Tuesday, October 30, 2007

Jab We Met - Paisa Vasool

Starring : Shahid Kapur, Kareena Kapoor, Dara Singh, Kiran Juneja.
Director : Imtiaz Ali

Today I saw Jab We Met, it managed to increase my curiosity as it had got some very good review and ratings. And to say the least I found this movie to be thoroughly entertaining. A proper Masala Flick.

I have never considered Kareena Kapoor to be an amazing actress, and most actress that prove their mettle, do it through off beat roles or serious stuff. However I was truly impressed by the ease with which she took the role like a hand to the glove. It seemed that she was born to play the over the top, bubly Sikhni, and looked a billion dollars in the role. She is loud, she is harsh, and she is very north Indian, I guess this is what director actually wanted from the character. Coming to Shahid, he is a person who has got a lot of potential, and has not even reached 50% of it. This doesn't mean that he is not good in this movie, he is quite good too, however doesn't get much scope to perform other than look subtle. He seems to be destined for bigger things. No other actor has got any scope in the movie apart from couple of lines here and there.

Now the lesser we talk about the story, the better it is. It seemed to a same old repeated formula story with bits and pieces from here and there. No novelty value at all, you can easily predict what's gonna happen next, as such situations have been show numerous times on the screen. However its the treatment of the story that leaves an impression and lifts the movie.

I am not sure if people would agree with me on this, however I found second half to be a bit boring compared to the first one. After the first half, I was expecting a cracker of second half, however was disappointed when script took a cliched turn and slowed things tremendously.

The major plus point of the movie is that music by Pritam is simply chart topping material. I have been listening to the songs for quite some time, and they actually looked good on screen, thanks to good cinematography, Manali, Rajasthan etc. have been captured in an wonderful way. Dialogues are top notch too.

All in all, the feel good factor is what keeps the movie alive and would ensure that cash registers keep ringing for some time to come. Also the movie has been publicized well, thanks to the efforts of marketing and also breakup of the Kapoor and Kapur.

From now on I would be using a Five point scale for rating, as I feel I am not able to do justice on a 10 point one.

My Rating : 3/5

Saawariya - The First Review !!!



Here is the first 'review' of Saawariya, written by Subhash K. Jha on
IndiaFM.com. He attended the special screening of the same and here is what he has to say :

At 2 hours and 8 minutes playing-time Saawariya is one of Sanjay Leela Bhansali's shortest films ever. It's just a few minutes longer than the filmmaker's last film Black which was almost as long as Saawariya, but without any songs

Sanjay's second film Hum Dil De Chuke Sanam had 10 songs and a playing-time of 3 hours. Saawariya with 8 songs is far shorter than the opulent and stunning Devdas which, with its mix of songs, dances and operatic drama ran into 3 hours and 10 minutes.

Economy of expression defines the romance between Ranbir Kapoor and Sonam Kapoor in Saawariya. From the time his eyes fall on the porcelain beauty Sonam (who exudes the subtle strength of Waheeda Rehman) Ranbir celebrates his love in ecstatically composed and choreographed numbers that create a waltz of a thousand steps with just gestures and whispers.

Click here to go to IndiaFm.com and read the original post.

Saawariya is Sanjay's subtlest most quiet and mellow film to date. While almost every sequence in Devdas and Black culminated in an operatic crescendo, the shot compositions in Saawariya suggest a symphony rather than an opera. The 8 elaborate songs and dances in Saawariya take up quite a chunk of the film’s precious playing-time. What remains between the two people in love are those unspoken words and unshed tears of a relationship that knows no full stop.

The songs are used in Saawariya to propel the story forward. Every song tells a story. Monty Sharma's tunes and Sameer's lyrics create a structure akin to a raga, minus the casual informal mood of a classical performance.

Saawariya is a formally-structured romance with the episodes between the protagonists moving forward in power-packed pirouettes of passion. The presiding colour of Saawariya is blue. The colour defines the spaces that separate and bring together lovers. But the mood after the film’s screening was anything but blue. It was unanimously felt that Sanjay Leela Bhansali's latest work takes him far ahead of his earlier films, puts him on a par with the world's most subtle and restrained masters.

Those who think all his films are about thundering passion, Saawariya is a bolt from the blue….in shades of blue.


Hmm..he sure has some nice things to say, but lets wait for more details. But when he says that its one of the shortest films of Bhansali ever,does he realize that this is only Bhansali's 5th Venture, and Black has already been left off the equation. ;)

Saturday, October 27, 2007

Taare Zameen Par - Song Promo

This is the movie, whose every detail is precious of millions of moviegoers like me. Here is a potential blockbuster with promises some solid content. In this promo as well, its good to see Aamir taking a back seat and emphasize is given to child artists. Somehow my attachment is growing everyday with this one.



Jab We Met - Indiatimes Review

Written by Praveen Lance Fernandes for INDIATIMES, Click Here for Original Link.



/photo.cms?msid=2492189 Cast: Shahid Kapoor, Kareena Kapoor, Tarun Arora, Dara Singh, Pawan Malhotra, Kiran Juneja, Divya Seth.
Director: Imtiaz Ali
Music: Pritam
Rating: ***

No, this isn’t one of those young mushy love stories that you might expect when entering the hall. For most of the film there is no tear-jerking, spending life together promises or for that fact even romance. What you have is something really fresh to come onto Indian cinema.

Opposites attract. These two are opposites. There is some sort of chemistry between them. But it’s not the one which makes Hindi cinema couples dance around trees in the fields of Punjab. It’s just the way one looks at life and how the other manages to influence it with ones own eccentricities.

/photo.cms?msid=2492191 Aditya (Shahid Kapoor) is a young industrialist who has a whole lot of personal and professional problems. His mother left his father for another man, his father passed away, the company which his father left behind is in the pits and the last straw comes in the form of his girlfriend getting married to someone else. Completely dejected and not knowing what to do, he enters a train on its way to Delhi. There he comes across Geet (Kareena Kapoor) the most talkative and annoying Punjabi girl he has ever met. Aditya exchanges a few words while Geet exchanges a whole lot of life history including her plans to elope with her boyfriend (Tarun Arora). Clearly, Aditya is not interested in speaking to this blab and when the train stops at a station prior to Geet’s destination, he gets off. Geet thinking that everything not being fine gets off to bring him back into the train. In the process, they both end up missing the train. Now, at Geet’s insistence Aditya has to somehow manage to get her home to Bhatinda. He does so in the next few days but not before Geet completely changes his outlook towards life.

/photo.cms?msid=2492192 It is the new age director Imtiaz Ali’s direction and writing which is to look out for. After his much appreciated Socha Na Tha , Imtiaz goes bigger and better and the result is nothing but flying colours.

You can draw a few parallels with the Ajay Devgan-Kajol starrer Pyar Toh Hona Hi Tha and the Keanu Reeves-Charlize Theron film Sweet November but only a few.

Please note that this review has been reproduced from Indiatimes.com. Click here to read the Original.


The hero of the show is definitely the script and the dialogues. Mix that up with wonderful performances and you have a really fine movie. Kareena Kapoor’s lines deserve top honour as those are probably the highlight of the film. Though the film could have been a bit shorter or even better scripted towards the end, this film does have a few loose ends. But despite this, the film manages to stand on it own feet.


/photo.cms?msid=2492193 Pritam has come out with probably his best score after Metro where almost all the songs are foot-tapping. They are infused with the music perfectly and the feeling of unnecessary need of songs in the screenplay is never there.

Whether rumors of Shahid and Kareena’s break-up is true or not, one has to say that this is the best chemistry they have shown on-screen yet. Their Fida, Chupke Chupke and 36 Chinatown might have left the audiences disappointed but hey, fourth time’s the charm.

Kareena Kapoor might have been irritating in Khushi , but with a character on similar lines, one would have expected an encore but she manages to bring out of her finest performance. She could have easily gone over the top but full marks to her and the director for extracting a fine feat.

/photo.cms?msid=2492197 Shahid Kapoor too does a wonderful job as the jilted lover who gets a new approach in life. He picks up from where he left off in Sooraj Barjatya’s Vivah but this time only better.

To sum it up, Jab We Met is a very refreshing fare and one of the better films to come out in recent times. There is innocence but no mush, there is a whole lot of non-sense but then you realize it makes sense, there is something about Jab We Met which you end up loving. So people, before the Om Shanti Om and Saawariya fever catches up in the weeks to come watch this one for a rocking time.

Bal Ganesh - Indiatimes Review

Written by Praveen Lance Fernandes for INDIATIMES, Click Here for Original Link.


/photo.cms?msid=2490121 Director: Pankaj Sharma
Music: Shamir Tandon, Sanjay Dhakan
Singers: Asha Bhonsle, Usha Mangeshkar, Shankar Mahadevan, Hariharan, Kailash Kher
Rating: * ½

Hanuman ’s box-office success opened a market for animated films in India. That film was subsequently followed by Krishna and now Shemaroo gets into the animation business with Bal Ganesh - a film on the childhood of Lord Ganesh – the Elephant God.

Bal Ganesh’s antics and wit along with his friend Mooshak the rat forms most of the film. His love for modhak, his respect for his parents and him constantly making fun of Lord Shiva’s soldiers, etc and the reason why he has an elephant head. is mostly what the first half is about.

/photo.cms?msid=2490126 India is still in its infancy stage when it comes to animation so one cannot expect completely finished and detailed characters in the film. The design of the characters and backgrounds are quite decent according to Indian standards but their movement is something which has to be worked on. They tend to move in a very stiff and rigid manner and remind you of Honda’s robot Asimo.

The major fault lies in the screenplay and editing. The story of Bal Ganesh is something which is known to all children alike and since that is the target audience, they should have focused more on the funny situations. But, most of these jokes fall flat and the scenes also seem repetitive. Clearly, the script could have been the winner here which sadly isn’t the case.

As for the editing, the shots are not cut quickly enough and ideally the film should have been at least 20 minutes shorter.

Please note that this review has been reproduced from Indiatimes.com. Click here to read the Original.

/photo.cms?msid=2490130 Some things don’t fall into place either. Why does the mouse Mooshak who is giving the narrative suddenly get completely modernized with loads of money, a bungalow and a sports car? (Reminds one of Stuart Little ). The director tried to mix contemporary fantasy along with mythology but that fails to deliver.

Director Pankaj Sharma does focus on camera angles quite a lot (even for an animation film) and you see a number of pan shots which don’t even seem required. Also some of the fight scenes are clearly lifted from The Matrix .

Bal Ganesh is but obviously the hero of the film. The elephant God is adorable and sweet and along with Mooshak they form a really good team. Most of the voices fit their respective characters.

/photo.cms?msid=2490156

The music may not be really foot-tapping when you hear it on any other occasion but when gelled with the film, they compliment each other like Ganesh and Mooshak


Though this film is in 3D, it is not as entertaining as Hanuman . During the Diwali vacations, kids along with their parents might just flock in to watch this film but at the end of the day, Bal Ganesh is not something which will blow your mind away.

Friday, October 26, 2007

SRK - King Khan : IndiaFm Book Review

Written by Joginder Tuteja, for IndiaFM.com. Click Here for Original Link.


What does one expect from a book that titles 'SRK - King Khan'?

Something which is larger than size, justifies the 'baadshah' image of 'supreme Khan' through each of it's letters, carries a certain grandeur with itself, gives a reader more than what he/she would have probably 'wanted' to know, throw in a few surprises and turns out to be an 'I-can't-resist-to-see-what's-in-store-in-the-next-page' experience!

Are these expectations justified? Certainly yes! After all nothing less can be bargained for when it comes to Shah Rukh Khan. To add to it, when the (oh-so-glossy and impressive) cover of a book shows Shah Rukh stationed on a couch and killing you with a stare even if it is concealed behind those dark shades and the writer is renowned journalist, critic, columnist, editor, author and screenwriter Deepa Gahlot, you don't wait for your coffee to be served before you dig your eyes into the first chapter.

Surprisingly, the experience is not as terrific as one was widely anticipating from this 125 page book. The book turns out to be what one could term as a 'Shah Rukh Khan for Dummies' or 'A Beginner's Guide for Shah Rukh Khan'. Yes, for his diehard fans, there is a lot to drool over but for those who were looking at knowing more than they already knew about the man and his personal/professional life, there is little in the offering!

Agreed that Deepa Gahlot does maker her objective/intentions behind writing the book at the very beginning. She does confess that Shah Rukh Khan's life is well documented and hence the book is mainly a mid-year assessment than being a biography. She also claims that the book acts as a thumbnail for those Khan's NRI fans who are not too familiar about his earlier works (read early 90s).

With respect to that, she does rather well (more about this later) but in the process looses out on those millions of Khan's fans right here in India who certainly are aware about facts like Aamir Khan had left Darr which changed Shah Rukh's career path forever or the failure of his production Phir Bhi Dil Hai Hindustani had broken his heart.

In the end, the book serves as a good text book guide for freshers who have just woken up to Shah Rukh Khan but serves little purpose for those who have been following his moves for years now. Good intentions; restricted audience!

What clearly stands out in the book are the visuals though. And by visuals, I don't quite mean that the pictures belong to the never-seen-before kinds. It is the way they have been spread out across the book and have a striking appeal which makes 'SRK - King Khan' a glossy affair.

Having said that, while at the beginning of the book, there are some behind-the-screen photographs of the actor who was not a mega-star then, the majority of the book's latter portions comprise of easily available and seen a zillion times stills and wallpapers from his films made during last 8-9 years. Still, it's the layout that makes all the difference hence making one give the book a comfortable reading.

One misses the quotes though from not just King Khan himself but even people who have worked with him. People who are heard most in the book are Aziz Mirza, Yash Chopra and Karan Johar - the trio with whom he has worked in maximum films collectively. To add to it, majority of quotes coming from them also hardly divulge anything about him or his working which you don't know already.

Please note that this review has been reproduced from IndiaFm.com. Click here to read the Original.

Shah Rukh Khan's interest in sports, his inclination towards theatre and later TV, his accidental entry into the world of films, his real life Dilwale Dulhaniya Le Jayenge kind of romance and marriage, his ever-so-energetic persona, his non-controversial working with his leading ladies or the15 ways in which he can do a scene! Isn't this something already public for years?

In the book, Deepa makes an interesting point though. She quotes Rishi Kapoor's dialogue from Shah Rukh's first released film Deewana - "Main Guzra Hua Kal Hoon, Tum Aaj Ho. Kal Aaj Mein Badal Nahi Sakta" (I am the past, you are the present, the past cannot be converted into the present). She uses this statement to (rightly) prove the point around Shah Rukh Khan's entry as a lead in 1992 when stars of the likes of Rishi Kapoor, Amitabh Bachchan, Anil Kapoor, Sanjay Dutt, Sunny Deol or Govinda were either fading away or getting restricted with the kind of on-screen image they had set for themselves.

The industry was looking for a bright boy and Shah Rukh Khan was just the star waiting to shine. Good observation! Nevertheless, it is rather strange though when Rahul Roy and Vivek Mushran are counted in the same breath as a new star on the horizon as Khan himself. However, none of the two got any worthwhile offers after their debut in Aashiqui and Saudagar!

Deepa is on the money though when she says states the reason behind the box office failure of Phir Bhi Dil Hai Hindustani due to the film being ahead of it's times. Or a well shot and directed Dil Se didn't work because the audience could not understand the hero's insane passion for a terrorist. One has to agree because if released today, both the films are bound to find a far wider share of audiences.

What distracts though are detailed synopsis of each of his films which has been a commercial smash-hit. Be it Dilwale Dulhaniya Le Jayenge, Kuch Kuch Hota Hai, Kabhi Khushi Kabhi Gham, Veer Zaara and many more, there is lot being told about the films' plot or some of the most notable scenes. Yet again, for a newbie it's a delight; for an old timer, it is a mere repetition.

In fact, one observes, that there is hardly any plot description of his lesser known/successful films like In Which Annie Gives It Those Ones, Idiot, Zamaana Deewana, Oh Darling Yeh Hai India, English Babu Desi Mem, Chaahat, Army, Hey Ram, One Two Ka Four, Shakti - The Power or Yeh Lamhe Hai Judaai Ke. And no, I am not even talking about his special appearances (Dushman Duniya Ka, Gudgudee, Har Dil Jo Pyaar Karega, Gaja Gamini, Saathiya, Silsiilay, Alag or I See You) that just find a mere mention in the Filmography section. Some dope on these films may have just about made the day for those who wish to dig down further facts about the mighty Khan who has done his bit to help his friends out!

There are a few errors in the detailing too which could possibly have been avoided. Subhash Ghai has been attributed as the director of 'Trimurti' when the man behind the camera (at least officially) was Late Mukul S. Anand. His last 'special-appearance' film I See You was directed by Vivek Agrawal but the name mentioned is Vikas Agrawal. Also Deepa's colleague Samar Khan, a journalist turned director, may not be too happy to have his film Kuch Meetha Ho Jaaye omitted from the list in spite of Shah Rukh being present in a special appearance.

Still, on a brighter note, she quotes Ajiz Mirza here - "....he has to guard against his own stardom. If a hundred people around him tell all the time that he is fantastic, he is bound to be swayed....after all, he is only human." Deepa makes a valid statement herself by concluding, "25 years from now, if all Shah Rukh Khan has to show for his talent is Dilwale Dulhaniya Le Jaayenge or Devdas, it would be tragic.

Of course quite true, though at the time of the book going to press, Chak De India hadn't happened. And the rest, as they say, is history!

Rating: **1/2

No Smoking - Rediff's Review

To read the Original please Click here

I came out of Anurag Kashyap's No Smoking asking 'What were they thinking?' No make that 'What were they smoking?'

The movie unfolds like a bad dream and spins into a downward spiral that's unreal, incomprehensible and leaves you dazed.

The movie begins innocently enough. K (John Abraham ) is a heavy smoker and an unapologetic one at that. His wife Anjali (Ayesha Takia ) is fed up with his habit and is set to leave him. There are early signs of the trouble ahead, when K, in his bathtub, has a surreal dream of being lost in Siberia without his cigarettes.

But trouble starts when Anjali finally leaves him. K decides to consult a Baba to help him quit the habit.

K's life and the movie descends into chaos from here on. From the depths of the Baba's (Paresh Rawal ) dungeons (for lack of proper word for it) deep in the bowels of Dharavi or some such Mumbai slum, the movie goes out of control.

Please note that this review has been reproduced from Rediff.com. Click here to read the Original.

A still from No SmokingIt is peopled with strange characters and situations. There's Ranvir Shorey (Abbas Tyrewala), who returned from the Baba's 'lair' hard of hearing and a couple of fingers lighter. Kiku Sharda (the doctor), who also made a trip to the good Baba's abode. Then there's Ayesha Takia (now she's Anjali, K's wife, now she's Annie, his secretary). There's also J, K's brother who speaks only German if you will. They are all support staff in a tableau that seeks to showcase John Abraham.

You can bet it's not your average Bollywood flick. It's a flick like no other, trust me.

If this is the much touted noir genre of filmmaking, then two hours of this is enough for me.

A still from No SmokingJohn Abraham said in an interview to rediff.com that No Smoking will give rise to a new genre of filmmaking. Sure it will and that genre will have this one film.

This is self-indulgent filmmaking. It's narcissistic and vain-glorious -- that totally ignores the sort of audience that may end up watching it. It may be cheered at some out-of-the-way film festival -- but it sure won't either at a suburban multiplex nor a tent cinema in Tamil Nadu or Bihar.

And as you may have gathered, I still have no clue what the movie was about. And quite frankly, I don't want to know.

Stay as far as away from this one.

Rediff Rating: No stars

The Verdict is out on this one, rediff and IndiaFm have both panned the movie. Worthless Stuff !!

Shoot 'Em Up - Rediff's Review


To read the Original please Click
here


What can you expect with a title like Shoot 'Em Up that finds its origins in a popular video game format that only requires to -- well, Shoot 'Em Up.

So that's exactly what the trigger happy Gun Doctor ordered. If you walk in expecting gritty drama or complex characters then perhaps the title of the film didn't register. Shoot 'Em Up has no back-story. Instead, what it has is lame-brain wit, wooden acting, regular directing and a loud soundtrack. But it's still awesome!

Once you get past the pseudo hang-ups and sit back, you can enjoy the extreme stunts, gratuitous violence, one-liners, carrot-eating hero, a nerdy bad guy, babysitting and 'heavy metal' throughout the brouhaha. Shoot 'Em Up is guilty pleasure for action junkies that want to leave out logic and motivation -- you know, all the mind-numbing stuff.

Shoot 'Em Up is adrenaline on an electronic skateboard. It was not meant to be taken seriously and delivers what it promises: shooting -- lots of it. The film has no profundity and it was not meant to. If you want to see Clive Owen shoot an endless amount of bad guys, whilst munching a carrot and indulging in pyrotechnics and kinetics, you will be served up.

Please note that this review has been reproduced from Rediff.com. Click here to read the Original.

The setup couldn't be simpler. As the film opens, Mr Smith (Owen) is waiting at the bus stop. A pregnant woman stumbles by him, and a man with a gun is closing in. Smith follows the two into an abandoned warehouse, where the armed man is ready to dispatch the woman. Smith intervenes, blowing away the man and several other henchmen whilst delivering her baby. The mother doesn't survive the escape, and now Smith finds himself in charge of the infant while literally hundreds of goons, led by Hertz (Giamatti), follow his every move and attack at will. With the help of a prostitute named DQ (Monica Bellucci ), Smith intends to find out who's after him and why.

A still from Shoot 'Em UpWriter-director Michael Davis spares no attempt to fire out all guns -- quite literally -- in a movie that is a showcase of more than a dozen stylised deaths, mostly by gunfire but also by other creative means, including death by carrot. It's over the top from the word Bang, but Owen, of course, is his eternally dry and mordant self throughout.

Shoot 'Em Up does a marvelous job of not taking itself critically and the cinematic thrill will definitely translate and transcend the minds of action lovers. The action is unlike anything you've set your pulse racing to, particularly in a sequence in which Hertz's clowns attempt to shoot Smith after he has jumped from a plane. It's a kinetic experience and one that both spoofs and also respects over-the-top action films.

Naturally, the not-so-subtle character traits of Clive Owen established from the outset that Smith is to Bugs Bunny as Hertz (Paul Giamatti) is to Elmer Fudd -- the character that constantly wanted to hunt rabbits. Bizarre! Spoofs are only fun when the performances are over-the-top but earnest and Owen and Giamatti give bang for the buck. Owen sniggers and sneers as the cheesy one-liners and mad plot are enhanced by his charismatic dullness.

A still from Shoot 'Em UpGiamatti, who has traditionally been low-key in previous roles, comes into his own bunny hunting own as the wild-eyed villain, Hertz. His wicked ways will win plenty of laughs as he reacts to his band of gun-toting boys being shot up.

Shoot 'Em Up is unscrupulous and unapologetic but it does keep the sinful pleasure racing as Davis keeps things moving at a breakneck speed and shows plenty of creative flare and energy even as everything in the movie blows up. Simultaneously a spoof, and nod to the lyrical symphonies of grind house violence that precede the genre, Shoot 'Em Up is a guilty treat.

Rediff Rating:


I reviewed this one few weeks back : Read My Review

Jab We Met - IndiaFM Review

To read the Original please Click here

Love stories are beaten to death. The genre has been rehashed, visited and re-visited again and again and again. So much so that all love stories look, seem and sound alike. But JAB WE MET, helmed by Imtiaz Ali, takes a fresh look at love stories.

Frankly, the story isn't new. It has traces of the Abhishek - Ash starrer DHAAI AKSHAR PREM KE [2000; which, in turn, was inspired by A WALK IN THE CLOUDS] and Govinda - Urmila starrer KUNWARA [2000; which, in turn, was a remake of a Telugu film BHAVANAGARU BHAGUNNARA], but director Imtiaz Ali's execution of the subject takes it to another level altogether.

Also, for any love story to work wonders, it ought to have the germs to make the viewer jump with joy and participate in the goings-on. And the principal characters here -- Shahid and Kareena -- are so real, so natural, so believable and so winsome that the viewer gets absorbed into their world as minutes pass by.

To sum up, JAB WE MET is as refreshing as an ice-cold watermelon juice in scorching heat. Imtiaz Ali's expert storytelling coupled with Shahid and Kareena's sparkling performances make this film a must-watch!

Aditya [Shahid Kapur], an industrialist, is heartbroken as the girl he loves is getting married to someone else. Unable to muster up the courage to return home, he drifts out of the gathering and aimlessly boards a train, bounding away into the night.

As destiny would have it, he meets Geet [Kareena Kapoor] -- a beautiful but annoyingly talkative girl who is leaving Mumbai to go her hometown -- Bhatinda. Later, she has plans of eloping with her boyfriend [Tarun Arora].

Geet irritates Aditya to the point of getting him to leave the train. As she tries to get him back on the train, she ends up missing it and the two find themselves stranded on a desolate station with no luggage or money.

Begins the idyllic journey through the exuberant North Indian heartland in which this odd couple make their way through buses and taxis and camel-carts to reach her house in Punjab.

On arrival, Geet's family mistakes the two for lovers. Before this misconception can be cleared, Geet escapes to her boyfriend in Manali. Aditya leaves with her, confirming the suspicion that they are lovers. In Manali, Aditya feels empowered to return to Mumbai and resurrect his ailing business.

Life takes a positive turn and Aditya begins to do well. One day, Geet's family, who think that she is with him, confronts Aditya. He is shocked to learn that Geet has not returned home. He takes it upon himself to find her.

He finally tracks her down in a Himalayan town and begins another journey to reach Bhatinda and flow into the colors and conceptions of a loud and happy North Indian family. How their separate journeys become one, forms the remainder of the story.

Please note that this review has been reproduced from IndiaFm.com. Click here to read the Original.

Opposites attract -- that's the essence of this love story. The journey of two individuals who cross each other's path one night and develop a deep bond is skilfully and convincingly depicted at the very outset.

The highpoint of JAB WE MET is its story. Although the story bears an uncanny resemblance to some films, it never gives you the feeling of déjà vu. The sequence of events in the first hour is akin to a roller coaster ride. The journey that the couple undertake to reach Bhatinda first and Manali later is mesmerizing.

But the pace slackens in the second hour. Partly because the goings-on get dramatic and serious. Also, things seem to be stretched in this hour. The love story takes its own sweet time to reach its destination, when the fact remains that it could've [and should've] reached the finale earlier. Thankfully, the end is expertly executed and takes the graph of the film higher.

Imtiaz Ali deserves brownie points for handling the subject with such maturity. The fun-laden scenes are truly funny and the emotional ones make you moist-eyed. Striking the right balance between light and heavy moments is akin to walking on a tight rope and Imtiaz handles the two extremes with remarkable ease. An accomplished storyteller undoubtedly!

Pritam proves his versatility yet again. 'Poochho Na Poochho' and 'Tumse Hi' are seeped in melody, while 'Mauja Mauja' and 'Nagada' are racy, foot-tapping and easy on the lips. N. Nataraja Subramanian's cinematography does justice to Imtiaz's vision. The indoor look as well as the exteriors are dexterously captured by the lensman. The writing [Imtiaz Ali] is almost foolproof. Also, the ambience and setting in the Punjabi household are excellent.

Both Shahid and Kareena vie for top honours. Shahid delivers his career-best performance in JAB WE MET. He goes for a complete transformation vis-à-vis his looks and attire to look the character he has chosen to portray and the understanding with which he enacts his part is worthy of lavish praises.

Kareena is in top form as well. JAB WE MET is a turning point in her career [personally as well as professionally]. Fantabulous -- that's the right word to describe her work this time. The confidence with which she handles the contrasting characterization speaks volumes. This film should do for her what KUCH KUCH HOTA HAI did for Kajol.

Pawan Malhotra is excellent as Kareena's uncle. His diction as also the body language is perfect. Dara Singh is good. Tarun Arora is awkward, but that gels with his role.

On the whole, JAB WE MET is one of the finest [romantic] films to come out of Bollywood in 2007. At the box-office, it has the merits to work big time. Strongly recommended… Go with your family!


Jab We Met - Rediff's Review

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They may have split in real life but Kareena Kapoor and Shahid Kapur's reel love story Jab We Met is a cute film, and is sure to touch the hearts of those in love.

The film starts with Geet (Kareena), a Sikh who talks nonstop. She embarks on a train journey from Mumbai to her hometown Bhatinda. On the way, she runs into Aditya Kashyap (Shahid), a young man disillusioned with life after being dumped by his girlfriend. To make matters worse, even his business is going nowhere.

He's on the verge of ending his life when Geet comes into his life. She ends up missing her train while trying to get him on the train.

The thought does cross your mind, that why would she do that for a stranger. But then again, we're watching a Bollywood film.

Geet then informs Aditya that it is his responsibility to take her to Bhatinda, as she missed the train because of him. What follows next is a journey across picturesque landscapes where the two discover each other and understand the meaning of love and friendship.

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Aditya learns that Geet is in love with one Anshuman but her family is against their union.

After reaching Bhatinda, you feel the plot has been lifted straight out of the Hollywood film, A Walk in the Clouds, though director Imtiaz Ali also adds Yash Chopra's 'Punjabisation'.

Aditya promises to help unite Geet with Anshuman, even though he falls in love with her.

Post-interval, we're introduced to a very new Aditya, who becomes a big businessman. And this is one of the film's flaws. The change is too abrupt, and it is difficult to connect the first half with the second.

But besides that, Jab We Met is a fun film, with quite a few moments worth watching.

Though Kareena is loud at times, she is a treat to watch -- funny and full of life. She gets to mouth hilarious lines like, 'Bachpan se mujhe shaadi karne ka bahut shauk tha.'

Shahid, on other hand, acts composed and provides a perfect foil to the Kareena's bubbly character.

Pritam's music also enhances the film. Lyricist Irshad Kamil deserves a special mention for the song, Yeh Ishq Hai.

Rediff Rating:

No Smoking - IndiaFM Review

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After having watched NO SMOKING, the first thing you want to do is ask Anurag Kashyap, the director of this misadventure: Now what was that? Cinema is all about three Es -- enlighten, educate and entertain. But NO SMOKING neither educates, nor enlightens. As for entertainment, forget it!

You try so hard to understand what NO SMOKING tries to say, but the film is like one big puzzle that refuses to get solved.

What ails NO SMOKING, did you ask. Simple, it’s the most complicated cinematic experience of 2007. Agreed, the director’s intentions are noble. Cigarette smoking is injurious to health and Kashyap wants to highlight this message loud and clear via his new movie. But what has Kashyap come up with?

NO SMOKING leaves you exasperated and disgusted. Exasperated, because till the end credits roll, you just don’t know what happened in those 2 hours. Disgusted, because Kashyap had solid backers [Eros, Kumar Mangat, Vishal Bhardwaj] and a competent cast [John, Ayesha, Paresh Rawal] at his disposal. Yet, he couldn’t pull it off.

In short, NO SMOKING is a terrible waste of a terrific opportunity!

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K [John Abraham] is a stubborn and obnoxious guy, who does exactly what he wants. A chain smoker, he feels nothing can come between him and his cigarette -- not his wife [Ayesha Takia], his friend [Ranvir Shorey] or his life. Till he encounters Baba Bengali [Paresh Rawal].

Baba Bengali has his own set of draconian laws to stop people from smoking. He guarantees results, provided his clients obey his orders to the T. But K revolts and pays a heavy price for it.

The only aspect that stands out in NO SMOKING is its cinematography [Rajeev Ravi]. It’s a good-looking film with some stylishly executed scenes. But Kashyap, who is an accomplished writer himself, ought to know by now that moviegoers want to watch a good story at the end of the day. The lighting, the sepia effect, the visual effects, the production design… everything is secondary. Honestly, it’s difficult to believe that the director of BLACK FRIDAY could conceive NO SMOKING.

There’re hardly any songs in the narrative, but the one filmed on Jesse Randhawa [‘Jab Bhi Cigarette Peeta Hoon’] is imaginatively filmed. Surprisingly, the popular Bipasha Basu track, which has also been publicized extensively, is placed after the end titles.

John makes a sincere attempt to leave a mark and succeeds to an extent. Really, one wonders, what prompted John to instantly approve this bizarre story! Ayesha runs through her role mechanically. The supremely talented Ranvir Shorey is a big bore this time. Paresh Rawal is okay.

On the whole, NO SMOKING fails miserably. Very disappointing!


Mumbai Salsa - IndiaFM Review


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Metro-centric films are being made with amazing regularity these days. Therefore, it doesn't come as a surprise that the writer of PAGE 3, Manoj Tyagi, has chosen to narrate the dysfunctional lives of the youth in his directorial debut MUMBAI SALSA.

Frankly, a film like MUMBAI SALSA isn't everyone's idea of entertainment. It attempts to portray the lives of eight friends in a metropolis [Mumbai] in the most realistic manner. At places, it works. At times, it doesn't.

Also, the subject material restricts its appeal to select metros of India since the subject as also the lingo are targeted at the yuppie crowd mainly.

MUMBAI SALSA takes a look at the varied relationships that exists within the young corporate India. Not too long back, an average Indian was laidback, content and had ample time for love, life and relationships. But times have changed!

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Mumbai Salsa is a pub in Mumbai where the principal characters meet and their lives change forever.
Come to think of it, it requires courage to choose an offbeat theme and cast newcomers in your very first film. Frankly, one doesn't take to MUMBAI SALSA instantly. For two reasons. One, the theme is highly unconventional. Two, there's not much meat in its story in the first hour.

Manoj Tyagi sets the story in the second hour actually. A few emotional moments in this hour are worth jotting, but how one wishes Tyagi would've come to the point right away, instead of stretching a couple of incidents for no rhyme or reason. That dilutes the impact largely!

Directorially, Manoj Tyagi has handled the emotional moments well, but the director in him seems to be swayed by the writer in him. He should know where to draw the line. Adnan Sami's music is fair. 'Chhoti Si Ilteja', seeped in melancholy, is the best track. Its rendition [Adnan Sami] is magnificent as well. The title track is interesting, while the Salsa piece is superb, mainly its choreography. Cinematography [Kalpesh Bhandarkar] is adequate.

The film introduces a number of new talents, but the ones who register an impact are Vir Das [a fine actor], Manjari Phadnis [first-rate] and Amruta [excellent]. Ray Irani has screen presence. The balance cast needs to polish their acting skills.

On the whole, MUMBAI SALSA is targeted at the youth living in Mumbai mainly. Despite a decent second hour, the film will face trying times at the ticket window in view of the fact that it has been pitted against two star-studded films and has a title that doesn't really give an impression of a feature film.


Bal Ganesh - IndiaFM Review

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Exactly two years ago, on October 21, 2005 to be precise, HANUMAN opened the doors for animation films in India. Subsequently, one saw a number of animation films hitting the marquee, but HANUMAN continues to remain the most popular animation film witnessed on the Hindi screen.

Shemaroo's BAL GANESH enlightens viewers about the early years of Lord Ganesha. The best thing about BAL GANESH is that it refreshes your memory with incidents pertaining to Lord Ganesha, if at all you don't recollect the events minutely.

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The makers have encompassed a few chapters from Lord Ganesha's childhood and the ones that are well illustrated on screen include:-
[i] The birth of Lord Ganesha and the confrontation with Lord Shiva at the start;
[ii] Lord Kubera's invitation to Lord Shiva, Goddess Parvati and Lord Ganesha to his house and the sequence that follows that depicts Lord Ganesha's voracious appetite.
Also, the chapter pertaining to Lord Ganesha taking the round of his universe, his parents, is interestingly depicted.

While the animation is good at places, it could've been better at times too. Sequences depicting Lord Ganesha as also his constant companion Mooshak will be loved by the kids. In fact, Mooshak's antics brings a smile on your face on several occasions.

On the whole, BAL GANESH is an interesting celluloid experience that should attract kids by the dozens. Only thing, the makers/distributors should increase the promotion and also choose the right show timings since the film has the merits to leave a mark.


Tuesday, October 23, 2007

Blues - WOW !!


Blues
N-18, Outer Circle, Connaught Place, Delhi
Phone 41523486, 9810120995, 23737150



Yesterday evening I was in mood to go so some pub, have couple of chilled beers with nice music. Blues is a place, where I have been several times, however haven't been there for last 3 years.

The Ambiance is good, and seating comfortable. I guess they have added couple of tables since the last time I was there, it gave the place a crowded look. On one wall you have black and white posters of some of the famous names including Madonna. On another they have various guitars and saxophones hanging, giving the place a very musical look.

I reached there around 7 PM and there was some live music. Happy hours were still on (till 8 pm) and beer was actually as cheap as any other normal run-of-the-mill bar. The menu price is Rs.145 + taxes for Indian beer, which works out close to Rs.180, however during happy hours it is 1+1 so effectively the beer costs Rs.90 for a bottle. Pretty affordable...huh...;-)

They had a wide selection of beers, including Guinness & Heineken, the drought pitcher was for Rs.270 (Plus taxes), however in Indian they had only two varieties. The person serving us promptly came to us before 8 pm to check if we wanted to order something before the happy hours ended. With prior experience I know that they are happy to take the order in happy hours and serve later. They had a selection of cocktails which seemed very good by names, however I have never been into cocktails, but I am a wannabe.

In snacks we have Nachos (Rs.90 + VAT), which were served with Salsa sauce and Potato Wedges(Rs.120 + VAT), which they served with sour cream and bar-be-que sauce. To be very frank more than the wedges I enjoyed the cream and sauce, but this should not undermine the quality of wedges. In fact when told that we liked the sauce, they refilled both of them for us. They had Tandoori Platter, veg was Rs.200 and Non.Veg for Rs.240.

Till 8 Pm there was live music, which seemed quite good, and after that a DJ took over. However we didn't sit long enough to enjoy the music.

But this places is still the same as it used to be years ago. Last time I was here I had organized a lunch for my colleagues, for non veg, three course meals, including mocktails, they charged around Rs.350 per pax for a commitment of 15 pax, however it was 3 years ago.

In the end to sum it up, this is an excellent places to have a nice evening, the crowd is good, location cannot get more central, service is excellent, and food amazing.

PS : We decided to top oof the wonderful evening with a sumptuous meal at Kareem's. However the service of Kareem was at their Pathetic best, maybe due to huge crowds or we simply got the wrong waiter.

And the Ordeal continued as we decided to return via Chawri Bazaar, Hauz Kazi. However the traffic was diverted, and had to go through Lal Kuan and Khari Baoli, and encountered the worst Traffic Jam of my life, YES at 11 Pm and major traffic jam.

Friday, October 19, 2007

Speed : Rediff Review

Please note that this review has been reproduced from Rediff.com. Click here to read the Original.

Director Vikram Bhatt recently denied rumours that his forthcoming film Speed was inspired by Hollywood film, Cellular.

'Producer Harry Baweja came up with the script and I loved the idea. We have changed the screenplay and our film is very original. Speed is an action thriller. There's a twist every two-three minutes in the film and it is completely unpredictable,' Bhatt is reported to have said.

The plot of Cellular involved a young man who receives an emergency phone call on his cell phone from a random woman. The catch? The woman claims to have been kidnapped; and the kidnappers have targeted her husband and child next. The kidnapped woman is kept in a farm house from where she puts together the remains of a smashed telephone and makes 'The Call.'

The plot of Speed involves a young man (Zayed Khan ) who receives an emergency phone call on his cell phone from a random woman (Urmila Matondkar). The catch? The woman claims to have been kidnapped; and the kidnappers have targeted her child next. She is kept in a farmhouse / stable from where she puts together the remains of a smashed telephone and makes 'The Call.'

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Wow, Mr Baweja! How do you get such brilliant ideas? Perhaps, a quick detour to the nearest DVD library? Now, lets forget the script for a second. To delve into this different screenplay -- we watch as the tension builds up. Urmila is frantically making faces on the phone and Zayed's phone battery beeps. Oh No! Battery Low. So he hijacks the nearest phone show and gets a car charger. Well, I've never seen such a brilliant twist in the screenplay. I've never ever seen this before. Oh wait! I did. The same scene was part of the Cellular screenplay. Mr Baweja, you had me fooled there for one second.

Anyway, if you are still interested in knowing the plot, it involves a patented prime minister assassination (Suhasini Mulay) that Raj Zutshi organises through Aftab Shivdasani . Thus, this miserable excuse of a film.

If someone calls you to see this film even for free, hang up!

Rediff Rating:


Hmmm...as usual IndiaFm and Rediff have left me confused, I am not watching this one, will wait for word or mouth.