Excellent presentation in spite of the avoidable lapses in the screenplay...
In a drama the performances take precedence. But in a film, especially in thriller films, the plot takes priority... Maharathi scores on the former aspect but shakes on the latter.
Maharathi is the cinematic adaptation of Uttam Gada's Gujarati play, which had over 700 successful stage performances in the last twenty years.
Maharathi is a murder mystery. Subhash (Paresh Rawal) has spent the last ten years unsuccessfully trying to get acting parts in films. One night Subhash rescues Jai Singh Adenwala (Naseeruddin Shah) from a car accident and gets recruited as his driver. Jai Singh shares an estranged relationship with his much younger wife Mallika (Neha Dhupia).
Here Jai Singh kills himself and challenges the claimant, his wife Mallika, to prove his suicide as a murder to obtain the insurance amount.
This cinematic adaptation of a Gujarati play has able performances from its seasoned cast of senior actors. But the plot that starts off promisingly is flawed by few loopholes.
Shivam Nair's hemming of the film is very good, but then he has been handicapped by a theatric stage play instead of an effective screenplay. The screenplay of the film should have been written by any of the present professionals instead of Uttam Gada, who wrote the original stage play. The cinematography and audiography are very good.
Paresh Rawal and Naseeruddin Shah have given sterling performances as expected of them. Boman Irani and Om Puri essay their roles with diligence and dignity. Surprisingly, Neha Dhupia gives a memorable performance. Tara Sharma and Vivek Shauq are quite adequate in their roles.
On the whole, Maharathi is eminently watchable just for the shake of brilliant performances and excellent presentation inspite of the avoidable lapses in the screenplay.
Webnsn.com Rating: 2.5 chilies out of 5. Movie is a treat to watch when it comes to performances.
Cast: Irrfan Khan, Soha Ali Khan, Rahul Bose, Konkona Sen Sharma, Payal Rahotgi, Rahul Khanna, Director: Anil Senior
Dil Kabaddi is a sorry attempt to remake the English rom-com Husbands and Wives. Sumit (Irrfan Khan) is desperate for sex. His wife Mita (Soha Ali Khan) is the “intellectual” type and is therefore cold according to him. He therefore goes looking for some fun outside the house and gets himself a hot young aerobic instructor Kaya (Payal Rahotgi). Soon enough Mita and Sumit decide to separate. This separation has a direct effect on their close friends Rishi (Rahul Bose) and Simi (Kokona Sen Sharma) who seemed to be having a perfectly happy marriage till Sumit and Mita decided to split.
Why you ask? Well it seems the separation of their friends made them suddenly realize how unhappy they are. Simi seems to be quite passive but actually quite iron willed. She makes you believe that what she wants is what you want. And Rishi has been living that life. Only he has some fantasies which he has obviously not been fulfilling staying with Simi. And now when he sees Sumit enjoy himself he can’t help but get carried away too. Rishi lusts after his young 21 year old student Raga. Despite numerous attempts to hold back, Rishi gives into his attraction and hooks up with her on her birthday in her parents’ home! But obviously the guilt eats him up and he goes back to his wife wanting to forget it all.
But Simi on the other hand hasn’t been all that fair and honest either. She introduced her newly single friend Mita to Veer (Rahul Khanna) who has recently joined her office. But there is a small problem. He has totally fallen for Mita but Simi has totally fallen for him! So while he tries to convince Mita that the two of them are made for each other, Sumit realizes his mistake and comes back to his Mitu… what happens after that is what this film is all about.
I actually feel like telling you what happens next just to prevent you from wasting hours of your life which you will never get back.
Konkona Sen Sharma and Irrfan Khan should be ashamed of themselves for saying yes to this open frame by frame copy of another film. Having said that the two of them have done just a slightly above average job in their roles. Rahul Bose and Soha Ali Khan make your blood boil. And Payal Rahotgi makes you suicidal. Rahul Khanna is the only one who is tolerable and that’s probably to do with the fact that his role is small and concise!
With as many as four films releasing this weekend, I would suggest skipping this one!
The script does'nt have to capability to hold your attention for the next two hours...
Dil Kabaddi, highly inspired by Woody Allen's 1992 film HUSBANDS & WIVES, is bold and piping hot for the Indian audiences. The movie is directed by Anil Sharma and produced by Shailesh Singh.
Rahul Khanna is back in a Hindi film, after a long time. Starring along with Konkona Sen Sharma, Soha Ali Khan, Rahul Bose, Irfaan Khan and Payal Rohatgi. The movie revolves around the life of two modern-day couples living in urban India, who are experiencing a patch of boredom and monotony in their life.
'Dil Kabaddi' centers on the life of two couples, comprising of Samit (Irrfan Khan) - Mita (Soha Ali Khan) and Rishi (Rahul Bose) - Simi (Konkona), whose post-marital ennui forces them to look at the other options that the life offers. At such a point of time, the temptation for an extramarital affair seems to be too much to snub. Samit is a philanderer, who feels proud of his conquests and experimentations outside marriage. His wife, Mita suffers at the hands of her adulterous husband.
The film begins on a promising note and then peters off into repetitive scenes, some funny, some silly, where nothing actually happens. And the track between Irfan and Payal ends up as completely out of sync, with the aerobic instructress ending up as a complete bimbette.
The characters and situations are not out of the ordinary. But it is much like other films of this genre - like say a Pyaar Ke Side Effects or Honeymoon Travels Pvt Ltd - this one is also what most critics call 'a character driven film'. We have actors regularly talking into the camera and dialogue that is conversational, in keeping with the plot. But despite a predictable premise, Dil Kabaddi works well in most parts. There is a good balance between the stereotype and unconventional. So while most of the jokes are sexist, the women too make their choices, some brave some traditional. The men of course have all the fun.
What holds the movie together is its spontaneous performances and hilarious comic portions. The pick of the lot are Irrfan Khan's sequences, seems to have had a blast playing this character. As the self-confessed sex addict he is the life of the film.
On the whole, Dil Kabaddi is an average movie with too many relationships, breaking and bonding; too much of hollering, too many tentative attempts at flirting by supposedly sober.
Meerabai Not Out is certainly not out but remains flat for the major part.
Meerabai Not Out is a film to about one's obsession towards any particular thing in life and here that element is cricket.
Meera Achrekar (Mandira Bedi) is a cricket fanatic and a big time fan of Anil Kumble. She is so passionate about cricket that she teaches mathematics to her students through cricket calculations. Meera is single and stays at Shivaji Park chawl. Both mother (Vandana Gupte) and brother (Mahesh Manjrekar) are searching a groom for her.Her family, school students, gully cricket with the society boys is the only life for her. Love life never bloomed in her life till she met Dr. Arjun Awasthi (Ejaz Khan).
Dr. Arjun treats one of the injured boys from Meera's team for free. In the first meet Arjun is clean bold by Meera. Later he starts dating her and soon they are in love. Anupam Kher (Mr.Awasthi) plays father to Dr. Arjun. He is very keen about his son's marriage and tries persuading him to get married. Initially he hesitates to accept Meera but finally agrees with his son's bridal choice.
Then come in the twist where Meera's engagement day and a cricket match falls on the same date. And her fanaticism inspires her to turn towards stadium with a hope that she will be able to manage both the events comfortably. But things do not turn out to be in her favour and Mr.Awasthi calls off the engagement. To handle the situation both the teams work towards reconciliation.
The real essence of the film is not sports but it's one being fussy about cricket. However the film fails to bring out that element. Meera's cricket mania is restricted only to few dialogues about the game. The romance track in the film is hurried. Thus fails to create an impact.
A PT teacher's silent infatuation towards Meera does not compel much. Bollywood cliche a spectacled girl opts for lenses on falling in love does not fascinate any more.
The humour lacks punches and fall flat. However director Chandrakant Kulkarni gets the middle class setting perfect to an extent and has kept an eye over Kumble's role as not being an over-dose.
Both Mandira Bedi and Ejaz Khan has done a good job. Anupam Kher act is well organized. Mahesh Manjrekar comes out well in the later part of the film. Vandana Gupte role is credible and different from a 'bolly' mother.
Overall 'Meerabai Not Out' is certainly not out but remains flat for the major part.
'Sorry Bhai' is a film that requires a number of mood change...
Shot in Mauritius, the film shows Sanjay Suri and Sharman Joshi vying for Chitrangada Singh's attention with a laid back stay-calm stay-cool kind of urbane chic that often masquerades as a mirror of contemporary mores in today's cinema.
Happily, 'Sorry Bhai' has plenty of genuine moments of emotional 'ouch'-burst. This isn't a film about confrontational relationships. The characters prefer to keep it nice and peaceful on the surface, no matter what the turmoil inside, just like the blue oceans and white sands of Mauritius.
Love may or may not mean having to say you're sorry. But Sharman, who plays the kid-brother who whisks away his brother's bride-to-be in a tumultuous romance, says 'sorry' so many times you wonder whom he's trying to convince, the brother or his conscience.
Or could it be us, watching this pleasant, mild but finally intensity-free romantic comedy set in the mollifying splendour of Mauritius, whom Sharman's sorry state of 'affair' is trying to convince?
'Sorry Bhai' is a film that requires a number of mood change. In its two hours of mellow playing time, it packs in a whole criss-crossing kaleidoscope of family ties and accompanying emotions ranging from intense motherly possessiveness to authentic 'bhaigiri'.
Not all the mood and time transitions are achieved with fluency. Some moments between pairs of characters just don't go far enough to reach into the inner recesses of the heart. Indeed the best moment in the film is the one where the sobbing sibling rests his head on his brother's lap to express sorrow for stealing away his fiancee.
But then there's a difference between taking your brother's favorite pen to scribble your limericks and stealing his bride.
The film swims languorously in a terrain that covers the thumb-sucking selfishness of childhood as well as the sexual friction within a family where a beautiful woman appears as a bone of contention.
And what a woman! Chitrangada looking toned and chiselled, playing the spunky woman who wants to break free from a stagnant long-lasting relationship to court life on the fast lane brings in the right flavours of chocolate-and-chutzpah into the tranquil goings-on.
When Onir keeps the family drama sweet and simple, when he focuses on one-on-ones within the family circle, he is in his element. But Onir's film is as original as it can get.
We won't have another film for a long time where the mom tells her younger son to live in with her elder son's fiancee.
Shabana in the mother's role is a bit of a disappointment. Boman as her husband is far more relaxed. As for the central performances, Chitrangada makes a likeable comeback except when she's too busy putting her best profile forward to the camera. And it's hard for us to believe that Sharman is supposed to play a guy with such irresistible charm that he can sweep the far-from-blushing-bride off her feet and seize her from his brother.
The crew cruises the calm characters and their location with underplayed expertise.
The other half is about why a wealthy thief who stole tens of millions worth of jewellery, cars, gadgets and other valuables would also steal a greeting card, a teddy bear and a framed photo of a...
Rating /Verdict: 3 Stars out of 5
Every city has its own charm and character. If Mumbai has its own lingo, so do other Indian cities.
Director Dibakar Banerjee captures this beautifully in his second film, Oye Lucky! Lucky Oye! The city here is Delhi, which Banerjee has presented as you have never seen before -- a hotch potch of people drawn from all stratas of the society. We see homes located in different localities like Delhi 6, Karol Bagh, Lajppat Nagar, Rohini and the plush South Delhi pockets.
In Oye Lucky! Abhay Deol is a thief, who thanks to his superior intelligence and out sized charm, placates law enforcement figures as well as his various victims. After developing a taste for the finer things in life, Abhay sets about stealing a wealthy playboy's identity.
But this is, perhaps, half the tale.
The writing is pitched perfect, large hearted and finely observed. Abhay Deol and Paresh Rawal were great but surprises were the new faces. Right from the actor playing the teenage Lucky (Manjot Singh) to Lucky’s best friend ‘Bangali’ (Manu Rishi) to Dolly (Richa) there are some seriously talented people appearing on screen for the very first time. And even Neetu Chandra performed really well.
Kartik, the DOP, needs special mention for the way he packed the frames with style and mood without ever getting overbearing. There is no ‘oh look at me, I’m cool’ camera moves or lighting. It’s just a mature, understated, ‘correctness’.
On the whole, the film only fails in the music department, by Sneha Khanwalkar. The dhols and drums get too loud from time to time, and get very annoying. If you can overlook this minor discomfort, go for it!
The romance between Katrina and Salman in the movie was heart touching...
Rating/ Verdict : 3 Stars out of 5
The much awaited movie yuvvraaj starred by biggies like Salman Khan, Anil Kapoor, and Katrina Kaif has hit the theatres today. The movie is expected a lot since the musical was done by A.R.Rahman. There was a good opening for the movie in box office. It’s a hit. Subhash Ghai has done a good job and the combination of him with A.R.Rahman has worked out.
Deven Yuvvraaj (Salman Khan) is a struggling singer who signs an agreement with his girlfriend Anoushka’s (Katrina Kaif) father Dr. Banton (Boman Irani) to be a billionaire in 40 days. To acquire this wealth, he has to go through an emotional roller coaster journey of joy and pain with his two estranged brothers Gyanesh Yuvvraaj (Anil Kapoor) and Danny Yuvvraaj (Zayed Khan) who he meets after 12 years. On meeting them, he realizes that they are two individuals who are completely opposite to each other, which makes his task all the more difficult. Who will emerge as the real Yuvvraaj in this musical extravaganza? ‘Yuvvraaj’ is a drama of Money vs. Family A musical treat all the way in Subhash Ghai 's inimitable style.
The film gathers momentum after the interval. If the first hour has a few by-now-famous Ghai scenes, the second hour sees Ghai in form, with a number of sequences staying in your memory. The penultimate 20-25 minutes are the best. The scenes where Anil goes through the handycam with disbelief, Anil and Salman's act during the concert and Salman's emotional outburst towards the end are worth applause.
On the flip side, the screenplay is erratic. There're constant highs and lows in this journey, the film works in patches. In fact, the screenplay falls prey to predictability and mediocrity at places.
Katrina looks angelic. Despite the focus being on the three men, she registers an impact. Boman Irani is credible. Aushima Sawhney is confident. Anjan Srivastava and the pack of villains/vamps look straight out of RAM LAKHAN and TAAL.
On the whole, the romance between Katrina and Salman in the movie was heart touching and you can have a feeling of sitting infront of them and watching all those. The movie is worth to watch.
Cast: Priyanka Chopra, Abhishek Bachchan, John Abraham & Director: Tarun Mansukhani
Dostana essentially employs the comedy of errors code, though not in terms of mistaken personalities but preferences. Karan Johar extends his legacy of kanta-ben humor as the crux of the story.
The setting is in Miami where Samir (Abhishek Bachchan) and Karan (John Abraham) almost turn homo in quest for a home. Together they pose as a gay couple to gain rental accommodation in a swanky apartment owned by Neha (Priyanka Chopra). Neha has no qualms about sharing her flat with the male duo thanks to their happy-and-gay ways. The trio team up to become the best of buddies.
Friendship expectedly ends up into love in Bollywood and, as anticipated, Samir and Karan are both besotted by their beautiful roommate. Since Saajan styled sacrifices are no more the order of the day, this love triangle evades the path followed by Amitabh and Shatrughan in Yash Johar’s 3-decade-old Dostana . Son Karan Johar prefers traversing the David Dhawan track of one-upmanship from films like Deewana Mastanaand Mujhse Shaadi Karogi .
While each one attempts to outdo the other, their competition is only multiplied with Neha falling for her colleague Abhimanyu (Bobby Deol). As one thing leads to another the film reaches a wild climax.
Dostana would have ended up as a regular love-triangle if not for the intelligently-incorporated gay angle. Furthermore it survives significantly and skillfully throughout the film springing up smart surprises every now and then. Amongst the best of the gay gags is Kirron Kher’s scandalized outlook towards her son’s (Abhishek) gay relationship and subsequently coming to terms with his partner-preference. The cultural spoof that ensues is hilarious and the wacky conceptualization of the uproarious song ‘Maa-Da-Laadla’ deserves brownie points.
The actual story initiates in the second half and the screenplay adopts a multi-dimensional approach with sufficient twists and turns that steers away any monotony. It starts as a tug-of-war between Abhishek and John but soon the duo team up to outshine potential contender Bobby. This ensures cordial chemistry between the male leads. As the scene gets all emotional in the pre-climax, the film opts for a time-leap exactly like Kabhi Alvida Na Kehna . And while you foresee the end much before it actually arrives, the feral finish makes up for the predictability.
While Tarun Mansukhani proves his credentials as a competent writer and director, he also has a keen eye on exploiting the best from his cast. For all desi gals who have been drooling over Daniel’s derriere, John ‘flashes back’ with a hint of his butt cleavage. For a change a Hindi film heroine admits to her real age onscreen. That’s modesty! And Abhishek never ever gets off his shirt. That’s self-realization! However a Shilpa Shetty item number isn’t the best of ideas to kick-start a film, which you easily overlook as the story takes over.
High on technical proficiency, the cinematography by Ayananka Bose is menthol-cool and the casual clothing line by Aki Narula and Manish Malhotra complement the characters perfectly. Vishal Shekhar’s musical score is groovy though brutally techno at times. The background score comprising of ‘What the *uck’ sounds and also deriving from Jahan Teri Ye Nazar Hai (Kaalia) support the screen antics ably.
The screen chemistry between the Abhishek-Priyanka-John trio is palpably cozy. Priyanka Chopra looks gorgeous and is perfectly poised in her performance. She never under-acts or goes over-the-top. John has more to show-off than his chiseled physique. He is easygoing in his role of the dominant male. Abhishek Bachchan is splendid in his sissy act (in the initial reels) and even otherwise is impressive. Bobby Deol thankfully underplays his character. Boman Irani is accurate in his gay act though his petty portion was avoidable. Kirron Kher repeats the Om Shanti Omact with precision.
Dostana redefines the ‘ feel-gud’ genre and makes up for some ‘homo-genius’ entertainment.
Cast: Vinay Pathak, Neha Dhupia, Rajat Kapoor & Director: Shashant Shah. Seldom comes a film where you leave the hall with smiling face and soggy eyes. Dasvidaniya is one such rare gem which shouldn’t be confused as an out-and-out laugh-riot like Bheja Fry or an absolute tearjerker.
Dasvidaniya employs the common man as it protagonist, symbolized by zilch heroism. Vinay Pathak underplays his character to the same precision with which Amol Palekar played the common man in the 70s and 80s. The irony in the story lies in his name Amar (meaning immortal) as we get to know he has very few days to survive. It’s not about the undying spirit which Anand or Kal Ho Naa Ho signified. Amar has lead a life of abstinence and minimalism and wishes to do things he never attempted so far. It reminds more of Jimmy Shergill’s character from Munnabhai MBBS, also subtly mentioned in the film.
Amar follows a practice of making a to-do-list everyday wherein he jots down the 10 most important chores of the day. Being a loser and a loner over it, he ends up speaking to himself (or rather his inner soul) that questions him on his achievements and inspires him to extend his daily to-do-list to a listing of 10 things he would want to do in his lasting lifespan.
This wish-list includes the average aspirations of almost every common man from owning a car, learning to play guitar, getting to hit back at his boss, finding his first crush (Neha Dhupia), going on a foreign trip, meeting his long-lost school friend (Rajat Kapoor), finding love in life, patching up with his younger brother (Gaurav Gera) and things alike.
The simplicity of the film lies in the fact that the items on Amar’s wish-list are very basic and not fairytale abstract. You as much relate with his every day yearnings as much as you connect with his character. One can draw parallels with Morgan Freeman – Jack Nicholson starrer The Bucket Listthough not tag Dasvidaniya as its remake.
While fulfilling each of his wishes, Amar lives the life he had never imagined before. Each of his wishes branches out into a small subplot where he connects with his brother, buddy or beloved. The story starts, showing the mundane life of the protagonist while he is still alive and ironically becomes exciting as it advances towards his death. Dasvidaniya clearly establishes the difference between surviving and living. Despite dealing with death, the essence of the film is optimistic throughout.
The pacing of the film is slow but steady. The emotions constantly fluctuate between humour and pathos. But the comedy isn’t slapstick and the emotions don’t get melodramatic. Much like Kal Ho Naa Ho , the film evades the death scene without losing on the effect or stretching on the sentiments. The scripting by Arshad Syed is persuasive and the dialogues at many instances are inventive and intelligent. Kailash Kher’s musical score complements the mood of the film.
Needless to say, the film clearly belongs to Vinay Pathak (who co-produces it as well). He tends to overtly underplay himself in the initial reels but you adapt to his act as the film progresses. Watch him strike a chord with your heart as he expresses his love to Neha Dhupia through dumb-charades gestures or shares a tender moment with his estranged brother. Everyone in the supporting cast from Sarita Joshi, Gaurav Gera, Neha Dhupia, Rajat Kapoor, Saurabh Shukla and Joy Fernandes play their parts to perfection.
Dasvidaniya subtly suggests all to live life as if there’s no tomorrow. Watching the film should top the list of your 10 most important things to do this weekend
You'd think a film about a subject as relevant as taking loans and struggling to pay them back would make for an interesting film. And particularly so at a time when the world's facing a financial meltdown.
Well, thing is, EMI directed by first-timer Saurabh Kabra is nothing more than an interesting premise, even if it does come with a token message at the end to take loans responsibly.
Centred around a bunch of characters who're unable to pay back their loans -- Arjun Rampal as the credit card-happy DJ, Ashish Chaudhary as the porn-obsessed husband, Kulbushan Kharbanda as the patient father of an irresponsible son, and Urmila Matondkar as the insurance-seeking widow -- EMI also stars Sanjay Dutt in a role that's clearly an extension of his Munnabhai part, a loveable, goofy recovery agent who intimidates defaulters into paying back their loans.
The film's pretty much a no-go from the very word go because it's got a script that makes little sense, and characters that are inconsistent and one-dimensional.
The acting -- by everyone involved -- is indifferent, and there's virtually no reason I can think of to recommend you watch this film. Arjun Rampal does a fairly decent riff on Travolta in a Saturday Night Fever-style club song, but that's hardly reason to suffer the rest of this film.
A very generous one out of five for director Saurabh Kabra's EMI. It's a film I'm sure even its makers will have trouble enjoying.
Cast: Isha Koppikar, Sonu Sood, Director: Kaushik Ghatak
There's only one reason I can think of for you to watch Ek Vivaah Aisa Bhi, and that is Isha Koppikar. I've always felt she's got leading lady charisma and she's a competent actress too, but few films have exploited that.
In Ek Vivaah Aisa Bhi, she's cast as a dutiful elder sister who puts her own marriage and singing career on hold so she can raise her two younger siblings when their father passes away suddenly.
Cast opposite her is Sonu Sood, who plays her patient and good-as-gold boyfriend who stands by her through these trying times and never once complains in the 12 years that he waits to be married to her. This plot is peppered with what must be more than 50 songs, very few of which you're likely to hum even moments after you've finished seeing the film.
Produced by who else but the Rajshri banner that seems to have more or less cracked the formula of making successful small-town marriage dramas, Ek Vivaah Aisa Bhi can be summed up by that one line of dialogue that the heroine delivers fairly early in the film: Zamaana bahut aage nikal gaya hai. Main toh wohi ki wohi hoon. Truth is, she might as well be speaking about the film itself.
Simplistic and sincere, the film's bursting at the seams with old-fashioned plot points and characters. The evil chacha-chachi who conspire to take over their niece 's home, the new-age bahu who can't understand why she must participate in so many family traditions, the ever-helpful doctor-uncle who stops by every morning for garma-garam parathas -- you get the drift.
Ek Vivaah Aisa Bhi seems to exist in a world far away from the one many of us occupy. It's idealistic and uncomplicated in its plot, its characters are all good or at best misunderstood, and in the end everyone goes home happy and without any complaints.
Does a world like that still exist? You can't be blamed for asking that question considering Ek Vivaah Aisa Bhi is a faithful remake of the 1976 film Tapasya starring Raakhee and Parikshit Sahni that the Rajshri banner itself produced. But, do the same values hold true 32 years later? That's the question.
Ek Vivaah Aisa Bhi is not so much a bad film as it is a film that's filled with too many impracticalities given the times it's made in. Would the heroine really need to scrape and scrounge to make ends meet when she's got a well-off boyfriend who's only happy to help? Would she really be left with no option but to put her marriage on hold for 12 years so she can stay home to raise and tutor her siblings? Has no one heard of boarding schools?
You see, my problem with Ek Vivaah Aisa Bhi is that it's a film that wants its audience to celebrate the heroine's nobility and sacrifice. My argument is she didn't need to make that ridiculous sacrifice -- she could've just been practical!
I'm going with two out of five and at best an average rating for director Kaushik Ghatak's Ek Vivaah Aisa Bhi. Watch it if you must for Isha Koppikar's confident performance, she's in very good form even though the film isn't.
Star Cast: Daniel Craig, Olga Kurylenko, Mathieu Amalric, Director: Marc Foster, Genre: Action/ Thriller
“The name’s Bond... James Bond” which has been the ‘trademark’ introductory note of Ian Fleming’s sexy British secret agent 007 (that has had women across the globe go weak in the knees) has been surprisingly evaded in Quantum of Solace. Let alone the exclusion of this popular dialogue, Quantum of Solace doesn’t even begin with the "James Bond signature Theme" played in the background as the opening credits start rolling. Add to this Bond’s (Daniel Craig reprises his role of Bond) disinterest in seducing gorgeous women with his charm and then bedding them.
The sexual tension that Bond so impressively manages to create with his women and the flirtatious banter he has with them takes a backseat and the film rides high on him seeking the revenge of the death of his beloved Vesper (Eva Green in Casino Royale) though he tries hard to show his mission as strictly ‘professional’ and not ‘personal’. His heartbreak and agony makes him ruthless thus forcing him to largely exercise his license to kill.
Foster plays a big gamble by taking humour and sex out of Bond’s life but fairly succeeds in keeping his character interesting and intriguing as ever.
Coming to the story of the film, Quantum of Solace picks up where Casino Royale left off. The film begins with a heart-thumping car chase where Bond in his Ashton Martin is being chased by a troop of gunned villains leaving you breathless. This is only one of the many dangerous chases Bond gets involved in. From one breathtaking stunt to another, Quantum manages to keep you on the edge of your seats, all thanks to its brilliant technical stunt team. The second chase shot in Sienna, Italy is the highlight of the film, where Bond jumps and runs across rooftops, race course, church tower and finally the church bell at a terrific speed to catch hold of a traitor who secretly works for an organization ‘Quantum’ involved in various devious activities. Quantum is headed by Dominic Green (Mathieu Amalric, effective) who in the pretext of being a philanthropist is actually conspiring to take total control of the world’s most important natural resources. He is also the man involved in Vesper’s death.
As he chases Green, he bumps into a feisty Camille (Olga Kurylenko) who has her own score to settle with Green’s partner in crime General Medrano. Together the two set on a mission to kill their culprits without sleeping with each other (very unlike Bond). Bond defies all orders given by M (Judy Dench, impressive) as he is hellbent on tracking down Green.
Quantum highly scores as far as the impeccably shot high octane stunt scenes and effective performances are concerned. However the villain Green comes across as terribly underpowered when compared to Le Chiffre (Mads Mikkelsen) in Casino Royale and that’s where Bond’s character looks unreal as every time Bond is shown single handedly getting rid of his opponents, irrespective of their presence on land, water or air, that too with his sheer physical prowess minus much help from his hi-tech gadgets. His banter with M is also highly missed in the film. The Bond girls Olga and Gemma both somehow fail to match up to Eva’s screen presence and sex appeal.
Daniel Craig as Bond is simply impeccable. From being heartless, humourless, and ruthless to being sensitive, caring and vulnerable...he displays all facets of Bond’s personality with ease and we would want to see him playing James for many Bond installments to come. Daniel is in great shape and looks terrific too.
Quantum is definitely worth a watch, not only because it is a Bond film but because it has Daniel Craig playing the Bond.
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The breaking news is that Golmaal Returns is a clear rip-off of a 1973 Hindi film Aaj Ki Taaza Khabar. And though the era-old film was a decent story in itself and even remade as a Marathi film in the 80s, the Golmaal sequel doesn't match up to either while deriving from both.
Gopal (Ajay Devgan) is married to a size-zero couch potato Ekta (Kareena Kapoor) who, influenced by her K-serials, keeps suspecting her husband at the slightest provocation. One fateful night Gopal gets stranded in a yacht with Mira (Celina Jaitley). While framing a fake story to suit her wife, Gopal spontaneously invents Anthony Gonsalves as his friend cum previous night partner. He makes his office subordinate Laxman Prasad (Shreyas Talpade) his partner in crime, posing him as Anthony Gonsalves.
While seeking inspiration so far from the original, the writer attempts to infuse uncalled for innovation by adding a murder mystery to the plot with Inspector Madhav (Arshad Warsi) suspecting Gopal behind the killing. The screenplay is reworked to accommodate the leading quartet and is revised with spoofs so contemporary that at times it makes you wonder if the script drafts were devised on the sets.
There are subtle references to the earlier episode though this one isn't a continuation of the first part. Vrajesh Hirjee's serpentine act is repeated from the original and there's also a tribute-cum-takeoff on the missing member Sharman Joshi. The film takes forward its legacy of 'Black comedy' and also adds Bhansali's Saawariya to the spoof-list. The humour varies from superior to slapdash variety ranging from subtle satire on Saif-Kareena tattoos to the overstated Ekta Kapoor soap spoofs. There are some intended parodies which never take off like the character names Gopal Kumar Santoshi and Mira Nair. Then there are some jokes that clearly fall flat like the Ajay Devgan - Celina Jaitley salsa sequence on the yacht.
The writer wittily evades the censor scissors by having the mute Tusshar Kapoor indulge in most of the cursing. But script supervisor Robin Bhatt keeps making intermittent appearances with some lame internet jokes. Sample one gem of a dialogue when Kareena says, "Main serial watcher hoon aur mere pati serial killer nahi ho sakte". The first half is thankfully devoid of any song tracks and you don't mind excusing the only action item number in the second half that is declared to be derived from Rajnikant's Sivaji - The Boss.
In trademark Anees Bazmee - Priyadarshan brand of comedies, the climax gets together the entire cast including supporting actors to villain sidekicks for a silly and intentionally exaggerated ending.
Tusshar Kapoor and Shreyas Talpade share capable chemistry and comic timing in the film and come up with the most entertaining acts. Tusshar's mute act ranges from the absolutely incomprehensible to the palpably peculiar antics. Shreyas has a natural flair for comedy and makes you laugh with effortless ease. Ajay Devgan is decent but Arshad Warsi is underused. Amrita Arora can't act to save her life and while not much is expected from Celina or Anjana, even Kareena fails to impress. Her talent isn't justified in her shallow characterization.
Golmaal Returns reloads its cast with some new girls but doesn't replenish its humour with more wit and imaginative gags.
Movie Review from Masala News
Misadventures of the seven characters result in a non-stop joyride
“Golmaal Returns”, the much-awaited follow-up of the uproariously comic smash-hit “Golmaal”, arrives with renewed star power, chartbusting music and more laughter than before!
Gopal (Ajay Devgan), who lives with his wife Ekta (Kareena Kapoor), sister Esha (Amrita Arora) and a dumb brother-in-law Lucky (Tusshar Kapoor), gets stuck in a yacht after saving an attractive woman Meera (Celina Jaitly) from some goons.
Both end up spending the night on the yacht and when he comes home the next day, his painfully suspicious wife, a hardcore fan of saas-bahu serials, smells fish.
Gopal knows it’s going to be hard to quell her suspicion so he concocts a cock-and-bull story about having stayed the night with a fictitious friend called Anthony Gonsalves. Ekta refuses to buy his yarn and writes to Anthony (on a fictitious address given to her by Gopal) asking him to visit her.
Gopal convinces his junior at work, Laxman (Shreyas Talpade) to pretend to be Anthony. Everything goes according to plan till the address to which Ekta had written to Anthony turns out to be real!
If that isn’t complication enough for Gopal, a dead body is discovered at the location where he had saved Meera. The investigating officer, Madhav (Arshad Warsi), who is Esha’s boyfriend and cannot stand the sight of Gopal, learns that the latter had been missing from home that eventful night and begins checking on him.
Madhav’s investigation results in hilarious chaos and tricky situations where a new lie must be invented at every instance to conceal the previous lie!
The misadventures of the seven characters result in a non-stop joyride, evoking laughter and culminating in a sweet but surprising climax.
Fashion features prominent actresses Priyanka Chopra and Kangana Ranaut, along with model Mughda Godse. The movie highlights the other side of glamor, and exposes the sheer cunning and politics of what happens behind the scenes. A Madhur Bandarkar venture, Fashion attempts to bring to the fore the pretention and short shelf life of relationships in the glamor industry.
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Is FASHION a sequel to PAGE 3? While director Madhur Bhandarkar will disagree, one cannot but connect the two. And it does look like an extension of Bhandarkar's hit film, which was based on the lives of the people who love to party, media bosses, struggling actors and journalists who cover the party beat.
FASHION focuses on the lives of three models: one a supermodel Kangana Ranaut (Shonali), another who is established on the circuit Mugdha Godse (Janet), and a third, who comes from a small town, Chandigarh, to make it big, Priyanka Chopra (Meghna Mathur). So you begin with parties, networking, fashion shows, and model coordinators. A typical 'kua ma doob jaao' situation!
So what's wrong with FASHION? Plenty. The script, I get a feeling, was at a discussion level when shooting began. That's because long before Bhandarkar announced his film and completed his casting, events kept happening in the fashion world which he 'reportedly' kept incorporating. Like for instance, the famous case of model Gitanjali Nagpal who was found begging on the streets of Delhi.
Secondly, most of his characters are not well defined. The character of Arbaaz Khan (Abhijit Sarin), the owner of Panache, is too clinical. There's no emotion and no menace in his madness. His wife's refusal to question him is appalling, neither is this 'comatose' situation of hers established. Moreover, when Meghna tells her that she has aborted her husband's child, she has a hand in terminating her modeling contract. I mean this here is a 'woman woman' thing.
Kangana Ranaut is a brilliant actress but somehow, Bhandarkar has not used her to her potential. Her character 'supposedly' has shades of Gitanjali and Shivani Kapur, which surprisingly, has never been spoken about in the media. All we heard of were Carol Gracias and Gitanjali
Janet's friendship with Meghna is never established and the next you know is Janet giving tips to Meghna at a party. Either it was never shot, or was cut at the editing table. That reminds me, the length is excessively long. This film could have done away with trimming of 25 minutes. The first half drags and there are only two scenes that really stand out, one when Meghna is insulted by a designer in the green room and another when she and Arjan Bajwa (Maanav) have a tiff. In the second half, the scene where Meghna finds herself in bed with a black man in well thought out.
Priyanka Chopra's look in filmmaker Madhur Bhandarkar's much-awaited "Fashion" goes through five subtle but distinct phases, tracing her journey from Chandigarh to a top model in Mumbai.
"We followed the journey of Priyanka's character Meghna Mathur from the time she comes to Mumbai from Chandigarh to become a supermodel in five phases. It's a very natural, subtle progression," said Rita Dhody, who has done the styling for the movie, which is a take on India's fashion fraternity.
"Initially, she is shown as a very hep character with loud colours - everything is matching in her attire from the lipstick to nail polish to even her shoes. It's a very look-at-me look," Rita said, explaining Priyanka's character in "Fashion".
"But when the first change occurs, the colour palette begins to change - her make-up becomes light. Then, when she becomes a model and a supermodel, the contrasting change is very visible. When she starts losing it all, she becomes very edgy - everything from the colour palette to the make-up becomes softer to show she doesn't care any more about her looks before her resurrection takes place," the stylist told IANS over telephone from Mumbai.
Releasing on October 29, "Fashion" also stars Kangana Ranaut, debutante Mugdha Godse, Arbaaz Khan, Arjan Bajwa and many of the who's who of the fashion industry.
Rita, who runs a company, Ananda, which works on the embroidery silhouettes of international brands like Armani and Chanel, said the actors' look in the film is based on a classic approach on contemporary fashion and not any existing trend.
"It is very contemporary and a very much today's look, but my idea was to streamline and take it to the classic side than making it trend-based," she said.
Rita revealed that the styling for Kangana's character in "Fashion" would make "audiences feel sorry for her".
"The movie begins with Kangana's look as a supermodel. She is very thin so we gave her short dresses with low necklines that wouldn't look vulgar as we wanted the image to stick to people's minds that she is a supermodel who is very comfortable with her body," she explained.
"We also used Kangana's hair in an exotic manner. We cut it short but kept her mop of curls to make her look more vulnerable when she loses it all. During that phase, she is also shown sporting long t-shirts that would make audiences feel sorry for her," Rita said.
Debutante Mugdha Godse, who plays a failed model, sports a "bindass" look.
"Mughda's look in the film is a fusion of rock and a grunge to give her the survivor look as a B-grade model who would do anything before we clean it up, making her more chic and glamorous. We gave her a little bikini top and a t-shirt slashed up like a choli (blouse). She also sports a pair of chains and ankle boots," she said.
"She's got a very tiny waist so we tried showing it. We gave her really low-waist trousers and a beautiful tattoo on the side of her hipbone. Her hair was cut short and infused with a strong essence of red in it," she added.
This is the first time Rita has done the styling for a film and she admits it wasn't an easy job.
"A lot of detailing went into the film from jewellery, clothes, colour, accessories to nail polish. We had to make sure that everything was in sync with the frame and complemented each other and for that we even worked on the junior artists. We wanted to make it look very authentic and real.
"We didn't try to sensationalise it by making it more bling or costume-based. I had to restrain myself from going overboard as Madhur can't take over the styling and there were huge time and budget constraints," said Rita, who has helped in positioning and building global brands like Dolce & Gabbana (D&G), Chloe, Stella McCartney and Fendi in India.
"We had 11 character-based ramp shows in the film as part of the story line that were very much thought about. There is also a lot of jeans and shirt that have been used in the movie to show the models in real life," she added.
Rita confessed that she is exhausted with her maiden venture and plans to "refresh" herself before signing on another project.
Award-winning director Madhur Bhandarkar is upset that the Central Board of Film Certification (CBFC) has given his next film "Fashion" an "adults-only" certificate.
"Given the movie's theme, I certainly never expected that the board would give it a 'U' certificate, but I was sure it would receive a U/A certificate," Bhandarkar told IANS on Tuesday.
Bhandarkar, who has co-produced the film with UTV Motion Pictures, describes "Fashion" as his most glamorous film. He roped in Priyanka Chopra, Kangna Ranaut, Arjan Bajwa and Mugdha Godse to do lead roles.
The board members, who saw the movie on Monday in Mumbai, objected to six scenes including Priyanka and Arjan's lovemaking scenes and Priyanka and Kangana's dragging at drugs scenes. The members asked Bhandarkar and his co-producer, Ronnie Screwvala, to delete them from the movie.
As the director refused to delete the scenes, the board has given it an 'A' certificate.
The members refused to be convinced by Bhandarkar's argument that the scenes being objected to are an integral part of the movie and that yanking those off would mean compromising with the realistic depiction of the movie's subject.
"Although we had the option of appealing to the Revising Committee of the board against the Examining Committee's decision, we chose not to do so as that would have taken a lot of time. Besides, there was no knowing what would be the decision of the Board's higher committee," Bhandarkar said.
"Fashion", which takes a close look at the other side of the fashion world, is due for release on October 29.
After making films for nearly a decade, Madhur Bhandarkar shows no sign of losing any of the raw intelligence, energy and vitality that have made him a continuing force in the Indian cinema. He has achieved notable success in all his films because he knew what he wanted and showed an adventurous spirit in going out and getting it.
For the majority of his films, he lets the simple, resonant situations play out, eliciting excellent performances from his actors, right from ‘Chandni Bar’ to ‘Satta’ to ‘Page 3’ and ‘Corporate’. Picking a favourite Madhur Bhandarkar film can be a tough challenge. They are all so uniformly excellent, moving, hard hitting and honest. As a director he has the confidence, generosity, and intelligence to allow his actor and the characters they play, the freedom to truly reveal themselves on screen.
With his new film Fashion, he reveals the entire Fashion Industry in front of you, right from what the models go through, their turmoil, their morals, their aspirations and their sacrifices. And of course, with Madhur behind the camera, you can expect much more. In this exclusive interview, the director talks to our London correspondent Devansh Patel and gets Fashion-conscious.
First things first! Will Fashion be your fourth National Award winning film?
What a way to start this interview (laughs). I am really keeping my fingers crossed because some of the people who've seen the movie have told me that Fashion is my best work till now. I believe in making the film and leaving it to the audiences and the critics to decide whether it'll work or not. I have done a good job and am waiting for 29th October, the Diwali day which is an auspicious day to release any film. Hope it works.
It means that it'll be a very fashionable Diwali, isn't it?
(laughs) Absolutely fashionable. I am really happy that the movie is releasing on this day because every time I've made a film, I wanted to release it during Diwali and that day has come. I am so happy and excited to see the kind of buzz and enthusiasm the movie is generating in India and abroad among the audiences, exhibitors, etc. The songs have also really picked up quite well too, especially, 'Jalwa' and 'Mar Jawa'.
Mr. Ram Gopal Varma said that the only film he is looking forward to after string of flops is Fashion. He also went on to say that the content of Fashion will be pretty interesting. Any comments?
It's really great, in fact, I just spoke to him this afternoon and he was really looking forward to Fashion. He can't wait to see the film. He sent me an SMS saying that the promos are also looking stunning. For me personally, it's really nice because I've worked with Mr Varma for couple of years and I've learnt a lot from him as far as filmmaking is concerned. He has this gut feeling about movies and when he says that the film will work, it does work.
Your films are based on reality, events and stories happening in the real life. Will Fashion follow the same path too or is it only going to be fictional?
My movies are always slice of life. They've always been a mixed blend of realism and fiction together. So there will be some element of fiction in Fashion. Before I make any film, I do a lot of research, meet and interact with people. The audiences will relate to Fashion in a way.
Did you meet any of the fashion worlds top models and designers for their advice?
Absolutely yes. I've interacted with almost everybody from the fashion world. From the top of the designers to the top super models, the sponsors, the choreographers, etc. It was six to seven months of research which took me to make such kind of a movie and a lot of people from the fashion industry are connected to the film also. Like there are real models and designers you'll see in Fashion.
There are other fashion icons like Aishwarya Rai, Dia Mirza, Sushmita Sen, etc. What made you cast Priyanka Chopra?
Priyanka Chopra and I always wanted to work together. I remember that she was a great fan of my movies and once we met at one of the film festivals. At that time she had loved my film Corporate. That's when she was really interested in working with me. So I told her that if something comes along, I'll definitely let her know. Once I told her that I'm making this film on the fashion world, she said to come and narrate the film to her. She liked the narration and the character of Meghna Mathur who comes from Chandigarh to Mumbai to make it as a super model.
And why Mugdha Godse?
That's interesting too. When I was researching for Fashion and went to the Delhi Fashion Week, where I saw this girl walking on the ramp. I was introduced to her previously by a friend of mine. When I saw the confidence in her walk and her eyes, I knew she was my Janet of Fashion. I met her and straight away told her if she was interested to do a movie with me. The rest is history now. In fact, she has surprised everybody by her performance in Fashion. From Priyanka to Kangana, everybody appreciated her work. People say that models can't act. I can say that Mugdha, the newest model turned actress will prove them wrong.
You're working with a fresh and a new team of actors this time around. How was the experience?
I always make it a point to work with a new team and a new set of actors all the time. It's challenging and something different. This is my style of working.
You've said that Fashion is your best work ever, better than all your past films. Is it really?
I don't know or remember where I said this or who has said this (laughs). For me, my best work will always remain Satta which didn't do very well at the box office.
Konkana Sen Sharma and Atul Kulkarni, your two lucky mascots. You can't leave them behind can you?
(laughs) Yes, I can't. They are the best I've worked with. I did approach Atul Kulkarni to play a cameo in Fashion but he couldn't make it for some reason. The good thing is that Konkana is there. She plays herself, Konkana Sen Sharma - the actress. Her boyfriend Ranvir Shorey is also there and both of them play a couple in the film.
This is your first film which will appeal to the overseas audiences as well, seeing the subject you've approached this time - Fashion. Any comments?
You're right. For me it's a big leap in terms of the film, the concept and the budget because I've never made a movie of 18 to 20 crores. I've always made it between 3 to 4 crores. I always say that I am an experimental filmmaker but my films do get a commercial acceptance. So for me, I'm excited by the kind of feedback, messages and calls I'm getting from the UK and the US. I hope that it gets appreciated there.
As you must be aware that the U.K market is star driven. What have you got for them besides Priyanka Chopra?
Priyanka Chopra is the first thing which will make it big in the UK. But more than her, it's the concept and the look of the film which people are going to love. I bet, the overseas audiences haven't seen such style in Hindi movies before. Fashion will change that. Priyanka Chopra has changed at least 150 dresses in the film. Fashion is a personal story of these three models and what they go through. I am not making a statement on the Fashion Industry here.
What about the homosexuality element in the fashion world which prevails? Have you shown that aspect too?
Definitely yes. The gay angle in Fashion is very evident.
Is it wise to go on a fashion show to promote your film rather than go to any reality shows?
Reality show or fashion week or any kind of publicity for any film is a must. If we have to do both, we have to do it. There is no way out and there is nothing wrong in it. I think every filmmaker and the films cast want their film to reach the widest of its audiences. Even the kind of investment put into promotion now-a-days is huge. So it definitely is a platform to promote your film.
Have you met any model who has given up more than just their morals in the fashion world?
(laughs) I know what your question is targeting to. Fashion is much beyond the casting couch story. There are many things that a model has to sacrifice or eradicate like his or hers position, principals, ethics, etc. to reach the top. This film is exactly that. And yes, I have met models who've given up many things than just their morals to reach the standing in their career where they are right now.
You love women, don't you? All your films are more or less having a female protagonist.
Yes, I love my women. Except Traffic Signal, all my films have showcased women as the main lead. You see, even in Traffic Signal, Neetu Chandra and Konkana Sen Sharma's characters were very strong. I really feel that there are certain issues in certain films where the female protagonist can say the narration in a much better way than the male hero. I've been lucky in that way and my women too who've seen their film worked wonders for them. It's a proud moment.
We've even seen UTV's Ronnie Screwvala experiment with different genres. Has he been a great support besides just being a producer?
Ronnie has always been a great admirer of my work and I respect him because he is a man who always encourages new cinema. So after Chandni Bar, Page 3, Corporate, etc we used to meet so many times in parties and events and he questioned me as to when will I be doing a film with him. That's when one day we met and I narrated him the idea of Fashion. He said that it was a superb idea and we should go ahead with it. This is the first time when I'm co-producing the film with Ronnie. It's called UTV and Bhandarkar Entertainment presents Fashion. It's my first production.
So, your money is at stake then huh?
(laughs) Yes, of course, and not only that, my name and my reputation too.
It's strange to see that in an economic meltdown like this, every actor and director are turning producers to keep themselves secure.
It's not about escapism. Today, people want to invest money only because they know that they'll get something back from it. If you see five years ago, no one used to get such big pay packs as an actor and a director. Now things have changed. It's become a big business now. The kind of multiplexes hitting India and the kind of revenue being generated is larger than life.
Another feather in the cap for you Madhur. You and Aamir Khan are being felicitated at the 7th Third Eye Asian Film Festival. I wish I had a collection of such caps too.
(laughs) It's a great feeling for me and when I got the news a few weeks ago, I was over the moon. I know Aamir Khan, and we do interact with each other, not too frequently though. But socially whenever we meet, we talk. I loved his film Taare Zameen Par. It's an unbelievable film and I am also proud of the fact that it's the official entry at the Oscars from India.
When do we then see a Madhur Bhandarkar film going to the Oscars?
I just keep making movies. But fingers crossed, hopefully very soon. I've already got my three Oscars from India which are the National Awards.
Movie will be screened at South Asian film festival
"Fashion", Madhur Bhandarkar's film set in the glamorous but ruthless world of haute couture, is slated for its world premiere on October 24 during the week-long 5th South Asian International Film Festival (SAIFF) in New York.
Nandita Das' "Firaaq", also from India, is the opening night feature of the festival and Das starrer "Ramchand Pakistani" directed by Mehreen Jabbar is the closing film. The festival runs from October 22-28.
SAIFF 2008 will present a select combination of full-length films, shorts and documentaries in a variety of genres. With several screening locations in Manhattan and high-profile sponsors like HBO, the New York Times and Time Warner Cable, the festival is dedicated to supporting established and emerging filmmakers from India, Pakistan, Nepal, Sri Lanka and Bangladesh, as well as the South Asian diaspora.
"Fashion", starring Priyanka Chopra, Kangana Ranaut and Raj Babbar explores the world of style through the emotional journeys of the key people that make up the industry -models, designers, photographers, agencies and businessmen.
"Firaaq", which premiered last month at the Toronto International Film Festival, takes place over a 24-hour period one month after the 2002 communal violence in Gujarat. It features a star studded ensemble portraying the emotional journeys of "ordinary people" - some victims, some perpetrators and some who watched silently.
"Ramchand Pakistani" is a true story from 2002 concerning the accidental crossing of the Pakistan-Indian border during a period of extreme, war-like tension between the two countries by two members of a Pakistani Hindu family belonging to the Dalit caste. Nandita Das is the only non-Pakistani in the film's cast.
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In a drama the performances take precedence. But in a film, especially in thriller films, the plot takes priority... Maharathi scores on the former aspect but shakes on the latter.
plot that starts off promisingly is flawed by few loopholes.
Dil Kabaddi, highly inspired by Woody Allen's 1992 film HUSBANDS & WIVES, is bold and piping hot for the Indian audiences. The movie is directed by Anil Sharma and produced by Shailesh Singh.
The characters and situations are not out of the ordinary. But it is much like other films of this genre - like say a Pyaar Ke Side Effects or Honeymoon Travels Pvt Ltd - this one is also what most critics call 'a character driven film'. We have actors regularly talking into the camera and dialogue that is conversational, in keeping with the plot. But despite a predictable premise, Dil Kabaddi works well in most parts. There is a good balance between the stereotype and unconventional. So while most of the jokes are sexist, the women too make their choices, some brave some traditional. The men of course have all the fun.
Happily, 'Sorry Bhai' has plenty of genuine moments of emotional 'ouch'-burst. This isn't a film about confrontational relationships. The characters prefer to keep it nice and peaceful on the surface, no matter what the turmoil inside, just like the blue oceans and white sands of Mauritius.
The film swims languorously in a terrain that covers the thumb-sucking selfishness of childhood as well as the sexual friction within a family where a beautiful woman appears as a bone of contention.
Every city has its own charm and character. If Mumbai has its own lingo, so do other Indian cities.
The writing is pitched perfect, large hearted and finely observed. Abhay Deol and Paresh Rawal were great but surprises were the new faces. Right from the actor playing the teenage Lucky (Manjot Singh) to Lucky’s best friend ‘Bangali’ (Manu Rishi) to Dolly (Richa) there are some seriously talented people appearing on screen for the very first time. And even Neetu Chandra performed really well.
