Beshuba Kunal Ganjanwala, Antara Mitra
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Love Sex Aur Dhoka - MP3- 320Kbps
LSD explores the human emotions of love, sex & betrayal through very candid points of view. Told through the chaos of the camera that has invaded all our lives - through handy cams filming home movies, security cameras shooting every inch of existence, mobile phones transmitting love messages, sting cameras uncovering uncomfortable truths.
Hum Tum Aur Ghost- MP3- 320Kbps
Armaan's (Arshad Warsi) life is picture perfect; a loving girlfriend and a great job as a fashion photographer. Yet things aren't as perfect as they seem to be. He is a chronic patient of insomnia though his sleeplessness is not a function of a sleeping disorder. The truth is that he hears voices - voices that torture him, voices that don't let him have his peace, and voices that nobody else can hear. While his friends sympathize with him, his girlfriend, Gehna (Dia Mirza), is irritated with his weird behavior while her father constantly berates him for his fondness for the bottle. No one seems to understand Armaan's predicament. What is even more puzzling is the fact that he talks to himself...or rather, to people, whom no one can see! Suddenly aware of his special ability to connect with the souls that haven't crossed over, and equipped with a will to fulfill the wishes of the spirits that hound him...
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Swaha - MP3- 320Kbps
A story of a family man and who believes a holy man as a god and does whatever he tells him and tragedy strikes when people around him start to die and it has something to do with his house.
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Tum Milo Toh Sahi-MP3-128kbps
Tum Milo Toh Sahi-MP3-320kbps
The concept of incorporating more than one story in a movie running parallel to each other is not anything new to Bollywood. The trend which has been earlier tried in numerous famous projects gets repeated in Tum Milo To Sahi, but thankfully in a much better way. Moving ahead of many other movies made on the similar pattern, director Kabir Sadanand's latest venture has got something to say with many worth watching moments and a well directed climax.
Revolving around 3 different love stories dealing with distinctive age groups, TMTS starts off calmly with the introduction of Dimple Kapadia as a Parsi lady running a coffee home and Nana Patekar as a 50 plus person desiring an extension in his job. Facing the refusal from his boss, Nana is forced to spend a retired life alone and gets a little eccentric due to that. But in reality it's his eccentric behavior on the screen which transforms the movie into a not to be missed experience and impresses. In straight words, TMTS completely belongs to Nana Patekar alone before the climax. Especially watch out for his scenes with the small kid and as a first time lawyer in the court. Although Nana's character is written on the similar lines of his own "Prahaar", but that doesn't take away any charm out of his superb act of a retired lawyer cum clerk in the movie. However in the last court room sequence, it's Dimple Kapadia who takes the final moment lead and brilliantly showcases her still unexplored hidden potential as a veteran.
Both Nana Patekar & Dimple Kapadia are simply terrific in their scenes together. They convey a lot more through their expressive eyes and silence. The short and intelligent dialogues given to them post intermission, contribute greatly towards the inspiring impact of their individual acts. But sadly, the movie is not able to rise to the level of a masterpiece due to various reasons. The most important one being its editing, which needed to be more tight and crisp. There are several scenes in the first half which are quite slow and tend to drag. Particularly the plot around the young Rehan & Anjana is not engrossing enough. It only proves to be the usual stuff with nothing new to say, contradicting the other two interesting stories running simultaneously. Apart from that, the movie has many unwanted songs which all should have been avoided in the first place. Surprisingly it even has an item number featuring Tanisha (Kajol's sister) doing a very unexpected sexy kind of dance number. In fact it's only the title track, which sounds soothing to the ears and rightly provides the much needed musical support to the theme.
Another noticeable merit of the movie is Vidya Maldave who looks stunning in the role of Suniel Shetty's wife and acts like an experienced master of the art. Her persona is both pleasant and hot, very similar to that of Madhuri Dixit, the still remembered queen of the gone era. Suniel Shetty as the husband caught in the dilemma struggles in the start but later delivers a controlled performance towards the end. The story featuring Suniel & Vidya deals with a very important & relevant question that, Is money and status symbol in the society more important than human relationships and family?
Rehan Khan & Anjana Sukhani as the young couple of the third story are both pleasantly natural. But their story becomes the weakest part of the movie. The child playing the foreign returned kid is extremely confident. Among the rest, Mohnish Behl gives his usual kind of act and Raghav Sachar looks fresh in his small cameo. But couldn't figure out why Raghav repeatedly shows off his skills of playing various musical instruments in all his ventures. Sandesh Shandilya, as the music director comes up with a good title song but rest all lack the melody part in them. Cinematography is perfect which would be enjoyed more by the Mumbaikars and the people pretty familiar with Mumbai and its living style.
Summing up, TMTS is director Kabir Sadanand's second project in which he surely proves himself miles ahead of his first movie. He undoubtedly has got the talent to handle a sensitive project. But I seriously wish he had chosen another basic plot, different than the one used in TMTS. The story of rich people trying to vacant an old house and capture it for their own modernized plans has already been used umpteen times before in Hindi Movies and has got no novelty left in it.
Still the movie uses the plot in an entertaining way and the end result is worth watching for its three main performers namely, Nana Patekar, Dimple Kapadia and Vidya Maldave. So you should certainly give it a try!
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Well Done Abba-MP3-128kbps
Well Done Abba-MP3-320kbps
This is the story of Armaan Ali, a driver working for a senior executive in Mumbai. He takes a month's leave to find a husband for his teenage daughter, who lives near Hyderabad. When he is delayed and returns to work after three months, his employer threatens to sack him. But he is persuaded to listen to the reason for Armaan Ali's delay. The story he relates is delightful, hilarious -- and poignant.
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Sadiyaan - MP3- 320Kbps
If "Sadiyaan"'s only attraction was new faces Luv Sinha and Ferena Wazeir, it wouldn't lure many film-goers into the cinema. But, a triumvirate of talents make it a worthwhile enterprise: Hema Malini, Rekha, and Rishi Kapoor. Fortunately, enough screen time is given to these veterans, who persuade one to overlook the newcomers' tepid performances.
The film begins in tumultuous times: it is 1947, and Amritsar is the roiling scene of sectarian violence. As India is rent asunder into two countries, corpse-laden trains ply between Amritsar and Lahore, as Hindus and Muslims slaughter each other in horrific numbers. Sikh Rajveer Singh and his wife Amrit (Rishi Kapoor and Rekha) flee their Lahore home in what overnight has become Muslim Pakistan and take refuge in the abandoned Amritsar haveli of a Muslim family that has, likewise, taken flight from Hindu India. They discover a toddler in the debris of the mansion, and try to look for his family. When they realize all the Muslims in the area have died or gone across the border, they raise the child with all love and tenderness. Their own son had been killed, and they rejoice at this second chance at parenthood.
The first time Rekha appears on screen, her eyes are shut, and her luxuriant false eyelashes make one think twin moths have alighted on that gorgeous face. My heart sank, because over the years, Rekha has taken to gilding the lily. She possesses an enviable amount of talent, but her screen makeup and wardrobe have become more and more rococo. One wishes she would simply wipe off the excess makeup, dispense with unnecessary baubles, and let the sheer incandescence of her talent and her substantial natural beauty shine through. God knows she has enough of both. But that was just a momentary stumble, for once the story and the actress get going, there isn't a chance to notice things like false eyelashes and the overly fussy tendrils framing those legendary features.
Rekha's Amrit is a paragon of maternal love. But her mother act refrains from becoming cloying. When her adoptive son falls in love with a Muslim girl, and her family refuses to accept a non-Muslim son-in-law, Amrit decides to come clean. Placing her son's happiness above her maternal instincts, she reveals that not only is he NOT her son, the boy is Muslim, as well. When the prospective in-laws accuse her of concocting a story for their acquiescence, her husband and she set about looking for any living relatives of their son in Pakistan.
For years, both sides had thought it impossible for anyone to have survived the bloodbath of the Partition, but miraculously, Amrit and Rajveer's search turns up the boy's parents (Hema Malini and Javed Sheikh), patricians who number among Lahore's elite. The girl's family cannot believe their luck, and immediately agree to the match. When the birth parents show up for the wedding and announce that they will take their son and his bride with them to Pakistan, Amrit and Rajveer are tested anew.
Director Raj Kanwar recognizes his young leads couldn't possibly shoulder the film, and gives the stalwarts plenty of time and screen space to take the story forward, and they don't disappoint.
The film belongs to Rekha, with Rishi Kapoor gallantly abetting his two leading ladies. Hema Malini gets less screen time, but dazzles as the elegant, aristocratic Benazir who is reunited with the son she'd feared dead.
Shatrughan Sinha, new actor Luv Sinha's father, was never known for his looks. Against popular wisdom, he sought a career in film, graduating from the Film and Television Institute of India. At a time when Hindi film heroes were fair and handsome, his dark unconventional looks and chutzpah set him apart. His dialogue delivery and flamboyance made him the go-to villain, and later on, a surprisingly successful leading man.
While I wish Luv Sinha the best in his chosen profession, I would be remiss not to point out that he lacks the looks or—and more's the pity—the talent to make one take notice of him. His Ishaan is callow in the extreme, and his puny physique and unimpressive dialogue delivery don't help. Had he been paired with a beautiful, capable actress, his shortcomings would have been glaringly obvious. Luckily his co-star, like him, is neither good-looking nor talented.
Rekha is a wonder to behold, and I wish her screen outings were more frequent. When there is a good story and a good role, she goes at both with a gusto that is awesome to watch. She looks terrific, too, and over the years of 1947 to 1961 doesn't age by even a single day. I loved her simple but artsy wardrobe, and her great grace and dignity in the face of a tremendous sacrifice.
Rishi Kapoor has gone from cherubic leading man to excellent character actor. In fact this transition has let the actor inside emerge. His turns in "Luck By Chance" and "Fanaa" were a treat to watch. Here, despite not having as showy a role as Rekha, he effectively conveys the anxiety and pain of a parent who might lose his only child. He chivalrously allows some grey to peek through in his beard over the time span of the film, while screen wife Rekha remains impervious to the passage of the years.
Hema Malini at sixty-two is possibly more beautiful now than she ever was as the Dreamgirl of Hindi cinema. Her Benazir is dignified yet passionate, and oh-so-elegant in her Pakistani shalwaar-kameez and pearls.
They truly don't make them like Hema Malini and Rekha anymore: one leaves the cinema with that thought and the fervent wish these ladies get the opportunity to show their mettle in more films. Come on, filmmakers, that's not too much to ask for, is it?
