISI guy. Vipin Sharma, Vishwajeet Pradhan, Ehsaan Khan, Mahesh Manjrekar and the rest play their part well.
Mithoon’s music was soulful. Madhno and Salaam Zindagi were the most beautiful songs. Sanjoy Chowdhury’s background score was brilliant and lifts many scenes. James Fowlds’ cinematography was miserable. The constant shaking of camera even in non-confrontational scenes doesn’t work. Wonder why the makers opted for a foreign cinematographer when our desi DOPs do such a great job! However, the locations were terrific and it was great to see a film on Kashmir actually being shot in the valley (unlike the rest which are shot in Manali and its surroundings)! Jaaved-Aejaz’ action scenes were topnotch. Ashmith Kunder and Akshay Mohan’s editing made the film crispier than required.
Sai Kabir and Ashwath Bhatt’s dialogues were sharp. Raghav Dhar and Rahul Dholakia write a script that was simply a letdown. With such a fantastic plot in hand, they could have come up with a brilliant film. Moreover, Dholakia’s direction worsened things. Hence, the film, inspite of dealing with a hard-hitting issue fails to create an impact. It is shocking that a person who did a great job with Parzania disappointed in such a manner with Lamhaa! Mr Dholakia, hope to see you back in form in your next flick, Society!
Some of the best scenes:
1. Attempt to kill Haji
2. Aziza’s entry in the narrative
3. Gul and Aziza’s first and second meeting
4. Gul finds the truth about the blast
5. All scenes of Parveena (Shernaz Patel)
6. Aatif (Kunal Kapoor) enters the narrative
7. Aatif addressing a rally
8. Aziza attacked by women workers (watch out for Bipasha here)
On the whole, Lamhaa is a letdown. Although boasting of a great plot, the haphazard execution spoils the show. What a waste of a golden chance!
My rating-** out of 5!
By Faridoon Shahryar, July 13, 2010 – 12:38 IST
The name is Chulbul Pandey. And he calls himself Robinhood. As a cool cop he kicks-in-a-punch with zealous panache. Salman Khan is back with a raging vengeance determined to repeat the Wanted magic. For there’s an electrifying energy as the two and a half minute First Look promo of Arbaaz Khan Production’s Dabangg gets over leaving you gasping for breath and panting for more. Directed by feisty Anurag Kashyap’s brother Abhinav Kashyap, Dabanng looks like a deadly combo of unbridled realism and adrenaline thumping macho daredevilry.
The Theatrical trailer of Dabangg will be showcased with Khatta Meetha on July 23rd. Bollywood Hungama had an exclusive sneak peek of this racy trailer that will become a subject of whopping discussion, the moment it is viewed by the Public. For Salman fans, there’s good news. Firstly, it seems that Khan the actor has never been presented like this before. You don’t witness Salman Khan, the clean shaven handsome lover-boy. Instead, for the first time, you come across Salman Khan actually becoming the Character. It’s not Salman Khan but Chulbul Pandey that stays with you once the promo is over. There’s something new in the dialogue delivery, the body language and the whole attitude.
If you loved the action of Wanted, then Dabangg seems to be an outright winner with the Junta that feasts on high octane Herogiri. Action Director of Wanted, S Vijayan, has choreographed some superb action sequences for Khan that whips up a shock-n-awe effect. I can already hear endless loud whistles in the cine hall corridors. Debutante Sonakshi Sinha appears briefly in the first look promo and leaves an impact with a smart filmi dialogue on the vagaries of love. Dabangg releases this Eid.
By Subhash K. Jha, June 14, 2010 – 10:48 IST
All that talk of aspiring actor Nikhil Dwivedi doing a nude sequence for Mani Ratnam’s Raavan was a bit premature. The fact is, Nikhil got shy at the last minute about going all the way thereby creating a panic in the jungles where the film was shot.
Says a very reliable source from the unit, “The first ever male nude sequence in a Hindi film almost didn’t happen. Nikhil Dwivedi who had to do the scene copped out. The director Mani Ratnam tried to explain to him that the scene was not for titillation. It is a scene of torture of a cop. Usually its cops who are shown torturing suspected offenders. Here it’s the other way around. Beera (Abhishek) and his men capture a cop played by Nikhil Dwivedi. They strip and torture him.”
This is where Nikhil put his foot down. He flatly refused to perform the ‘rear’ feat arguing that his family and friends would be deeply mortified.
“Sir main apne ghar walon ko kya mooh dikhaonga?” Dwivedi apparently whined in front of the baffled director who isn’t used to being told no.
Says the source, “All attempts to convince Nikhil to bare all failed. Mani Ratnam was at his wit’s end. His assistants reminded Nikhil that the actor’s counterpart in Tamil (John Vijay) had willingly bared all. But Nikhil was immovable. They finally had to get a body-double with… shall we see… similar vital statistics to stand in for Nikhil.”
When contacted Dwivedi is afraid to talk, “I am not allowed to say anything. But if you’re talking about full-frontal nudity then sorry I won’t do it. We Indians have a certain inbuilt censorship.”
While Dwivedi demurred, Rahul Bose had no qualms stripping for the camera in Dev Benegal’s Split Wide Open. Ranbir Kapoor dropped the towel in Sanjay Leela Bhansali’s Saawariya. Even Anil Kapoor did a sequence in the buff for Shankar’s Nayak. Recently, John Abraham and Neil Nitin Mukesh did police interrogation scenes in the nude in Kabir Khan’s New York and Madhur Bhandarkar’s Jail, respectively.
Says Rajit Kapoor, “What’s the big deal about going nude for the camera? I did it in Train To Pakistan 20 years ago.”