Bollywood updates http://spicyflavours.net Wed, 08 Feb 2012 10:00:26 +0000 300 http://spicyflavours.net/topic/36657-bollywood-movie-previews-yeh-jo-mohabbat-hai/
View the full article]]> Wed, 08 Feb 2012 10:00:26 +0000 http://spicyflavours.net/topic/36657-bollywood-movie-previews-yeh-jo-mohabbat-hai/ http://spicyflavours.net/topic/36653-bollywood-music-reviews-will-you-marry-me/ EXPECTATIONS

It is easy to dismiss the soundtrack of a film which doesn't quite boast of superstars. However closer look at Will You Marry Me? reveals a couple of interesting facts that makes one curious to check out what the music has to offer here. First and foremost it has Sharib-Toshi along with Sachin Gupta as the composers here who have time and again scored whenever given an opportunity. Secondly, the director here is Aditya Dutt whose last film Good Luck may have been a forgettable affair but still holds the claim of making a film like Aashiq Banaya Aapne that gave Himesh Reshammiya a platform to be a huge sensation back then. Expecting that the magic is repeated with Aditya pairing up with new composers here, one plays on Will You Marry Me? which has lyrics by Shabbir Ahmed.

MUSIC

Thankfully the expectations aren't belied as Will You Marry Me? begins with a smash number in the form of 'Kalma'. Over the last few years Sharib-Toshi have managed to create their own identity and that is evident yet again in 'Kalma' as well which has a good fusion of Indian melody, Sufi flavour and Western arrangements coming in. Just the kind of song that Emraan Hashmi would have picked up for any given price, 'Kalma' is a good all around effort by the music team where Toshi Shabri also goes solo behind the mike to sing words written by guest lyricist Turaz. A perfect beginning that sees a well deserved 'remix' for itself.

What surprises is the presence of Rahat Fateh Ali Khan in the song that follows. For someone who is quite selective with his Bollywood assignments and usually sings only for top composers, Rahat picks 'Soniye' and gives the song it's right due. A sad number where Rahat is in the kind of mode that has made him so popular over the last few years, 'Soniye' arrives a little too early in the album though. While one would have expected this to be placed a little later in the album while allowing some other romantic or fun songs to pitch in much earlier, 'Soniye' (written by Shabbir Ahmed, Gaurav Dagaonkar, Sakina Khan) does manage to make it two out of two for Will You Marry Me? .

From this point on it is lyricist Shabeer Ahmed's show all the way and the first step in this direction is 'Superman'. Frankly, even though the song starts on a reasonably okay note, it starts fizzling out in a while as it starts seeming like a wannabe dance number that doesn't quite manage to hold on to it's own. Sukhwinder Singh, Jaspreet Jasz and Kshitij Tarey come together for this club track that should manage to hold audience's attention if supported by good picturisation but that's about it. Surprisingly the song arrives in the 'remix version' as well though one has to admit that its weakest part is ironically the point where the line 'We Are The Superman' arrives!

Next to arrive is Master Saleem's 'Danke Ki Chot'. A 'bhangra' track that doesn't really offer much variety, it still somehow manages to hold your attention to some extent at the least due to its very genre. Still, one would have expected this one to be one of the major highlights of the album, which sadly isn't really the case. Also, Master Saleem doesn't quite seem to be the best choice for the song though Shweta Pandit makes best of her stint behind the mike. Later even though Daler Mehendi is heard in the 'duet version', one doesn't quite end up falling for it.

Last to arrive is Sachin Gupta's 'Tu Ru Tu Ru Tu' which takes the album back to the melodic outing that it seemed once 'Kalma' and 'Soniye' were heard. There is a certain unique feel about Sachin's young voice and that is prevalent once again in 'Tu Ru Tu Ru Tu'. He is well complimented by Monali Thakur who also goes almost child like in this cute sounding love song that could have been placed earlier in the album. Okay, so this one may not be a chartbuster in the making but for the film's narrative to stay engaging, this song should add good value.

OVERALL

Will you Marry Me? is a decent album that would have to rely very heavy on it's couple of romantic numbers to gain good visibility for itself. Though the album does stray when songs like 'Superman' and 'Danke Ki Chot' arrive like an interruption. However once you are through with the entire album, it isn't really a bad idea to play 'Kalma' and 'Soniye' in a repeat mode.

OUR PICK(S)

'Kalma', 'Soniye', 'Tu Ru Tu Ru Tu'

View the full article]]> Wed, 08 Feb 2012 09:44:11 +0000 http://spicyflavours.net/topic/36653-bollywood-music-reviews-will-you-marry-me/ http://spicyflavours.net/topic/36654-bollywood-music-reviews-valentines-night/ EXPECTATIONS

Now where did this one come from? Just when Valentine's Day is round the corner, there comes a film by the title Valentine's Night with none other than Payal Rohatgi in lead. Even though barely hours remain for the arrival of the film; the album has just hit the stands with '(Astitva) The Band' as composers who also pitch in with lyrics along with Tahseen Munnavar.

MUSIC

You rub your eyes in disbelief on coming across the title of the first song that goes as 'Upload Download Jaari Rahega'. If this wasn't enough, even the composition by itself follows a haphazard route, hence putting you off from the word 'go'. Tahseen Munnavar brings on elements like Facebook, Orkut etc. into this song that just doesn't impress at all with singers Revant Shergill and Zaman Khan hardly adding much value. With the kind of start that Valentine's Night takes, one isn't left excited enough to check out what's next in the offering.

Well, the worst was yet to come though, what with 'Gaye Re Gaye Saand Paani Mein' following next. With the kind of lyrics that go as 'Take Me Up Take Me Down', this one is co-written by Tahseen Munnavar and '(Astitva) The Band'. Those four minutes that follow are unbearable to say the least and the way it is sung by Manta Sidhu, Zaman Khan and Kirshan Kumar only adds to the misery. This one has to be one of the most annoying numbers heard in the recent times. Well, just for that reason, hear it to believe it!

Post this song, anything even reasonably tolerable stands to be credited as a highlight of the album. This is exactly the case with the arrival of 'Valentine Song'. A love song which has an urban tone to it and seems like an Indi-pop number in the offering, it still succeeds in not being an assault on the ears. Sung by newcomers Salman Khan and Sheetal Gupta, this one follows the quintessential romcom flavour and even though it isn't anything extraordinary, it can be heard at the least.

Singer Salman Khan gets another opportunity to take the mike with 'Ooo Ree Bawara'. A fusion mix track with a semi-classical base to it, 'Ooo Ree Bawara' is the best of the lot though surprisingly it comes at the very end. Boasting of a soothing tone that suddenly manages to bring '(Astitva) The Band' in a different light altogether; 'Ooo Ree Bawara' has Ustad Shakeel Ahmad Khan leading the show as a singer. A love song, its a surprise that this one didn't come at the very beginning of the album and instead made space for unbearable numbers like 'Gaye Re Gaye Saand Paani Mein' and 'Upload Download Jaari Rahega'.

OVERALL

Simply put, the beginning of Valentine's Night was much below the very low expectations one had from the album. However there was at least a minor redemption in the end that saved it from becoming an out and out disaster. However that won't be enough to save the prospects of the album from commercial standpoint since even 'Ooo Ree Bawara' won't get time to grow due to film's sudden release.

OUR PICK(S)

Ooo Ree Bawara

View the full article]]> Wed, 08 Feb 2012 09:40:26 +0000 http://spicyflavours.net/topic/36654-bollywood-music-reviews-valentines-night/ http://spicyflavours.net/topic/36655-bollywood-music-reviews-tere-naal-love-ho-gaya/ EXPECTATIONS

Now it couldn't have been better timed than this. Just when Riteish Deshmukh and Genelia D'Souza have tied the knot, the music of their Tere Naal Love Ho Gaya too has hit the stands. With snippets of most of the songs already been making the rounds of internet for last few months, the wait had anyways become way too long to catch hold of the entire soundtrack. Now it's time to welcome the album which has music by Sachin-Jigar and lyrics by Mayur Puri and Priya Panchal.

MUSIC

There is no denying the fact that Sachin-Jigar have been fast making their place in the Bollywood musical scene. Well, if 'Piya O Re Piya' is any indication then they have taken yet another solid step in this direction. Melodious to the core and reminding one of the kind of magic that Pritam had created for 'Pee Loon' [Once Upon A Time In Mumbaai] when it comes to sheer styling, 'Piya O Re Piya' is a fabulous song that deserves repeat hearing. No wonder, the song also arrives in a 'sad' as well as 'remix version' and works every time. The song excels in both departments, whether it is music or lyrics. However 'Piya O Re Piya' wouldn't have been the song that it eventually turns out to be if not for Atif Aslam and Shreya Ghoshal. Together they are just brilliant behind the mike and one can comfortably say that this could well be the musical team's gift to the newly weds.

While 'Piya O Re Piya' is good enough for one to rejoice the arrival of a melodic album, what further adds weight to Tere Naa Love Ho Gaya is 'Jeene De'. With Mohit Chauhan as the name on the credits, one's expectations are anyways high from what would eventually be in store. However just one minute into the song and you know that this is yet another winner in the offering, what with the musical team creating wonders all over again. If Mohit was simply magical in Rockstar, he gets into a romantic mood all over again for 'Jeene De' which has a touch of Sufi element to it but still maintains its Bollywood quotient to the core. With the 'Coffee House' version going even softer and giving an impression of a live offering, 'Jeene Do' ensures that you look at the rest of the album with further anticipation.

There is a shift in mood though with the arrival of title song. Called 'Pee Pa Pee Pa Ho Gaya', this is the kind of song that could have been reserved for Shahid Kapoor and would have just made a smooth entry into his territory. With a Punjabi flavour to it and reminding of many a Pritam compositions belonging to similar setting that have worked big time in the past, 'Pee Pa Pee Pa Ho Gaya' is sung with aplomb by Diljit Dosanjh with Priya Panchal heard crooning Tere Naal Love Ho Gaya in the background. Deservingly, the song also finds a 'desi mix' version for itself.

'The album returns to it's core theme with 'Tu Mohabbat Hai' which has Atif Aslam beginning proceedings and coming up with exactly the same kind of rendition that he is known for and has found popularity over the last few years. A love song which brings back melody into the scheme of things after a boisterous 'Pee Paa', 'Tu Mohabbat Hai' has added Western arrangements to it as well. In addition, it's the inclusion of Monali Thakur and Priya Panchal as the female singers that further make 'Tu Mohabbat Hai' (which also arrives in a 'remix version') yet another pleasant outing in this album.

However what sticks as a sore thumb (and that too big time) is Sunidhi Chauhan's 'Fann Ban Gayi'. A complete misfit into the scheme of things, this is an item number that could just have been done away with. Leave aside the risque lyrics that just don't suit the flavour of the album, even the music here is hardly the kind that one would associate with Sachin-Jigar. Moreover after a terrific flow that had been created in Tere Naal Love Ho Gaya so far, this one just doesn't cut ice and is totally avoidable. Sad, because if only there was a better song placed in the album, it may have been a perfect outing.

OVERALL

Leaving aside a blemish called 'Fann Ban Gayi', Tere Naal Love Ho Gaya is a soundtrack that deserves to be heard and owned. With the composer duo as well as the lyricists and singers doing complete justice to the young romcom flavour of the film, this is a musical score that has in it to enjoy a long run. It would have to start seeing quick sales though since the album has hit the stands very close to the film's theatrical release. However if the film also turns into a success, it would be pretty much a 'sone pe suhaaga' moment for all involved.

OUR PICK(S)

Piya O Re Piya, Jeene De, Pee Pa Pee Pa Ho Gaya, Tu Mohabbat Hai

View the full article]]> Wed, 08 Feb 2012 09:36:35 +0000 http://spicyflavours.net/topic/36655-bollywood-music-reviews-tere-naal-love-ho-gaya/ http://spicyflavours.net/topic/36656-bollywood-movie-reviews-ek-main-aur-ekk-tu/
It's said that that good friendship, by and large, transforms into romance and consequently, marriage. But hold on... what if one marries by mistake? In EK MAIN AUR EKK TU, two responsible adults meet, get married in a jiffy [it's a mistake, they realize the next morning], but this faux pas is the turning point in their lives. That's the essence of EK MAIN AUR EKK TU.

The plotline of EK MAIN AUR EKK TU may bring back memories of WHAT HAPPENS IN VEGAS and the Mexican film RECIEN CAZADO, but EK MAIN AUR EKK TU is no adaptation of those films. Agree, the trailers might make you conclude it could be an imitation, but it's not. EK MAIN AUR EKK TU is shades apart from the above named movies. Imagine a guy who has lived his entire life based on decisions taken by his parents. Come to think of it, he's not living his life, but his parent's expectations. And then comes a girl who opens his eyes and shows him what he's missing out on. EK MAIN AUR EKK TU is more of a coming-of-age story, essentially.

Intrinsically, EK MAIN AUR EKK TU may be a rom-com, but it's not anything that you may have witnessed on the Bollywood screen earlier. First-time director Shakun Batra brings with him a novel grammar of storytelling, which stresses more on tête-à-tête, while the camera captures those moments resplendently. Besides, Shakun doesn't rely on buffers like heavy-duty drama, earsplitting background score or props to augment a scene or move the narrative frontward. In short, EK MAIN AUR EKK TU doesn't take the conventional route. Neither is the plot humdrum, nor is the treatment unadventurous.

Rahul [Imran Khan] is on his way to become a replica of his parents [Boman Irani, Ratna Pathak Shah], when he suddenly loses his job as an architect in Vegas. Afraid that he has let his parents down, Rahul decides to hide the truth and find another job. When by a twist of fate, he meets Riana [Kareena Kapoor], a quick-witted hairstylist, who is everything he isn't.

A series of events lead them to meet on Christmas Eve over a few drinks, but like always, it's never a 'few'. Following this night of debauchery, they wake up to discover that they've gotten married. Now, Rahul has more than just his job loss to hide from his parents. They both decide to get it annulled as soon as possible and get an appointment from the court in ten days. Over the next ten days they have their share of arguments, moments and laughs that results in an unlikely friendship.

Will this friendship turn in love? Will her warmth and fearlessness give Rahul the courage to face a long-simmering confrontation with his parents? Will a marriage that started as a drunken mistake help two people find themselves?

Set in an urban landscape [Las Vegas, Mumbai], EK MAIN AUR EKK TU is essentially a two-seater vehicle that excuses itself from the banal and hackneyed prescription, but endorses the longstanding theme of opposites magnetize. Shakun Batra gradients more towards the multiplex friendly technique of narrating a story and the execution of the subject reminds you of how rom-coms are narrated in the West. There are traces of Woody Allen's style of telling a story, but in spirit, it's akin to Imtiaz Ali's greatly admired and lauded endeavor JAB WE MET. In fact, writers Ayesha Devitre and Shakun Batra ensure that this slice of urban life delivers its drama with least fuss, which is what makes it stand out in the crowd. Also, it doesn't seem borrowed or a reproduction of anything witnessed before.

Director Shakun Batra familiarizes the spectator with the protagonists at the very inception and then wholly engages you in Imran and Kareena's journey. While the first half encompasses numerous significant moments, the motion picture in actual fact takes off in the post-interval portions. The story shifts to Mumbai and that's where the turnaround comes about. The entire episode at Kareena's home, followed by the 'Auntyji' song, keep you amused, while the dramatic outburst at the dinner table is simply marvelous. The conclusion too is not what you think it would be and that's why not just the director, but also the writers deserve brownie points for thinking out of the box. Without doubt, this is one of the most exceptional screenplays to come out of Bollywood in the recent past.

The soundtrack of EK MAIN AUR EKK TU suits the tastes of urbane listeners. While composer Amit Trivedi comes up with sprightly tracks like 'Auntyji' and the saccharine sweet title track, he also ensures that tracks like 'Gubbare' linger in your memory. EK MAIN AUR EKK TU sweeps you off your feet for one more reason: the stunning visuals [DoP: David Mac Donald]. The dazzling locales of Las Vegas are captured with aplomb on celluloid by the ace cinematographer.

Both Kareena and Imran come up with distinctive urban sensibilities and you only expect the two to comprehend the nuances of the narrative and execute that delicately and magnificently on screen. Kareena's character in this film is very similar to the one she portrayed in JAB WE MET. In fact, you could say that Riana is the urban face of Geet, a free spirited, vivacious person. Kareena surrenders herself to the director's visualization and delivers an outstanding performance, reminiscent of the one in JAB WE MET.

Imran fits into the role of a stickler for precision smoothly. In fact, you'd expect Imran to be overshadowed by Kareena completely, in view of the fact that Kareena is a far more experienced actor and also because her character is feisty and livewire, but Imran manages to stand on his feet and delivers a delightful, likeable performance yet again. The outburst at the dinner table only goes to provide evidence to the fact of how wonderful an actor he has evolved into.

The supporting cast comes up with impeccable performances. Boman Irani excels yet again. Ratna Pathak Shah is remarkable. Ram Kapoor is fantastic. Sonia Mehra is feisty in the cameo. The actor enacting the role of Kareena's father is first-rate.

On the whole, EK MAIN AUR EKK TU is a slick, breezy and pleasant fare that should click with its target audience -- the youth -- and also has the potential to woo the older spectators as well. This take on love is refined, smart, lively and thoroughly pleasing thanks to its characters, conversations and the inherent humor. A perfect date movie. A film stuffed with exquisite moments that are sure to bring a wide smile on your face. Simply put, you cannot afford to miss EK MAIN AUR EKK TU. Just go for it!

View the full article]]> Wed, 08 Feb 2012 08:34:26 +0000 http://spicyflavours.net/topic/36656-bollywood-movie-reviews-ek-main-aur-ekk-tu/ http://spicyflavours.net/topic/36650-bollywood-movie-previews-will-you-marry-me/
Rajveer and Aarav cannot believe their best friend Nikhil is getting married however they put on a smile to attend his beach wedding in Dubai. During the wedding festivities, Rajveer and Aarav coincidentally fall for the bride’s best friend, Sneha (Mugdha Godse). To make matters worse in this love triangle, the kidnapping of Nikhil takes place by the powerful business tycoon (Paresh Rawal).

From there everything turns up-side down completely at Nikhil and Anjali's wedding celebrations. Will Nikhil even make it for his own wedding? Who will Sneha choose; Rajveer or Aarav? Who will marry who; come find out in Will You Marry Me?

View the full article]]> Sat, 04 Feb 2012 10:19:51 +0000 http://spicyflavours.net/topic/36650-bollywood-movie-previews-will-you-marry-me/ http://spicyflavours.net/topic/36648-bollywood-movie-reviews-staying-alive/
Aditya [Ananth Mahadevan], a newspaper sub-editor, suffers his third heart attack and finds himself in the ICCU of a hospital. On the bed next to him is Shaukat Ali [Saurabh Shukla], a gangster, who has suffered his first heart attack. While Shaukat is petrified of dying, Aditya scoffs at death. Gradually, Aditya ends up changing Shaukat's outlook towards life. As Shaukat raves and rants through his stay in the ward, it gradually dawns upon him that Aditya is right and the greatest feeling was, simply, to be alive.

Shaukat decides to turn a new leaf and even becomes a police informer after his discharge from the hospital. But, ironically, gets shot by his underworld rivals for having had a change of heart.

Till a few years ago, who'd ever imagined an entire film [almost] in the Intensive Cardiac Care Unit? Besides an interesting plot, the film also boasts of some attention-grabbing moments, but the glitch is that it goes back and forth a couple of times and also the track involving a rival gangster [Khan Jahangir Khan] is underdeveloped. Besides, it unravels at a snail's pace and a few sequences in the Intensive Cardiac Care Unit tend to get cyclic and monotonous.

There's no denying that Ananth Mahadevan has handled some sequences very well, especially the portions between the two women. I'd also like to make a special mention of the effective channel of communication between Ananth and Saurabh at places.

STAYLING ALIVE is embellished with natural performances. Saurabh Shukla is remarkable, injecting the movie with some funny moments in an otherwise serious film. Ananth Mahadevan delivers a truly wonderful performance. Navni Parihar is top notch, essaying a difficult role with dexterity. Sunita Chhaya is first-rate as well, handling the emotional moments with élan. Chandan Roy Sanyal doesn't get much scope. Khan Jahangir Khan [the rival gangster] is okay, while Sanjay Swaraj [the doctor] is decent.

On the whole, STAYING ALIVE is more of an experiment that holds appeal for a tiny segment of cineastes -- those with an appetite for meaningful, festival films.

View the full article]]> Fri, 03 Feb 2012 14:28:50 +0000 http://spicyflavours.net/topic/36648-bollywood-movie-reviews-staying-alive/ http://spicyflavours.net/topic/36649-bollywood-movie-reviews-gali-gali-chor-hai/
GALI GALI CHOR HAI throws light on corruption, dishonesty and bribery and also draws attention to the people who have betrayed the society and nation. It tells the story of a middle class family living in Bhopal and how an episode changes their lives. Their lives get entangled in a series of incidents and before they realize it, they become victims of corruption. In short, the movie deals with the corrupt bureaucratic system and sends across a clear message that one needs to fight the deceitfulness and fraudulence to eradicate corruption.

Though corruption is a much abused, oft-repeated and oft-depicted theme in Bollywood, what sets GALI GALI CHOR HAI apart is that it incorporates the recent incidents in the narrative. Though the situation depicted may differ, you cannot help but recount that somebody in your family/friends must've experienced a similar crisis at some point in life. It's relatable and the characters, identifiable. At the same time, though the issue depicted is dark and serious, director Rumy Jafry ensures that the focus remains on entertainment.

But what could've been a hard-hitting statement against corruption mellows after a point. This happens in the post-interval portions, when things begin to look impractical and ineffectual. More on that later!

Meet Bharat [Akshaye Khanna], the aam aadmi, part-time cashier and part-time Hanuman at Ramleela, residing in the city of Bhopal where he lives with his father [Satish Kaushik], who values freedom and hopes to see a corruption free administration in the country. Bharat is married to Nisha [Shriya Saran], a school teacher.

Bharat wants to graduate from his role as Hanuma to Lord Ram someday, which is being portrayed by Sattu Tripathi [Amit Mistry], younger brother of MLA Manku Tripathi [Murli Sharma]. Sattu, a bad actor, is always unhappy that Hanuman steals the show with his performance and Manku, the MLA, is unhappy over Bharat's refusal to let out his extra room to campaigning for his re-election. Adding to their woes is the fact that Bharat's father befriends the opposing candidate Mohanlal [Shashi Ranjan] and lets out the room to him for his campaign.

One night, Bharat's table fan gets stolen and how he is forced to bribe his way through criminals and law keepers, just to get this table fan back, forms the remainder of the film. An ordinary cashier hits headlines overnight.

GALI GALI CHOR HAI draws your attention towards the victimization of the common man, but the serious topic [corruption] is dealt with in a humorous way. In fact, the first hour is padded with several interesting episodes that bring a smile on your face. The writers bring to the fore the nexus between the cops and politicians and how the aam aadmi gets victimized for no fault of his. Concurrently, there's the husband-wife-other woman sub-plot as well, but, bluntly put, it looks like an aberration in the narrative.

While the first hour keeps you engrossed, the film gives away in the post-interval portions. The track of the two goons chasing Akshaye is bizarre and the manner in which the drama unfolds once the blast occurs is far from bona fide. The finale, when Akshaye registers a slap on the face of the wrong-doers, takes the graph to a high again, but the film could've done with a far more credible and convincing conclusion. It looks abrupt, a rushed job now!

After making entertainers such as GOD TUSSI GREAT HO and LIFE PARTNER, Rumy Jafry invests his efforts into make an entertaining film that carries a message. Also, Rumy makes a dig at the system, but, like I pointed out earlier, the writing could've been crisper in the subsequent half. There's not much scope for music in the film, yet the title track [filmed on Kailash Kher] and 'Channo' [filmed on Veena Malik] catch your eye. 'Channo' especially adds a dash of spice to the proceedings. The dialogue bring a smile on your face on several occasions.

Clearly one of the most versatile actors around, Akshaye delivers yet another fine, natural, unfussy performance. Come to think of it, playing an aam aadmi can be tough, but Akshaye gets into the skin of the character and gets it right. The two girls, Shriya Saran and Mugdha Godse, don't get much scope. Satish Kaushik excels, while Annu Kapoor is the scene stealer as the corrupt, scheming cop. Murli Sharma is stereotypical, Amit Mistry is wonderful, Vijay Raaz shines in a brief role, Rajat Rawail provides some laughs, Shashi Ranjan is confident and Akhilendra Mishra is just about okay.

On the whole, GALI GALI CHOR HAI amuses intermittently. Fortunately, the movie goes public at a juncture when anti-corruption appears to be the essence of the season. But the film could've done with a far more hard-hitting conclusion!

View the full article]]> Fri, 03 Feb 2012 11:51:56 +0000 http://spicyflavours.net/topic/36649-bollywood-movie-reviews-gali-gali-chor-hai/ http://spicyflavours.net/topic/36647-bollywood-movie-previews-issaq/
View the full article]]> Tue, 31 Jan 2012 15:31:12 +0000 http://spicyflavours.net/topic/36647-bollywood-movie-previews-issaq/ http://spicyflavours.net/topic/36642-bollywood-movie-previews-someday/
View the full article]]> Wed, 25 Jan 2012 17:42:38 +0000 http://spicyflavours.net/topic/36642-bollywood-movie-previews-someday/ http://spicyflavours.net/topic/36643-bollywood-movie-previews-maximum/
View the full article]]> Wed, 25 Jan 2012 13:02:34 +0000 http://spicyflavours.net/topic/36643-bollywood-movie-previews-maximum/ http://spicyflavours.net/topic/36637-prateik-and-amy-jackson-get-intimate-in-photoshoot/ Ekk Deewana Tha has been making bigger waves in the media and it has really created quite a buzz that the masses are getting attracted towards the movie and the wait for the release has started off. The speculations were high in the air for the romantic recent past of the leading stars of the movie – Prateik and Amy Jackson.

Now both have done an intimate photo shoot where both seem not to be affected by their past at all rather they looked quite intimate during the shoot. The photo shoot was done for the Lawman Jeans where the two depicted the true intimacy while they cuddled passionately to each other, exchanged smiles and very sensuously looked at each other. The chemistry between the two were amazingly ritzy. In one of the pictures, Prateik lifted Jackson in his arms and while he was lifting her, he was constantly looking into her eyes sensuously.

The movie, directed by Gautam Menon, has been chewing up bigger news since it was previously made in two versions – the original Tamil and then Telugu. Gautam interestingly has been the director of all the three versions of the flick. A R Rahman too has been going on with the music of the film, he gave his composition in all three versions. Ekk Deewana Tha has been scored tremendously well and Rahman’s musical score got good reviews by the critics. The movie is all set to hit the theaters by next month. Let’s wait the release. Both Prateik and Amy are adamant for the success of the movie.]]> Tue, 24 Jan 2012 10:22:20 +0000 http://spicyflavours.net/topic/36637-prateik-and-amy-jackson-get-intimate-in-photoshoot/ http://spicyflavours.net/topic/36638-bollywood-movie-reviews-agneepath/
But there's a flipside to what I mentioned above! The actors and film-makers involved in remaking a classic cannot escape minute and meticulous evaluation and comparisons because cineastes are going to walk in with predetermined conceptions. Remakes come with a certain baggage. Matching the standards and aesthetics of the original is the prime criteria.

It's Hrithik Roshan's turn to wear the mask of the iconic character portrayed by Amitabh Bachchan two decades ago. Though not a money spinner then, AGNEEPATH did fetch Bachchan Sr. the National Award in the Best Actor category and is considered amongst the best films made that year [1990]. Twenty two years later, Vijay Dinanath Chauhan is brought alive by first-time director Karan Malhotra in Karan Johar's homage to the original film, which was produced by his father Yash Johar and directed by Mukul S. Anand. It's a colossal challenge for any actor/maker to pay tribute to a cult film, which continues to linger in our memory even after two decades.

The premise is the same. Well, almost. So is the vital dialogue from the film which comes at a very crucial juncture in the present-day adaptation of AGNEEPATH: "Naam Vijay Chauhan, baap ka naam Dinanath Chauhan, gaon Mandwa."

AGNEEPATH is an uncomplicated story of revenge, is hard-hitting yet entertaining, dwells on strong emotions and aggressive and forceful action, yet is dissimilar from the original. Debutant director Karan Malhotra sponges from the original, but bestows the new version with a fresh texture [screenplay adapted by Ila Bedi Datta and Karan Malhotra]. Krishnan Iyer M.A. [portrayed by Mithun Chakraborty in the original] is done away with, while Malhotra introduces another negative character called Rauf Lala [Rishi Kapoor] to make the proceedings more volatile and explosive. One can envisage the kind of burden the director has shouldered and despite the fact that viewers would be scrutinizing the goings-on with a magnifying glass and watching every frame minutely, you cannot refute the fact that Karan Malhotra has done a remarkable job as a storyteller.

In a small Indian village Mandwa, Vijay Dinanath Chauhan [Hrithik Roshan] is taught by his principled father [Chetan Pandit] about the path of fire -- Agneepath. His life is completely shattered when the evil drug dealer Kancha [Sanjay Dutt] hangs his father to death. Vijay leaves for Mumbai with his pregnant mother [Zarina Wahab] and has only one mission in life -- to come back to Mandwa and bring back the glory of his father's name.

In Mumbai, the 12-yr-old Vijay is taken under the wings of the city gang lord Rauf Lala [Rishi Kapoor]. From then on it is a journey of revenge where he makes and breaks many relationships, only to get closer to his aim. Vijay finds support only in his best friend Kaali [Priyanka Chopra], who stands by him at every moment in his life. Fifteen years later, his hatred for Kancha takes him back to Mandwa where life comes full circle.

Most Hindi films initiate with a bang, but run out of gas by the time they reach the finale, often getting deflated in between as well, but AGNEEPATH is vigorous from the very commencement to the absolute conclusion. The conflict at the very initiation and also towards the closing stages, the tension between Vijay and Kancha and also between Vijay and his mother, the game of one-upmanship played by Vijay to grab power… AGNEEPATH is one exhilarating ride. A vendetta story needs to be garnished with several terrific dramatic moments and Malhotra does just that. His handling of the subject deserves brownie points. The only 'hiccup', if one may say so, is the romantic track towards the first hour, which is lackluster.

The assessment of the movie would appear fragmentary if one would disregard the colossal contribution by action director Abbas Ali Moghul. Raw and gritty are two expressions that best illustrate the action scenes in AGNEEPATH. Kancha is larger than life and stronger than the protagonist, so when good eventually triumphs, the heroism ought to come to the forefront and it does so forcefully, convincingly and copiously. The action scenes are sure to draw whistles and claps, especially the one in the finale.

Harmonious compositions have constantly been the hallmark of Karan Johar's movies and the music of AGNEEPATH is no exception. The songs, composed by Ajay-Atul, may not be chartbusters [except 'Chikni Chameli'], but the compositions are in sync with the texture of the film. The pick of the lot is the devotional number as well as 'Chikni Chameli', which is already a rage. The background score, also by Ajay-Atul, is electrifying and exhilarating. Cinematography [Kiran Deohans; additional cinematography: Ravi K. Chandran] is commendable. The outdoor portions specially deserve special mention.

The commanding dialogue [Piyush Mishra] is yet another champion of AGNEEPATH. The striking sequences in the movie get elevated to a different level thanks to the superior channel of communication. This is one of those films where numerous novel lines hang back in your memory much after the movie has wrapped up.

The pertinent query that comes to one's mind is whether the new avatar of Vijay Dinanath Chauhan has enough inferno in him to match up to the magnificent performance of Sr. Bachchan. The answer is in the affirmative. Hrithik comes up with an astoundingly arresting performance. He does not emulate the veteran's portrayal of Vijay Dinanath Chauhan. Instead, he approaches the character in his own distinctive mode. AGNEEPATH only reiterates the fact that Hrithik has grown into a far superior and complete performer. In fact, the performance has the potential to keep the whistle blowers busy thanks to his magnificent interpretation of an iconic character.

Despicable and intimidating characters are non-existent in Hindi movies, but more recently Prakash Raj [in SINGHAM] and now Sanjay Dutt [in AGNEEPATH] are ready to revive the era of baddies. Sanju is electrifying as the hardhearted, brutal Kancha and his sinful getup only augments the impact of his performance. The menacing getup adds abundantly to the evil/stony character and his performance in the penultimate 30 minutes, when Kancha confronts Vijay, is the hallmark of the movie. This performance would prove to be yet another turning point in his career, after NAAM, KHAL-NAYAK, VAASTAV and the MUNNABHAI series.

Everyone is familiar with the fact that AGNEEPATH is fundamentally a tale of vengeance between Vijay Dinanath Chauhan and Kancha. So, logically, there's not much for the leading lady [Priyanka Chopra] to do in the narrative. Yet, Priyanka's character Kaali is significant to the story and expectedly, she sinks her teeth into the character. Contrary to what a lot of people believe, she's not an ornamental item in the movie.

Though Rishi Kapoor has attempted a negative role in KAL KISSNE DEKHA, it still wasn't as menacing as AGNEEPATH. Trust me, his performance is going to shock a lot of people, especially those who are familiar with his wide-ranging body of work. He's exceptional as Rauf Lala, enacting the bad guy with fervor and passion.

The film boasts of a number of characters, but the one that stands out is Arish Bhiwandiwala, who portrays the young Vijay Dinanath Chauhan with flourish. Zarina Wahab is natural, Om Puri is wonderful, Kanika Tiwari is decent, Chetan Pandit is adequate, Rajesh Tandon is perfect and Deven Bhojani, first-rate. Katrina Kaif sizzles in the item number 'Chikni Chameli'. She looks sensuous and catches your attention with super-energetic dance movements.

On the whole, AGNEEPATH is a fitting tribute to the masterwork. The movie has all the potential to scale dizzy heights of victory and catapult Hrithik Roshan as the newest member of the 100 cr Club, besides providing the Hindi film industry with the first giant Blockbuster of 2012. A definite winner!

View the full article]]> Tue, 24 Jan 2012 07:33:43 +0000 http://spicyflavours.net/topic/36638-bollywood-movie-reviews-agneepath/ http://spicyflavours.net/topic/36628-bollywood-music-reviews-jodi-breakers/ EXPECTATIONS

You do expect a lively soundtrack for Jodi Breakers. The film's theme is such that it deserves a peppy soundtrack and with Salim-Sulaiman at the helm of affairs, you are reasonably confident about some catchy tunes ahead. Since the composers are in good form with at least a couple of songs each in Love Break-ups Zindagi, Ladies v/s Ricky Bahl and Aazaan working with the audience, you do hope that the trend continues with Jodi Breakers as well which has lyrics by Irshad Kamil and Shabbir Ahmad contributing with one song.

MUSIC

Of late Salim Merchant has been reserving quite a few songs for himself as a singer as well. This is evidenced yet again in Jodi Breakers as well which kick-starts with 'Kunwara'. A song that celebrates single hood, it is also a re-invention of sorts for Madhavan who has otherwise been seen and heard in relatively serious roles, case in point being his last film Tanu Weds Manu. This time around he goes all out with 'Kunwara' which makes an instant mark and helps form a connect with the listener. A dance floor number which comes across as an energetic track, it surprisingly doesn't see a 'remix version' for itself.

The album sees further elevation in graph with 'Bipasha'. After 'Bebo Main Bebo' (Kambakkth Ishq) where Kareena had earned a song on her (nick)name, 'Bipasha' is the only other instance in the recent times where a leading lady sees a song dedicated to her. Shabbir Ahmad does full justice to the job entrusted upon him with lyrics that go as 'Aaja Main Sikhadoon Tujhe Pyaar Ki Bhaasha, Rab Ne Hai Fursat Mein Taraasha; Baithe Hai Jaal Bichaye, Phas Jaaye Na Bipasha' hence making it clear that the song would have a lot to offer for those who have been die hard fans of Bipasha. With Salim-Sulaiman creating a fusion of Middle East and Western sound, Shradha Pandit also enjoys her stint behind the mike and is clearly having fun while rendering 'Bipasha'. Shadab Faridi gives her good company, hence ensuring that 'Bipasha' would be played for quite some time to come, what with the 'remix version' further adding on to the appeal.

There is a mood shift in the album with 'Darmiyaan' and one doesn't mind that since it is time for some hardcore romantic outing here. Shafqat Amanat Ali gets a certain 'thehrav' in the album and with his mature vocals doing the trick, he ends up making 'Darmiyaan' a number that haunts you for quite some time even after it has been played just once. Clinton Cerejo is the additional singer in this love song which has poetic lyrics by Irshad Kamil, the man who has been doing well quite consistently for last few years now and has yet another beautiful number to his name now. The (much slower) 'reprise' version is sung by Shreya Ghoshal and since the original by Shafqat has made such a mark, you just go by the flow when this version is played.

It is a quintessential Salim-Sulaiman outing from the word 'go' as Salim Merchant, Shadab Faridi and Shradha Pandit come together for 'Mujhko Teri Zaroorat Hai'. While Irshad Kamil weaves some lovely lyrics all over again, it is the Western treatment-meets-Indian melody which makes this love song yet another good addition in the album. A song about two hearts longing for each other, 'Mujhko Teri Zaroorat Hai' is yet another sweet-n-simple love song that doesn't take much time to catch on Later it has been played a few times. Later it is pretty much 'sone pe suhaaga' once Rahat Fateh Ali Khan steps in for the 'remix version'.

Salim-Sulaiman end the album in a style with 'Jab Main Tumhare Saath Hun' hence making it five in a row for Jodi Breakers. Shilpa Rao (who deserves to be heard much more often) opens the song with Benny Dayal, who is finding good popularity comes his way, and ensures that this romantic number earns it's well deserved place in the album. Yes, one does get an impression of the song belonging to Vishal-Shekhar territory. However one can well attribute this to the sensibilities of these composers who think around the same lines and hence can be expected to sound like each other in an outing or two.

OVERALL

Jodi Breakers has all in it to be one of the more popular albums at the very beginning of the year. Salim-Sulaiman along with Irshad Kamil and Shabbir Ahmed have done their job and now it is up to the makers to make the most out of it and promote it well enough to enhance the music's reach. So far there has been a good vigour shown in that direction but a sustained momentum coupled with good success of the film at the box office can promise the music to find farther reach for it as well. A good album that deserves an audience.

OUR PICK(S)

Bipasha, Darmiyaan, Kunwara, Mujhko Teri Zaroorat Hai

View the full article]]> Fri, 20 Jan 2012 10:58:53 +0000 http://spicyflavours.net/topic/36628-bollywood-music-reviews-jodi-breakers/ http://spicyflavours.net/topic/36602-bollywood-music-reviews-ekk-deewana-tha/ EXPECTATIONS

One has very good expectations from Ekk Deewana Tha. The reason is simple - A.R. Rahman has composed some fantastic tunes for the original Tamil film Vinnaithaandi Varuvaayaa as well and there is no reason why the remake should be lagging behind. However, since unlike Rockstar there hasn't been much hype created around the musical score so far, one is also a tad apprehensive if the soundtrack would indeed meet these massive expectations. Thankfully though, all such doubts are laid to rest once you are through listening to this musically heavy album (with as many as 12 songs - all written by Javed Akhtar).

MUSIC

Ekk Deewana Tha incidentally starts with the weakest song of the enterprise, what with 'Kya Hai Mohabbat' hardly sounding like an A.R. Rahman composition. A song that questions the mystery called 'love' and almost comes across as a sad track instead of something far more passionate (which could well have been its original intent), it sees Rahman coming behind the mike himself. Sadly though, the song just fails to make any impact whatsoever.

Thankfully though there is immediate redemption in the form of a tremendous composition 'Dost Hai (Girl I Loved You)'. A perfectly paced love song with Western arrangements that has a good choice of singers in the form of Naresh Iyer, Jaspreet Jasz and Arya, this one is a Gen X number that hooks you on in the very first listening and makes you look forward to the kind of picturisation it fetches for itself. A melodic track that continues to haunt you long after it is played; it just sets Ekk Deewana Tha in the right direction.

There is a shift in mood immediately after with Alphonse crooning 'Aromale (My Beloved)', a love song which totally belongs to A.R. Rahman planet. The kind of song that he would have loved to gift to his Hollywood counterparts, it is an ideal fusion track that just gets sensibilities of Indian and Western classical together and results in a smooth flowing track. Unconventional, unpredictable and overtly smooth, 'Aromale (My Beloved)' is the kind of song that has to left in a repeat mode and forgotten.

No wonder, it is repeated as 'Broken Promises', which basically stands for the situation in the film. This one is far more rooted in appeal and with Shreya Ghoshal at the helm of affairs, you can't help but admire her form being the same girl who was singing 'Chikni Chameli' and 'Ooh Laa Laa' till very recently. Simply superb!

Ekk Deewana Tha continues to see an elevation in its 'likeability' graph with 'Hosanna' following next. A kind of number that deserves to see good popularity coming its way, 'Hosanna' reminds one of A.R. Rahman from the late 90s, early 2000s with Leon D'souza giving a very good account of himself. Boasting of some real smooth vocals, he should be heard more often in the Bollywood scheme of things. Suzanne D'mello is heard as a backup vocalists and she does her bit too to elevate the song's prospects. A beautiful love song which could well have been placed at the very beginning of the album.

Choice of unconventional vocalists continues with 'Phoolon Jaisi', what with Clinton Cerejo and Kalyani Menon as the chosen ones. A romantic number where the young boy can't help but admire beauty of the woman he loves most, it has Javed Akhtar in his elements and weaving his poetic magic. A song that flows smoothly and makes one pretty much relate to the feelings of this boy whose heart is beating for his beloved, 'Phoolon Jaisi' may not be the next hit in the offering but suits the flow of the album quite well.

Madhushree kick-starts 'Sharminda Hoon', a song about the girl feeling guilty of seeing the boy so much in love with her and pretty much in a helpless state. Yet another situational number that acts as a story telling device, its strength lies in its lyrics. Also, Rahman sounds much better as a singer in this song (when compared to Kya Hai Mohabbat) and aids in the narrative.

After a couple of situational tracks comes 'Sunlo Zara' which is the first (and only) song that has a Bollywood-ish feel to it, especially in the way it is paced and sung, especially by Shreya Ghoshal. The young woman sounds totally different from the way she did in the female version of 'Aromale' and is quite spirited in her rendition. She gets good company from Rashid Ali and Timmy (as the backup vocalist), hence ensuring that 'Sunlo Zara' comes across as just the kind of happy romantic number that one wanted by this time around.

It is back to a soft-n-smooth outing all over again with 'Zohra-Jabeen'. A soulful number that makes one totally surrender to Ekk Deewana Tha by this time, this is a Javed Ali song where the protagonist is longing for his beloved to be reunited with him. With minimal instruments in the background and the song depending entirely on Javed's control and variation as a singer, 'Zohra-Jabeen' is yet another addition to the good collection that the album has boasted of so far. What turns out to be an icing on the cake is a 150 seconds musical piece 'Moments In Kerala' which makes for a good musical interlude.

Couple of tracks that follow next are basically centred on Jessie (the name of the female character in the film). First to come is 'Jessie's Land' which is basically a three minute long humming piece by Megha who does quite well in supporting Rahman's background piece. On the other hand Sanjeev Thomas and Timmy get fast-n-ferocious with 'Jessie's Driving Me Crazy' which is an Hinglish piece where Rahman establishes the lead protagonist's state of mind quite ably. In the process this song gives this album some good conclusion and only entices you to revisit it all over again.

OVERALL

Ekk Deewana Tha is a very good album and a wholesome musical experience. Except for 'Kya Hai Mohabbat' (which ironically arrives at the very beginning of the album), rest of the album is fantastic and is a must-hear for those who swear by Rahman's score and also those who may not necessarily be bowled over by each and every work of this. Since the film basically features newcomers, the buzz around the soundtrack hasn't quite hit the roof so far. However this is the kind of soundtrack that isn't dependent on a film's run and should see a constant rise for itself.

OUR PICK(S)

Dost Hai (Girl I Loved You), Hosanna, Aromale (My Beloved), Sunlo Zara, Zohra-Jabeen

View the full article]]> Mon, 16 Jan 2012 09:16:33 +0000 http://spicyflavours.net/topic/36602-bollywood-music-reviews-ekk-deewana-tha/ http://spicyflavours.net/topic/36640-bollywood-movie-previews-valentines-night/
View the full article]]> Mon, 16 Jan 2012 09:06:25 +0000 http://spicyflavours.net/topic/36640-bollywood-movie-previews-valentines-night/ http://spicyflavours.net/topic/36598-bollywood-movie-reviews-tutiya-dil/
First-time director Amit Khanna, who has also penned the screenplay, doesn't really opt for a path breaking concept. Instead, he compensates it with some poignant moments in the narrative. What also ails the film is the fact that like most first-time enthusiastic storytellers, Khanna overstays the hospitality by dragging the film in its second hour. If it were shorter in duration, with more dum in its screenplay, it might've cut ice with its target audience -- the youth. At the end of it, as a result, TUTIYA DIL descends into a standard film on relationships. Also, it lacks the sharp wit of PYAAR KA PUNCHNAMA and MUJHSE FRAAANDSHIP KAROGE.

Rhea [Suzanna Mukherjee] becomes so unsure of herself after her breakup that she decides to see a shrink. She tells him how she met her new boss, Karan [Nikhil Sabharwal], and hit it off from day one. Rhea has to face a sudden storm when, suddenly, Karan dumps her and she is left heartbroken and also homeless.

Two people stand by Rhea -- Anu [Iris Maity], her best friend, a quintessential feminist and Vishal [Siddhant Kapur], her colleague at office, a womanizer. Vishal comes across as a nonchalant, carefree guy, but deep inside he is emotional and helps Rhea overcome her breakup.

Unlike DELHI BELLY and PYAAR KA PUNCHNAMA, there isn't any sexual content/jokes/jibes here. So don't expect anything scandalous or sensational in this movie. TUTIYA DIL is a love story at heart brewed with fresh actors. To give the credit where it's due, the director has filmed a number of sequences with utmost care. But there are sequences that get repetitive and the fact that there's not much meat in those sequences, it dilutes the impact of several wonderful moments. In short, it's inconsistent! Besides, the music doesn't help either, but I'd like to make a special mention of the dialogue, penned by Prabal Panjabi. The lines are identifiable and the best part is, they are minus frills or dialogue-baazi.

What salvages the film are the sincere performances. Suzanna is super confident, lighting up the scenes and making the most of it. Both Siddhant and Nikhil have screen presence. Siddhant has the makings of a fine actor [note the sequence when Suzanna and he get drunk; his performance is worth noting here], while Nikhil is a bit awkward initially, but gets into the groove subsequently. Iris Maity does her part well, but her character isn't well defined. The actor enacting the role of the boss is alright.

On the whole, TUTIYA DIL appeals in bits and spurts, but that's not enough.

View the full article]]> Fri, 13 Jan 2012 10:58:07 +0000 http://spicyflavours.net/topic/36598-bollywood-movie-reviews-tutiya-dil/ http://spicyflavours.net/topic/36599-bollywood-movie-reviews-ghost/
The problem with GHOST is that the scares are scarce, despite some twists and turns injected in the plotline. Regrettably, the story goes for a toss thanks to the interrupting song and dance routine [with autopilot choreography], the listless romantic track between the lead pair [looks completely forced in the narrative] and a patchy screenplay. In fact, Puja takes the film to another level as she unravels the mystery, but the end is so tame that it leaves you with a feeling of uneasiness.

City Hospital witnesses a chain of bloodcurdling, spine-chilling murders. A young recruit, Dr. Suhani [Sayali Bhagat], is faced with uncanny happenings at the hospital. She is stunned by the monstrous force that sweeps out of the night to cause a trail of gruesome killings. What or who is responsible for this strange murderous destruction? The murderer uses a unique methodology, leaving behind no trails, defying all human comprehension.

A leading investigating agency assigns the case to their most competent officer, Vijay [Shiney Ahuja]. Vijay moves intelligently to gather information about the mysterious murders. Among the first he questions is Dr. Suhani. There is immediate chemistry between the two. The culprit moves again and more horrifying brutal killings ensue. Vijay gets passionately involved in the case, treating it as his personal war against the slaughterer.

GHOST boasts of a couple of spine-tingling scary scenes, but a few spooky scenes does not a horror film make. Relying on an age-old premise where the female protagonist's spirit seeks vengeance from wrong-doers [dates back to the Ramsay days], GHOST could've done with a tighter screenplay, although Puja creates the right mood and setting for a chilling experience. Shiney's tryst with the spirit and also the portion depicting the gruesome murder of Julia are indeed terrifying, startling and definitely not for the faint-hearted. But the writing is contrived, the makeup of the ghost is terrible and the finale [no signs of Sayali in the climax, while Shiney is conspicuous by his absence in the final moments] plays a complete spoilsport.

In the absence of a watertight screenplay, expectedly, GHOST relies on external factors like camera movements and sound effects to cause thrills. The DoP captures the beauty of Lavasa well. The background score is loud. The songs are tuneful, but the placement of songs acts as a roadblock. The editing is loose for a horror film.

Both Shiney and Sayali strive hard to keep your interest alive. Tej Sapru is decent, while Deepraj Rana doesn't get much to do. Julia gets limited lines to deliver and then it's white dress, mutilated face, twisted feet and long nails.

On the whole, the scares in GHOST are inadequate and ineffectual. One expected so much more from the scary movie.

View the full article]]> Fri, 13 Jan 2012 10:56:55 +0000 http://spicyflavours.net/topic/36599-bollywood-movie-reviews-ghost/ http://spicyflavours.net/topic/36600-bollywood-movie-reviews-sadda-adda/
Like most films that focus on Gen X, one may assume that SADDA ADDA falls in the category of coming of age film with liberal doses of sex. Writer-director Muazzam Beg sets out to narrate a story about six buddies and how each of them encounters roadblocks and barriers, personally and professionally, while chasing their dreams. One of them, sadly, has a bitter end. It's more of a slice of life film that mirrors the hardships of the urban youth. Having said that, I'd like to add that SADDA ADDA isn't without its share of blemishes. More on that later!

SADDA ADDA is about how six bachelors, with completely different backgrounds and personalities, live together. Their apartment 'Sadda Adda' is a complete mess with empty beer bottles, cigarette butts, unwashed clothes, mattresses tossed all over the floor etc., yet they cook, clean, buy groceries, pay rent, laugh, cry, fight over insignificant issues and always stand up for each other -- like a family.

SADDA ADDA, actually, takes a long time to come to the point. In fact, there's not much movement in the story in the first hour, since it's devoted to establishing the characters and the bonhomie that the youngsters share. But Beg ensures that the first hour has its share of some wonderful, laden-with-wit moments that keep you engrossed. The turning point in the story comes at the interval point, expectedly.

It's in the post-interval portions that the wheels start moving. Nope, it's not a great script -- you can guess what's in store next at times -- but Beg handles the multiple stories maturely. The best sub-plot is that of Karanvir Sharma, who enacts the role of a failed actor and how he rises from the ashes. Rohin Robert's plot is abruptly cut short, while Bhaumik Sampat's story is predictable, yet relatable and Rohitt Arora's tale provides occasional laughs. The fifth story -- Kunal Pant -- lacks meat. Despite the hiccups, SADDA ADDA keeps you engaged in its second hour due to the twists and turns in the story. In fact, the penultimate 20 odd minutes are the mainstay of the film, with the emotional moments making you moist-eyed. The end, luckily, gives you a positive vibe.

While the cinematography is okay, the music gels well with the mood of the film. How one wishes the songs were aggressively promoted, prior to the release, especially the title track. The dialogue are funny and witty.

The boys are much better than the girls. Also because the girls have nothing substantial to do. Karanvir Sharma is the scene-stealer, while Bhaumik Sampat is a complete natural. Rohin Robert is decent, Rohitt Arora is alright, while Kunal Pant is fair. Parimal Aloke gets into the skin of the character. The girls opposite Karanvir [Shaurya Chauhan] and Bhaumik [Kahkkashan Aryan] are passable.

On the whole, SADDA ADDA is a decent attempt, but will have to rely on a strong word of mouth to sustain.

View the full article]]> Fri, 13 Jan 2012 10:56:05 +0000 http://spicyflavours.net/topic/36600-bollywood-movie-reviews-sadda-adda/ http://spicyflavours.net/topic/36594-bollywood-movie-previews-london-paris-new-york/
The film follows their personal journey and their love story as they meet in London, Paris and New York for a night each over eight years. The film is in three chapters and each chapter is shot in a manner that mirrors the mental state of Nikhil and Lalitha.

View the full article]]> Thu, 12 Jan 2012 11:35:54 +0000 http://spicyflavours.net/topic/36594-bollywood-movie-previews-london-paris-new-york/