Friday, March 12, 2010

Love Sex Aur Dhoka - LSD













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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.

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Hum Tum Aur Ghost















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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













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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





  









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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!
Posted by Admin at 4:19 AM 0 comments

Well Done Abba



  

  







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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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Monday, March 8, 2010

Sadiyaan - 2010












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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?
Posted by Admin at 11:18 PM 0 comments

Road Movie - 2010













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You were not forced to buy a ticket to this and neither were you going to the theaters for a women crying on the remains of her dead son/husband.

Road,movie comes as a completely basic story line that has Vishnu(Abhay Deol) as a boy who goes through a certain phase revolving around poverty stricken, starving population of the deserts and ends the movie as a man.

The others are cameos, Satish Kaushik carves the way with super acting amidst the most gorgeous the deserts have ever looked ! 90 minutes are not very long and Road is more than worth it for within a certain number of years the main behind cinema will shift towards cinematography and art direction.This is the bible for those days.

overall a 7/10 || 8/10 and a pleasure watching the closest Bollywood has ever come to "El aura". 
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Kyun Dooriyan - Shafqat Amanat Ali








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Lahore






 







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Lets keep the record straight, Lahore is "Joh Jeeta Wohi Sikander" to the "T". If JJWS dealt with two brothers, so does Lahore. If JJWS had the school rivalry as the under-currents, in Lahore we have the political rivalry between India and Pakistan. Call it twist of fate, and the younger brother attempts to redeem himself by taking on the unfinished business. By the way, did I mention "Apne"? Yes because that had uncanny similar plot too. But the original still remains sacrosanct, a masterpiece from Mansoor Khan (who sadly taken a long sabbatical).

☻ Sushant Singh:: As elder brother Dheeru he has put in extra effort to the character. His chemistry with Shraddha Nigam was just about right.

☻ Aanaahad:: Very strong debut. A striking personality. Has what is takes and deliver well. The romance bit with Shraddha Das was not fleshed out convincingly.

☻ Mukesh Rishi:: Good choice to play the role of Noor Mohammed who has his own demons to battle against.

☻ Farooq Sheikh:: As usual he is impeccable ensuring you will remember the diction of Mr. Rao. Shares a good chemistry with Saurabh Shukla.

☻ Nafisa Ali:: Quite adequate.

The rest of star-cast were OK (Sabyasachi Chakraborty, Jeeva, Pramod Moutho, Ashish Vidyarthi & Nirmal Pandey).

The director balances the sensibilities of both Indian and Pakistan viewers ensuring nobody cries foul. The DOP deserves a special mention for the lighting he has used ensuring it get the international feel. The fight sequences are executed quite well. The background absorbs the viewer into the storyline. Every character has depth and the director has managed to bring out layers. The ending was quite apt (though I feel the apology part should have been edited out - some things are better left untold).

Way to go Mr. Sanjay Puransingh Chauhan!
Posted by Admin at 10:58 PM 0 comments

Na Ghar Ke Na Ghaat Ke





  


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Well to start with, let me state that the title of the movie has no relevance to the plot whatsoever. Its completely misleading.

Performances::

In terms of performance Rahul Agarwal (actor/director), gets into the skin of the character. The delivery and accent will make you instantly connect with Devki Nandan Tripathi. Next in line is the performance of Om Puri who as usual is spot-on. He get a meaty role and delivers with utmost perfection. I haven't watched Narayani Shashtri on telly but did find her performance in the movie commendable. Anant Mahadevan was okay'ish. Item number by Shweta Salve was good.

Coming to the other side of the coin. To start with Ravi Kissen makes over-the-top attempt to connive us with his acting skills as Madan Khachak. Falls flat. Neena Gupta comes across extremely artificial, just don't ask me why. Paresh Rawal presence is not justified in the movie. Neeraj Vora wasn't required.

There are many good points about the movie. What I particularly liked is the feel of Hrishida and Basu Chatterjee touch in it. The common man, simplicity - if you know what I mean. "Main Meri Patni Aur Woh" was the last time I felt similar about it. The one-liners deserve a special mention as they have adequate dose of clean humour. Substantial characters are introduced into the plot, sadly they do not fleshed out adequately (or maybe got chopped on the editing table).

Cinematorgraphy is good. The authentic feel of the village deserves a special mention. The songs are pleasant. Remo's title track lingers on for a while. And lastly the direction is extremely good, considering that its wielded by a first-timer. Has enough potential to mature into continuing the lineage of Hrishida and Basu Chatterjee genre of movies.
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Mittal Vs Mittal












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Girls have dreams - dreams of a fairytale romance, of prince charming sweeping them off their feet, a dream wedding and living happily ever-after. Mitali, a successful model, also had dreams... Then one day she met Karan, the Mittal scion, the heir to one of the richest families in the country. Mitali 's simple, middle-class upbringing is in complete contrast to Karan's super-brat lifestyle. But Karan was smitten by Mitali. Accustomed to getting what he wants in life, Karan landed up at Mitali's home with his parents with a marriage proposal. Delighted at their daughter's luck, Mitali's family approved of the match. And Mitali entered Karan's home and life as his newly-wedded bride. It was not long before Mitali's dreams turned into her worst nightmare. Her mother-in-law detested her and created misunderstandings between Karan and her. Karan turned out to be a puppet in his mother's hands and her father-in-law is a helpless...
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Tuesday, March 2, 2010

DJ NYK - Entourage Thailand












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Bollywood Flashback - Bally Sagoo










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Woh Chandni Raatein










  













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