Posts tagged dialogues
The Akshay Kumar-Vipul Shah jodi is back with yet another flick, Action Replayy, that looks as exciting as their previous films. A great concept adapted from a successful play, funky music, 70s era, big stars…what more can one ask for? Better script I would say! Action Replayy had the ability to be a rocking entertainer but unfortunately doesn’t reach there. Nevertheless, the film also doesn’t leave you outright disappointed. The performances, songs and numerous individual funny moments ensure you leave the theatre with a smile!
The story of the movie: Bunty (Aditya Roy Kapur) and Tanya (Sudeepa Singh) are in love with each other. Tanya wants to get married but Bunty hates the ‘M’ word. He has seen his parents Kishen (Akshay Kumar) and Mala (Aishwarya Rai Bachchan) fighting with each other every now and then. Bunty has thus developed a phobia for marriage. At this point, Tanya introduces Bunty to her grandfather Anthony Gonsalves (Randhir Kapoor), a scientist who has developed a time machine. This provides Bunty with an incentive to time-travel and go back 35 years to add some sparkle and love in Kishen and Maya’s relationship. Bunty thus lands up in 1975 in the then Bombay. It was a time when Kishen was a nerd. When Mala was her neighbor and a reckless tomboy who loved ragging Kishen with her pal Kundanlal (Rannvijay). When Kishen’s dad Rai Bahadur (Om Puri) and Mala’s mom Bholi Devi (Kirron Kher) were sworn enemies. Bunty has a difficult mission-he has to transform his father from a loser to a winner and most importantly, an eligible bachelor and his mother into a feminine, charming lady. Not to forget, he’s in the era where love marriage is looked down upon. He has to convince Kishen’s dad and Mala’s mom for the lovebirds’ marriage. He has to anyhow succeed or else the possibility of his getting born will be bleak!
Action Replayy begins just like any 70s flick-titles in large block colourful font with a loud score in the background. The initial scenes itself show Akshay, Ash, Rannvijay and Neha in old, worn-out look which was very impressive. The entire time machine sequence immediately reminds one of the film Love Story 2050. The film gets better when Bunty goes back in time and lands in the 70s. From here till the intermission, the film is breezy with occasional laughs here and there. However, the film actually becomes damn interesting after Akshay’s makeover and when he starts bossing around. Some of the sequences and gags here were utterly hilarious, especially Akshay saying ‘Awaaz…Niche’! Finally the climax works although it was clichéd.
Now about the minuses! With such a nice concept in hand, director and the writers could have worked wonders. They could have got inspired from retro drama films and come up with an entertaining dramatic cinema. Unfortunately, that doesn’t happen. The musical muqabla between Akshay and Rannvijay could have been so exciting but alas, it was lackluster! Some of the dialogues and one-liners on Saif and Bipasha weren’t funny at all. Also, after Bunty managed to successfully alter his future, didn’t his father Kishen realize that his son looks exactly the same as the one who helped him fall for Mala?! However, the film has its moments because of which Action Replayy works.
It’s the performance that is one of the saving graces of Action Replayy. I have always maintained that Akshay Kumar successfully manages to come up with a performance that is different from the one in his other films, even though he mostly does comic flicks. He confirms the same yet again in Action Replayy. Performing a geek is no easy task but Akshay does it effortlessly. He has 2 more looks in the film-post-makeover and the old man look, and he awesome in each of these get ups!
Aishwarya Rai Bachchan too nicely compliments Akshay. She looks extremely beautiful in the songs (watch out for her in Chhan Ke Mohalla and O Bekhabar) and even otherwise. However, one wonders why she was shown wrinkle-free in the scenes wherein she’s supposed to be in her 60s. Maybe, the makers assumed that the beautiful Ash will be having the wrinkle-free look when she actually turns old!
Aditya Roy Kapur was the surprise of the film. The film revolves around him and his conversations with Akshay are the source of high entertainment. Here’s an actor who should be seen more often! Rannvijay Singh performs his part well. Rajpal Yadav brings the house down. Same goes for Kirron Kher and Om Puri. Neha Dhupia is wasted. Randhir Kapoor is okay as the stereotypical mad scientist. Sudeepa Singh looks very preety.
Pritam’s music is funky and much better than his recent films like Golmaal 3, Aakrosh, Crook, etc. As for the songs, Zor Ka Jhatka undoubtedly is the best song. Other likeable songs are Chhan Ke Mohalla, O Bekhabar and Nakhre. Salim-Sulaiman’s background score was one of the best things about the film. The retro score instantly impresses!
Nitin Desai’s sets are like everytime exemplary. Costumes bear the mark of the colourful 70s, especially the ones worn by Aishwarya. Amitabh Shukla’s editing was good but it seems some significant scenes were chopped off. Sejal Shah’s cinematography was perfect. VFX was flawless particularly in scenes shown as VT Station area.
Screenplay (Suresh Nair, Ritesh Shah, Aatish Kapadia) could have been much better and creative. Dialogues however are very witty. And Vipul Shah’s direction saves the show to a great extent. His last film London Dreams tanked at the box office and Action Replayy too doesn’t seem to hold itself for long at the theatres. It’s imperative that his next film is much better (especially in terms of content) to reconsolidate his position.
Some of the best scenes:
1. Songs Zor Ka Jhatka, O Bekhabar, Chhan Ke Mohalla and Nakhre
2. Elderly Kishen telling vegetable seller about his wife
3. Bunty sees young Kishen for the first time
4. Scenes of Om Puri and Kirron Kher
5. Bunty does a makeover of Kishen
6. Mala falls for Kishen
7. Kundanlal in jail (very funny!)
8. The climax
On the whole, Action Replayy is a nice breezy and most importantly, clean entertainer. It’s certainly not as exciting as it seemed from the promos but nevertheless watching it once will be no harm. At the box office, it might save itself given its reasonable costs although the film may suffer thanks to its okay content and competition in the form of Golmaal 3!
My rating-*** out of 5!
By now we are all well-versed with Rohit Shetty cinema. All his films bear the stamp of total madness, total fun and lots of entertainment. No wonder his films are seen ideal for Diwali release, when the mood is upbeat. Golmaal 3 too arrives today, on a Diwali, with hugest expectations. This is India’s officially first trilogy (if one doesn’t count My Friend Ganesha series) and the need was a product which would meet all the expectations attached to it. Fortunately, Golmaal 3 fulfills all those expectations! The film is entertaining and funny from the word ‘Go’. Unfortunately, there are some glitches but the pros compensate for these minor flaws and overall the film just rocks!
The story of the movie: Gopal (Ajay Devgn) lives with his brother Laxman (Shreyas Talpade), friend Daboo (Kareena Kapoor) and mother Guddi (Ratna Pathak Shah). On the other hand, Pritam (Mithun Chakraborty), a bus driver, stays with his sons-Madhav (Arshad Warsi), Lucky (Tusshar Kapoor) and Laxman (Kunal Khemu). Sons of both Pritam and Guddi can’t stand each other and there’s intense hatred between them. However, what no one knows is Pritam and Guddi were lovers once upon a time who couldn’t marry due to existing circumstances. When they meet after many years, they decide to rekindle their relationship. With Daboo’s persuasion, they get married without Guddi’s sons knowing that Pritam’s sons are the ones they hate and also the other way round. To find out what happens when they find out the bitter truth, watch the film!
It’s evident that Golmaal 3 wasn’t an easy film to make. There were as many as 8 important characters and numerous side characters. Forget the sidekicks, giving adequate screen space to each of the principal characters is a daunting task. However, the writers and makers succeed in doing so. Each character is unique and gets proper time to display their histrionics! Secondly, the director (Rohit Shetty) was helming the part 3 of a successful series. Although Golmaal 1 was successful, Golmaal 2 was thrashed by some for its not-so-interesting humour. Shetty and his team have learnt from their mistakes and appropriate care is taken to come up with a script which inspite of being illogical, is entertaining and tickles the funny bone!
Like all Rohit Shetty films, Golmaal 3 too begins with the title track. There are many scenes that truly stand out. Ajay and team screwing up Arshad team’s business twice and unintentionally destroying their own was too good. The entire flashback of Mithun-Ratna was brilliant and it was told in typical 70s-80s style with retro sets and background score. The best part of the 1st half was when the sons of Mithun and Ratna find the truth and the madness that follows. Just amazing!
Post-interval too the fun doesn’t subside. One of the finest sequences here was both the sibling teams threatening one another without mouthing a single word. It was truly very witty and of course totally hilarious! The emotional drama that erupts was fortunately very well treated. The climax was where the film could have hit a sixer. It was a bit thanda compared to the madness that it succeeded. But nevertheless, it entertains and you come out with a smile!
In Golmaal Returns, it was Shreyas who took away the cake. Here’s its none other than Ajay who’s undoubtedly the best performer of the film! His looks are killer and he carries out the role of hot-headed weirdo with elan. A versatile actor is one who is able to come up with a unique performance in each of the film of the same genre. Ajay succeeds very well in doing that! Hats off!
Kareena Kapoor has never attempted something like this before and she too comes out with flying colours. Even as a tomboy, she looks so hot and this is a considerable feat! Tusshar outperforms everyone in many of the scenes. Also in the only emotional sequence of the film, it’s him who rocks! Great work! Arshad Warsi who was very badly sidelined in Golmaal Returns gets a meaty role in Golmaal 3 and like everytime, gives a fabulous performance. Shreyas Talpade’s stammering act was funny but only at some places. Kunal Khemu brings the house down with his class dialogues!
Mithun Chakraborty gives an honest performance. He’s at his best in flashback scenes and when he makes a signature move in Apna Har Din song! Ratna Pathak Shah too comes up with a fine performance. Johny Lever was just brilliant and will surely be loved for his antics! Watch out for him! Mukesh Tiwari (Vasooli) is funny when he abuses the cop. Murli Sharma (cop) is there in 3 scenes, all of which are very funny. Viju Khote, Ashwini Kalsekar, Vrajesh Hirjee and Sanjay Mishra don’t get much scope.
Pritam’s music isn’t topping-the-charts kind but suits well to the mood of the film. The title song, Ale and Apna Har Din are likeable. Sanjoy Chowdhury’s background score is terrific especially in action scenes and the aforementioned dialogue-less significant sequence! Dudley’s cinematography gave a fresh and festive look to the film. Jai Singh Nijjar’s action was good although Rohit Shetty should curb the scenes of exploding cars!
Story although bit inspired from old films was well-written. Same for screenplay (Yunus Sajawal) although Yunus could have been a bit imaginative in the climax. Dialogues (Farhad-Sajid, Bunty Rathore) were one of the best things about the film! Especially the ones mouthed by Kunal are simply fantastic!
Finally, Rohit Shetty once again comes up with a winner! The director had gone a bit off-track with Sunday and Golmaal Returns but came back on track with All The Best and now Golmaal 3. As mentioned earlier, the expectations associated with this flick were huge but fortunately, he satisfies all of them. He could have still come up with a better product. But still no complaints as the film entertains like hell. Keep churning out such nice entertaining films RS!
Some of the best scenes:
1. First face-off between the two sibling gangs
2. Pappi (Johny Lever) on the jetski
3. Pritam’s flashback
4. Daboo persuades Pritam and Guddi to marry
5. Daboo persuades the siblings for Pritam-Guddi’s marriage
6. Madness just before the intermission (excellent!)
7. Pritam as the ghost
8. Facebook the dog bites Pritam’s bum
9. High-voltage emotional drama between the siblings
10. The climax
On the whole, Golmaal 3 is a great entertainer which has released during the right time of festival and celebration! It is loaded with tons of masti and madness. Just like every other Rohit Shetty film, don’t look for sense and logic and you’ll definitely enjoy the ride! Enjoy!
AND WISHING ALL THE READERS A HAPPY DIWALI AND PROSPEROUS NEW YEAR!
My rating-**** out of 5!
It’s an open secret now that thousands of crores of rupees are stashed in numbered Swiss bank accounts by our politicians. It’s the tax payers’ money but somehow has gone into the neta’s pockets. This issue has been a hot topic since several years with the opposition party during the last year’s general elections promising people to bring back this money. The ruling party, however, denies the existence of such accounts. Knock Out deals with this issue and does almost a great job. Loosely inspired from Phone Booth and ‘A Wednesday!’, Knock Out could had been better but nevertheless creates an impact!
The story of the movie: Tony Khosla aka Bachchu (Irrfan) is a streetsmart investment banker. He is married to a sweet wife (Rukhsar) but still loves to gets into flings every now and then. He has high political connections and carries out many of their corrupt jobs. To be on the safe side, he always finalizes odd deals and jobs from a particular phone booth and not from his cell phone. One day, when he finishes his phone job and is about to leave the booth, the phone rings. Like anyone else, he picks up the phone. The caller on the other end is a mysterious person (Sanjay Dutt) who happens to everything about Bachchu, including his odd jobs. He orders Bachchu not to leave the booth or else he’ll shoot him with a sniper. The astonished Bachchu has no option but to listen to the caller. Unfortunately for Bachchu, a murder takes place at that place and everyone feels that it’s Bachchu who killed that person. Hence, the police and media arrive. They are puzzled as to whom Bachchu is speaking to on the phone and why didn’t he run after murdering. Soon, Bachchu finds himself in the midst of the biggest political heist of independent India. Will he emerge triumphant or will he have to be finished off by the caller or the political bigwigs? And what’s the caller’s real motive? Watch Knock Out and find out!
The negative publicity regarding the film was that it’s a rip off of Phone Booth. The truth is, there are several portions of Knock Out that have been inspired from the Hollywood flick. In fact, this whole idea of a man held hostage in a phone booth by a caller is taken from Phone Booth (although the director denies it). However, the Phone Booth effect stays only till the first hour. The second half is truly original and very unpredictable. You never what’ll happen next. However, at the same time, the film drags at places in this hour too. However, it picks up wonderfully in the climax which was fantastic! The way the flick turns from a thriller to a patriotic one is worth appreciating. The film ends with a nice message, one that actually shakes you!
Making a film where the two protagonists are talking on the phone for a major portion is a tough task. The interest shouldn’t dip even at a single moment and the emphasis should be more on the dialogues and expressions. The film hits the bulls eye in both these departments. The conversation between Irrfan-Sanju is brilliant and nicely written and executed too. Besides the phone sequences, 3 scenes which stand out are Irrfan telling the cop (Sushant Singh) not to disturb him (that was hilarious!), Irrfan dancing on ‘Zara Zara Touch Me’ and Irrfan making the big confession.
Sanjay Dutt has always been a fine actor but many of the films (esp the recent ones) had failed to tap his potential fully. Knock Out, however, gives him a complete chance to display his histrionics and talents and completely succeeds. Same goes for Irrfan…as the helpless hostage, he gives a stupendous performance. The unusual chemistry of Sanju-Irrfan was also truly electrifying although both don’t cross paths at all in the film.
Kangna Ranaut looks ravishing in her new look. Although her accent was flawed for a news reporter, she tries her best and almost seems like a convincing journo. Gulshan Grover is an expert in baddie roles and shines here as well. Sushant Singh was as good as Sanjay and Irrfan. Nice to see him in full form yet again! Apoorva Lakhia surprises in his debut performance. Rukhsar and others were good.
There were a couple of songs in the film but none made it to the final cut, including the title track and Mahie Gill’s item song. However, the background score (Sanjay Wandrekar, Atul Raninga) creates impact in several scenes, esp at the intermission point. N Natarajan Subramaniam’s cinematography was topnotch and editing (by Make Films) was slick and stylish, which was really needed for this film. Allan Amin’s action was brilliant, especially when goons attack Irrfan from the car and later attack Sanjay. As mentioned earlier, dialogues played a big role in the film and Shiraz Ahmed wins here as the dialogue writer.
Finally, Mani Shankar who has given us memorable films like 16 December and Tango Charlie does a fine job in story, screenplay and direction. Story, although not completely original, still is appreciable. Screenplay was excellent at places but wasn’t consistent and fell at some places. If Mani had taken care of it, the film would have been a classic. Same goes for his direction. A good job overall though!
Some of the best scenes:
1. Bapuji (Gulshan Grover) at Euro Swiss Bank HQ
2. Bachchu picks up caller’s phone
3. Bachchu tells the cop not to disturb him
4. Murder takes place
5. Nidhi (Kangna) finds a significant lead in the happenings
6. Police raids Sanjay’s hideout
7. The intermission point
8. Cops seize Bachchu’s car
9. The last 25 minutes
On the whole, Knock Out, though flawed, is engrossing and arrests your attention and doesn’t leave till the end of the film. Contrary to popular belief, the film is very loosely inspired from Phone Booth and the end product is drastically different from the Hollywood flick. Watching this film will be no harm and will surely provide 2 hours of entertainment and drama!
My rating-*** out of 5!
By Taran Adarsh, September 29, 2010 – 14:21 IST
Till a few years ago, if a director approached a producer with a script that had just two characters from Scene A to Z, the producer would scoff at him and show him the door. After all, devoting an entire film on merely two characters is nothing short of a risk. That’s not all, for the two characters aren’t friends, acquaintances or lovers. They are strangers who meet accidentally on a bridge, since both have decided to commit suicide. If that’s how your film begins, it’s akin to taking another [giant] risk by Bollywood standards.
Okay, okay, before I begin dissecting ANJAANA ANJAANI, I need to clear a few misconceptions pertaining to this film. It’s not a copy or adaptation or remake of Patrice Leconte’s 1999 French film LA FILLE SUR LE PONT/GIRL ON THE BRIDGE, which starred Daniel Auteuil and Vanessa Paradis. The Twitterverse is also crammed with tweets speculating that ANJAANA ANJAANI bears a striking resemblance to the Telugu film ITLU SRAVANI SUBRAMANYAM . The only similarity between these three films is that two strangers meet on a bridge to commit suicide, that’s it! ANJAANA ANJAANI is as diverse from these films as mangoes, apples and peaches. Now let’s move ahead…
|BY BOLLYWOOD HUNGAMA.COM
With ANJAANA ANJAANI, director Siddharth Anand accepts a big challenge. This one’s a love story, but it doesn’t follow the beaten path. It doesn’t follow the rules laid out by the romantics in Bollywood. And that’s where its strength lies. Generally, couples in love commit to die for each other, but in this film, romance blossoms much, much after the two meet at the bridge for the first time, when they are about to commit suicide. From strangers to lovers to strangers again is how the film explores the relationship between this couple.
ANJAANA ANJAANI works for two major reasons. The first being the powerhouse performances by its lead pair. Having watched their careers from the very onset, I would like to state that the two actors deliver career-best performances in ANJAANA ANJAANI. The second reason why ANJAANA ANJAANI works is due to the terrific moments in its second hour.
Final word? ANJAANA ANJAANI is worth a watch. If you are a romantic, or even if you are not, ANJAANA ANJAANI is a must-see for its interpretation of modern-day romance. Recommended!
ANJAANA ANJAANI is the story of Kiara [Priyanka Chopra], based in San Francisco, while Akash [Ranbir Kapoor] is a New York City boy. Akash has had a failed business, while Kiara has had a failed relationship. Fed up, they both decide to commit suicide by jumping off a bridge. However, both land up on the same bridge at the same time.
One thing leads to another and Akash and Kiara decide to end their lives on 31st December. With 20 days to go, they decide to fulfill their unfinished wishes and thus begins their journey.
Director Siddharth Anand has a fine sense of story and how to present his characters well. ANJAANA ANJAANI is no different. Of course, you don’t take to the film instantly, primarily because it’s not the usual prem kahani. In fact, there’s hardly any movement in the story in the first hour. It’s a collage of some wonderful, some okay moments, frankly. The sequence at the bridge and the various attempts at committing suicide stay with you and so does the sequence in the sea, when they go sailing and decide to swim. Also, the first hour unwinds at a leisurely pace and that’s bothersome.
However, story writer Mamta Anand and screenplay writers Advaita Kala and Siddharth Anand reserve the best for the post-interval portions, when the story moves from New York to Las Vegas to San Francisco. The road trip and the varied experiences and emotions they share make it a compelling watch. Of course, the story tends to get a bit predictable towards the end, but come on, don’t we like our love stories to have happy endings?
Siddharth Anand has handled the subject with flourish. Besides, the film is not merely rich in substance, but is equally alluring when it comes to style and overall look. The DoP [Ravi K. Chandran] plays a major role here. The film bears a magnificent look all through and the panoramic and exotic locales of America only make every frame stand out. The costumes – Mamta Anand for Ranbir and Manish Malhotra for Priyanka – are trendy.
Vishal-Shekhar’s music has a lot of heart. Again, it won’t be wrong to state that their compositions take the movie forward. The background score [Salim-Sulaiman] is top notch. In fact, the rich score compliments the mood of the characters beautifully. Dialogues are wonderful.
When two of the film industry’s finest actors meet, it puts more pressure on the film. Ranbir is an actor with an infinite range and his dedication to his work is evident in every film. I have often stated that he is the finest actor of his generation and the fact comes alive yet again as you watch him donning a new character in ANJAANA ANJAANI. Priyanka sinks into the role beautifully, so much so that she forgets herself and starts becoming Kiara. When an actor kills his or her eminence and surrenders completely to the role is when the film really takes off. Priyanka has this unique quality. Zayed Khan is likable in a cameo. Tanvi Azmi is wonderful.
On the whole, ANJAANA ANJAANI is an unpretentious romantic saga that revels in the exuberance of newly found love. The film has everything going for it: top notch performances by two super-stars, good music, a sensitive director with a good track record, a simple yet absorbing story and of course, terrific moments [emotional as well as humorous]. Don’t miss this one!
Here’s the REAL reason why the actress is running away from Heroine
Whatever she wants to convey Madhur Bhandarkar, she does it not herself but via the dialogue writer Niranjan Iyengar (of My Name Is Khan, Kurbaan, Wake Up Sid fame). The latest message that Madhur has got from Niranjan is that Kareena wants Madhur to do away with a certain track in his film Heroine (which she is contemplating to star in).
She feels it mirrors her life with her boyfriend Saif Ali Khan; it is primarily the reason why she is still keeping Bhandarkar at bay and not signing on the dotted line.
Explaining what is bothering Kareena, a source close to the film Heroine reveals, “Kareena has conveyed to Madhur via Niranjan that a leading track in the film which finds her in a relationship with a top Bollywood hero who has two kids and is separated from his wife resembles too much what is happening in her life, vis-a-vis her involvement with Saif.”
So what about Kareena’s issues of not wanting to do lovemaking scenes with the five men who come into her life in the film? “That is a small reason and that can be shot aesthetically. Kareena too knows that,” quips the source.
Further news on the film is that Kareena and Madhur are expected to meet in the third week of this month. “But a samjhauta (compromise) is not likely. While Kareena is adamant on her stand, Madhur too won’t budge. Aise chala toh yeh film shaayad banegi hi nahi.” No prizes for guessing that Niranjan will also be a part of that meeting.
While Madhur remained unavailable for comment, Niranjan said, “I am not aware of the story of Heroine. I have been asked to write only the dialogues of the film. Speak to Manoj Tyagi and Anuraadha Tewari who are penning its screenplay.”
Manoj Tyagi said, “The only delay in Heroine is that Madhur has been very busy these days.” When contacted, Anuraadha Tewari said, “We haven’t yet locked the script. Writers don’t get into the casting of a film, that’s strictly between the director and the actor. As far as I know, Kareena is not running away from Heroine.”
When we texted Kareena, her spokesperson shot back, “This news is absolutely false and completely baseless.” Is it baseless because it’s ‘based on’ is a question we can’t help asking…
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!
The actor was rushed to the Intensive Care Unit of a hospital in Andheri last weekend and is likely to be discharged soon
Veteran actor Kader Khan was rushed to the Intensive Care Unit of a hospital in Andheri. Apparently, Khan has not been keeping well for sometime now.
The veteran actor is known for his comic timing and dialogues and has acted in over 200 films. A lesser-known fact is that Khan has written many films as well.
Our source said, “Kaderbhai has not been keeping well for a long time. No one is aware what has happened as the family is not very forthcoming about it.
They prefer to keep such matters within the family. We just hope that he recovers soon.”
When contacted, his son Sarfaraz Khan said, “There is nothing to worry now. Yes he is in the hospital as he was operated for a knee surgery. He will be discharged in a day or two.”
We wish him a speedy recovery.
Brothers Abhinav and Anurag Kashyap nurture independent visions of cinema and different value systems, but their playful banter is rooted in a common goal — making films they believe in
Anurag Kashyap’s lair in Andheri is a smoking office. As he rolls up a cigarette, Abhinav, 35, walks in, apologising for being late. His brother remarks, “Yeh toh star ban gaya hai.” As they take playful jibes at each other in the haze of twin smokes, older brother Anurag, 38, pokes the bear further, “He’s my budhaape ki laathi.”
Both brothers are brash, opinionated and there’s a testosterone-fuelled camaraderie that keeps the momentum going.
Professionally, it’s a different story.
Abhinav is keyed up for the release of Dabangg, a more commercially viable project than all of Anurag’s films put together. As Anurag jokes, “His fees alone will be the entire budget of one of my films.” Dabangg is a Salman -powered vehicle, as opposed to the niche urban audience that Anurag’s films appeal to. Abhinav has assisted Mani Ratnam and written for Sanjay Gupta, while Anurag trained with Ram Gopal Varma.
“For me, the biggest hurdle was being his brother,” Abhinav admits. “Everyone expected a Black Friday or Gulaal from me.” There’s also the prickly rumour that there was no love lost between them for the longest time, which they laugh off saying that they haven’t fought since seven-year-old Anurag ran after his brother with a knife. If there was ever any truth in the conjecture, they do a really good job of not showing it.
What not to do
Anurag says that Abhinav’s had amazing clarity from the beginning, “In fact, I was confused about what I want to do. When I asked Abhinav to work on my film, he said that he doesn’t want to make the kind of films that I do. He knows the zone he wants to be in and wanted to work with Mani Ratnam. Dabangg for me is a high class campy film,” he says. They collaborated once on dialogues for a TV show, but they don’t think it’s important to work together. “We didn’t want to be Abbas-Mustan,” Anurag adds cheekily.
The boys, of course, imbibed a lot from the mentors, but the what-not-to-do list stacked up as well. Abhinav talks about his stint as an assistant on Yuva, “I joined Mani in the middle of my career when I was directing films for TV. I wanted to understand why big things happen for him and not for me. I learnt that when you make a big film with big stars, it’s important that you don’t alienate your junior crew. I’ve hand-picked most of them; I sit and eat and party with them. I have a lot of hands looking out for me.”
Anurag doesn’t have the problem of managing a 350-odd crew and his take-away from Ramu was that he needed to keep his critics close. He says, “Ramu has only yes-men around him. People who criticise me, I hang out more with them.”
Ramu also barely paid Anurag for Satya, so the brothers snapped up the money dangled by Sanjay Gupta for a “terrible” film, Jung. Abhinav says, “Very little of what I wrote showed up on screen. Anurag disappeared beyond the second meeting. Funnily, that film pushed me towards direction. It was such crap when I saw it on screen, I was totally disheartened. I thought that from now on, I should direct my own stuff.”
|A still from Dabangg|
Directing your own stuff comes with its set of challenges. Dabangg’s script went through 13 drafts as producer Arbaaz, Salman and even their dad Salim Khan had their own ideas. Even though the promotional campaign has a Wanted-wannabe aura around it, Anurag says it is a drama with some great, punchy dialogues. And that it reminds him of the kind of films made in the ‘70s with substance and a valid story line like Deewar and Trishul, which we don’t see anymore. But he also says, “I had doubts whether Abhinav could pull off Dabangg. I don’t think I could’ve done it with conviction.”
While the brothers are protective about their scripts, both improvise constantly. Anurag jokes, “RGV has never made a film he has written. The written word is not the law.” ‘
But what Abhinav wrote was inspiring enough for Salman to put on a moustache. After Wanted, the expectations are high, but that doesn’t perturb the debutant director. Abhinav says, “I wanted to take these challenges on, that’s why I’m here. With Salman, you’re expecting a Wanted. I could say it was a trash film, but it worked and people liked it. I want to include the good about Wanted. I’m greedy and want to package everything in one film. If I stop thinking big, I’ll never get there.”
|A still from Dev D|
My brother, the critic
Thinking big is good, but the brothers are quick to cut each other down to size. Anurag says that Abhinav is a trusted critic. He rubbished the rough cut of That Girl in Yellow Boots, which angered Anurag but now it’s a different film altogether. Anurag says, “Of all my films, he only liked Black Friday. He partly enjoyed Dev D…”
Abhinav continues, “Even my parents were very upset after watching DevD. They didn’t talk to him for three days and then said, ‘Humein toh nahin acchi lagi, par chal rahi hai to accha hai.’ I didn’t enjoy Gulaal either. I liked 80 per cent of it and then I thought all the good things of the film died. I felt a sense of hopelessness. One person I’m really critical of is him. I expect him to do better all the time.”
While he may be vocal about his criticism, he is supportive of Anurag’s brand of cinema. Abhinav adds, “There is a saying that goes: we can’t all be heroes. I’m happy to sit on the curb and watch him breaking boundaries for a lot of filmmakers like me.”
Perhaps it’s the different cinematic sensibilities at work here. Anurag was first inspired by Vittorio De Sica’s Bicycle Thieves and continues to watch world cinema. For Abhinav, it’s not about good or bad films. He says, “I either like a film or don’t. I’ve enjoyed some films which people said were atrocious.”
Like? “Like Chandni Chowk to China.”
Anurag’s allergy to commercial cinema and stars has clearly not spilled over to his brother’s vision. Abhinav says, “I have to create my own niche. I can’t be known as so-and-so’s brother. The credit for this sensibility goes to our family. We were brought up to be independent. We’ve never taken money from our parents.”
Anurag adds, “We’re from Benaras, we’re people from the heartland. There is a saying that if the son is laayak, he will earn his own money. You don’t need to save up for him. If he’s nalayak, udaa dega and you don’t need to save up either. My dad never saved. He said you made a decision, go and do it.”
His brother adds an interesting observation: that all the property and money in the family is in the women’s name. The men are on their own.
Anurag says he can afford to be cavalier about money because he has enough to keep him happy. He travels the world and has the largest library of graphic novels, comics and films in the country. “I have money to produce my films. I haven’t bought houses. If I have to pay installments to the bank, I won’t feel free. When we need money, we just ask each other. Abhinav is smarter than me, though. He came to Mumbai with Rs 25,000, unlike the Rs 5,000 that I showed up with! He’s learnt from my mistakes.”
Abhinav makes no bones about wanting more. “The irony is that people who have money get more money and more power. I can take the money and deliver. He has struggled enough for all of us,” he says. “We can survive anywhere. We can live anywhere, live off anything and we can fight with the world. Call us predators, scavengers, call us anything. I want to see some good times.”
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!
Overjoyed with the narration of the script of Double Dhamaal, Indra Kumar doubles the writers’ fee
MUMBAI MIRROR; August 16, 2010
Script writers in Bollywood are known to be the worst paid; barring the big-budgeted Blue of course (the film had no script). But Indra Kumar has decided to make amends. For Double Dhamaal, a sequel to his earlier film Dhamaal, the director has decided to pay his writers double the remuneration that was offered to them earlier.
The reason: apparently, Indra was beside himself with joy after hearing the script of the film.
Our source said, “Last week, Indra Kumar had the narration for the final draft of Double Dhamaal. The film stars Sanjay Dutt, Arshad Warsi, Ritesh Deshmukh amongst others. The writers of the film Tushar Hiranandani (story-screenplay) and Sajid-Farhad (dialogues) were present there. So happy was Indra Kumar after the narration that he promised them double the amount of their fee.”
When contacted, Indra Kumar said, “Yes it is true. I loved the work of Tushar and Sajid-Farhan a lot. It was something that I promised instinctively and I think they deserve it.”
Writer Tushar Hiranandani said, “Yes Indraji liked our script so much that he doubled our fee.” Recession’s history for sure.