'Crook' (thankfully) stays away from turning into a serious affair, a la 'My Name Is Khan' which again dealt with racial abuse. Religion was the point of contention in the Shah Rukh Khan drama whereas it is difference in nationality which is the core of 'Crook'. Also, the film refrains from being frivolous by turning it's lead protagonist into an overnight hero. He arrives in Australia as a common man, stays on to be the one and exudes good enough vibes to stay on as one as well.
For the young character played by Emraan Hashmi, life isn't pretty much defined on a set path. Now quite sure about tomorrow, he arrives in Australia for a better life. As he comes in touch with a 'desi' student (Neha Sharma) and builds a relationship of convenience, he has his first brush with racism. However, he stays away from the mess and doesn't have any intention of getting involved into the proceedings. Things take an ugly turn though as a battle rages between Neha's brother (Arjan Bajwa), a self proclaimed protector of Indians in Australia and some local goons, hence leading to blood spilling over the roads. For Emraan, it’s a matter of making a decision - Sit at the fence and let it all continue or take a stand and make his own little contribution to dilute the tension.
This is the reason why it is a pleasant surprise to see Emraan Hashmi, who so far has revelled in playing a man with grey/evil shades, pick up a different persona for 'Crook'. He may be a little naughty and also a liar when it comes to smaller issues. In fact he doesn't even become a moral crusader even as the city is burning with protests around racism. However, when it comes to stepping ahead on sheer humanitarian grounds for the ones close to him, he does take his first step forward.
What impresses most is the fact that there is no Australia bashing here. In fact the film asks Indians to first look into themselves, check their acts and hold on a little before drawing battle line with Australians. It's the subtle conveying of 'let there be peace' rather than any slogan shouting which makes 'Crook' totally different from what one was otherwise perceiving about the film.
With the core of 'Crook' being pretty impressive, what takes the film back are two factors - 1) The title and 2) An ordinary first half. Really, for a film like this, a different title would have helped the film. 'Crook' gives an impression of this being a quintessential Emraan Hashmi affair with the character not giving two hoots to anything.
However, that is far from true. Also, a quite some time goes into building the base for 'Crook'. There are a few light moments and couple of catchy songs here but still, one pines for the drama to begin. There are on and off moments that do fit into the scheme of the film's narrative but then the actual story kick starts only in the second half.
Thankfully, once the drama picks up there is no stopping with the penultimate 20-25 minutes taking the film to a high. There is a distinct Mahesh Bhatt touch to the narrative here as Emraan finally realises the gravity of the situation and doesn't hold himself back any more. No doubt, 'Crook' stands out as yet another consistent and good performance from one of the most reliable actors that Bollywood boasts of today.
Arjan is good as a menacing paradoxical character who doesn't mind killing his own folks when it comes to preserving the rights of a bigger group. After 'Fashion' and 'Guru', this is yet another confident performance from him. Neha makes a fine debut as she has a far better and lengthier role than what one would have imagined from a girl making her debut in a Bhatt film.
She looks good and shows a decent range within her role boundaries. 'Crook' could well be one of the most honest effort coming from the house of Bhatts. For a production house that has revelled in picking up newspaper headlines and presenting to audience some of the most topical issues of our times, Vishesh Films springs a pleasant surprise by actually sharing a point of view which is different from what one would have expected from 'Crook'. Though the film has at its heart there theme of racial discrimination and abuse, the question it asks the audience is - 'If we look within our own self, are we any less racial?'
Rating: ****
As is the known fact by now, 'Anjaana Anjaani' is about Ranbir Kapoor and Priyanka Chopra who meet on a bridge where they are preparing to commit suicide. The moment one senses an interaction beginning between the duo, you are pretty much sure about how the story would end.
Really, writer-director Siddharth Anand must certainly be knowing his job after making four films. He brings that to fore by adopting a contrasting color scheme for the two halves of the film. The first half a European touch to it, as evidenced in not just the grey and darker colour shade that follows but also many a claustrophobic close up shots that Siddharth takes of his central protagonists. He knows that in the film, Ranbir and Priyanka are going through a pain in life and in order to depict it all just right, he takes help of his cinematographer as well as background music composers.
While the first 30 minutes pass quite smoothly, its the latter portions that start making viewer a tad impatient. No, the sequences by no means are unbearable. However, for a musical love story, there are far lesser songs in the first half. Also, the pace dips as the film progresses and though it doesn't quite end up frustrating the viewer, it does make one look forward to what the second half has to offer.
To one's pleasant surprise, the second half of the film sees a constant rise in the graph as the two central protagonists decide to whole heartedly embrace life and live it to the fullest without worrying about the future. In the narrative that follows here for a little more than an hour, the colour scheme is far more vibrant and eye pleasing, hence fitting in well with the mood of the protagonists as well as youth which is expected to patronise this film.
As is the requirement for any musical love story, there have to be enough moments that a viewer can take home. In 'Anjaana Anjaani' too, there are quite a few such moments from start to finish of the film. The suicide sequence atop the bridge, the one where they find themselves in the middle of the Atlantic ocean, the point where their car is stolen, the gay club sequence, their separation, the pre-climax revelation and finally the reunion. Really, many such moments ensure that for most of the film's duration, you have a smile on your face.
Not that the film works consistently well from start to finish. As stated earlier, The first half tends to stretch before things start perking up again in the second half. Also, since the treatment is akin to a Hollywood love story, a few who have been fed on Bollywood from start till date may complain of being presented with something unusual and perhaps boring. Moreover, some may also feel that there are too many songs in the second half and hence may be put off.
However, the fact is that for a film like, music actually plays a very important role, both as a part of the film's narrative (Vishal-Shekhar) as well as the background score (Salim-Sulaiman). This is where 'Anjaana Anjaani' score more brownie points.
Priyanka Chopra breathes life to her character and most importantly, plays it in a manner which is totally inimitable. As for Ranbir Kapoor, he is quite loveable once again and is someone who would be adored. However, his uni-dimensional characterisation means that he is forced to emote in a singular manner for most part of the film's duration.
Siddharth Anand has an eye for visuals and that is apparent once again after seeing his work in 'Anjaana Anjaani'. For the right results in 'Anjaana Anjaani', producer Sajid Nadiadwala has left no stones unturned to give the film a polished look and that is visible in practically every single sequence in 'Anjaana Anjaani'.
At the end of it all, the observation is crystal clear: You can't really ignore mainstream love stories for the big screen. Well, as long as they are presented beautifully, packed with two superstars, laced with more than half a dozen melodious songs and quite importantly promoted impressively. This is what 'Anjaana Anjaani' is all about, a package deal that works for most of its duration.
Rating: ***1/2
'Robot' is the kind of film that leaves you with an enthralling feeling once it ends. In fact you are almost breathless as the end credits start rolling since the action is so fast moving, energetic, imaginative and above all, well executed that you can't afford to look anywhere else but the screen. Clearly, this one is action cinema at its best and if pre-climax and climax are anything to go by, 'Robot' ensures that the film would see a repeat watch by quite a few.
Now that 'Robot' is only impressive only in its last 30 minutes. From start till finish, this is one film which never fails to grip you. As a creator (Rajnikanth - the human being) and his creation (Rajnikanth - the Robot), the characters are well established for the first one hour that only helps the ground to be set for further drama to follow. Of course you do wait for the drama to kick start, especially so since one is pretty much aware about the plot which is centred on a 'robot' creation going wrong.
Hence, in the process of doing so, director Shankar spends quite some time in character definition of his principal cast. This means that the film is not just about the double role of Rajnikanth. It also has Aishwarya Rai Bachchan, the designated leading lady in the film, playing an important, visible and lengthy role. Really, one would have expected her to be totally overshadowed by Rajnikanth in the film. Yes, of course at the end of it all, it is Rajnikanth who stays on in audience mind. However, one does take back beautiful memories of Aishwarya as well.
One would have expected for a film with a title as 'Robot' to be totally action packed from start to finish. However, the first half is primarily embellished with light hearted moments and a few dramatic sequences. Of course there are at least three major action sequences as well with the one in, on and around the train being one of the best ever seen. However, it is surprising that the VFX for the sequence which is centred on a bunch of buildings catching fire isn't as impressive.
The interval point is brilliant though with the 'Robot' finally getting the sense of 'feelings' as well, hence leading to a twist in the tale. What follows for next 30-45 minutes is surprising not as striking as the first half since the film starts focusing on Robot's one sided love story with Aishwarya. Frankly, after a while, you wish that the drama returns to the screen.
Well, once that happens, there is no looking back as Rajnikanth turns into an out villain towards the latter part of the film. His inimitable swagger coupled with dialogue delivery (though dubbed by someone else) reminds one of Rajnikanth of yore which makes 'Robot' a memorable affair. Also, the VFX completely take over the proceedings during the last 45 minutes, hence bringing to screen the kind of spectacle that has never been experienced before in Indian cinema at the least.
This is where a fan's dream of seeing Rajnikanth achieve the impossible comes into play. With hundreds of Rajnikanth taking different forms of spheres, dragons, Ironman and many more, the sequence of events have to be seen to be believed. Frankly, it is impossible to let your eyes look at anything else when these frames come into play.
While VFX is clearly the best that has been seen in Indian cinema so far and is also comparable with the best of the best in international cinema, the songs leave a lot to be desired. Though picturised imaginatively, poor lyrics coupled with forced placement in the narrative only increase the film's length by at least 20-25 minutes. Really, makers could have done away with so many songs and instead continued to focus on drama and action.
Eventually, 'Robot' turns out to be a film which - just like 'Avatar' - is an experience in itself rather than just a film. Of course the film's script is not as powerful and gripping as Rajnikanth's last 'Sivaji' However, the film deserves at least a one time must watch for it's execution, Rajnkanth's style quotient and of course some world class VFX. Go, watch it on the big screen and enter into a different world altogether.
Rating: ****
What is it all about?
Promotions can be deceptive and now you understand why the Bollywood macho man, the beefy Salman Khan with a heart bigger than his biceps was so eager to promote this much hyped Indian ‘confused’ version of spaghetti westerns which comes almost a year after the money spinner ‘Wanted’.
The predictions of Dabangg’ to be a super hit gets challenged frame after frame as the movie lacks the most ‘wanted’ confidence and energy in its own much bigger, potentially fascinating story.
Yeah many of us knew in advance that the plot won’t be something to brag about and everybody was expecting a full on masala fun a perfect recipe for the entertainment hungry souls of cinema this festival weekend as promised in the promotions of the film which appeared like a perfect crowd pleaser. But alas, this Bollywood actioner starts falling flat as often as it fights to bring some emotions, connections, and the funny bones that where expected and promised.
The Story…… of course
Set in Uttar Pradesh, ‘Dabangg’ is a story of Chulbul Pandey (Salman Khan), a totally fearless but corrupt police officer with unorthodox working methods. Chulbul has had a bitter childhood. His father passed away when he was very young, after which his mother (Dimple Kapadia) married Prajapati Pandey (Vinod Khanna). Together, they had a son Makhanchan (Arbaaz Khan).
Prajapati favors Makhanchan, which does not go down well with Chulbul. He decides to take control of his destiny and detaches himself from his step-father and half-brother. His sole attachment is his mother. However, after his mother's demise and an unsuccessful attempt to mend wounds, Chulbul snaps all ties with his step-father and half-brother.
Rajo (Sonakshi Sinha) enters his world and turns life upside down. Chulbul starts to see life more positively and also gets sensitized to the value of a family. But his detractors, Cheddi Singh (Sonu Sood), have their own vested interests and emerge as spokes in the wheels, putting one brother against the other. Makhanchan ends up carrying out an act oblivious to the consequences.
When Makhanchan realizes he has been used, he turns to Chulbul. Will Chulbul take his extended hand? Will the brothers be able to thwart their detractors?
Well you don’t need to be an Einstein to predict.
What to look out for?
Salman Khan this beefy Bollywood macho man is poetry in motion, his exuberance in his physical comedy and funny inventiveness in dance numbers and fight sequences are thoroughly enjoyable.
The super star makes maximum use of his body language and mannerisms to great effect that makes him stand tall in the saddle where he tries to cover the defects of the film with his sheer charisma.
The fight sequences by S. Vijayan are crowd pleasers. Salman's introduction at the start and the fight-to-finish in the climax is a paisa vasool stuff. The ring tone thingy in between the fights where Salman starts dancing while punching is entertaining.
Sajid-Wajid's music is a major plus where “Tere Mast Mast Do Nain”, title track and of course “Munni” composed by Lalit Pandit are already on the road to chartbusters.
Munni is choreographed fantastically by Farah and Malaika Arora delivers as ordered in the track.
Sonakshi Sinha looks beautiful and it’s a dream debut for her where she shows good promise, acting skills can be polished depending upon the helmers she would work with in future.
Vinod Khanna, Dimple Kapadia, Anupam Kher, Om Puri, Mahesh Manjrekar, Mahi Gill, Tinnu Anand, Murli Sharma deliver their part as expected.
Mahesh Limaye's cinematography is excellent. Editing by Pranav V. Dhiwar is razor sharp especially in the action scenes.
The production values are fantastic.
What not?
Yeah we know that the plot has nothing to brag about but where is the screenplay, where are the emotions. What are we watching a show or a film - because the songs, the action become individual on their own; they fail to flow with the film as till interval the story by Dileep Shukla and Abhinav Kashyap is so stubborn to move.
The helmer Abhinav Kashyap in his debut commits the crime of shirking the responsibility to his action director, choreographer and just enjoys to watch the popular star enjoying the outing.
The fight sequences are good but not innovative enough, regular action buffs have seen it in many south Indian or Hollywood action flicks which are much crisper.
Where is the masala where is the fun. The introduction of Salman in the film promised entertainment for all but the confusion of the maker to make it as an Indian spaghetti westerner the cowboy flicks genre like the way it was smartly Indianised in ‘Ishqiya’ by Abhishek Chaubey or full on entertainer like ‘Wanted’ spoils the film and as a result ‘Dabanng’ loses charm frame after frame and in the swing of genre from Bollywood action to spaghetti western fails to reach anywhere.
The second half goes on and on which becomes boring, the movie asks many questions like Arbaaz Khan is said to be a person with less knowledge or intellect in the film but the audience hardly feels it.
The sequences the second half like the robbery, the death of Dimple, the emotion between Vinod Khanna and Salman doesn’t move and appears forced which fails to convince the audience.
The lovely Sonakshi Sinha suddenly disappears in the second half.
The brotherly emotions hardly get any development from the writer and the helmer.
You need a powerful villain to make a convincing blockbuster and Sonu Sood doesn’t fit the bill.
Arbaaz role is half baked so is his acting.
Conclusion: ‘Dabangg’ is a major let down in this festival weekend. The promised sure-fire, long-legged crowd-pleaser gets shorter in its legs frame after frame as it starts falling flat as often as it fights to bring some emotions, connections, and the funny bones that where expected and promised. Strictly for Salman diehards.
Rating: **&1/2
What is it all about?
The pioneer in Bollywood legal adaptation starts as a mature family comedy but as the reel
progress its ends up as a factory tear jerker as ordered by the Dharmas but the excellence
of Kajol and the brilliance of Kareena makes it ‘hit’ home.
The Story.......Of Course
Maya (Kajol) is the perfect mother. Her life revolves around her three children, Aleya
(Aanchal Munjal), Ankush (Nominath Ginsberg) and Anjali (Diya Sonecha). Despite being
divorced from her husband Aman (Arjun Rampal), Maya has ensured that everything runs
smoothly in her house, under her watch, and that they continue to remain a happy family
unit.
When Aman introduces his girlfriend, Shreya (Kareena Kapoor), a career-oriented woman, the
situation takes an unexpected turn. However, Maya is diagnosed with a terminal illness and
circumstances bring the two women under the same roof. Can two mothers make a home?
What To Look Out For?
The talented female thespians come together to earnestly jerk tears in ‘We Are Family’,
the combined efforts of the story writer Gigi Levangie on the original screenplay by Steve
Rogers, Karen Leigh Hopkins, Ron Bass, Venita Coelho and Gigi Levangie ensure that the
women element in the Indian adaptation gets maximum footage and the child-mother emotional
thingie gives the audience its emotional hook that should last to many fans of Kajol and
Kareena’s want-to-see list especially women.
All touchy elements are here like the conflict between a super-mom and a career women the
adorably smart kids tossed about by divorce, all goody-goody surroundings, exotic locales,
the jealousy amongst the women and of course the fatal disease that triggers some noble
suffering and emotional focusing all around.
Siddharth Malhotra in his debut film shows his calibre to manage emotions and starts
effectively.
Kajol and Kareena, particularly Kajol, work overtime to make this factory tearjerker
click. Theirs is an intriguing match-up of acting styles, too: Kajol relies on her
expressive eyes to show us Maya’s emotions, while Kareena conveys Shreya’s uneasiness
mostly through her body language and baritone voice.
“Lets Rock” is a major highlight, well tuned, choreographed and performed by every one.
Arjun does his part with sincerity.
The kids Aanchal Munjal as Aleya, Nominath Ginsburg as Ankush and especially Diya Sonecha
as Anjali are simply amazing.
‘We Are Family’ manages to survive mostly because Kajol and Kareena play their material
smartly. The movie's setting may be superficial and dreamy, but its female thespians make
‘We Are Family’ ‘hit’ home.
Mohanan's cinematography is a treat for your eyes. Other technical values are smart.
Production values are top class. Musically “Lets Rock” is a take home.
What Not?
Well can a promised dish with all the nutrition make you starve in the end... That’s what
happens with ‘We Are Family’ Kajol Kareena are there and they are fantastic but the
question is will it be okay or the audience mange more... The much expected fire, conflict
between the two is surprisingly missing. The two are good in their parts no doubt but when
they come together the writer director doesn’t know how to react. Strange!
The original was light hearted which ended on acceptance but this Indian adaptation takes
the mushy-mushy factory route that involves kangans, mehendis, rona dhona khona pana… Then
why the settings in Australia…?
What makes Kareena and Arjun get attracted towards each other is not explained The forced
emotions and the lazy pace with lack of interesting incidents written for Kareena to win
over the kids’ heart apart from noodle fight and splashing of water and playing with
colours (how many times we have seen this) makes this family comedy as a routine soap
opera on the big screen.
Music by Shankar, Ehsaan Loy is also a let down if we ignore “Lets Rock”.
Conclusion: ‘We Are Family’ is a factory tear jerker made watchable by the wonderful Kajol
and Kareena. A suggestion for the ladies - please don’t forget to carry your
handkerchiefs.
Rating ***
hello darling review
What is it all about?
Honestly, this comedy on male chauvinism had enough potential to ensure a decent run but the 2010 inspiration of the 1994 Kamal Hassan starrer ‘Magalir Mattum’ which in fact was inspired by Jane Fondas’ 1980 laughter ‘9 to 5’ is a tasteless chewing gum which lacks originality, humor, and any semblance of charm.
The story……of course
The writers Pankaj Trivedi and Sachin Shah are clueless on laughter and rely on double meaning ness to evoke laughter and fail even there. They tell us a story of three working girls - Candy (Celina Jaitly), Mansi (Gul Panag) and Satvati (Eesha Koppikhar) who bond together in a posh office of Mumbai, though each of them belongs to a different stratum of society. The biggest issue they face is in their work place. It is headed by their smart boss Hardik (Jaaved Jaffrey) a chronic playboy. He is smart. They have to be smarter. Who wins this battle of the sexes?
What to look out for?
The only funny moment is the pati sudhar Kendra where Seema Biswas brings errant and wayward husbands back on track is amusing. Javed does a fair job. Celina Jaitely is strictly okay and Gul tries hard but in vain. Seema Biswas is competent. Sunny Deol does as expected. Technical values are okay. Production values are rich.
What Not?
Neither naughty nor hottie in its premise, ‘Hello Darling’ becomes object of scorn that tries every thing possible but ends up as second-rate sex farce that again cements the thought that comedy is a serious business.
Mostly clunky and vaguely unsavory ‘Hello Darling’ won’t provide any comfort for Mukta Arts in this week’s release onslaught. Amusement level slides rapidly as the story of the male chauvinist progresses. What a waste of opportunity.. even worse, the girls don’t delight much.
Eesha looks pretty but is miscast as a Haryanvi. Divya Dutta overdoes. Mukesh Tiwari, Vrajesh Hirjee & Chunkey Pandey are wasted.
Conclusion: ‘Hello Darling’, it’s a tasteless chewing gum that goes on and on as the writing is feeble and it worsens scene by scene.
Rating *
What is it all about?
Bollywood gets real, reel after reel, week after week. After Peepli (Live), it’s time to get more serious amidst Commonwealth scam and our neta’s pay hike.
‘Antardwand’ Sushil Rajpal’s ‘Antardwand’ re introduction to our ‘Incredible India’ where grooms are kidnapped and marriages take place by creating a hell – a phenomenon rampant during the eighties and still is active. Its told there where around 1000 odd cases last year, is a slow-burning slice of magical realism whose power lies in its subtlety rather than heavy-handed sensationalism.
The Story……of course
Groom Abduction or "Pakrauah Shaddi" once rampant in Bihar and Eastern UP during the 80’s is touched upon in Antardwand.
It’s a story of boy- Raghuveer who has just appeared for his Civil Services exams is admonished by his father against marrying his pregnant girlfriend in Delhi. Distraught and defenseless Raghu terminates his visit home in the interiors of Bihar and leaves for Delhi. But before he could get out of the village he gets ABDUCTED by another headstrong and ambitious father of a girl wanting to have a potential IAS officer as his son-in-law.
The boy is forcibly married off at a gun point much against his and the girl's own wishes. Once married, they are locked up in a room for days end till they consummate their marriage and accept each other completely....but do they accept each other in the face of inevitability?
What to look out for?
Finding resonance in its light handling of a practice popular in Bihar amongst a section of upper caste, its tells a disturbing yet engrossing, frustrating yet sympathetic (towards the couple especially the bride in the end) without overstating its themes or sentimentalizing the drama.
Filmmaker Sushil Rajpal tells a story where you are’ forced’ to react.
At first, the movie seems a slow-moving, it only gradually becomes clear that Sushil doesn’t wanna play and keeps the setting s as it should be.
The film which could have been easily fallen prey to sensationalisms and bowed to the commercial push and pull of bollywood as the screenplay writer after the show told us about the atrocities done on the married couple in real but they omitted it and avoided the flick to become heavy handed.
And successfully create a vivid picture of our society where we live in and its problems.
Yeah there is a serial on Colours ‘Bhagyavidhata’ on the same issue but ‘Antardwand’ deals it more realistically and doesn’t go overboard as TV serials do.
Set in the 80’s, the movie is blessed with natural performance giving the movie more strength. Raj Singh Chaudhary as the abducted groom is simple and lives the role. Vinay Pathak is delightful in his Bihari accent. Swati Sen as the helpless bride is spontaneous and leaves her mark. Akhilendra Mishra as the egoistic father of the bride is perfect. Himanshi as Raj love interest is fine. Jaya Bhattacharya as Swatis bhabhi is wonderful.
Technically fine with good production values, Cinematography by Malay Ray is absorbing. Special mention for the art work by D.K Singh and Rajeev Dwivedi has to be made. Editing by Aseem Sinha is crisp. Amitabh Varma takes care of the bihari lingo in the dialogues.
The movie has scenes which get register like how the groom is forcibly told to consummate the marriage by making him drunk and hurting his male ego by calling him impotent.
The groom is made to take the saath pheras at a state when he is dead drunk with goons holding gun and giving him support.
What not?
So is there any problem.. yes.. For the ‘filmy’ junta it’s not happening.
The era of the film is 80’s but the wardrobe especially of Raj and Himanshi in Delhi isn’t. The helmer doesn’t bother to say whether Raj comes to know that he has a child from his forced marriage.
Raj’s father is worried about his son but the maker doesn’t make it feel for us on screen. Raj’s mother is mysteriously absent.
Conclusion: ‘Antardwand’ has bowed in 55th National Film Awards as the best in social issues, it’s provocatively infused with local colours, the film is a real art house item that should find champions as well as a few naysayers and need passionate support wherever it goes.
Rating ***&1/2
lafangey parindey
What is it all about?
After not a quite memorable experience with ‘Badmaash Company’, Bollywood premiere production company YRF comes down on the streets of ‘Amchi Mumabi’ to find the ‘pyaar’ of the audience and succeeds to a considerable extant.
The Story…Of course
‘Lafangey Parindey’ is about a group of youngsters living in the backstreets of Mumbai. It is an unusual love story of Nandu (Neil Nitin Mukesh) and Pinky (Deepika Padukone) whose path to love is paved by friendship, grit and hope.
For Nandu the raw, champion street fighter, one-shot is literally what it takes. Absolutely wild, fierce, and hungry to win, this fighter takes boxing to a new level by knocking down his opponents – “Blindfolded”. He meets Pinky Palkar and his world changes.
Pinky who losses her eyesight in an accident is a fabulous dancer, she is born to fly. On one hand she works at a regular, boring 9-to-5 job at a mall but on the other hand, she is a kickass dancer on skates! Her life's ambition is only one - to rise above all the 'losers' living in her locality and carve a niche for herself.
‘Lafangey Parindey’ is the love story of this two different people.
What to look out for?
Pradeep Sarkar after the miscalculations of ‘Laga Chunri mein Daag’ makes sure that this time he doesn’t slips and skates with identifiable emotions, positive energy and a delightful Deepika and the growing up actor Neil to come with a love story not set in Manhattan or New York and minus the candy gloss feel that was once synonymous with this production house.
Set in Amchi Mumbai, the production designed by Madhu Sarkar Kuriakose is done with perfection and gives the required feel that comes with detailing like the tulsi planted in a Dalda ghee dabba, the bindiees on mirror at homes etc etc.
Dialouges by Gopi Puthran are punchy and well written with typical Mumbaiya lingo.
Fine background score by Bishwadeep Chatterjee and Nihar Ranjan Samel.
Eye pleasing cinematography by N Natarajan Subramaniam. Sharp scissor work by Sanjib Datta. Music by R. Anandh sounds better while one is watching the film.
Production values are first rate.
Pradeep Sarkar narrates Gopi Puthran’s screenplay with smartness and keeps the pigeon’s away from its crows by concentrating on the lead characters of Nandu – well played by Neil Nitin Mukesh who grows as an actor and shows significant improvement. He shows his versatility in fight and emotional scenes and is a good dancer.
Deepika – Well the movie belongs to her as she is the backbone of this flick, portraying the role of a dancer who dreams big of being the no.1 at the top reality talent hunt show does her act with varied shades as matters proceed.
It’s delightful to see her dance with skates on and the dances are well performed by Neil and Deepika thanks to the choreography by Bosco Martis and Caesar Gonsalves, the lifts are finely done.
The side actors also impress and once again Piyush Mishra as Osman makes his mark. K.K. Menon in a cameo impresses.
‘Lafangey Parindey’ skates with identifiable emotions, positive energy and delightfully lifting performance.
What not?
On the flip side, the story is predictable and the pace in the second half is lazy.
The length and slowing of place during the end makes the movie miss the knock out punch.
The movie losses point on telling us a predictable story, getting lazy in the end and not having much time for laughs.
Conclusion: ‘Lafangey Parindey’ comes with the desi punch and the vada pav munch that gives the flick its ‘lifting’ moments; go if u don’t have anything more important this weekend.
Rating ***
peepli live review
Kudos to Aamir for his believe in such thinking sensible cinema and journo turned filmmaker Anusha Rizvi for a just perfect film that amazingly balances and respects the genre and its audience the thinking walas and real cinema rasiks.
‘Peepli [Live]’ is undeniably the satire of the season, a compelling piece of work which spurns a sarcastically funny and dramatic yarn that pushes the film way ahead from its contemporaries in Bollywood.
A gem of a film and it comes at the right time.
The Story…Of course
Natha (Omkar Das Manikpuri), a poor farmer from Peepli village in the heart of rural India, is about to lose his plot of land due to an unpaid government loan. A quick fix to the problem is the government's program that aids the families of indebted farmers who have committed suicide. As a means of survival, Natha chooses to die. His brother (Raghubur Yadav) is happy to push him towards this unique honour.
Local elections are around the corner and what might've been another unnoticed event turns into a cause célèbre, with everyone wanting a piece of the action. Political bigwigs, high-ranking bureaucrats, local henchmen and the ever-zealous media descend upon sleepy Peepli to stake their claim. Natha's mother (Farrukh Jaffer) screams at his wife (Shalini Vatsa), while his young son urges papa to go through with the suicide so he can use the money to become a policeman.
One TV journalist, in a desperate search for a new angle, tries to examine Natha's faeces to determine his emotional state. Nobody seems to care how Natha really feels.
What to look out for?
The biggest plus of ‘Peepli [Live]’ is that it does exactly what is required and doesn’t ‘corrupt’ its characters and stays loyal to its theme which mirrors the true India we live in it’s a befitting comment on the so called ‘Incredible India’ thingie that many urbans boost of, ‘Peepli [Live]’ talks of people in a humorous manner who earn on average 20 -25 rupees a month, double the money we spend for a coffee in our plexes and its so funny that it starts ‘hurting’ us.
The movie boost with the sort of intelligent wit and bracing nastiness of the government, politicians, media and ends up as a smart, sophisticated, original film.
Set in M.P, the movie comes with strong details, the yellow coloured painted tempo, with M.P. state number plate, the country liquor joint, the ‘ganja’ weeds, posters of the ruling party around the street as elections are around corner, the costumes, the house, the lingo which has the Bundelkhandi touch to it as its spoken in the plateau region of M.P and U.P., no make up, nothing plastic all real.
Each and every prop is done with perfection. The art direction is awesome, the detailing is authentic and the casting director has done a marvellous job in ‘Peepli [Live]’, its amazing to get connected with the actor in the very first frame and boy, the actors where not acting they where performing the role and the audience feels that its happening in real in front of them, brilliantly done.
The picture's disarming strength is its matter-of-fact progression along the two fronts of the society the haves and the have nots, shown through the eyes of the media who ironically doesn’t has the eye and ear for the truth.
‘Peepli [Live]’ is unquestionably blessed by its first-rate actors. All are amazingly natural. Many of us know the potential of Raghuveer Yadav as an actor but here he displays his singing and scores bonus points, ironically the timing of ‘mehengayi dayan’ is perfect and Indian Ocean has given another foot tapper ‘Desh Mera’, he fusion of folk and rock is appealing.
Coming to the actors, Omkar Das Manikpuri as Natha is just perfect. Malaika Shenoy as Nandita Mallik the TV journo, Nawazuddin Siddiqui as Rakesh, every actor gets into the skin of the character with such ease its wonderful to see, anyways the scene stealer is Amma played by Farrukh Jaffer and the nagging wife played by Shalini Vatsa gives her ample support.
Cinematography by Shanker Raman and Editing by Hemanti Sarkar is sharp.
What not?
Nothing in the recent brief history of Bollywood cinema, a movie comes which only real fault is that it's a little too close to the truth to be as funny as it could be.
Conclusion: ‘Peepli [Live]’ is an achievement, if you know and understand ‘India’ you live in then ‘Peepli [Live]’ sways you.
Rating: ****&1/2
