Posts tagged expose
By Taran Adarsh, July 23, 2010 – 12:02 IST
When Priyadarshan and Akshay Kumar join hands, you expect the cineplex to reverberate with laughter. Let’s not forget, the team has regaled us with some terrific entertainers in the past. Naturally then, you expect KHATTA MEETHA to take the legacy forward.
Unfortunately, KHATTA MEETHA is noise [the actors scream a lot in this movie], more noise [the great promotion] and only noise, while the content takes a complete backseat. Although KHATTA MEETHA shouldn’t be compared to this combo’s earlier works, since this one’s a satire, I have to add that this is their weakest film to date.
|BY BOLLYWOOD HUNGAMA.COM
The first question I asked myself once the movie got over was, what’s the story? Okay, okay, neither did Priyadarshan’s last few films had a story to tell, but when you attempt a satire, when one talks of the hardships faced by the common man, when one talks of corruption in society, there HAS to be a story in place. That goes without saying!
KHATTA MEETHA raises a finger at the corruption in government establishments, but what it tries to say, or expose, has been witnessed over and over again. In fact, it’s the writing — sorry, the absence of it — that makes matters worse. The beginning is good, the middle falters and the end is exasperating.
Final word? This one’s far from being meetha. It’s a khatta experience!
Struggling road construction contractor Sachin Tichkule [Akshay Kumar] is doomed. There is no chance that his dreams will ever come true, simply because he has no money to bribe. To make matters worse, the new Municipal Commissioner turns out to be his ex girl friend [Trisha], who now hates him.
The film reveals the extent of corruption and bribery rampant in the system and the ingenious means you have to adopt if you want to survive in today’s times.
KHATTA MEETHA attempts to say a lot many things in those 2.40 hours. Oh yes, its running time is a problem, more so because the narrative lacks the power to keep you hooked to the proceedings. Okay, coming back to what I wanted to say, KHATTA MEETHA is more of a collage of isolated incidents encompassed in those 2.40 hours. The collapse of the bridge, the consequent murder of Tinnu Anand, the constant bickering in the house, the tu-tu-main-main between Akshay and Trisha, the sister’s track, the corrupt netas and government babus, the payment issue of workers… several sequences are a repeat of what’s you watched barely minutes ago or an hour ago.
While the romantic track is the weakest link [half-baked; the songs are forced down your throats, without valid situations whatsoever], the flashback portions, depicting Akshay Kumar as a college student [!!!], is just hard to digest. Even the end is worn out and doesn’t give the feel of contentment that one expects at the conclusion of a film.
Priyadarshan’s handling of the comic sequences is noteworthy, especially in the first half of the film. The repair-and-paint sequence at Asrani’s mansion is sure to bring the house down. Ditto for the conversation that Asrani has with multiple people, in person and also on phone. Also, the road roller sequence is a laugh-riot and prior to that Johny Lever’s sequence of repairing the road roller is truly funny. But a few isolated sequences aren’t enough. The veteran storyteller ought to know the importance of a watertight screenplay by now.
Cinematographer V. Manikandan’s lens captures the exteriors with flourish. Pritam’s music is easy on the ears and at least two songs are extremely popular as well, but the placement of songs in the narrative acts as a roadblock. Dialogues are funny at times, especially the one-liners.
Akshay Kumar plays the common man with gusto. He looks his part and more importantly, not once do you feel that he’s repeating himself. However, he goes over the top in a few sequences. Trisha carries the Plain Jane look well, but fails as an actress. The fiery attitude, so vital when you’re enacting the role of the Municipal Commissioner, is missing. Rajpal Yadav is in terrific form yet again. What a splendid actor!
Urvashi Sharma is awkward. Makrand Deshpande is wasted. Tinnu Anand is hardly there. Even Aroona Irani is sidelined. Kulbhushan Kharbanda is first-rate. Asrani is excellent. Manoj Joshi screams so much. Ditto for Neeraj Vora. Milind Gunaji is okay. The actor playing the role of Urvashi’s husband does a good job.
On the whole, KHATTA MEETHA is a major letdown from the accomplished director. It’s not a full-blown comedy. It’s not a full-scale satire either. Hugely disappointing!
The present-day electronic media has turned into a business venture and is dishing out the most pathetic stuff to its viewers. Which news should be aired, how it should be presented-everything is done keeping in mind the TRPs. These channels are ready to do anything for popularity and for grabbing eyeballs-they’ll even sensationalize or in some cases, ‘create’ news. Rann tells a story which does a wonderful expose on such news channels where anything can be done to get that ‘breaking news’ and where ethics and morals are thrown out of the window.
The story of the movie: Vijay Harshvardhan Malik (Amitabh Bachchan) runs a reputed news channel, India 24×7. He was proud that his channel never succumbed to the trappings of sensationalism and always followed journalistic ethics. But it was due to this reason that India 24×7 is bankrupt and is battling for survival. On the other hand, their rival news channel, Headlines 24 run by Amrish Kakkad (Mohnish Behl) is very high on popularity. Vijay’s son Jay (Sudeep) felt that his father should think more about profits than morals. Opposition leader Mohan Pandey (Paresh Rawal) desires to grab the Prime Minister’s post and decides to use the channel for his own advantage. He and Vijay’s son in law Navin (Rajat Kapoor) persuade Jay to help them. Realizing that helping Pandey would benefit India 24×7, Jay agrees. Vijay unknowingly also gives a nod. Purab (Ritesh Deshmukh), a big fan of Vijay and who has just joined Indian 24×7 realizes that what is happening is wrong. He takes the matter in his own hands and decides to bring a change.
Rann is easy to understand. The topic of the film is something which we all have a fair idea of and also Ram Gopal Verma nicely and simply treats it. Hence, Rann will be liked and enjoyed by all section of audiences.
The first 30-35 minutes focuses on establishing characters. Nothing special happens here. But the birthday party sequence and the following meeting between Jay and Pandey set the mood. The sting operation aired on India 24×7 (just before intermission) takes the film to an all-time high.
The 2nd half has its share of flaws. Ritesh’s investigation part begins wonderfully but tends to get stretched after a point. Also, after coming out of the theatre, you do feel that the film could have delivered an even powerful punch than it did. But notwithstanding these glitches, the 2nd half has its moments. Ritesh interviewing Paresh Rawal or his meeting with Mohnish Behl were the powerful scenes. Of course, the climax (Amitabh’s speech) takes the cake. The culmination looked real and convincing and the film gives a very nice lesson, especially to these news channels!
Also what makes Rann special are its characters. Each one of them are wonderfully sketched and written (except Neetu Chandra’s) and nicely woven in the plot. In fact, majority of the actors in the film deliver award-winning performances! Amitabh Bachchan shines once again. Although he is missing in the film in most portions of 2nd half, he compensates in the climax which was completely on his shoulders. Ritesh Deshmukh amazes with his great job. He didn’t have much to do in the first hour but has an important contribution in the 2nd half. Undoubtedly, this was one of his best performances of his career! Watch out for him in Sajid Khan’s Housefull! Sudeep is the surprise package of the film. The first half is entirely on his shoulders and he makes the biggest impact of all the actors. He’s an actor who deserves to get more films!
Paresh Rawal rocks and it was great to see him essaying the role of a baddie after a long time. Watch out for his appearance in the film! Mohnish Behl also delivers a power packed performance. In fact, it was great to see this talented actor in a substantial role after years! Suchitra Krishnamoorthy looked charming and gives flawless performance. Gul Panag played her part perfectly. Rajpal Yadav accurately essayed his role and provided some comic relief in the film too. Neetu Chandra was great but in most parts of the film, she was only trying to ‘cool down’ Sudeep’s high temper! Rajat Kapoor is dependable. Neena Kulkarni, Simone Singh and K K Raina were good.
Music and lyrcis are novel and the sarcastic songs gel very well with the mood of the film. Rann Hai definitely creates an impact. Background score bears the trademark RGV stamp. Amit Roy’s cinematography is too shaky but nevertheless, doesn’t irritate and turns the scene even more interesting.
Rohit Banawlikar’s story is original, very true and well-researched. Screenplay is strong and very engrossing. Finally, Ram Gopal Verma comes up with a great film which is shocking, unpredictable at most places and manage to impress. There are some flaws but still, he should be lauded for making an attempt to expose the media-politcs nexus and treating it nicely. Also, just like Rocket Singh, Rann also gives an important teaching-lets work ethically!
Some of the best scenes of the film:
1. Vijay Malik speaking about the Muzaffarnagar blasts
2. Rajpal Yadav’s entry
3. Vijay Malik’s birthday party
4. Jay’s breaks down in Neetu Chandra’s house
5. Jay meets Mohan Pandey
6. Jay persuades Vijay Malik to air the sting operation
7. The intermission point
8. Purab’s investigation begins
9. Purab meets Amrish at latter’s office
10. Purab reveals the truth to Vijay Malik
11. The climax
On the whole, Rann is a smashing film which does a great expose of the electronic media. It has a nice plot and performances are simply outstanding! Unfortunately, the film hasn’t got a great opening. But watching it would be no harm for sure!
My rating-*** ½ out of 5!
By Taran Adarsh, January 27, 2010 – 12:34 IST
Ramgopal Varma is itching to tell a new story in his movies. You may garland him for his efforts or loathe him if you feel letdown, but you need to hand it to him for picking up stories that defy stereotype.
This time, in RANN, the maverick film-maker does an expose on the games the heavyweights in the media play to further their interests. RGV goes into the newsrooms and also behind it and throws light on the politician-industrialist-media nexus. Also, it’s an insider’s account of how news channels that are greedy for ratings sensationalize stories to grab eyeballs.
|BY BOLLYWOOD HUNGAMA.COM
On surface, you don’t want to know what goes behind the scenes and how, at times, news are ‘created’ by vested interests. But RANN scratches the surface and opens a can of worms. RANN also mirrors the fact that just like there are good and bad people in every field, there’re some rotten ones in the media too who succumb to temptations and create news to climb the ladder of success.
RANN is a serious film and RGV knows what he’s talking this time. It wouldn’t be erroneous to state that you recall RGV’s SARKAR while watching RANN, even though the two films are as diverse as chalk and cheese. You recall SARKAR because RANN is an equally powerful film that shows a world we’ve only seen from the exterior.
RANN is for those who enjoy serious cinema. It’s more for the intelligentsia, for the thinking viewer. Definitely not for those who seek refuge in frivolous masala capers.
Vijay Harshvardhan Malik [Amitabh Bachchan] is the founder of a private news channel, India 24/7. A hardcore upholder of journalistic ethics, his channel is battling for survival. Jay [Sudeep], his son, looks at his father’s news channel purely as a business enterprise that must make profits to justify its existence. He hates that his competition [Mohnish Bahl] is doing better than him.
The story takes a turn when a corrupt politician, Mohan Pandey [Paresh Rawal], decides to use the channel to his advantage by using Vijay’s son-in-law Navin [Rajat Kapoor]. Pandey aspires to be the Prime Minister and indulges in a vicious campaign against his political opponent.
Navin is the most insecure man on earth and won’t rest till he becomes the number one industrialist in the country. He, in turn, involves his brother-in-law Jay in Pandey’s game plan.
A film like RANN would fall into the pit if [i] its writing wouldn’t be razor-sharp and [ii] the choice of actors would be incompetent. RGV’s movies, generally, are embellished with competent actors who deliver super performances. In this film, every member of the cast shines in his/her role, the length of the role notwithstanding.
The writing is watertight and convincing. Besides, the subject matter has been presented in the most simplistic manner, which makes it easy to decipher. However, the episode showing Riteish’s investigation tends to get confusing at one point, but the climax compensates for the minor hiccups here and there.
Amit Roy’s cinematography is eye-catching. Dialogues are power-packed. In fact, one can identify with the well-penned dialogues. The background score plays a crucial role. It heightens the impact of various scenes.
Amitabh Bachchan is spectacular yet again, especially towards the finale. His speech and the way he delivers it are remarkable. Sudeep is terrific. To stand up to giants like Bachchan and Paresh Rawal is no mean achievement. Riteish is only getting better and better with every film. In fact, he surprises you constantly.
Paresh Rawal, seen in an RGV film after a long, long time, is at his vicious best. Rajat Kapoor is incredible. Mohnish Bahl gets the role of a lifetime and he sinks his teeth into it. This film should open new vistas for him. Gul Panag is natural and so easy on the eyes. Neetu Chandra does her part well. Suchitra Krishnamoorthy is too good. Rajpal Yadav contributes to some funny moments. Neena Kulkarni and Simone Singh are perfect for their parts.
On the whole, RANN is truly a well-made film. No two opinions on that. The film should be patronised by viewers of serious, sensible cinema. Recommended!
Himanshi Dhawan | TNN (THE TIMES OF INDIA; January 24, 2010)
New Delhi: When literary and media critic Sudhish Pachauri ended his remarks about the National Film Awards 2008 with an understated advisory asking participants not to make calls to jury members, he left many red faces in the room.
Attempts to influence members of the jury, cloistered in an undisclosed location most of the time as they view the shortlisted works, have for long been known to be part of the game, but it was left to Pachauri—jury member for adjudging best writing in cinema—to say it in public for the first time.
Talking about the entries for the 56th National Film Awards, Sudhish Pachauri digressed, saying: “Participants should refrain from calling jury members.’’ When asked to specify if he or his colleagues had been contacted in a bid to influence their decision, Pachauri said: “I am saying this because we have been contacted. However, the jury members remained independent in their views and chose the winners objectively.’’ He added that participants whose names were shortlisted had attempted to get in touch with the jury and not any member of the I&B ministry.
Reacting to the statement, I&B minister Ambika Soni said: “I have already asked him to clarify that no person from my ministry contacted the jury. For the participants, I think the statement by Pachauriji is embarrassment enough.’’
The National Film Awards itself is no stranger to controversy. For NFA 2007, the names were leaked by a jury member a week before the actual announcement was scheduled to take place. The jury member broke protocol and put up the names on his website, setting off a furore among officials of the Directorate of Film Festivals and the I&B ministry. The awards for the previous years have been delayed after the I&B ministry introduced a new clause mandating that a censor certificate was required for the films participating in the non-feature film category. TNN
By Subhash K. Jha, January 8, 2010 – 12:02 IST
Vidya Balan who never touches alcohol shot for special risqué number entitled ‘Ibn Batuta‘ in Ishqiya with her co-stars Naseeruddin Shah and Arshad Warsi. Says Vidya, “We shot the song last month after the entire shooting was completed. I don’t drink and I had to act sozzled along with Naseer saab and Arshad.”
The track will be used in the opening and credit titles of Ishqiya.
Says Vidya, “Arshad is a fab dancer. And Naseer saab was having a ball dancing to the song Vishal Bhardwaj had composed. I think the last time he danced was for ‘Oye Oye‘ in Tridev. But you can’t tell. He’s so good. Both the guys were having so much fun, and I had to join in pretending to be totally drunk.”
The song came out so well that the director Abhishek Chaubhey was thinking of using it in the narrative. But since it didn’t fit in, ‘Ibn Batuta‘ will now just be part of the credit titles.
That isn’t the only daredevil thing Vidya has done in Ishqiya. This has to qualify as one of the most sensuous things a mainstream Hindi-film heroine is seen doing in any movie.
In what Vidya Balan describes as the most blatant come-hither gesture she has ever seen any actress in Hindi cinema make, in Ishqiya she was required to take Arshad Warsi’s thumb in her mouth and suck on it suggestively.
Each time she did so in the rehearsals, Vidya would burst into uncontrollable giggles. And Arshad would join in. Recalls Vidya, “Fortunately, Arshad is a friend. We’ve gotten along well from the time we did Lage Raho Munnabhai together. I don’t know if I’d have been able to do a scene like putting my co-star’s finger in the mouth if it was some other actor. That gesture of sucking Arshad’s thumb was so raunchy and sexy, and that’s so not me, I couldn’t connect with it all.”
That sense of non-connectivity, says Vidya, runs through her character in Ishqiya. “I play this rustic voluptuous woman. All my weight-loss happened after I did this film. I had to look filled up for this part. In Ishqiya, everything from the way I wore my saree to the way I looked at men, was alien to me. The role exposed me to a new way of interpreting a liberated woman. My character in Ishqiya may not know about feminism. But she’s truly liberated.”
Vidya is now looking forward to the release of Ishqiya in January. “The director Abhishek Chaubhey had to constantly keep giving me a pep talk. Quite often I was stuck because of the language and content.”
By Subhash K. Jha, January 7, 2010 – 11:33 IST
Keep guessing. In a rather shady underproduction film called Dunno Y…Na Jaane Kyun, Aryan Vaid plays a happily- married Bollywood superstar who likes to sleep with male aspirants.
It’s not that Aryan, now happily married to an American photo-journalist (blessedly female) is shy of naming the iconic superstar on whom his character is based.
Aryan happily names the inspiration for his gay character. “He’s happily married. But it’s quite often whispered that he swings both ways. My character is a closet-bisexual. But the cover is blown when the camera catches me in a bathtub with a star aspirant.”
Aryan’s introductory sequence has him nude in a bathtub with a wannabe star played by Kapil Sharma. “I’m supposed to be nude. But I wore my shorts. The aspirant wonders what the super-star’s wife would think if she saw us together like this? The superstar replies, “Oh she knows I do this. She does her own thing. I do my own.”
Ironically, the young actor who plays the aspirant in the tub is the director’s brother. Aryan says Kapil Sharma had no inhibitions about getting into the bathtub and making love with the senior actor although Kapil’s brother was directing it.
“Kapil was quite cool. So was Sanjay, the director, although they’re brothers.”
The sequence required the heterosexual Vaid to make out with Kapil. “On that very day my American wife Alexandra decided to drop in on the sets. When she saw me almost nude in the bath tub with another nude guy, she first freaked out and then burst out laughing. I shudder to think what impression she formed of our cinema.”
Dunno Y…Na Jaane Kyun purports to be an expose on the film industry.
Bollywood seems to be shedding its skin. But the question is what is an actress of Zeenat Aman’s calibre doing in a film like this?
It was an innocuous enough scene – meant as a promotional video – but the twist was more than what Lekha Washington could handle. The actor, who stars opposite Rajeev Khandelwal in Peter Gaya Kaam Se, was all set to do the scene for which she was to ride a bike with him. But when John Owen, who is making his directorial debut with the film, told Lekha that she was required to remove her top and clasp Rajeev face on with her bare back exposed to the camera, she balked.
And when she was told the scene would be shot on the streets of Mumbai, she just put her foot down. “She went back home saying that she would definitely not do such a shoot,” says a source who was present on the sets.
The shooting venue was changed thrice, but Lekha still refused to budge. Then the filmmakers discussed shooting the scene in Goa and Lekha reluctantly agreed to go ahead with it. Before the shot was ready to roll, she demanded that a few towels be tucked between her and Rajeev – for obvious reasons. But before a unit hand could rush them to her, Lekha had changed her mind again and refused to shoot.
|Lekha Washington with Rajeev Khandelwal|
Desperate to get the shot done and over with, it was the filmmakers who bowed to Lekha’s conditions – that she would wear a bikini top and hold Rajeev from behind, very lightly.
After the shot was canned, Lekha still seemed unhappy and the unit members were overheard explaining to her that the shot was integral to the film. “The film is a romantic thriller. You and Rajeev have done an intimate scene in the film, then why make such a fuss about clasping him bareback?”
For his part, Rajeev said, “It was a very bold shot. Lekha felt uncomfortable. But somehow we pulled it off.”
Lekha was more forthcoming, making it clear she was pushed beyond her comfort level to do this particular promotional exercise. “It was not about being bareback. It was more about the explicit way in which I had to clasp Rajeev,” she says, then adding with a laugh, “But I didn’t ask for towels. I was clear that I wouldn’t do that shot in the manner they had planned it. Later I did it with a bikini top. I saw no reason to do it bare back. Peter Gaya Kaam Se is pretty much for universal viewing.”
Rohan Sippy’s film requires three leading men. While two of them, Abhishek Bachchan and Pratik Babbar, have been finalised there is another crucial third character, whose role is parallel to that of Abhishek.
Apparently, Abhishek and Farhan Akhtar were the first choices for the two parts and since director Rohan Sippy, Abhishek and Farhan are childhood friends, no one saw any problems in the casting.
|Farhan Akhtar||Abhishek Bachchan|
Rohan’s film is being produced by his father Ramesh Sippy, a close family friend of Farhan’s father Javed Akhtar.
Although both Rohan Sippy and Farhan Akhtar remained unavailable for comment, a source close to the project said, “Farhan was indeed the first choice to play Abhishek’s co-star. The on-screen partnering was patterned on those Amitabh Bachchan and Shashi Kapoor films that Farhan’s father once wrote. Farhan declined the offer, much to the dismay of Rohan’s team, which hadn’t thought of anyone else.”
Since the role is as important as Abhishek’s, Rohan and Abhishek have now zeroed in on John Abraham for the same role.
“The problem with Abhishek-John is that audiences will immediately think of Dhoom where again, Abhishek played an undercover cop, as he does in Rohan’s film. Rohan’s film is not a light bantering caper like Dhoom. It’s dark and does an expose on the drug racket in Goa which ends with one of the principal politician characters being exposed as the kingpin,” said the source.
Post-Lagaan, there has been multitude of films on cricket out of which only two succeeded-Jannat and Iqbal. The rest of the badly executed cricket films failed. ‘Dil Bole Hadippa!’ falls in between the two categories. The film in interesting and has its share of wonderful moments. But the film lacked depth and the director and screenwriter could have worked wonders with the kind of script they had in their hand. Thus, ‘Dil Bole Hadippa!’ is just a one-time watch.
The story of the movie: Veera (Rani Mukherjee) is a charming and bubbly girl who lives in a small town in Punjab. She is a great cricketer and is passionate about the sport. Every year, Aman Cup is held between India and Pakistan during the independence day of these countries and Indian team had lost the match 8 times in a row. Frustrated, the owner of the Indian team, Vikram Kapoor (Anupam Kher) calls his son Rohan (Shahid Kapoor), an accomplished county player to be the captain of his team. Rohan gets rid of the existing team which he felt wasn’t upto the mark and holds a selection. Veera wishes to be a part of the team but knowing that women won’t be allowed in the team, she disguises herself as a Sikh guy and goes for the selection. She tells her name as Veer Pratap Singh and gets selected in the team. To find out what happens next, watch the film.
The beginning of ‘Dil Bole Hadippa!’ is fabulous and sets the mood of the film. However, the film gets into the flawed mode with the entry of Anupam Kher and Dalip Tahil. Both of them are shown as childhood buddies who got separated after the Partition. But both of them looked too young to be born 10 years before the Partition!
Notwithstanding such goofs, the film maintains its pace and doesn’t get slow or dragging or melodramatic at a single point. There is lots of things happening throughout the film and although the film gets predictable, it stills manages to engross. If the screenwriters and the directors were more careful, the film could have been flawless product. The biggest glitch of the film is Veera turns into Veer and succeeds in looking like a guy but doesn’t alter her feminine voice, thus giving a clear giveaway that Veer is a girl in disguise. Still, no one gets a slightest hint about it and this is slightly hard to digest. This may result in a comparison with Shahrukh Khan’s double act in Rab Ne Bana Di Jodi. However, in RNBDJ, SRK had not guised himself as a member of the opposite sex and had wonderfully changed the tone of his voice, appearance, mannerisms etc in such a way that when Anushka Sharma failed to recognize him, it looked believable to a great extent.
Coming back to ‘Dil Bole Hadippa!’, the romantic track between Shahid and Rani was refreshing. The final cricket match was nail-biting although we all knew what will be its outcome. Rani’s dialogue in the climax was well executed and the film ends with a good message.
‘Dil Bole Hadippa!’ belongs completely to Rani Mukherjee. The film rests on her shoulders and she does a stupendous job. Even as Veer, she was mind-blowing, notwithstanding her voice. It was funny to see Shahid making Veer do the exercises. Watch out for the scene where Veer is daydreaming on the cricket ground! In short, it was just incredible on the part of Rani. Let’s hope she gets more meaningful roles. She deserves to stay in Bollywood.
Shahid Kapoor, as usual, was perfect as the tough captain. And he has an important role to play in the film and doesn’t have lesser screen presence, as mentioned in many reviews. He shines in the scene where he tells Veer about his feelings for Veera. In fact, both Shahid and Rani were at their best in this particular scene.
Anupam Kher and Dalip Tahil were consistent. Sherlyn Chopra is a good actor and will be taken seriously, provided she stops exposing. Rakhi Sawant, Poonam Dhillon, Vrajesh Hirjee and Vallabh Vyas didn’t have much to do in the film. Shonali Nagrani looked charming.
Pritam’s music wasn’t in complete form but nevertheless, gives couple of good songs. Hadippa, its remix version and Ishq Hi Hai Rab were the best songs. Julius Packiam’s background score was fantastic! Several scenes turned exciting, thanks to the energetic background score. Same goes for the brilliant cinematography by acclaimed cinematographer Sudeep Chatterjee.
Jaya-Aparajita wrote the story, screenplay and dialogues. The screenplay was perfect in some scenes but could have been better. Dialogues were excellent.
Anurag Singh, the director of the film, overall did a good job but he failed to treat some scenes exceptionally which was really needed. Overall, it was a great directorial debut. There’s another director by the same name who had made Raqeeb, starring Rahul Khanna, Tanushree Dutta, Sharman Joshi and Jimmy Shergill. Coincidentally, it also starred Sherlyn Chopra!
Some of the best scenes of the film:
1. The first scene
2. The Aman Cup held in India
3. Rohan and Veera’s first meeting
4. Veera denied entry for the selection
5. Veer and Rohan meeting for the ‘first time’
6. The intermission point
7. Rohan asking Veer about Veera
8. Rohan and Veera’s date
9. The final 30 minutes
On the whole, ‘Dil Bole Hadippa!’ is a good film with a message. The film could have been outstanding if the writers had taken care of the flaws. Rani performs wonderfully and it’s a must watch for all her fans!
My rating-*** out of 5!
This review first appeared on MouthShut.com: http://www.mouthshut.com/review/Dil_Bole_Hadippa-176045-1.html