Reviews - opinions and discussions

The Big Bluff called “reality TV”

2011-10-20T02:52:00.000-07:00

Highly inspired by Big Boss and helplessly irritated with the whole idea of reality, here is the layman guide to reality TV. Here’s presenting my version of “7 reality checks for Fake TV”.. Ooops, I mean Fake checks for reality TV.

1. The “sob” : Be it Kapil Dev or the aam aadmi, there something very magnetic about watching someone cry on TV. And what the viewers like, the channel lovvvvves… They are not as much concerned with the genre of their show, but want to ensure that there is enough “Masala” to survive in the Primetime battle. So be it singing, dance or anything else, it is oh-so-important to have at least one element of “human interest story” in that one hour. Wonder how many contestants who have participated feel that their emotions have been exploited for TRPs?
2. The “love story” of the show: ..Like any Indian Primetime show, even if it is a cooking show, can be complete with mushiness and lovvvvvve…. Out of nowhere, and obviously scripted infatuations spring into the reality TV shows.. Be it Judges or hosts no one can escape the “fan who is dying” to meet them. Funniest is the sight of watching the wannabe permanently semi clad femme fatales of Splitsvilla faking it towards the end of the season.. Remember the Saakshi-Siddhart Fake-a-thon on Splitsvllla.. ROFL
3. The “Vides ka maal”: “Mujhe Indi Nayi Awti..”, says an embarrassed ABCD contestant in his not so real American accent, to loud awes and guffaws among hosts, co-contestants and even a fake laughtrack sometimes. Our channels deserve the award for diversity as they ensure that with all the billions of unemployed youth, it is still difficult to find the top 10 dancers, singers, whatevers in our own land! Off they go hunting for “Talent” amongIndians whose ancestor chose to leave this mitti where suddenly the second or third or nth generation are evidently dying to participate – the umbilical cord ? Or the longing for 60 seconds to fame? And tell me if I am wrong, these are often the contestants who don’t even TRY to win, because really, what is a few lakh Rupees INR really in USD or GBP.. after tax, of course.. Sigh..
4. The surprise “Wild card”: Not so surprising comebacks are made typically by the alleged favorites of the judges. From Rakhi Sawant to Dolly Bindra – it is clear that the channel wants the TRP material contestants back on the show. The joke is when the Wild Card rounds in talent shows have marked difference in the performance levels of the first and the rest of the contestants. Can you blame them.. the channel has paid for the full hour, you see!
5. I Fake-Quit : “Mai ye show chhodke Ja raha/rahi hu” cut to vignette… shocked contestant, shocked co-judge – super slow-mo of the quitting judge rising from the seat… the host looks a the cameraman and “acts” like the means to say cut… BREAK… welcome back after the break, and there has been a miraculous recovery!.. WHATT!!! It is as if the urge to quit the show, was a knee jerk reaction to wanting to pee for a long time and the co-judges yapping on and on without letting the shot cut! Or a false labour pain..
6. The Marketed Difference… A call from the contestant to his parents is a Vodafone call.. a winning shot is a Kodak Moment.. The doors of the Big Boss washrooms have a fake-smiling John Abraham… These are probably the most real examples of the most important element of television – advertisers, who mean business. So while Amitabh asks computerji to phone a friend, he is advertising Idea. While you think the performer of the week is receiving a gift, a smartphone is being promoted. It’s tiring how every real task of the week, is a marketing gimmick and its only getting more detailed and sillier.. Perhaps soon enough, the undergarments and lingerie of Big Boss contestants could be seen as marketable commodities by advertisers… Will that be a bad thing, after all… ;)
7. Winner hardly matters… Very anti-merit and very anti-popularity, the results of our Reality show don’t matter, like the points of three judges. Rakhi Sawant lost all reality shows she has participated in, but she is the biggest winner, after all. Dolly Bindra, Sambhavna Seth (and pre-predicting this years loser - Pooja Missra) are other examples from Big Boss seasons who hardly won and it hardly mattered because they were the essence of the show. Ditto with talent based shows, which never go with the obviously clear winner on merit, but in the real world the better stars go on to make it big – Does anyone remember who won SaReGaMa the year which Kunal Ganjawala was a runnerup.

So there you go..! Spot any of these 7 gimmics and you know you are watch “reality TV”. Can you think of any more?

Bodyguard – Rajni redefined?

2011-08-31T21:35:00.000-07:00

From the-flexing-biceps move in the title song, to the jump from train to another train to an overhead bridge; to the way the his boss at “Tiger Securities” introduces his credentials – within the first ten minutes of the movie, there is a sense of cockiness that one has learnt to associate with Rajnikant’s (and now Salman’s) movies. The tone is set for what you expect to be an out and out action film, with action sequences ranging from incredulous to well-choreographed to downright hilarious.

Was it with “Wanted” that Salman learnt he had a untapped and unexplored Rajni Quotient within him? That combination of cheeky humor, super heroic stuntability (and looks and body that take him beyond Rajni in a way) makes him a big hit with his already mad fan base. So let’s make it clear – irrespective of what I or the critics or Salman (or even Rajnikant thinks) thinks of this film, it is bound to be a hit. The formula works for sure – even if the same formula comes from the same guy not as rarely as Eid ka chaand ;) (Speaking of cockiness).

Is a good film? That’s a new thread all together:

Well, It is not a pathetic film at all - I speak from using that phrase for the other big hit of the year “Ready”. This one has a plot – however ludicrously dependent on creative liberties it may be – it does have a plot that is Bollywood. The problem for me, is that there are 2 (or is it 3) plots and subplots running in parallel.

First of course is the bodyguard plot who is trying to save Kareena Kapoor whose life is in danger for reasons beyond the script writers realm – and in true Scary Movie style, given a choice to run towards danger or safety, the heroine will choose Danger again and again, creating templates for Bodyguard action – who takes it very personally if anyone does him a favour. LOL.

Then there is the love story between Kareena and Salman, which is cute for sure, filled with songs and dance(s). And a unrequired comedy track, a silly friendship/betrayal track, a loyalty and identity track, so on and so forth. The BIG problem is that each of these plot seems to run in silos and the it never comes together as film. The action is too strong to call it a love story, the love story too shallow to pass of as a romantic film. So in the end, after the action sequence in the climax, one wonders why there a new (and forced) Kuch Kuch Hota Hai twist to the film – to drive this to the quintessential “Happy Ending”.

Performances? It’s a Salman film and Kareena is just a bit more than an arm candy. The rest of the cast and acting is incidental. Music? We’ve heard better but not to say this isn’t Impressive – a case in point that Himesh Reshamiya should stick to what he is good at –Composing Music. Shreya Ghoshal and Rahat Fateh Ali Khan lend their voices to the most haunting melody of the year (so far) - Teri Meri Prem Kahani.

To sum it up. It is better than Ready and makes Dabanng look like a great film J. Does that say it all?

2.5 stars

Kavi Ki Kalpana Dekho..!

2011-05-19T05:38:00.000-07:00

Everytime I heard Munni, I would be amazed at both, the audacity with which the lyricist thought of and the lack of vocabulary with which he chose the phrase “Zandu balm” to convey what Munni becomes for her darling! The song, celebrated as one of the best item numbers in recent years, is filled with such ‘poetic’ gems – “Popat na jaane mere peeche Saifu….”; “tu atom bomb hui” to quote a few.

Is this degeneration of poetry? Coming of age of slang in cinema? Or a sheer disgrace?

Whatever it is, it is the reality. And it is working. Remember, there was a time when any bollywood album was not complete without the infamous mention of a choli, khatiya or takiya. History is repeating itself. Only this time, the words are shittier – literally.

As someone who has taken writing seriously, I love to weigh my words even in emails. My professor told me once to imagine the expression of the reader as he or she reads what I have written. So I believe the today’s lyricsts are visualizing puking faces and embarassed grins! For what on earth are they expecting in reaction to “Potty be baithe nanga”. With all the endorsement of openness and sexuality in recent cinema, it seems like even potty is coming out of the closet!.. Please, no!

The bigger problem I have with the Potty-nanga number, is that it aims to rehash a classic and reduces it to instant gratification. Not only are Deepikas semi-clad jerky movements no comparison to the mad albeit rehearsed grooving of Zeenat Aman – the lyrical “improvisations” in the song are the last nail in the coffin. Shameful, scornful and embarrassing, the songs lyrics show how superficial niceties are merely a prelude to the hidden exploitation - “Aaj chair kheech raha hai, kal skirt kheechega!” So, lyrically I wonder, if todays lyrics say - "aaj skirt kheech raha hai," what are we leaving for tomorrow? Or are we going to leave anything to imagination at all?

The line between poetry and lyrics has always been blurred in Hindi Cinema – from Ghalibs lines being used in film ghazals to some of the lyricisit getting poetic recognitions – we’ve seen it all. Unlike the west – where the line has been clear - Poetry being the haven for subtlety and restraint and lyrics being literal and ephemeral. So if Enrique Iglesias makes a number called “Tonight I’m f***ing you” it doesn’t surprise me. It passes off as a ‘natural’ progression. But what about mera bharat mahaan?

Just like everything, the influence of the western culture seems to have entered our content. Our expression seems more direct. If one chose to calculate one might realize that 50 percent of content on MTV roadies is beeps. The guy who punches the beeps into the AV, would make a lot of money, if he were on a ‘per punch’ rate. And the so called ‘reality’ is entering our music – early examples being “Ae ganpat, chal daaru laa” and “Aati kya Khandala” – which passed off as cute comic relief at that time, but inevitably paved way for a lot of slang to pass off as lyrics.

If the ghost of the yesteryears yearned to say “aaja re.. mai toh kab se khadi hu is paar, ye ankhiya thak gayi panth nihaar”, or “kahin deep jale kahin dil” - today she simply snaps– “bhoot hoon mai” – take it or leave it!

Even romance is not so subtle and a guy is no more saying “chandan sa badan” or even “Jaane kyu log pyaar karte hai”; today he is a go-getter “Peeloon.. Hai Peena ka Mausam”

But it isn’t hopeless yet. Every once in a while comes a number like “Pankhon ko” or “Dil toh bacha hai ji” – which rules hearts and charts alike. No, I’m not a fan of the Aks and Uns school of lyrics, but let’s not push meaning and interpretation into oblivion. I heave a sigh of relief, and live with the fact that these poetic gems are few and far between.

A common SMS making the rounds says life was much easier when apples and blackberries were only fruits. Likewise, lyrics were much better when Zandu Balm was just a Balm.

Best of 2010 - Top 10 Songs

2010-12-22T06:06:00.000-08:00

Although tough there were fewer albums as mentioned in the previous post about the Top 5 albums it was a broader range as far as singles went. As is the case each year, this year too there is a mix of great numbers - peppy, romantic, item et al!

And 1 insightful, telling observation - One of the top five albums - Raavan doesnt have a single number that made it in the top 10 and the album that finally scored the very top spot didn't even feature in the top 5 albums.

So here goes.. the Top 10 songs of 2010, as collated by the group of us!

#10 I hate Luv Storys

The peppy number set to foot-tapping beats and sung by first half of the Vishal-Shekhar duo, rocked the charts mainly on its catchy feel.. and perhaps the video which was highly promoted and looked like a poor replica of "Bachna Ae Haseeno".

#9 Zor Ka Jhatka (Action Replay)

An instant hit, this one was also the most heavily promoted number of the film and choreographed with a funky signature step. Singers Richa Sharma and Daler Mehndi rendered their high pitch voices to this highly sensational track - both shortlived but very rocking!

#8 Aas Paas Hai Khuda (Anjana Anjani)

A song sung by one of the current times most respectable singer - Rahet Fateh Ali Khan - this one had the quintessential Sufi touch to well woven words. Soulful, peaceful and haunting, the song was a superhit.

#7 Peelu (Once upon a time in Mumbai)

Another instant hit, this one was brought home by Mohit Chauhan, whos voice renders unforeseen character to the songs he sings. Add to it the box office success of this movie, and the number stayed on the radio stations and minds alike.

#6 Ainvayi Ainvayi (Band Bajaa Baarat)

The most un-expected song in this list, is perhaps this one. A strictly okay song, choreographed in the oh-so-catchy punjabi wedding fiesta, made for a very catchy tune. I personally dont know if like the song as much as I enjoy its feel. Non-sensical lyrics, set to foot tapping beats, and sung needfully well, the song made it to our list solely on the basis of the fun-factor. Kudos to the catchy signature tune - Ainvayi Ainvayi Ainvayi Ainvayi Lutt Gaya!!!!

#5 Munni Badnaam (Dabangg)

The very mention of Munni at any rank would start a new thread. There will be those angry to see it in the top ten, and those who would find any rank other than number 1 unbearable. Love it or hate it, you cant ignore Munni. A non-pretentious item number, sung, composed and performed on screen with Dabangg irreverance is surely a landmark in the world of item numbers, and in brand endorsement (what after zandu balm, I wonder)

#4 Ibn-e-batuta (Ishqiya)

A road song, and how! Full with the feel of banging doors, screechy breaks and of course churrrrrrrrrrrrr.... this one is the most pleasant surprise of the year. How often to do see 2 guys singing a road song in Hindi cinema. True to his form, Gulzaar introduced a new word (in this case a new character) on coffee-table discussions - Ibn-e-batuta!

#3 Dil To Bachha hai Ji (Ishqiya)

If Ibn-e-batuta has masti, this one had meaning. Speaking in the simplest and sweetest words, a confession of a song, Dil to Bachha hai Ji excelled on all fronts - lyrics, music, arrangement and of course Rahat's singing. (A new movie with that title will soon appear, I so hope it lives up to the name).

#2 Tujhe Bhula Diya (Anjana Anjaani)

It is difficult to choose if the better male singer for the year is Rahat of Mohit. So let me keep it for the next discussion.. ;) But another number made memorable by great singing. Very reminiscent of Iktara in vocal arrangement, this number will loom large over the new releases of the next year as well.. Bravo Vishal and Shekhar, Bravo Mohit.

#1 Sheila Ki Jawani (Tees Maar Khan)

Is it the catchy beats, or the ridiculous title of the song itself, is it Sunidhi's singing, is it the hot video, is it the choreography justly portrayed by a stunning Katrina or is it Vishal Shekars midas genius touch - what makes this the best song of the year?.. But this much is for sure - this song belongs to the "Show'em how it's done" category. An item number, full of itself and leaving no room for any criticism.. This song had it all - except shallow lyrics perhaps.. then again, it is tough to say if any one ever got annoyed because of the lyrics, which are almost an anthem in the nation today... And I will join the bandwagon of comparisons and say this much... For munni, one said "Whether you like it or hate it, you cant ignore it", for Shiela, There is no question of hating it to begin with. Settled? Or not.

But thats the verdict. Sheila ki Jawani tops the charts....!

Top Singer coming up..

Best of 2010 - Top 5 albums

2010-12-18T08:50:00.001-08:00

Let me begin by dissappoitedly admitting that the albums this year have overall been the poorest show in many years.. Look at last year, when albums like Delhi 6, Dev D, Kaminey, Love aaj kal, Ajab prem... were all vieing for attention... Or the year before where jodha akbar, jaane tu.., rock on, dostana, were all in the same category... Or my fav year (2008) when any of the 5 nominees - guru, sawariya, omshantiom, jab we met, life in a metro - would've equally deserved the award.. And, I feel that ANY of the albums mentioned above were much better than MOST of the albums on our list below..

But... given that, there have been those albums which managed to grow on listeners.. So after careful deliberation (and independent scorings from my co-authors).. Here's the top 5 albums of 2010!..

#5 Ishqiya:

This one didn't appeal to everyone equally. Filled with a mix of Soulful numbers, and the catchy Ibn-e-batuta... Gulzar magical lyrics, combined with Vishal Bhardwaj's telling compositions created many a stories and made it a treat. The album had 2 haunting semi-classical numbers by Rekha Bhardwaj, which never caught the audience attention, but will go down as some of her best sung songs. Bravo!

#4 Once upon a time in Mumbai

Once upon a time in Bollywood, it took albums to have more than 4-5 hit songs to make it to the top of the charts.. Not anymore! Once upon a time sits tall by virtue of 1 immensely popular number - Peelu, sung by the inimitable Mohit Chauhan. The other songs - Tum Jo Aaye, and Parda worked for a shorter while and with select audiences. But overall the album did seem to impress the maases.

#3 Raavan:

The only Rehman album (including his tamil (except VTV.. maybe) / telugu albums and the commonwealth single number(s)) that seemed to live upto the mass expectation. Of course, the films poor (for the want of a poorer word) at the box office, immensely affected its reach and the ensuing response. Tremendous visual poetry of The gulzar-rehman combo, formed an yummy apitizer (Kata Kata/Beera) to a half cooked visual execution of the songs... Sigh!.. But a standing ovation to Ranjha Ranjha... THE rehman number of the year - thanks to a in-form Rekha Bhardwaj!

#2 I hate Luv Storys

This one, the opposite of the Raavan, picked up even more after the good response it had from the viewers of the movie. 4 equally popular numbers including the title track, Bahaara, Jab Mila Tu, Sajda, made it a very listenable album, high on repeat value. Very high on coolness quotient!

#1 Anjaana Anjaani

Are Vishal Shekhar the new Rehman? Or the new Anu Malik? Or.. Who ever they are, they are Gooooooood!.. Blending the quentessential Yashraj/Dharma Production melodies, with some contemporary orchestration and mixing, they dished of some awesome work. If I hate love story had the spunk, this one had the soul. The Tujhe Bhula Diya number is the highlight of not just the album, but of 2010. The Sufi factor, goes well with the audiences, apparently. Lucky Ali's Hairat, Mohit Chahans Tujhe Bhula diya.. are the highlights - both top class vocals and responsible for making it the album of the year..!

So.. what do YOU think? Did this list match yours... no? Lemme know! Take the poll on the top left of this page..

Best of 2010

2010-12-16T01:38:00.000-08:00

So here's the plan.. The years ending and I've decided to put together a list of best of 2010.. mostly related to movies... Best album, song, singer, actor, actress... and so on..!

We are strictly movie buffs and take our movies very seriously. I for one feel like I've been hit by Amnesia if I dont get the context of a Bollywood discusion right! ;) We also represent a wide range in taste (?) and otherwise, of movies.. :) So let me introduce my friends and the co-critics for this ' blog-athon':

Swapnil - is a IT chap and a complete movie buff.. He is my partner in crime for watching movies back-to-back on weekends.. his taste is very filmy - hes open to listening to all kinds of music and usually doesnt dislike

Harshad - another IT fella... I dont know anyone else who is as feverishly passionate of movies as harshad! he MUST see his kind of films in the opening weekend!.. Sometimes to get him to wait till monday is a challenge. And as the say, the more you want to see the film the more you hate the disappointment of it letting u down!.. Harshad has strong likes and dislikes, and is most fond of the "Yashraj" type of movies.

Deepak - he is my source of inspiration for many a crude remarks... LOL.. His views and mine are COMPLETE opposite (if you havent read our conversation on Munni Badnaam v/s shiela ki jawani, you should ;)) but he does have an opinion that many would find agree-able. His passion for movies isnt as much as his passion for dancing at foot tapping numbers.

...And then theres me!.. You know from my blog that I love playing the critic. I idolise Rahman. I am all for new kind of music.. and so on...

I'm so excited at the prospect of these future posts... hurrrah!...

Coming up - album of the year!

The rest is of course--- Hissss-story

2010-09-27T10:48:00.000-07:00

Some suggestions to recover from the recent insults:

May be Mallika Sherawat should walk the red carpet in CWG 2010 - like she did in Cannes with snakes all over her– some positive would come out of it.. all this snake spotiing can be camouflaged by calling it a promotional activity for her latest ‘international’ film – hissss! Wink, wink.

Or why not have the Wildlife SOS team in cultural outfits (aka Amrish Puri in Nagina..) Spot a snake? And you just won an exclusive show of the “SnakeCharmers of India” . Congratulations on winning the “Incredible India” experience.. Goes well with the ‘land of snake charmers’ image that we have fought O-so-hard against.

Funny, eh?

The sarcasm is a result of both – embarrassment and anger. Some say it is media that has unnecessarily highlighted just the negatives. Others say that the under preparedness of the venue exposes the deep-rooted corruption and inefficiencies of the system. I don’t know which one is right. But the fact remains, that it definitely doesn’t show India in the right light.I am bothered - not as a sportsman, not even as a spectator, but as an Indian.

It took years for India to come out of the image of being “the land of snake charmers and elephant rides” – the brand India that globalization created, gave her a launch pad to showcase its many nuances that were hidden by the stereotypical halo. And yet, almost 2 decades after we opened ourselves to the foreign markets, here we are not able to host foreigners. Why foreigners? Even I as an Indian, would refuse to step into a hotel with damp flooring or leaky ceilings.. Why me? Would any of the babus sit in the parliament, if a snake would show up?

I am picturing the Funnnn that would get caught on cameras of DD LOK SABHA Channel – and surely someone will call it Oppoition ki Chaal . And Aajtak will be the first to cover it.. hamesha, sabse aage.

The Snake is more than a pun.. It is a rude a shock to the unassuming tourist athletes. It is an insult to the largest democracy. It is a slap on the faces of us Indians, who trust our leaders to do their jobs well. And what do they have to say - Kalmadi has famously quoted that he is responsible for the games, and not for the infra-structure. He deserves a medal for the art of of separating the two, nonchalantly.

Let’s take a minute and talk about the media. Media, journalists (or even bloggers like me) thrive on negative criticism – fun to write, fun to read. But that shouldn’t be all we do. We must, when required push the envelope and spread the good word as well. So this is in appreciation of the many friends and networks on Facebook who are sharing unseen pictures of the Commonwealth games – pictures of architechtural genius, the brand new stadium that’s now (apparently) complete.

What was an ambitious attempt that started with a bollywood dance by celebrities in the closing ceremony at the last games, is now like watching the famous folk rope walk being performed by some impoverished skinny female, wearing an arguably presentable costume.. Every step she takes increases the heartbeat, the pots on her focused head relies on a thin chance of balance. She must take those last few steps carefully, else no one will ever return to her. I pray, pray, pray, she finishes with grace. For she is now, India.

Endhiran Music Review - Robotic Perfection

2010-08-10T09:00:00.000-07:00

So.. Enthiran’s topped the US iTunes Charts. What's all the fuss about? Rehman? Rajni? Ash? The combination I guess. It must be noted that every Rajnikanth film breaks the previous benchmark at box office (that’s no yardstick to judge whether the every film is better than the previous). The iTunes ranking, if nothing, proves both - the global appeal that Rahman has now and the fan following of Rajnikanth.

But how’s the music? Here's what I think..

It took me a while to arrive at this conclusion. But I can comfortably say – this is yet another Shankar-Rehman combination set to top charts – not just by the merit of its ultra-famous star cast, but for it’s proper Shanker film masala, with a dash of Rajni-‘superstar’-lyrics and enough poetic metophars praising of the once-beauty queen Aishwarya.

The album opens with ‘Puthiya Manitha’-sung by SPB and ARR – the song singing praises and hoping for miracles from the new human – the robot. Techno and trance in feel, the song takes a while to grow on you and it is the quintessential SPB touch that claims this as the Superstar Superhero beginning.

Next up, is a melodious Kadal Anukkal – sung byVijay Prakash and a new Rahman-favorite Shreya Ghoshal, who seems to get his most melodious numbers of all his recent albums (remember VTV, Raavan?). Although the guitar strumming seems very familiar, the song goes on to become quite an instant hit.

Chitti Dance Showcase – as an ensemble of different music styles and a listenable fusion and will soon become a performance favorite number. Irumbile Iruthayam reminds you of the Nokia song from Shankar’s previous film Anniya – heavily instrumental (and not my types).

Arima Arima is again full of pompous praise for the Superstar Superhero, asking the ‘beauty queen’ to bow to the hero who is applauded even by waves of the sea! (What lyrics.. why!?) But the music is great and the beaguls make it a royal experience. And yes, Welcome back, Sadhana Sargam – singing a Rahman song after a long time. Missed you!

And then comes the peppy Kilimanjaro – sung by Javel Ali and the versatile Chinmayi – south African tribal folk beats make this a percussion fest. The singers seem to enjoy the song and it’s another instant hit. (My favorite right away).

Boom Boom Robot – an out and out Techno number – is written and sung simply to highlight the making of a Robot. This is most noisey number and a lot is ‘happening’ in this song musicwise – not for the melody fans – although Shwetas are sung with as much melody as possible.
Overall, Vairamuthus lyrics have always had a Tinglish (tamil+English) way of being. Remember Telephone Manipol, Strawberry Kannae, somehow the coolness those lyrics held in the late 90s don’t seem to wow me anymore. And here, the case in point, is a robot afterall, so the poetic liberty is liberally pushed so silicon and hard-disk and so on and so forth make their presence felt. My other issue lyrically is the unending praises of Aishwaryas so called timeless beauty. Is it a rule, that in every tamil film of hers, she must be called ‘Ulaga Alagi’ (most beautiful in the world) in the songs? Really, the lyrics are a little ‘been there done that’!

So overall, its unquestional that the meteoric rise on the charts is more to do with the Rajnikant factor, but this album has enough to stand by itself – a typical Shankar-Rehman album lacking just that one rural folk song like Ballelakka or Usalampatti. Although he may not play the Robot in this much hyped megastarrer, Rehman is the closest to the perfection one would anticipate from a robot, managing to delivery excellence consistently, album after album! Go get these songs on your music systems… Hindi fans, wait for Robot in Hindi.. Coming soon!

Movie Review - Kites - Not Verrrrrry Bad

2010-05-20T11:48:00.000-07:00

Not verrrrrry bad.

So how do we start?..

Kites - one of the most eagerly awaited films of the year. Promoted virtually as Hrithiks passport to Hollywood - with an english version slated to release in a few weeks. Good music. Produced by the stalwart of thrillers (Rakesh Roshan) and a contemporary guru in handling relationships (Anurag Basu). A hyped palpable on&off screen chemistry between the lead pair. What more does a movie need?..

More often than not, hyped films are a victim of their own doings. Remember how Love story 2050 was India's answer to Star Trek? For all the hype, Kites is eventually a very formula masala Bollywood movie - think same old wine in a flashy new bottle. Eventually, it isnt a terrible on its own, but after all the hype, it's a tragedy (pun intended). Its very average.

A marriage agent J (Hrithik) - (the kinds who marries women for money in exchange of green cards) based in Vegas - who is a kickass dancer - has Kangana - the daughter of this multi-zulti-ulti millionaire Indian, owner of one of the biggest casino in Vegas (Kabir Bedi) - falling and dancing head over heals (literally :P) for this guy. Now J doesnt love her as much as he loves the money, but still agrees to marry this edgy babe. Enter Linda (Spanish babe - who knows no Hindi) - whos also fiancée of Kangana's richie rich brother. The first time he sees her is under water where she is fluttering away in a designer bikini.. NO WAIT - he just married her last week - she too is all about the money! So its a matter of time, before the two realise they love eachother more than the money - the rest is ofcourse, bollywood. :)

Its a bearable movie - and not very hatable. The film has its high moments - some warm, some funny - but they are few and far between.

Acting - we have seen Hrithik do much much much better. In an attempt to internationalise the film, the actor is forced to fake an accent, thats too fake. We have also seen him dance better - although these flips are his first (and probably first for a Bollywood hero?). Papa Roshan sure tried to give his son a complete Hollywood showreel in the form of a film - so he dances, flaunts his 6 packs, looks international - we are not done yet - sings as well! But his impressive resume is hardly a good recipe for a film. Barbara looks gorgeous, and has her moments too. But their chemistry is far from steaming hot, and just about lukewarm (its nothing compared to the Dhoom2 chemistry he shared with Aishwarya or even the cute mushy thing he had going with Preity Zinta). Kangana is forgettable in a thankless role (but she gets do her signature shriek-and-cry once, check!).

Music - good, contemporary and brings the movie alive sometimes.

Action - Oh please! Its comic strip sequences. For all its emphasis on internationalising the movie - the action is outright bollywood 1980s- 90s style. What with Police cars topplings at the will of the Hero, bizzare escapes (from a car to a Hot air balloon), the couple escaping all gun shots until climax, I could go on!..

Overall - it is neither Rakesh Roshans thrill nor Anurag Basus emotional quotient. What you have is a very oridinary film failing to touch you or wow you. It is almost as if the tragedy, is meant to somehow move you in the end. But delicious toppings can't save a badly baked cake.

Its okay. Not verrrrry bad. 2.5 (1 of them simply to the music) . Hrithik fans have enough to cheer for ands will ensure the movie doesnt flop. But is this that big crossover film? Nope, far from it!

Music Review - Raavan – an addictive evil apetiser.

2010-04-24T03:44:00.000-07:00

For a while I have realized that listening to A R Rehman’s music albums before watching the films is like reading a novel before seeing its interpretation on screen. For his music creates images in your mind. Powerful images that you take with you to the cinemas. So tough luck, Mr Ratnam, for you have your task cut out with this album. Be it the pompous Beera or the bubbly Ranjha or the naughty Kata Kata, this album is a visual treat, if that makes sense.

The album starts with Beera Beera, aptly used as a teaser to its music launch. One hearing and you know it’s full of promise. The only problem is its too short. 3 minute something – o come on, we need of more that ‘dhama-dham-dham-dham’! Filled with tribal chanting (gibberish?), sound effects and percussions like in Azeemoshan shehnshah, the album sure starts a high note.

Then comes the subtly written Behne de – its sacrificial lyrics and soulful vocals give the album a mature depth. Next up is Thok de Killi. What's with dilli being the muse in cinema? Speaking of which the song is very reminiscent of Kala Bandar from Delhi 6 in the beginning. (I so hope the films better, though). Comparisons in feel to Mani Ratnams previous number – like dhakkalaga buka from yuva or Gurubhai is unavoidable.

And then comes my favorite number – Ranjha Ranjha – fun, chirpy and well sung. There’s something about Rekha Bhardwajs crooning that gives even ordinary songs a facelift (It was only her voice that made Genda Phool such a rage). Then again, this one aint a simple song – lovely prelude and sugary, mushy lyrics. Love this line – ‘ankh ke dosh mein dil bewajah pakada gaya yaaron’.

Khili re is a semiclassical number and for once, the vocals are above the music in this album. And Reema Bhardwaj (Remember the gal who sang yeh rishta kya kehlata hai?) does a brilliant job of it. It’s one of those Rehman songs that can engulf you and take to a dream land - Close your eyes and take walk in the clouds.

The finale of the album, Kata Kata, is a riot of a number. It’s like hearing a more orchestrated (may be slightly over orchestrated?) Rukmani Rukmani. Tongue in cheek lyrics flavoured with rustic vocals of Ila Arun , Sapna Awasthi and a peppy chorus, make this a palpable bachelors party kind of a number.

It was a mammoth task to live up to – to follow Roja, Dil Se, Yuva and Guru . The Rehman-Ratnam duo always manage to go into a reinvention and come up with something brilliant. While is both pointless and unavoidable to equate this with previous Rehman albums, I feel this album has enough to stand on its own merit and needs no comparison. It is a complete album – and will surely top charts!

Rehman has surely delivered a knock out punch. Mr Ratnam, the ball is now in your court!

Reviewed by Kartik K J

Ram Gopal Varma Ki Aag 2 ????

2010-01-28T10:00:00.005-08:00

No.. He'd dare not do that. (Then again, never say never). But what I am trying to say will make sense in a while.

Remember Mile sur Mera tumhara? Who doesnt? Everyone of us has grown up listening to this. Mile Sur, along with Baje Sargam, Ek Chidiya are among unerasable visual memories of childhood of most of us Indians.I know only four of the languages sung in this song, but i can sing the entire song, even today.

And then, on the 60th year of India's Republic day, TOI group (Zoom TV) decides to redo Mile Sur, calling it Phir Sur . Great idea, at the onset. Or is it?

I am in admiration of the gesture. I really am. I have myself felt that something to that effect has been long pending. In fact whenever I visit the cinemas and see the beautifully picturised Jana Gana Mana by Bharatbala, I think that this is something that matches the standards of Mile Sur. Why not extend the musicians to filmstars.

So when I finally saw Phir Mile Sur - I was already full of expectations. I missed a lot of its build-up campaign, (dont know if that was a good thing or a bad thing in hindsight). So I was unaware who was and was not in it. My first watch went in simply observing the different celebrities. Yes, my favorites were in it. But was Mile Sur ever about our favourites?

About the length

The length of the film is another Issue I have. 16 minutes?? What were they making, a documentary? (I wish they were). And why couldnt they simply go a few more minutes and actually shoot more, meaningful celebrities?

About the stars:

They can sure claim that the whos who are in it. But some choices and some omissions are hard to digest. Deepika Padukone is sure gorgeous, but is she deservingly there? Especially when actresses like Kajol and Tabu are conspicious in their absence (I give up on Madhuri and Sridevi - guess they are old now, but wouldve loved to see them). We have Abhishek Bachan as well as Ranbir Kapoor - the latter at least has some recent hits to boast of. Only Karan Johar makes it from behind the camera - not even Mani Ratnam or Resul Pookutty. Even an oscar didnt prove enough for an inclusion?

It looked like a times group event (filmfare awards types). The A-list made it.

Sportsmen are given such a second fiddle treatment. What with Bhaichung running in tracks and boxers taking dips, at the fag end, almost hurriedly. I am no cynic, but our olymians and sportsmen bring more international glory to the nation than the bollywood brigade.

Speaking of sports, no cricketers? no SACHIN? no leander? no sania?

About the music:

I am no last word on this. But I can listen. Mile Sur was not about one same tune or rythm. So I am okay with the fact that Phir Mile Sur sounds like a chop-cut-paste of different music pieces coming together to form one song. That's the very essence of the lyric, isnt it? But here, the remix versions sound a bit too wannabe. Or - unnecessary? Here too some seem missing - Alka Yagnik, Hariharan, Lata, Asha?

About the direction:

It is obvious the director ran out of (or didnt think of) enough visuals. Whats with some artists in front of beautiful locales, some shot in front of blue screens to morph a background later? Some places are stunning. Watch Shobanas Bharatnatyam afront scenic temple tops. And cut to open roof buses in Mumbai? It seems the production value for this was low. And the money has been spent inconsistently.

Overall

Heres my great realisation. This is exactly where Ram Gopal Verma Ki Aag went wrong. Remaking a legend is no child play or even that of an expert. And not giving enough attention to details or tampering the basic script is a recipe for ruin. So this attempt to get Surs together, is bad as watching RGV ki Aag. I might sound too harsh, but it is an anology to express the creative crime that has been comitted here. Sorry, not done!

There might be those who might ask, for all that I am speaking, could I have made it better? Could I possibly make it better - you know what, I would dare not! Dont go messing around with Sholay, Dont go messing around with Mile Sur.

The original made me proud of India, made me endear its different regions. Told me about fishermen, elephant riders, the kolkata metro, the railway, and the rich beauty of our languages, and cultures. It brought the music, sport, cinema AND Common man together. The remake was on TV sometime back, I switched the channel.

Kartik K J

5 points about 3 idiots... Lot's in the name!

2010-01-01T10:56:00.000-08:00

5 points about 3 idiots... Lot's in the name!

Kartik KJ

When I saw news clippings of the war of words between 3 idiots team and the writer of 5 point someone, I was moved to think and heres what I personally feel. its 5 points really.. (pun probably intented).

1. Is this a marketing gimmick? Sorry Chetan, but that's the first thing that comes to my mind. For of late, bollywood has stooped to abysmal levels to get people into movie halls. I am thinking, this is a reallllly cheap one (if it is, and I hope it isn't). Do you need such a bad gimmick for a film as strong as this one. But then again, this was the same team that withdrew the trailer of Prakash Jhas Raajneeti from the films launch, because they 'would rather do away with the trailer than have people distracted from 3 Idiots'. ???????? Duh!! Can a 3 minute trailer (I dont know the length really, but how big can a trailer be??) take away from the brilliant film that 3 idiots is???? Can crediting the author really take away from the crisp screenplay? Really?

2.Ever wonder why we don't get great writers? If One of India's most celebrated fiction writers, Chetan Bhagat, who is obviously young India's favorite, has to struggle for credit, it is anyones guess what can happen to the rest of the writers.

3. Obviously, the film is based on the book. There are quite a few liberties taken, but really, it is very much like the book. I wonder WHAT would go wrong, if the authors name was mentioned in it? WHAT were the makers standing to lose? It is sad enough that struggling English writers cant break into the mainstream, but when an acclaimed writer isn't given credit, its quite demotivating.

4. The actors and cast go on about saying that they haven't read the book. Well then, really they cant even comment on whether or not Bhagat needs to be given credit or not. Would help them if they first read the book and said if or not Bhagat was right?.. It's really for the script writer to put his hand on his heart (and not say Aaal is welll, sorry bad one ;)) and ask if or not this is an inspiration. And whats the harm in adapting a book into a screenplay. Oscars have a separate category for adapted screenplay (but filmfare doesnt). But if graduates from India's premier film institute choose to ignore the significance of appreciating adaptation, what's left for the media to ask?

5. Saying Shut up to media during a press conference???? Chopra who has struck a goldmine in Hirani should accept success with humility not arrogance, and realise that the medias questions are not random, but simply obvious. I have read the book twice and seen the movie thrice. I am sure the movie is quite are different from the book, but I am more than sure a credit is due to the writer of the book.

It is quite simple, and probably this will summarise it best:

The oldie who interviews Sharman Joshi's character in the movie during the placement scene, is actually my professor Keshav Rae from PUMBA. Immediately after the film was over, my batchmates exchanged messages to confirm and identify him. Later, we felt proud that someone we knew is associated with such a great film. Many of my friends posted a FB update about him. It is very simple - when you see a great film, you want to be associated with it (success does have lot of patrons). Now imagine writing a book and going to see a film which seems to be based on it and not just are you not credited, you are actually accused on trying to be a someone cashing in on the success??

Pity... Aal is not well here...

Farmville: A Speculative Appreciation (?)

2009-11-17T06:03:00.000-08:00

Farmville – A Speculative Appreciation (?)

Kartik KJ

22 Million!

That’s the number of people, according to the creators of the game, that log in at least once a day to check their farms and/or harvest it. No other game in the history of online gaming, has seen such adulation, admiration, and may I say, addiction. The thought behind this blog originated from two things – one, the incessant friends’ updates on FB which are all about Farmville, and the ensuing curiousity that lead me to reading an article online about Farmville that asked this question -

Has Farmville got anything to do with user’s inclination towards pastoral lives and is it serving “this” intrinsic need in the virtual world?

It has been ages since I saw most of my online friends so engaged in a game! What is it that pulls people towards Farmville? Why is it adding one millions new users per week? What makes people share passwords with friends while travelling just so that their virtual crop is harvested on time?

Farmville: Wow what a life!

Virtually, this game lets you be. Imagine taking a long drive to the countryside on a weekend to visit your farm. Guess who has the neighbouring farm – your best friend. The two of you work together, if you find a lonely cow, this friend or any of your other friends comes rushing in to help out the poor cow.

Zynga does a great job at communication, especially in Farmville. The finding of an ugly duckling, a sad cow et al, comes with a note that draws instant sympathy for the cutely sad looking animal farm. And when you see a friend finding such a thing and needing help – you help on two counts – the general act of kindness to the poor animal, and of course, helping your friend.

Reality check?

That’s Farmville for you – interestingly it takes away most of the pains of the arduous activity that farming is and makes it a joy to behold. The trying dependency on external factors like weather, the availability of water, the pains of actually sowing / waiting / harvesting, is all ‘taken care’ of. Farming, is a cakewalk and like everything else on Facebook, you get to flaunt your harvest to everyone you know.

I am more than inspired by the thought that so many of us - youngsters - are taking keen interest in farming/ nature. Or are we? How many of these ‘one million users per week’ game will actually look at farming – the real deal as something they would do? At least once per week? Per month? Year?

Conversely, equally exciting will it be, if real farmers networked like Farmville lets players do and help each other out. Wishful thinking, or simply – real world's no game.

I am all in appreciation of this game and think it has brought the gardener and farmer alive in all of us. Personally, I think the game can also be great tool to teach primary school children the knick knacks of farming – if used intelligently. At least in this, I would see some returns. For now, I wonder how much of this is passion and how much is obsession? One website observes that the obsession for online games could be comparable with that for drugs (Quote: Obsessive gameplay activates the same pathways as the drug addictive pathways, specifically the release of dopamine in the reward pathways.). No no.. I do not expect my dear friends to kill me or loot a shop to afford Farmville, but, I am sure some may already want to kill me for writing such a strong blog about it..

Cutting the long story short, while Farmville is undeniably a very involving game, let us not forget to also ‘get real’ and let it remain a game - not an obsession. Learn from what this game teaches us and apply them in real life. Let us center our conversation around ‘real people’, ‘real pets’, ‘real neighbours’ and see how it 'crops up'? And as you might agree now, thanks to Farmville, reaping the harvest is the most pleasant feeling in the world.

Have we no sense of humour?

2009-11-04T07:43:00.000-08:00

Kartik KJ

When one of my friends posted on facebook that he really misses Sarabhai vs Sarabhai and Khichadi, I couldn’t agree more. So this is in wonderment if (and why) comedy fails to find prime-time viewership in India.

Have we no talent to write humour? Worse, have we no sense of humour?

Yes there have been the occasional comedy series – Dekh Bhai Dekh, Zabaan Sambhalke, Khichadi, Sarabhai vs Sarabhai. But they have been few and far between. And lets be honest, how many of these got ‘prime time’ audience? Even sarabhai vs sarabhai, arguably the best sitcom, won more critical acclaim than TRP per se.

What’s with the obsession of seeing depressed women? Our primetime is but a spectacle of the agony of being a woman - the oppressed woman, the sacrificing woman, the ugly woman, the dark complexioned woman, the everliving woman (read Baa). It’s almost like our primetime has been held hostage by the Saas Bahu drama.

There’s nothing that makes you sit up and watch. Yes, I know the next big thing is reality TV. All ‘reality’ TV seems to be played up these days. As one of the contestants on the first season of Big Boss observed, “In its first season, the contestants hardly knew what they are supposed to do. Now, every character seems to talk to the camera, and strike a pose once in a while.” But the relief is that at least the camera angles didn’t pan four times from KRK to Rohit when the bottle was flung. And, no woman was singing a ‘dard bhara alaap’ when Shamita cried of being hurt! And guess what - the I&B ministry has problems with Big Boss for violence.

But where has the comedy gone? I am tired of laughing AT people. The only comedy we seem to have these days revolve around over the top characters forcing you to laugh at their sillyness – Ulta Chasma, Maniben etc. (Ulta Chasma is still a better watch of the current lot). The benchmark for these is the inimitable Hansa-Praful pair of Khichadi fame. Nothing could match that and trying to do the same thing again is like hearing the same joke in other words – hardly draws a laugh. Moreover, our concept of SIT-COM (situational comedy) seems to be lost - It is good sometimes to laugh AT people, but when will we finally laugh WITH characters of a series and AT situations.

Genuine Comedy is becoming so rare, that I wonder if there comes a day when Hansa hears the word genuine - will she go all clumsy, dizzy in her face, and plead, “Aye, Haye Prafool!!! Ye jay-noo-in matlab?"

“Jay-noo-in, hansaaaaaa……”

Banning (?) Big Boss 3 - A rhetoric for introspection

2009-10-29T06:16:00.000-07:00

When I first read that the information and broadcast ministry has slapped a notice under section six and other sections of the Cable TV Networks (Regulation) Act 1995 to the owners of Big Boss, I was taken aback. If the entire concept of the show is ‘people being themselves’ in a home, how can there be a problem? Do we not want to see (or do we not have the guts to accept) how we are, when we are being ourselves?

Agreed, there was violent behaviour, and agreed that it is not acceptable. But lets play it fair here. There have been many such shows before now, which more lewd and less real and got away with it. I am referring to the many music channels of today who are taking youngistan to a sleaze ride these days. Why is it that this new reality has come under the scanner?

For that matter, what was so wrong with Sach ka Saamna for it to be taken off air. The question, we debated over coffee in office, was not of nudity there. It was about moral nudity. Or simply – the truth. If our truths are as much needy of being hidden, is there not a problem with the way we behave or what we have accepted as speakable? We are all aware of extra marital affair and can think of at least think of one person who you know for sure does something immoral ranging from bribery to infedility. Then why cant we TALK about it in the open?

These censors, far from being capable of judging what is appropriate for viewership, actually hide a poignant debate – is such censorship a breeding ground of broader social problems? Poor levels of sex education leading to high rate of HIV infections, issues related to gender ratio and discrimination too! May I say, ignorance is not always bliss.

As a society, for generations, we have chosen to hide our dirt under the carpet and lock our truths inside closets. Proudly so? And what is this double standard all about? The ministry (and me too) found nothing wrong in a woman conducting her swayamwar. Everyone knew it was not a swayamwar but a comedy circus. Didn't we all simply love laughing at the expense of someone? If thats okay, why is this wrong?

It is almost like we live in a make believe world. A world where everything is either happy or has a happy ending. I ain't an advocate of Big Boss, for I do feel that much is being done in that show for the sake of showmanship. But to take it off air for its brutal honestly (or 'show' of honesty) seems like one is being a little too judgemental, and sorrily self-defensive.

Why live in a world of pretence? After all, it is better to be hated for what you are, than to be loved for what you are not!

What say?

Kaminey -F(s)ee it to believe it!

2009-08-17T09:24:00.000-07:00

Vishal Bhardwaj and Shahid Kapur need to take a bow. The former for delivering an out and out commercial film full of authentic art and the latter for giving the best performance of his life.

For many who ask and wonder what great film making is about. And want to understand where the 'craft' actually lies, Kaminey is a textbook, of how to rewrite the rules of Commercial cinema, and yet make a film that is sure to be a hit. Warning: It aint a lovey dovey cosy film (although some trailers gave that impression.. esp the romantic slow song and the raat ke dhai baje promo). This one is a dark film. Literally as well as in its subject.

The screenplay is the first of the many pluses this film has to its merit. The recent Hollywood Comedy Hangover, showed how a film becomes funnier, only because of a non-linear plot, this one is a reply from the Hindi Film Industry. Agreed, it takes a while before you understand what really is happening here, the jigsaw in fact takes upto the interval to start clearing, but when the pieces fall together, you realise that BHardwaj has given you treat indeed.

The cinematography is top class and lets the mood of the film remain true to the subject it deals with - drugs, murder, dacoity. The music, although chopped to the directors wish, is a joy to behold - the album will be seen as one of the years best. The dialogues sharp and witty. But it is the performances that take it to the next level.

It is a shame how we dont have a category in our awards called the ensemble cast. This one would have clearly won. Bhardwaj's reliance on theatre artists pays off as each actor brings each character to life. They are each memorable for their roles. Priyanka Chopra proves that she is an actor beyond the mushy movie genre. Watch out for the bang on accurate interpretation of Sweety - a typical marathi mulgi. In a film whose spotlight is constantly on someone else, it takes great potential to be remembered in the end. And Ms Chopra leaves does it in such style, it makes you want to say Aai ga!! ( bad one)

But the spotlight is deservingly reserved for an actor who has come of age. Shahid is outstanding. For all these years he was not taken seriously, or called a wannabe SRK, but this is a definitive performance, meant to win him awards. The stark difference between the twins Charlie and Guddu is a testimony of the diverse kitty of expressions he brings to screen. Be it the sweet, confused, gulliable, foolable, nerdish Guddu; or the frisky, effervescent, dreamer - go - getter, and even evil Charlie, he is makes it look natural and easy. But it isnt. Add to it the stammering and the Fa ko Fa Bolna. He is in the zone, from the word go! It is surely the first of many films which are on his able shoulders and the man delivers.

But above all, this is a treat to watch for the director who creates poetry on the celluloid -Vishal Bhardwaj. Here's a man convinced he is making a commercial movie, but that doesnt stop him from giving his special art touches of visual metaphorism throughtout the movie. Watch out for the introduction of Bhope Bhau, Charlies dream sequences, and the utterly chaotic yet emotional climax where more than five subplots come together. Only sheer genius of a man who knows his craft could've achieved this and how!

I wonder how much the Swine Flu will or has affected the business of this movie, and I feel sad that I had to wait for THREE days to watch this movie, but the wait was worth it. It is a complete entertainer and a class act at the same time.

Go... F(s)ee it to believe it!

Love aaj kal

2009-08-07T03:45:00.000-07:00

‘And we Twist’ the simple tale of love?

The point was made well. And well in advance. It was clear that Rishi (playing a Sardar Coffee shop owner in a phoren land) was trying to explain to Jai (an aspiring Khulla sand in his early/late twenties) what love is all about and how the Generation 2.0 cares not of the real thing – the pyaar, ishq mohobbat types. Now that was that. But why make an entire film trying to prove that point?

So there you have a couple a year into a relationship (Saif and Deepika) throwing a ‘breakup party’ to the surprise of their friends. They separate and decide to keep in touch like bosom pals. Giving dating tips, criticizing fashion sense and all that they couldn’t do as a ‘couple’. But when the warning of commitment lurks, the two find themselves helpless. A love too deep never confessed, is harder to reveal than to hide. And the ho hum drags along, with each of them taking their own sweet time to realize yehi pyaar hota hai and all that!

The point is, the film seems to obsessed in proving a point and making a statement about what love is and what it isn’t. And in all that, the joy of the characters journey isn’t enough endearing. Which indeed was the strength of Imtiaz Ali’s previous films – Jab We met and Socha Na tha. Both made their own points about the unpredictable ways of Love, but the characters were simply adorable. And their journey worth watching over and over again.

Which brings me to BIG issue with this one – the actors. Apart from Saif, none seems to grasp the character. In hindsight, it was Kareena’s interpretation of Geet that made Jab we met a masterpiece. Deepika is miles behind interpretation, and in fact looks confused in what she wants to portray. It takes skills to deliver dialogues with Punch, but to make silence speak is a far tougher craft. And Ms Padukone fails terribly. Her stares and vacant looks say nothing of the characters feelings in important scenes.

The directors choice of running two parallel tracks is interesting. The secondary plot of the Sikh Saif (the younger Rishi) is more watchable for its innocence and old world look, but it’s far too predictable and breaks abruptly, much to the disappointment of the audience.

The dialogues are failed by the acting. Any one who has seen Jab We met even once, can remember atleast a handful of lines. I cant remember but one here. Sad. The fascination with Hinglish seems most evident. The song “twist” celebrate the Hinglishism that our youth will most identify with. The Music? Well, could be better. Or better placed at least!

Overall all, this is a disappointing film. And certainly not comparable to Jab we met. But let me reserve the last word (and the last laugh) for the BIGGEST miscast in bollywood in quite some time. Brazilian model (Giselle Montero) plays a Gaanv ki Gori devoid of any lines and worse, devoid of any Ada- who was intelligently given no dialogues but ruined it all when she had to some Bhangra/Gidda or whatever she thought she was doing. It was hilariously wrong, Imtiaz.

After Jab We Met, maine Socha Na Tha that you could go this wrong..

Kaminey - Music Review

2009-07-17T10:36:00.000-07:00

Vishal Bhardwaj has himself to blame for raising the bar. Arguably OmKara is one of the finest films in recent times. It's music too was of very high standards compelling AR Rehman who won the film fare award the same year to admit while receiving the award that his favorite album of the year was infact OmKara.

So comparison is obvious and after almost spending a week on the album or Kaminey. Here is my verdict - I still like Omkara better. This is not to take anything away fromit, for it might still end up being one of the best albums Of the year, and some it's songs will be chartbusters!

Dhan-ta- tan for sure! A word about Gulzaar must be said. To Use words like Dhan-ta-tan and mix them up in a cocktail of poetry, is an art almost exclusive to him. The song, sung by Vishal and Sukhvinder is already topping charts, deservingly.

The other song which will find its way into the hearts of the audience has got to be – Raat ke dhai baje. Teasing tones of Sunidhi and Rekha Bhardwaj and the lovely retorts of Suresh WAdkar or Kunal Ganjawala build up a beautiful, fun number leading up to a hummable signature line.

My personal favorite is the title track, more for the lyrics. Gulzars craft is simply at its peak – masum kabootar, naacha toh mor nikla – is a masterstroke. Ofcourse Mohit Chauhans vocals are up there.. The song makes me think it’s the story of a guy who tricked the world, and eventually got tricked by his lover. Good guess? Let’s see.

Pehli baar mohobat ki hai.. is a genuine confession, both lyrically and vocally. Fatak, has a narrative flavor, and builds a character. The two remixes in the album, didn’t really excite me much. (I am not the remix types, anyways).

While all songs are good, none makes me wanna say wow. At least not instantly! Although many claim Dhantatan is gonna be the best song of the year, it isn’t close to the effect Beedi made. Overnight, almost on the first hearing. While each song is good, theres no spunk of namak, no melody of O Saathi re, no haunting siren like Naina.. I completely understand that the story dictates the music, and no doubt I respect Vishal Bhardwaj as a director as well as a music director!

So, my appetites built for watching the movie.. And yes, I WILL compare the movie to Omkara. Bhardwaj has only himself to blame for making a classic like Omkara.

Life, Hope and Susan Boyle

2009-06-05T09:06:00.000-07:00

Life, Hope and Susan Boyle!
Kartik KJ
“I dreamed a dream in time gone by,
When hope was high and life worth living…”
For those who don’t know the above two lines, these are the first two lines of the song that Susan Boyle chose to sing at Britains got Talent. For those who don’t know Susan Boyle, she is being seen as the messiah of hope and possibilities, after her grounded yet spellbinding performance at Britains talent based reality show. She walked in as an unassuming 47 year old, self proclaimed ‘never been kissed’ virgin and walked out to become an overnight celebrity (3Lakh youtube hits, if you may)
Back to the two lines…
The two most agreeable lines ever written, aren’t they?
Life, the puppeteer. It makes you swing, toss and fly at its will. And what happens then of that small dream, you once dreamed? Whatever it was – to be a writer, to be a teacher, to be a dancer, to be florist, to be a gardener, - it gets shot down in the socio-economic hoo-hah of living for your soul or for your status. We are trained to believe that a balance of both is a privilege of the destined few. Or so we are told.
But when the tiger roars at night, his voice soft as thunder, he stares into your soul, and asks you the most unforgiving of questions – are you happy with who you are, and what you are doing? While a 25 year old in an IT company, walks around in air conditioned offices, mastering the binary world, his soul wanders on the possibility of what it would have been, had he continued to play the guitar. And then, he waits to read his notice board, for that one annual event, where he can play his guitar and get the priciest of compliment – the applause at the end of his performance. He waits for another opportunity and sticks along, silently, only hoping to get those compliments again. His CV in the mean while, is an exhibit of his technical wizardry, an epitaph of the artist within, dying his natural death.
And along came Susan Boyle.
“What’s the dream,” questions Simon Cowell, fashioned as television’s most ruthless critic, thanks to his candid feedback and rare compliments.
“I want to be a professional Singer”, answers a polite Susan. Theres a murmur in the crowd, an almost dismissive grunt too.
“Why hasn’t it worked out so far?”
“I’ve never been given a chance before, but here’s hope things will change.”
“Who do want to be as famous as?” probes Simon, almost notoriously, for Susan exudes what has by now been understood (by reality TV viewers) as the ‘over confident air of an undertalented person”.
“Alaine Page.” The reply is candid and prompt. The audience is in splits. A 47 year old, trying to make it big? With the looks of an average countryside aunt, her audacity to drop names and share dreams, has now apetized viewers for a hearty laugh.
She nods at the comperes in the wings, the music begins, she smiles at the audience, raises the microphone and sings those two lines!
Goosebumps were never so visible. In the jaws the dropped, in the eyes that popped and in the audience which stood from the very first big note she hit, it was almost as if Susan Boyle was making a statement to that 25 year old IT professional and many many more like him – it ain’t over until the fat lady sings. No pun intended.
Boyle’s story is a modern day fairy tale. Add to it the contemporary elements of reality TV, youtube and facebook, and her global impact is almost Obamaisque. But just like in the case of Obama, this lady is endearing for the hope that she represents.
The last line of song, “Now life has killed the dream I dreamed” was perhaps the best way to summarize her life until the moment she took stage. But look what happened. And why did it happen?
Perhaps she didn’t let too many questions bother her. She didn’t give up.
How old are you? Will you bear being laughed at on stage? On television? Will you risk being a global joke, in times of youtube and twitter? Will you take a chance, just because you think you can dance, or sing or garden or whatever?
Doubt is the mother of denial. And denial, the beginning of victory of status over soul.
Dreams, like the sunrises, are there for you to see. You can always choose to rise early or comfort yourself by saying that at least you slept well. And just like the sunrise, dreams too can come to you everyday, if you ignore it, you can still get away by calling it a peaceful sleep.
“I have been waiting for this opportunity since I was 12”, she had said before her performance. From 12 to 47, she let tiger in her roar. And eventually, it was a deafening roar that had the world talking.
Susan’s story is a wake-up call, to everyone who has lived a dream in time gone by, for life can still be worth living. If just like Susan, you don’t let life kill the dream you dreamed!

Aloo Chaat

2009-04-01T10:30:00.000-07:00

Aloo Chaat – aptizing, but not satiating.

In recessionary times, if your regular Chaatwala bhaiya who makes Aloo Chaat for a living, decides to reduce on the quantity a little to suit his pocket, and suit his convenience, how would you feel? If it tasted well, but last enough to leave you satiated? Well that what I felt after watching Aloo Chaat. After choosing a great premise and building a beautiful plot, Aloo chaat rushes into a abrupt climax and finishes just about when you felt you in for a great treat.

Don’t get me wrong, this is a very nice film. But it is almost an opportunity lost, for the story had the potential to stretch a couple of reels and give a few more comic punches, which it so beautifully does otherwise. The story is simple and belongs to todays times. What does Indian boy studying in America do when he falls for a Muslim girl? He tells his parents it could be worse – it were a pardesi girl, with her pardesi ways, raw meat cuisine and bikini comforts!

The plot is lived beautiful by a beautiful cast ensemble, complete with a Mother, Father, Grandmother, uncle, and a partner-in-crime family friend.

Among the performances, it has to be uncle Chadami (played by _____) who with his apt expressions and comic timing wins all laughs. The situations are the real winners. Newcome Amna Sharif does her bit, so does the phoren actress. Aftab too is likeable in his role.

I give the film 3.5 stars for making me want more, and not giving it!

Filmfare Awards 2009

2009-03-06T09:12:00.000-08:00

How Fair of unfair do you think are this years awards..?

Heres what I found on this website
http://www.khabrein.info/index.php?option=com_content&task=view&id=20470&Itemid=70&limit=1&limitstart=1

Assuming these are true. Here's what I feel.

Nominees: Dostana; Ghajini; Jodhaa Akbar; Rab Ne Bana Di Jodi; Jaane Tu… Ya Jaane Na
Rock On!!
Winner- Jodha Akbar

Well, first of all, where A Wednesday? What in the world is the reason why Rab ne finds a mention and A Wednesday doesnt? It is kinda ridiculous. Although, in the final analysis, the winner had to be Jodha Akbar, for its mass and class appeal.

Best Director
Nominations:
A.R. Murugadoss - Ghajini
Abhishek Kapoor - Rock On!!
Aditya Chopra - Rab Ne Bana Di Jodi
Ashutosh Gowariker - Jodhaa Akbar
Madhur Bhandarkar - Fashion
Neeraj Pandey - A Wednesday!

Winnner: Ashutosh Gowarikar (Jodha Akbar)

I personally felt it was a close call between three here - Neeraj, Madhur and Ashutosh, but then again I agree that it is safe in award parlance (especially filmfare) to choose one which was a commercial success and had critical acclaim, so here's to Ashutosh!

Best Actor: Nominees

Aamir Khan - Ghajini
Abhishek Bachchan - Dostana
Hrithik Roshan - Jodhaa Akbar
Akshay Kumar - Sinng Is Kinng
Shah Rukh Khan - Rab Ne Bana Di Jodi
Naseeruddin Shah - A Wednesday!

Winner - Hritik Roshan - (Jodha Akbar)

Well.. Akshay is here, Farhan for rock on isnt? Shah Rukh is here, Vinay Pathak for
Dasvidaniya isnt? This doesnt sound right. In what remains a fight only between Naseerudding and Hritik, the latter had a meatier, more nuanced role and deservingly wins.

Best Actress - Nominees

Aishwarya Rai - Jodhaa Akbar
Anushka Sharma - Rab Ne Bana Di Jodi
Asin Thottumkal - Ghajini
Kajol - U Me Aur Hum
Priyanka Chopra - Fashion

Winner - Priyanka Chopra - (Fashion)

Let us take a moment or two to realise how wrong this feels. If Asin and more surprisngly Anushka find a mention, it is sacrilage that Genelia's portrayal of Aditi is not even mentioned. The race was between Mrs. Rai-Bacchan and Chopra, but Chopra takes it for a role essayed for her and for the awards!

Best Music Director - Nominanees
A R Rahman - Ghajini
A R Rahman - Jaane Tu… Ya Jaane Na
A R Rahman - Jodhaa Akbar
Pritam - Race
Shankar-Ehsaan-Loy - Rock On!!
Vishal-Shekhar - Dostana

Winner: AR Rahman (Jaane Tu Ya Jaane Na)

For once, I am not disagreeing with the nominees at all. This one's bang on right! But I feel Jodha Akbar's a better album than Jaane Tu.

Best Story - Abhishek Kapoor (Rock On)

Possibly. But A Wednesday was equally good, if not better.

Best Supporting Actor - Nominees
Abhishek Bachchan - Sarkaar Raj
Arjun Rampal - Rock On!!
Pratik Babbar - Jaane Tu… Ya Jaane Na
Sonu Sood - Jodhaa Akbar
Tushaar Kapoor - Golmaal Returns
Vinay Pathak - Rab Ne Bana Di Jodi

Winner - Arjun Rampal (Rock On)

this is a tough call to make, but I feel Arjun Rampal is ahead by a short distance from Pratik Babbar and Sonu Sood.

Best Supporting Actress - Nominees

Bipasha Basu - Bachna Ae Haseeno
Kangana Ranaut - Fashion
Kiron Kher - Dostana
Ratna Pathak Shah - Jaanu Tu… Ya Jaane Na
Sahana Goswami - Rock On!!

Winner - Kangna Ranaut (Fashion)

Yes! The winner is correct. Although I feel this one was a tough category with 3 very strong performances in Bipasha, Ratna and Sahana. Feel for Sahana!

Best Playback Singer (Male) - Nominees
Farhan Akhtar - Rock On!! - Socha Hai
KK - Bachna Ae Haseeno - Khuda Jaane
KK - Jannat - Zara Si Dil Mein
Rashid Ali - Jaane Tu… Ya Jaane Na - Kabhi Kabhi Aditi
Sonu Nigham - Jodhaa Akbar - Inn Lamho Ke Daaman Mein
Sukhwinder Singh - Rab Ne Bana Di Jodi – Haule Haule

Winner - Sukhwinder Singh (Haule Haule - Rab Ne Bana De Jodi)

Hmm.. This is as tough as it gets. I can't separate 5 of the 6 nominees. Socha hai seems the weekest, but its quite a compliment for Farhan to be nominated against this line up. KK for Khuda Jaane was a favorite so was Sonu Nigam's effortless singing in a very twisted composition. They are all winner, Sukhvinder was a bit luckier, but not undeservingly so.

Best Playback Singer (Female) - Nominees

Alka Yagnik - Yuvvraaj - Tu Muskura
Neha Bhasin - Fashion - Kuch Khaas Hai
Shilpa Rao - Bachna Ae Haseeno - Khuda Jaane
Shreya Ghoshal - Singh is Kinng - Teri Ore
Shruti Pathak - Fashion - Marjaawa
Sunidhi Chuhan - Rab Ne Bana Di Jodi - Dance Pe Chance

Shreya Ghoshal (Singh is Kinng)

Againg, very very tough. Except Sunidhi, all other singers in this category this year are very close. Alka Yagnik almost nailed it with her rather rare appearance in film songs. My personal favorites are Marjawa and Khuda Jaane. But the haunting melody of the sweetest voice of Bollywood is just as good if not better. You rock, Shreya!

Shall comment on the other categories later!!

Best Debut (Male) - Farhan Akhtar (Rock On) & Imraan Khan (Jaane Tu)

Best Debut (Female) - Asin (Ghajini)

RD Burman Upcoming Talent - Benny Dayal (Ghajini)

Best Costumes - Oye Lucky! Lucky Oye!

Best Background Score - AR Rahman (Jodha Akbar)

Best Cinematography - Jason West (Rock On!)

Best Editing - Amit Pawar (Mumbai Meri Jaan)

Best Coreography - Longinus (Jaane Tu)

Best Lyricist - Javed Akhtar (Jashn-e-Bahara, Jodha Akbar)

Best Sound Design - Vinod Subramanyam (Rock On)

Best Visual Effects - John Deitz (Love Story 2050)

Best Action - Peter Heinn (Ghajini)

Curious Case of Benjamin Button

2009-03-06T08:50:00.000-08:00

Well.. Isnt it unfair that we dont get to see the oscar nominated movies well after the awards are done and dusted?

Anyways, here's reviewing the second nomination for best film. The curious case of Benjamin Button is a film about a man born old and aging in the reverse order. It is a film more importantly about the agelessness of everlasting love.

Set in the 40s-60s the films look is true to its time - pastal and postcardish. The film is vaguely reminiscent of 3 previous oscar successes. In the flashback narrated by an ailing old woman and her daughter in a hospital, reminds you of Titanic's rose telling her grand-daughter her love story. In the way in which the lead pair (Pitt and Blanchett) meet and depart, there is a 'carrot and peas' feel of Forrest Gump. And, one particular sequence to narrate Kate's accident is almost on the lines of the French Oscar favorite of that year, Amilie.

Having said that, the film does have a soul of its own, thanks to its endearing lead character, Benjamin Button. You begin by sympathising for a baby, born with the looks of a 85 year old, abondoned by his father. Then you see a child trapped in an old mans body, a teenager learning the ways of life still looking like an mid-aged man. At one point, you get jealous of this man who looks like a greek god at the age of 45!! Looks apart, Pitt manages to give the character the right amount of vulnerability, unsure anxiety and romance to make this seemingly long story a great watch.

Cate Blanchett, makes her presence felt with her apt expressions and classic ballet moves. The chemistry in the characters is electric. The romantic scene by the lake is a highlight.

The film is worth a watch for its story, dialogues and performances.

4 Stars

For the record, I thought this film more than Slumdog Millionaire.

Kaminey: First Look

2009-02-22T05:18:00.000-08:00

I have been a huge fan of Vishal Bhardwaj ever since Maqbool. In all his films, he has done a great job and the great combination of a music director and a director that Bardhwaj is, can be seen in all his films - Makdee, Maqbool, Omkara and even Blue Umbrella.

To say that I have been waiting to watch his next film is an understatement. And how pleasantly surprised I was when I went to watch Delhi 6 and this promo was screened. Kaminey stars Shahid Kapoor in a double role and Priyanka Chopra.

This movie has certainly aroused the curiousity of everybody, and be sure that I will follow this film up!

For starters, this one's coming across as a comedy, with a "mean side" as the trailer says, Priyanka looks stunning another Desi Girl avatar and Shaid seems to have joined the six pack club.. Lets wait and watch

What an ad!

2009-02-21T22:21:00.000-08:00

This is such a great concept. Autobiographical, Reflective and very inspiring.. WOW.. is the only word.
A friend of mine and I first saw this ad on the cannes lion website and we went silent for some time.. This ad has that effect on you...

Watch it to believe it!

Delhi 6

2009-02-19T22:17:00.001-08:00

Humko Monkey Shakti Dena ;-)!

If one had to compare, I don’t think Delhi 6 is anywhere near Rang De Basanti. In fact, the friend with whom I saw the movie suggested that the direction looked like a poor replica of Rang de Basanti. I agree to the extent that the movies message seems to come in its last quarter and up until then it’s just a watchable film.

The film begins with the an aged Waheeda Rehman deciding to come back to Delhi 6, the place where she wants to die in peace. Abhishek Bachan, her grandson, decides to drop her there and comes to experience an internal journey. In Delhi 6, we meet an array of characters, a Old style house with Tulsi in the aangan, neighbours who practically live with you and stories of estranged brotherhood, lost love and ambitions crushed in orthodoxy. While this happens among the principal characters, on the broad level, Delhi is experiencing attacks from a black monkey, who no one has seen but all have heard of. There is also a Ramleela, which stops to accommodate speeches of politicians, there’s politicians looking to exploit the religious fundamentalism, a Baba who claims he can speak to the spirit of the black monkey. There’s also a ragpicker, who is still seen as an untouchable in Delhi 6. And, oh yes, theres also that love story between the two leading characters.

Too much? Precisely.

There seems to be a lot going on in this film for it to be a 3 hour experience. Too many characters, too many subplots, too many views and voices, too open for interpretation. To Delhi 6’s disadvantage, the characters are not as instantly endearing as those in RDB. Neither do they have those one liners like in RDB, which make them appealing.

Having said that, the film doesn’t lose your attention. Although it is not a very gripping experience, it is strictly watchable for the novelty of its form. Scenes from a Ramleela taking place in the city have been interestingly juxtaposed to match the main plot and give depth to the narrative.

The message that eventually gets delivered, is a good one. The black monkey is but a metaphor for what happens in our country. It is a source of news, then amusement, then commercialization, and eventually unrest and chaos. A fakir pops many a times in between to tell the audience to look into the mirror and see if the black monkey is actually within you, and not outside.

The films merit is its cast. Although both Abhishek and Sonam do justice to their part, it is the support cast that comes together in a perfect ensemble. Right from Om Puri, Waheeda Rehman, to Divya Dutta Atul Kulkarni and even the child actors, they all put together a great punch. The music of the film is very good.

The film has to its credit an aarti (Tumre Bhavan mein) which is first a creates the most comic moment with the male-chorus turning into a fight among two brothers, and then creates a very romantic moment with the serene recital and when Sonam Kapoor clad in white hums in the background standing in moonlight, as Abhishek watches. (Who had ever thought a Bhajan could sound so romantic!!)

Being fond of the newness that films have to offer, I would call it a decent film. It keeps you curios as to what message it is leading you to. In fact at a moment in the film when Abhishek Bachan cries on the shoulders of Waheeda Rehman and says, “Mujhe kuch nahi samajh raha hai”, that’s what even the audience feels actually! Thank God for the last 30 minutes and the pacy and meaningful climax with a ‘divine’ twist that saves the movie and in fact takes it to a new level.

Watch it. It’s different!

3 stars

Slumdog Millionaire

2009-02-16T23:44:00.000-08:00

Whats the whole poverty porn debate about?

What really is the fuss? Are we upset at the display of poverty? Or are we upset about portrayal of India? Or are we simply upset that a movie which is a favorite to win the Oscar for the best film is based on a character life sees the downside of India? What really are we upset about?
Why was it not an issue when Lagaan was nominated? Why was it not an issue when Deepa Mehtas water was nominated? Is it the importance of the category then that has upset us? What really has upset us?

Are we not in the midst of this vague debate forgetting that this is infact a very well made film? Danny Boyles Slumdog Millionaire is very rich cinema. It makes you empathise for its characters. The directorial genius that oozes out of all the visual metaphors of the movie is commendable. I like this film for what it is – a film.

No reasons to get personal about it. IF it were only about showing poverty in india and ensuring the film becomes a hit, why haven’t films such as Dharavi, Satya, Chandni Bar, become international hits? If the anger is about showing the most unfortunate situations in India and the slums, many Indian films written and directed by Indians have done the same. Wheres the acclaim? Wheres the nomination? Where is even the mention? For a film to get the kind of acclaims that Slumdog has received, it has to be a good film! And slumdog is one!

Its narrative is poignant, its cast well placed, and its pace apt.

It is not to be mistaken for as a documentary on India. Whether the foreigners who choose to JUDGE India on the basis of this film is their call. Question: Just because American films have a lot of skin show (as compared to Indian films) do we judge them as immoral, lusty people? Just because films from our neighbouring countries are all about Kung Fu, do you think people there can actually fly like in Crouching Tiger Hidden Dragon? Even those in our own nation who treat Rajnikant as a demigod know that none of Rajnikants tricks is a reality.

As for all the business connect, I am certain that Indias FIIs or FDIs have not been affected one bit cause of its films, are they? Does this film change the fact that we are still one of the best locations for Outsourcing business? If yes, lets just make films of the positives on India and tip toe our way out of recession..

What is this poverty porn we are talking about? Are you against the display of poverty or that it is in India? Is the subtext of the debate that if this film were based in a slum in Indonesia or in South Africa, it was okay? Where is the concern?

We are too used to taking credit for what isn’t ours. Just because the film is based on a character in India, it doesn’t make the film ours to own and dissect. Even if it does win the best film, what’s there for us to be happy about – except A R Rahman, who shines marvelously in this film. The actors of Indian origin need a mention, but certainly the film belongs to someone else, and let him bask in the glory of his achievements. Having said that, there is nothing for us to be sad about.

I urge everyone who feels bad, to do whatever in his or her space, that ensures that India gets the ‘right’ visibility. Let’s appreciate films that show India in the right sense and make them a hit. I have the same questions to ask Indians that we are asking the foreigners. Why are films with better messages failures in India and those that are regressive do better? Are we okay with these facts and not okay with Slumdog getting the acclaim that it is getting? When will we stop joking on Sardars or teasing south Indians for their Accent? Aren’t these the very stereotypes that the biggest of our filmmakers and banners still exploiting to rake the mullah?

Let us not have double standards… I am not endorsing the K serials or regressive films, but simply saying that when we can look at these with no prejudice and simply treat them as work of art meant for entertainment, why get over analytical about one film that’s getting international acclaim on the basis of its merits?

Go watch Slumdog, it’s a good film. That’s all!

Dev D

2009-02-13T10:12:00.001-08:00

Confessions of a drunk mind!

Every once in a while comes a movie that the critics go gaga about and the box office reports don’t quite agree. The overacclaimed-yet-failed category of films. So while there seems to quite a upheaval about whether this movie deserved the 5 star rating it got, it is clear this isn’t a movie for all. (In fact, what reviews have done by slating this movie as one based on lust and sexuality, is that it has driven the wrong kind of audiences into the cinemas. May be.. anyways now to the review.)

It is indeed the coming of age for Sex in Indian films. While there have been many attempts, they have stopped at mere lust, or the occasional skin show, more than smooching and stripping. And now, finally a movie that uses ‘sex’ as its essence. No. I do not mean that there is a lot of skin show in this movie. Infact, there is hardly any to call this an erotic experience in any sense. But it is realistic portrayal of sexual chemistry in the between its principle characters – Dev, Paro and Chanda.

Speaking of which, what an adaptation this is of the original literature. It does justice to the basic plot, yet its irreverence in the flavor and presentation is a case study of sorts for anyone who wants to adapt screenplays. And what real characterization! Paro, is no more the diya holding damsel. She is a gutsy punjaban who has her initial qualms, but eventually sends Dev what he asks for while in London – a nude pic of hers! And what does Dev do after he sees it? He gulps his vodka, calls Paro and says, “Paro, main aa raha hu!”

That’s what we mean when we say, that sex comes out of the closet with Dev D. It’s not the act, but the suggestiveness of the dialogues, the raw, primal chemistry captured in situations that makes this movie the first of its kind for Indian Cinema.
Even Chanda, is originally a college student Lesie, who is drawn into prostitution after an MMS scam makes her infamously famous (or famously infamous) and her family disowns her. For all the regressive movies on women made in the recent past, this one comes as a slap, where Chanda despite being a CSW is also full time student at the university.

The basic plot is the same as the original and its many remakes, but this film takes an interesting twist in the end and doesn’t make you feel sorry for the tragic hero. Instead it urges each one of us to ask ourselves if it too late to take control of your life.

The directorial genius in this one is worth appreciation. Sticking the dark tones, the director uses imagery to communicate the minds of the principle characters. The music, is another plus. Its different, and its relevant. Emotional Atyachar is the jewel in this crown. The lyrics, the dance, the two singers, the trumpeters, the art direction, the brides moves, the grooms gawp and Dev’s drinking put together, one amazing moment in Cinema. Wow!

The actors do a great job. Special mention is reserved Chanda, who you sympathise with. And Abhay Deol does it again. This guy seems to have cracked the craft of getting into character. From the naughty romancer, to the heartbroken man, to the addict, to the confused to the resolved, he hits the right expressions and impresses with acting prowess. (I must add, that he is really underrated, but that must change at least with this film)

This movie is a landmark movie. And everyone who wants to be a part of the journey of Indian Cinema must see this. If you want a brainless joyride, item numbers, the usual ho hum, you may not really like the movie.

4.5 stars!

Ghajini

2009-02-13T09:39:00.001-08:00

Khoda pahad nikla Ghajini??

Well Well Well… Is there such a thing as a threshold of hype? The marketing campaigns that go into creating hype around the big releases are quite a case study in themselves. That Ghajini would have recovered all of its money in advance booking and music sales, is old news. If after so much push, it hadn’t recovered the money, that would be some news!! But is it a good movie? Let's investigate.

Take one of the oldest bollywood formula – Revenge, try and add a common twist with an uncommon twang – Anterograde amnesia (where the patient remembers only 15 minutes of his past) – That’s Ghajini.. Oh yes.. the flashback also shows us who his lady love Kalpana was and introduces us to a bubbly budding model of a smalltime agency. Endearing and enthusiastic!
To begin with, nothing is awfully wrong with this one. Just that one expected a lot more from the promos. For one, the writings on Aamirs body have only a word of explanation in the film .And that’s that!! There is no REAL significance to them. The oh so popular hair cut is not really a cut, but the way his hair grows back after being hit on the head. (I feel sorry for everyone who imitated it as the cool look…oops! )

It is a very simple story, tried to be told complicatedly with the entire memory loss ho-hum.
Asin (actually her character in the film) lights up the screen everytime she enters the screen. Her onscreen chemistry with Aamir is brilliant, and one has to give her credit for making her mark in the presence of a superstar. Aamir is good. But I don’t mean that as a compliment. For an actor who has been par superlative with every performance, this one is a little overdone. While trying to marry the helplessness of an amnesia patient and the anguish of a lost lover, he treads on the thin line of overdoing and outplaying the role. While he is very believable in most parts, there are also instances where you feel he is trying too hard. Somehow, all the support cast seems to have been told to overact - be it the inspector or the villian.

Songs are unnecessary, although guzarish remains with you well after the movie is over, thanks to the amazing locales. Rehman's music is impressive even in the tiny bits that he plays in.
The director has smartly and thankfully changed the end from the Tamil version, making it more realistic. A lot of time is spent in the beginning before the story kicks off. The dialogues are reasonably good but not outstanding. Overall, the film is just average, the expectation was quite high.

I wonder whether too much hype becomes a negative thing for the film. The box office verdict is out. This IS the biggest blockbuster, but certainly average cinema. Alas, how i wished I hadnt to end a review saying just this... Aamir is worth a dekko!

Fashion

2009-02-13T09:37:00.000-08:00

'Look, he is Madhur Bhandarkar’, says a model backstage to another. ‘He is making a realistic film on Fashion, must be doing his research.’, pips her colleague. Clearly, the director, is trying to prove in more than one way that he knows the strike a balance between being realistic and outright commercial. He does it, and how!

So while fashion has all the glitz and glamour that one associates with the industry in context, he goes way deeper and exposes the dirty realities of the same. Drugs, abuses, wardrobe malfunctions, rivalries, live in relationships, gays - he has it all! And to his credit, the ensemble comes to life on the screen in a well told story.

Fashion is about the small town girl Meghna (Priyanka) and her dream to make it big in the Fashion world. She leaves Chandigarh against her parents wish and comes to Mumbai. Fashion explores her journey from a struggler, to an eye-candy, to a model to a supermodel and a victim of her own success. Too much success too early becomes difficult for Meghna to handle who crosses the thin line between attitude and arrogance. And when on a roll, she forgets the few good people that she encountered in this big bad world.

In this journey she also encounters Shonali (Kangana) - the supermodel on her downslide. Resorting to drugs and abuse, she even warns Meghana once that she better watch out before it is too late. Meghana, in her prime, does the obvious by snapping back at her. Little does she realize that she is indeed following Shonalis fate.

But will Meghna become another Shonali? Or will she fight back for her image and her identity? This is what Fashion unravels. But Sadly, it takes too long to do so. The film looks easily a good 20- 30 minutes longer than it should have been. Or perhaps it is the last few reels of the movie are trying to ‘make a point’ on a philosophical note and hence a look tad too ‘gyaan-ish’.
That doesn’t take away from the fact that this is a great film and up there on the same level as Chandni Bar and Page 3 and certainly way ahead of Traffic Signal and Corporate.

The performance, like in most bhandarkar films, are outstanding. Strong characterization lets Priyanka deliver the role of her lifetime (Awards calling?). She bring Meghna alive and her emotions are well portrayed. Then there is Kangana, who must strictly stop doing roles of a drug addict (although she does them well). Kangana lives the role of a supermodel and can give even the best of models a run for their money when she walks the ramp. Her catwalk as a ‘Showstopper’ in two shows and her emotional break down after a wardrobe malfunction are the highlights of the films. These alone win her extra brownies over Priyanka (if you HAD to compare!!)..

All other departments of the film fall in place to make it a complete product. The fashion shows are well choreographed will good music too.

Overall, it is a good watch, save the last 20 minutes. Kudos!

Wednesday

2009-02-13T09:35:00.001-08:00

When the terrorist calls!

A retired police commissioner sits on a bench on Marine Drive and goes back in thoughts.. and is reminded of the most unforgettable day in his life.. a Wednesday.

The Commissioner (Anupam Kher) apparently an expert at cracking terrorism cases, gets a call from an unknown number – it’s a threat that 4 bombs have been planted at different places in the city. They will blow the city apart at the same time. There is only one option: Hand over 4 arrested Islamic Terrorists. The police are shown to act with poise under the leadership of Kher. Loyal officers, all willing to give their lives for the project to save Mumbai, is a heartwarming feeling, especially at a time when bomb blasts are more frequent than film releases.
In Anupam’s restless eyes you see the intensity to nail down the terrorist. His body language and the crisp dialogues go hand in hand to convince you that he is indeed the best man for the job (both as the policeman and as the actor). And then there is Nasseerruddin Shah, whose composed demeanour and mastery over the medium shows in every word he utters. Making calls every now and then which can’t be traced by outdated government softwares, his character drives the plot with every clue and hint he gives.

The plot and its twists leading to one of contemporary Bollywood’s most intelligent ends, is a crisp presentation made in a very international form.
God bless bollywood for movies like ‘A Wednesday’. Relevant, convincing and compelling, the movie takes you inside the heart of a Mumbaikar (or as in today’s case a Delhi-ite, a Ahemedabad- ite or the many cities that are under the shadows of terrorism) It moves you to tears with the helplessness of a common-man. It shakes you with the realization that when a bomb kills, it does see the religion of the victims. It just kills.

Anupam Kher and Naseeruddin Shah lead the ensemble cast with apt finesse. Naseeruddin Shah evokes tears with his final few lines. The support cast does well.. Special mention of Jimmy Shergill whose only task is to beat up the bad guy to extract information (so much that the bad guy that he wets his pants the next time he sees him). But the smile he gives when the Islamic extremist throws sermons of Jehaad at him is a slap on the face of the terrorists who think that Indian Muslims will fall for that pseudo-religious trap!

Bravo!

It is unfortunate that Taare Zameen Par released the same year as ‘A Wednesday’, for this film has equal Oscar potential (if not more) .
4.5 stars

Tahaan

2009-02-13T09:34:00.002-08:00

Tahaan.. Wow!

Innocence exploited, Images of a burning fire that spits fury on the white ice of the valleys of Kashmir, visual metaphors galore – welcome to world class cinema!
A film which at the premise is a story of a boy who will do anything to get his pet donkey back, is also a real earthly fable of non fictitious events that have burnt the heaven on earth – Kashmir. Tahaan- the protagonist is a typical kid being himself - Talking to his donkey, sharing secrets with him. Poverty and misfortune strike one after the other and the family has to sell everything – finally, even the donkey.

What will he do get him back? Rather, what won’t he?
A failed attempt to steal it back (and genuinely making it look like it wasn’t stolen), racing the donkey against mules, nothing works. He finds comfort in a new friend Idriz who promises him that his Baba will get him his donkey back, for a favor. The rest is of course history. The child, without knowing the meaning of terrorism becomes a means of it.

More than story, more than the performance, more than anything else, Santosh Sivan’s success is that he tells you that the donkey is but a metaphor and how the extremists exploit your love for people and things to get you to indulge in terrorist activities.

Let us not forget that this is India’s best cinematographer, and now a matured director. While Ashoka seemed to be a spectacle of his camera sensibilities, this one is a showcase of sheer directorial genius. The man craftily uses ample visual metaphors every now and then, extracts performances that are beyond ordinary, uses music like an expert and in short, come out the real star of the film. While the opening credit sees the directors name flash in many departments, you wonder if he is being over pompous about himself. The fact is, he deserves to be!

The performances are bang on. Tahaan played by Purav Bhandare is the obvious sweet heart – he is the Darsheel of the year. Anupam Kher and Rahul Bose pitch in with strong roles too. But a line must be said in praise of Sarika who without uttering a single word in the film takes all your attention with her heart warming expressions and screen presence. Bravo!
There are no songs, but the music is brilliant. The film is brilliant in every department and is no short of a classic. This one should be a hit in all the festivals of the world. Box office? I pray, yes!

4.5 Stars!

Phoonk

2009-02-13T09:32:00.001-08:00

Phoonk

Welcome to the vague world. Where crows stare continuously, lemons spell disaster, an angry look can send you flying. RGV invites us to get scared with what is possibly a ‘scary movie’ attempt at horror film making.

The titling of the movie does builds your appetite, and perhaps that’s the reason why you end up so disappointed. Post Bhoot and the promotion built around phoonk, you cant help but expect to be surprised by the director. A surprise it is, of the dismal kind!

A construction tycoon fires an eccentric duo, characterized by a spastic-acting man and a devilish-laughing woman. Doom follows as the home is now jinxed. From scary (?) dreams to bones to lemons to charcoal crosses on the walls – you name it and you have all the stereotypical material to convince you that there indeed is some black magic in the house.

The daughter is now possessed. She speaks in a manly voices, kicks the doctor on his belly, stares at crows endlessly. Enter the psychiatrist. ‘All physical tests are normal, this is a mental problem!’. This is met with constant opposition from the (unintentionally) funniest character of the movie – the grandmother who does nothing but shake her head like she wants to say no! (No.. don’t watch this movie anymore??). She is convinced that this is black magic. To the extent that she will go and get a Baba types to do his voodoo stuff. Behold… he throws English tantrums when the atheist son of the house kicks him out. Laugh Out Loud!

There is no point in discussing the story further. For the like the movie, you might pray for the review to end right away.

Is it scary? NO. It is funny. Save for one dream sequence, which is also not hard to guess, for a genre of this sort necessitates at least one dream. (There are two in this movie).

The story is predictable. The only unpredictable thing is where the camera will go now. Awry, and abstract the cinematographer is on a trip of his own and wants to scare you with all the non living things in the room. No time is spent thinking on the story. All of it is perhaps spent on choosing dolls, show items with SCARY EYES! Dumb! Very dumb!

In the Acting department, you do not come out remembering anyone. Maybe the little girl, who uses her eyes well, especially in all scenes where she is possessed. Oh no.. you do remember the grandmother and her constant head shaking. She surely becomes a favourite joke in the days to follow on the coffee table! There is nothing in this movie that makes you feel wow, let aside scared.

This movie was a thorough disappointment and whatever confidence RGV reinstilled after his reasonably well made Sarkar Raj, is lost with this one. Dumb phoonk.

1 Star - Only coz i didnt want to give zero!

Jaane Tu Ya Jaane Na

2009-02-13T09:19:00.000-08:00

Jaane Tu Ya Jaane Na

“Woh gaana to sirf mai usi ke liye hi gaaonga. For that special someone”, says Jai (Imran) when his friends ask him what’s that song he will sing for his love. He goes dreamy eyed, chococate smiles. Typical moment for an archetypal romantic film to break into an alaap! But no! “Gaaega ki maar khayega!”, pips Aditi (Genilia). Such spontaneity, wit and humour, take Jaane Tu at a level that very few films reach.

What’s new in this film? Nothing and Everything. There is no pretence in the director’s approach. He knows what he is doing. He gives us what we have always gotten - but makes sure that the sum of parts is greater that the whole. While each department of the film excels on its own, put together, the experience is Simply Superb! Its fresh, relevant, contemporary, identifiable and an amazing movie experience..

A story of a group of friends. Two of them (the lead pair) are so close to one another, that the obvious is expected. Questioning the popular Ek ladka aur ek ladki kabhi dosst nahi ho sakte lines, the couple are sure that they are just good friends and set out to prove it. To resolve life, they decide to find one another a partner. The new partners, the following drama and the hilarious transformation of Jai from a boy to Ranjhor Ka Rathore is the plot of this must watch.

The story is simple, but the treatment is unique. Within 5 minutes of the film’s start, you are sure this is a film with its heart in the right place. The language is enough contemporary to encourage repeat viewing from the college crowd. The relationships are earthy and believable. Be it the dysfunctional family of Jai’s new girlfriend, the warmth of the mom-son relationship, an impossible brother, they are a treat to watch and give the film its depth.

Of course, it’s a fun film. The one liners are just too good. The pet names of the characters – Rats, Meow, Peachy, Pumpkin, Rotalu -will catch on the college kids: The cameos are really well placed. (Watch out for two brothers riding horses into discotechques only to eve tease and for the police inspector Waghmare and his verbal duels with Jai’s mother (Ratna Pathak Shah)). All characters are beautifully carved and utilized. My favorite is that talking portrait and his animated expressions. The camaraderie and the repertoire of the five friends is such a real take on college life. Replete with crushes, broken hearts, leg pulling, and even the Pappu-dance everyone will relate and remember his college and buddies. The chemistry of the friends reminds you of the pals of Dil Chahta hai!

The film’s music does justice to the script. Be it Rehman’s crooning at crucial moments, the cheekiness of Kabhi Kabhi Aditi , the spunk of Pappu can’t dance saala, Rehman’s numbers grow on you slowly and steadily. The camera work, editing, art direction all fall in perfect symphony to create the effect.

The performances hold your attention throughout. Perfect casting. Imran Khan sure has a bright future. Genelia lights up the screen every time she enters. All the support cast is fabulous. Special mention to Ratna Pathak Shah and Naseeruddin Shah, whose chemistry and timing is to be seen to be believed.

Everything is great. Although, the climax treads towards a bit of absurdity, it is not a reason why this filmed should be missed. Even in moments of absurdity, the genuine effort of the director to keep your smiles and laughs going, is commendable. Jaane Tu.. belongs to a class of films you will always want to watch and remember- at friends reunions, at family get-togethers, just for a small break and sometimes, just like that.

Moral of the story: Do yourself a favor, watch this one!

4 Stars!