You can remove an Indian out from Bollywood but you cannot remove Bollywood out from an Indian.
‘Yamla Pagla Deewana’ is a fulfilled tribute to the spirit of Bollywood which reconfirms that Indian cinema of yore can never be ‘lost’ and it should be ‘found’ periodically to give us a ‘feel good’ feeling in this troubled times.
Producer Director Samir Karnik pays a ‘Deolastic’ tribute to Manmohan Desai, Prakash Mehra - the papas of wholesome entertaining musicals who gave us ‘Amar Akbar Anthony’, ‘Parvarish’, ‘Hera Pheri’, ‘Dharam Veer’, ‘Yaadon Ki Baaraat’ etc.
YPD is a crazy fulfilled joyride where happily married Paramveer Singh (Sunny Deol) comes to India from Canada to look for his father, Dharam Singh (Dharmendra) and his brother Gajodhar Singh (Bobby Deol), who were separated from him during childhood.
Paramveer finds them earning their livelihood as con men in the ghats of Benaras. But before he can take them back with him he must resolve his kid brother's complicated love story by tackling the girl's (Kulraj Randhawa) tough brothers (Anupam Kher and co). This leads to joyful ride to sadda Punjab and the result is a total paisa vasool fun.
But how a cliché story makes it possible to provide the fireworks every now and then in the 2 hrs 30 minutes time span mostly during the second half.. Simple, Director Samir Karnik does a smart casting act which turns out to be just perfect to satisfy the appetite of entertainment hungry souls of Bollywood cinema.
He uses the qualities of the Deols and mixes with their superb chemistry which we did see in ‘Apne’ where everyone gives his best and the trio is thoroughly enjoyable.
Bobby in his mischievous roadside Romeo act is engaging. Big brother Sunny is highly entertaining in this ‘bhaiya’ act where in action he goes beyond his own set benchmark in his biggest hit ‘Gadar – Ek Prem Katha’, the climax where he blows everyone with his trademark yell is howlarious and in the scene when he gets drunk by drinking mugs of whiskey from a bucket can make any stone hearted laugh to the fullest. Having said this, however, the show stealer is undoubtedly the 75 year old Dharampaji who is still ‘garam’ on screen with his entertaining acts. The biggest compliment for Dharmendra is that he doesn’t look like a father on screen he looks like the elder brother of Sunny and Bobby and does an amazing job, his comic timings, dance moves are just fabulous.
The trio has a plenty for their fans over here. B-town new introduction Kulraj Randhawa is attractive, you can’t move your eyes when she is on screen and she has the potential to stay long as an actress.
The movie would not have been a joyride without the excellent support of its supporting cast especially Anupam Kher who is outstanding as the egoist NRI obsessed Sardar brother.
Johny Lever entertains, Nafisa Ali is up to mark, Sucheta Khanna is fabulous, Amit Mistry is fine, Mukul Dev is fantastic as the drunken jat. Himanshu Malik is fair,
Emma Brown Garrett as Sunny's wife was endearing, people will love the part when she says Hindi especially the line ‘Arre mein loot gayi’. The kids are a delight and Ajay Devgn's voiceover is appropriate.
The movie already has two, maybe three chartbusters – the title, “Tinku Jiya” and “Chamki” marking the comeback of Anu Malik.
The dialogues are nice and entertaining and the chemistry between the Deols is dazzling.
Lens work by Kabir Lal and Binod Pradhan is first rate, editing by Mukesh Thakur is crisp and production values are topnotch.
So what’s wrong… Well not much but still the writer should have concentrated more on the chemistry and Samir as the director should have followed the movie in the tone in which Ajay Devgn started his voiceover. First half is a bit laid back as the real action filled with all the masala happens during the second half.
All said and done, ‘Yamla Pagla Deewana’ is fun filled Bollywood road trip that’s shoots all the right targets on its way and will become a winner, the flawless casting, the high entertainment quotient designed for the masses and catchy score will push its prospects at the B.O. Later the emotional connect established with a feel good heart will make it reach to a broader audience. It’s a sure shot winner anywhere where ‘Bollywood is watched, seen or heard.
Rating: ***& ½
For a film like this which is based on reality but is told in a thrilling manner, it was always a thin rope to walk for the makers. After all the case went on for years in court and just like 'Black Friday' (which again tried to connect number of disjointed events), 'No One Killed Jessica' too is a terrific portrayal of what 'could' have actually happened.
There is tension in the air the moment Vidya Balan is informed about her sister been shot. From this point on there is no turning back as you look at the screen wide eyed for the next 15-20 minutes as a graphical representation of minute by minute series of events that led to Jessica's (played effectively by first timer Myra Karn) death are depicted on screen. You know that it would be one dramatic journey from here on and as an audience, you aren't disappointed.
While the film takes a thrilling route, it isn't without its fair share of emotional moments that never fail to result in moist eyes. Vidya's realisation that her sister is dead, the hopelessness of seeing witnesses turning hostile and then the brilliant interval point where Rani Mukherjee, a firebrand journalist, wakes up to a newsprint in bold - 'No One Killed Jessica' - you are bound to get your tissues out.
Meanwhile the film never leaves its dramatic pitch. The killing followed by Neil Bhoopalam (playing Jessica's friend) call of desperation, interrogation by the cop (Rajesh Sharma), the confession that follows, demands made by the witnesses, high society witnesses failing to turn up, cop's frustration, other witnesses turning hostile and then finally the prime witness' (Neil) shocking declaration in the court of law - there is a lot to pick in the first half of the film.
The second half too proceeds on a good note with Rani picking up the mantle of going neck deep down into a 'story' which had now turned into a national headline. The sting operation that follows is very well done which does changes the course of the film and also ensures that for that wide segment of audience which wanted the film to be high on entertainment quotient, there is a lot to be offered.
One does feel though that while the build up to the silent protest is good and the sequence by itself is picturised well, there are portions where NOKJ starts slackening a little. The finale (Rani meeting Vidya at Jessica's grave), though justified, is a tad too filmy and even as Myra's montage tries to bring her back alive in audience's memory, one would have rather wanted a realistic route to be followed right till the end.
Leaving aside such minor blemishes, the fact remains that NOKJ has started 2011 on a very good note. From a small budgeted 'Aamir', Gupta has graduated to a medium budgeted NOKJ. However how one wishes that he sticks on to this route rather than getting tempted by big bucks and bigger budgeted projects. Reason being that 'No One Killed Jessica' acts as a slap on those 50-75-100 crores budgeted films that just loot audience on the name of entertainment.
As performers though both Vidya and Rani are equals. While Vidya's almost silent act turns out to be impressive as less is more here for her, whether it is by means of few dialogues or a subtle body language, Rani gets her fiery act right too while ensuring that there is no dull moment whenever she is around. Rajesh Sharma is a find and after playing a lighter part in 'Ishqiya', he acts tremendously well as a toughie who deserves to be seen in more films. The man who plays the main accused, Mohammed Zeeshan Ayyub, is convincing while Neil is quite good as well. Myra Karn is not just a pretty face but acts well too. As for the biggest highpoint of the film, it is undoubtedly Amit Trivedi's music which is tremendous, whether via songs or the background score.
There are three things that remain constant while you are watching 'No One Killed Jessica'. 1) You don't blink your eye, 2) Your heart continues to pound hard and 3) There is a lump in your throat. That's the power of this Rajkumar Gupta directed film that stays with you for hours after you are through watching it.
Rating: ****
'Toonpur Ka Superrhero' is a visual experience that needs to applauded for the sheer attempt that has gone into it's making. As for the story of 'Toonpur Ka Superrhero', it is the kind that can be instantly grasped by children, its target audience. There is a world somewhere far far away and it is called 'Toonpur'. There are good toons and bad toons. And then there is Ajay Devgn, a screen-hero, whom the good toons rope in to defeat the evil ones.
The film is just ordinary when it comes to the scenes involving real characters. The opening action sequence with a motorboat chase belongs to 90s and is hardly thrilling. Also, the sequences involving Ajay, his secretary, his family etc. have a ‘seen it done all’ feel. Frankly, if there was an attempt at bringing on some emotions here, it doesn't quite work. Also, there is no spark that one sees on screen despite Ajay and Kajol coming together.
The world of toons though is better laid out though none of them - whether it is the Gujarati woman, the Sikh kid, the Marathi 'hawaldar', the Bengali performer, an Einstein kinda scientist or the Christian hottie - have much character depth to them. Of course no one expected a full-on detailing around their past, present or future but still there could have been something about these characters that would have made audience emotionally connect to them.
This is the reason why the second half of the film works because while emotions just didn't work in the first hour of the film, action dominating the second half more than makes up for it. A massive first step in this direction is taken with the song 'Rubdoot'. This is when you actually clinch your fist and exclaim - 'Yes, we have arrived when it comes to world class animation'. In fact portions in and around this scene leave a major impact as well. The villain's den, his bunch of 'goondas', the fight that takes place soon after and then the announcement of battle lines being drawn between Ajay Devgn and Toonasurs - there is a promise of some superb action ahead.
In fact there is much more delivered with the entire climax made of three stage gaming. Watch out for the manner in which Ajay Devgn (who is later joined by Kajol) wins his first two rounds. However the final combat (set in an arena) could have been better. It turns out to relatively easy, hence leading to a climax that also seems like a little abrupt.
Nevertheless, in the times when all that one gets to see in the world of animation films are one mythological tale after another, it is wonderful to see someone (Ajay Devgn here) backing a project like 'Toonpur Ka Superherro'. Now if only the film would have been as exciting from start to finish, it may just have been the perfect outing that a family may have been looking for.
Rating: ***
For conman Tabrez Mirza Khan (Akshay Kumar) aka Tees Maar Khan, it's a challenge to escape with treasure worth 500 crores and weighing around 10000 kgs from a moving train. He has to make the impossible happen and for that he makes a plan which involves running the biggest con job ever. He wears the hat of a movie director, hires the services of a top actor (Akshaye Khanna) and ropes in an unsuspecting set of 200 odd villagers who support him in his game-plan. How he manages to execute his plan takes 'Tees Maar Khan' to its conclusion.
First hour of the film passes away in a jiffy with numerous scenes remaining etched in your memory once the show is over. The opening credits with 'Tees Maar Khan' showing it's true colours inside the womb, Sachin Khedekar's introduction of three top conmen in the country, the con job played by Akshay to make his escape from an airplane, the song 'Sheila Ki Jawani' that follows soon after - all of this manages to hook audience's attention.
What takes the film to a different level though is the introduction of Oscar-obsessed Akshaye Khanna. A long scene where Akshay convinces Akshaye that he is a top director from Hollywood and the latter's 'dance of joy' on being told that he was the chosen one for playing a 'gareeb hindustani' is bound to get the house down. The interval point is well set and one looks forward to the momentum continuing in the second half as well.
The second half continues from where the first half had left with Akshay and his team continuing to shoot a mock film in the village. Yes, not all scenes are funny here and there is also an element of predictability that comes in when Akshay unknowingly ends up helping the villagers. This is when all eyes are set on the moment of reckoning, the train robbery sequence, to take the film to an all time high.
However, the impact isn't as 'zordaar' as one would have expected here as the entire con job passes off way too simply. The courtroom sequence immediately after that is also on predictable lines and one does get a feeling about something being amiss. Thankfully, there is an epilogue soon after that makes one shrug away those 10-15 minutes prior to that. The premier sequence is done well, hence bringing on laughs all over again.
Amongst actors, Akshay Kumar is (obviously) the focal point of the film and he does well while also bringing in a different shade to his own style of comedy. On his part Akshaye too has thoroughly enjoyed the show by letting his hair down (well literally) and he comes with such an excellent job here that one wonders why he hasn't done a full-on comedy along side Akshay yet. Katrina has a minimal part to play in the actual context of the film but is fabulous in 'Sheila Ki Jawani'. Salman's dance number though is forced in the narrative and could have been done away with.
There was one basic expectation from 'Tees Maar Khan' and that was to get entertained in those two hours with worries of the world being left outside the auditorium. You don't want to check your phone calls once the opening credits start rolling, you don't want those emotional moments to make you shed a tear or two and you basically want to have a good time by laughing out loud at places.
Does 'Tees Maar Khan' ensure such an experience? The answer is right. If you want to let go off your stress for those two hours, watch 'Tees Maar Khan'.
Rating: ***1/2
If the only thing that actually stays with you (unfortunately) is a climax which is actually one of the biggest letdowns ever in last few years of movie making at the least, you know that something is really wrong with a film. Really, even in 'Welcome' and 'Singh Is Kinng', one had complained of a shaky climax sequences. However, the one in 'No Problem' takes the cake.
It isn't as if climax is the only issue here. The entire second half of the film is jerky where one gets the feeling that the narrative is just going on and on. But first let's talk about the beginning of the film. First 20 odd minutes are spent into character introduction which belongs to the world of 80s and just about manages to hold your interest. However, things start picking up after it is established that Sanjay Dutt & Akshaye Khanna are small time crooks, Paresh Rawal is an harassed banker and Anil Kapoor is a 'zero' cop. In between all of them is Suniel Shetty who crosses everyone's path in search of diamonds.
With a film which is more about characters and less about stories, one doesn't mind taking a journey as per the wish of the director. However, what you want in this journey are ton loads of laughs that can keep the interest level alive. Though the film is not a laugh riot by any means, there are still a few scenes that bring on some smiles. In fact most of these scenes are the ones where Paresh Rawal leads the show though to credit of Anil Kapoor, he too manages to catch audience's attention.
There are intermittent problems though. Sushmita Sen's split personality sounds good to begin with but becomes repetitive at one stage while Kangna's love story with Akshaye is so 90s. Unfortunately, there is not much movement in the second half with the entire race for diamonds just turning out to be never ending. In the middle of all of this, there is Vijay Raaz who hams to the hilt, hence only ending up annoying rather than impressing. Also, his entire track appears to be totally forced into the narrative.
And then there is this unpardonable climax which perhaps was so embarrassing even for producer Anil Kapoor himself. He is hardly seen for a few shots in this extended sequence where each and every character in the film comes under one roof. Well, literally! As for what happens to the diamonds, then well you have to see it to believe, what with all the gorillas and a bunch of fishes around.
While the background score of the film is just about okay and trapped in early 90s, the song that manages to impress most is 'Mast Punjabi' which has been picturised well too. Amongst the actors, Paresh Rawal and Anil Kapoor come tops with Sanjay Dutt and Suniel Shetty being just about okay. Akshaye Khanna may well want to forget that he was a part of the film and so would Kangna Ranaut. Sushmita Sen doesn't quite go the full steam while Neetu Chandra (in a special appearance) has limited screen presence. However, she exudes oomph whenever she appears on screen.
'No Problem' is not a terrible movie. It does have moments that act as stress reliever as well. However, it isn't the kind that makes one add it to the 'go for it' list and recommend to friends either. Reason being that it is a film that fails to stay with you even for a couple of hours after it has ended.
Rating: **
When you venture into 'Khelein Hum Jee Jaan Sey', you expect a wide canvas, spectacular visuals, sense of euphoria, high octane drama, some thrilling moments and of course apt amount of detailing. Reason being that the film comes from Ashutosh Gowariker who has to be the only contemporary film maker to have made three period/historical flicks (Lagaan, Jodhaa Akbar and now KHJJS) in one single decade.
Thankfully, most of these expectations are met as you get to understand the 'sur' of the film within first 20 minutes itself. A bunch of kids trying to get hold of their playing ground from the British, a bunch of revolutionaries choosing aggressive rather than suppressive measures to gain independence and the entire small town setting where this revolution is taking a quiet but definite shape. All of this makes you confident that there is something big definitely on the anvil.
But wait, this 'something big' doesn't happen overnight. Instead of the film taking a fast forward thrilling route, it moves ahead on a more understated dramatic path as months of strategic drive go into the entire exercise. Some of the highlight scenes in this part of the film are the entire recruitment drive with the teenagers, drawing down of plans, fund collection, procurement of artifacts - all of this takes close to one hour of the film which is totally justified as KHJJS takes a realistic, yet entertaining route.
However, there is a minor hiccup here. The romantic layer seems unnecessary in the bigger scheme of things. Abhishek-Deepika getting closer to each other and Sikandar-Vishakha love story along with a couple of songs could have been avoided.
Nevertheless, one still continues to be held on to the narrative due to the anticipation of plans to be materializing into action. A word of caution here though. Expectations around a 'Border' kind of a saga where narrative turns all-action with cries of 'Bharat Maata Ki Jai' and 'Vande Mataram' won't be fair in case of KHJJS. That's because the film goes beyond one single act of revolution (which lasts 30 odd minutes) with rest of the movie actually telling a story post this act.
Escape from the spots of attack, further confrontation with the British, revolutionaries finding themselves in a helpless state, their emotional turmoil, their subsequent arrest followed by torture - all of this makes sure that Gowariker has a lot more to tell in KHJJS than just an action tale.
The film wouldn't have been what it is if not for some very good selection of actors. Abhishek is quite good in a part which is understated and doesn't even attempt to hog the limelight. He is well supported by Sikandar Kher who could have got a lengthier role but leaves an impression especially in his scenes towards the second half.
Maninder has a meaty part and is a complete natural. So is Samrat Sen who looks convincing as well along with Feroz Wahid Khan and the man who plays the accountant. Vishakha gets good enough screen time to make her presence felt. On the other hand Deepika Padukone, just like Abhishek, underplays her character part though her character almost disappears in the second half of the film.
As for the teenagers, they are perfectly cast of the film, something which is apparent in the way their faces and characterization remains with you even as the end credits start rolling. This is also made possible as actual photographs of close to two dozen odd revolutionaries are displayed on screen once the film comes to an end, hence adding further authenticity to the entire tale.
In nutshell, 'Khelein Hum Jeen Jaan Sey' turns out to be one of those rare outings where patriotism has been brought alive on screen without a jingoistic route being taken. A film that deserves to be seen to know the tale of unsung heroes, it entertains while also conveying loud and clear that there is a lot more that went into achieving freedom of the country than what one gets to see in traditional and age old history books.
Rating: ***1/2
Ram Gopal Varma deserves credit to make 'Rakht Charitra 2' a definite watch as he ensures that despite a violent theme to this blood curdling saga, there are strong emotions that go with the flow of the narrative. One has spent enough time analysing his 'Aag'. He redeemed himself to a good extent with 'Rann', showed his worth all over again with 'Rakht Charitra' and has now totally bounced back with full fervour with 'Rakht Charitra 2'. It is indeed high time that one looks at this being a new chapter in his film making innings as he promises far more in the second decade of the millennium.
It is the stylish manner in which a quick 30 minutes edit of Part 1 is narrated at the beginning of Part 2 which sets the stage right there for the drama to proceed. For the uninitiated who may have not seen Part 1, this 30 minutes edit acts as a quick groundwork to bring them up to speed. On the other hand for those who did check out the film a few weeks back, this edit is a recap to make one even more excited about what would follow next.
Excited one is indeed when Suriya makes his entry into the proceedings at this moment. Bomb blasting Vivek's convoy, he looks at the scene of crime helplessly as his target ends up remaining alive. The opening credits start rolling and you know that the focus would be on revenge between two super-strong characters this time around.
Suriya, instead of being hot blooded and getting into a killing spree, instead takes a calculative approach and schemes quietly, hence leading to a tense build up. His option of keeping his acts on hold before things settle down in his favour, his surrender, his interaction with prison mates, his entire back story (detailing convincingly the reason behind his vengeful acts) and an ultimate act of revenge - all of this pretty much makes audience go along with his character, hence making 'Rakht Charitra 2' a human drama which is not just about killings, chopping away of limbs and glorified violence.
Suriya leaves a terrific impression in his first ever Hindi outing. Flawless in his act and displaying a varied range of emotions, Suriya gets it bang on. It isn't as if the focus is entirely on Suriya this time around. Yes, the story is from his point if view but Vivek has no lesser importance (though a lesser screen time for sure). His character too is multi layered, something that the actor powerfully depicts, hence proving once again that he is one of the best in business when entrusted with dramatic outings.
The film wouldn't have been for what it is if not for some background score by Dharam-Sandeep which is abound with chants, hence resulting in a high octane drama that grips you from beginning till the end. Also, the camerawork is innovative (as is the hallmark of Ramu's cinema). Suriya's entry, the entire eight minute long court sequence (entirely shot in slow motion and turning out to be one of the most thrilling sequences of 2010), a couple of scenes where camera moves in a circular motion and then the confrontation scene between Suriya and Vivek inside the prison - the team deserves brownie points for making 'Rakht Charitra 2' a gripping affair.
Suriya and Vivek - It is this face-off, which has its presence more mentally, consciously and sub-consciously rather than physically, which forms the core of 'Rakht Charitra 2'. A gritty dramatic fare which, unlike 'Rakht Charitra 1', is more about the sense of revenge looming large rather than killing-a-minute violence that prevailed there, 'Rakht Charitra 2' is an even better watch that doesn't allow one to blink an eyelid.
Go watch it if you in mood of watching a revenge-filled tale coming alive on screen.
Rating: ****
'It's complicated' - sighed Himesh Reshammiya when he turned lover boy for 'Radio'. A film about relationships between urban couples, the film went unnoticed. The film's cast as well as its overall set up was blamed for that. Hence, one did have good expectations from 'Break Ke Baad', which again deals with complexities in relationships between urban couples, since the film boasted of a good set up [Kunal Kohli as a producer] and has a far more happening cast in the form of Imran Khan and Deepika Padukone.
Does it work? Partially and that too mainly due to a very good first half and career best performances of it's lead pair.
While Deepika proposes a 'break', Imran sticks on her side, well literally as he stays put at her place with bag and baggage intact till she 'gets back to normalcy'. At this point, one expects some funny incidents to follow that would reunite the lovers. However, this is where 'Break Ke Baad' falters as instead of turning funny, the story turns out to be a huge drag. For 30 odd minutes after the interval point, there is one boring scene after another that actually makes you sink down your seat inch by inch.
Frankly, the movement of storyline here, despite a story being told with a passage of one full year, is hardly interesting and only leads to restlessness and impatience. In addition to that, a subtle side track of Shahana Goswami and Yudi, friends of Deepika and Imran, only turns out to be a distraction. In fact during this entire duration, the lovers do turn into friends but the way their chemistry returns almost to normalcy only makes one kick the floor harder and wonder that why aren't the two reuniting yet.
Thankfully, things perk up towards the last 15 odd minutes from pre-climax onwards. Realisation of true love takes a done-to-death approach with clichés written all over. Add to that some good dialogues mouthed by Deepika and you know what you were missing all this while.
Really, if not for Deepika's terrific act as a young 20 something girl who loves taking risks in life and wants to try out everything before crying that it is all too late, 'Break Ke Baad' by debutant director Danish Aslam wouldn't have been half as enjoyable as it ultimately turns out to be. She gets the best dialogues, the best scenes and the best moments that bring an altogether different facet of her acting capabilities.
While Deepika gets brownie points for her performance, Imran isn't much far behind either. His role required him to stay far more subtle and patient than his beloved and in this regard, he is happy to take a back step without being overtly greedy about trying to get the best lines. As for the others, Sharmila Tagore is just about okay, Lilette Dubey is as usual, Shahana natural but overconfident at places and Yudi irritating to begin with but settling down eventually.
The film has a rich look throughout and one has to compliment the art direction, cinematography and costumes team for that. Background score is good while music by Vishal-Shekhar, though good on ears, brings down the pace of the film at a few junctures, especially in the second half when the going is anyways not as interesting.
This is why one is led to believe that 'Break Ke Baad' could have been a much better film if there would have been some more energy in the second half. No wonder, 'Break Ke Baad' would go down as a film which was a good entertaining watch till the 'break', its very USP, actually happened.
Rating: **1/2
