Movie Review - Aakrosh

Powered by: Chakpak.com	Aakrosh

The subject of “Honour killings” was waiting to be brought to the screen and Priyadarshan has taken the lead in the venture which also marks his departure from light comedies in Hindi cinema. It’s good to be first off the block but the movie lacks the staying power to finish as a winner. What totally galls me is that a veteran director of over eighty movies hasn’t researched his story or the characters with due diligence which in a way certifies the beginning where newspapers clips on the theme are stamped as facts and the word fiction heralds the narration of the story. The deep mind set which propels people to execute their own and others is replaced as a caste conflict which is not totally true. Perhaps a better understanding of a potentially powerful subject would have converted this effort as a monumental classic. I also feel that mere depiction of the problem is not enough. An opportunity has been lost to explore a solution or at least the audience should have been left thinking on what could be. Perhaps the writer actually couldn’t figure out what needs to be done and as a compromise a quick fix solution ends the movie.
As a cinematic experience for the non discerning viewer it’s not half so bad. The motley crew of the ‘Bahubalis’, scheming politicians and corrupt Government servants of the Hindi heartland which have been repeated ad- nauseum are back again. Again the treatment could have been different. Please tell me where in our country would you find IPS officers (SSP and IG, no less) sitting in police stations in various stages of undress and constantly mouthing vernacular expletives. These guys are supposed to be educated, trained in an academy of repute and professional. The depiction of these characters is more akin to the less fortunate constabulary. Also, I have never read or heard of an army officer (incidentally from ASC) in NSG deputed for an investigation conducted by CBI. I guess the tag of fiction takes care of these minor details. I also don’t understand why the bad guys always get the benefit of ‘Beedi Jala Le’ or ‘Munni Badnaam hui’ or instantly ‘Isak se Meetha’. There seems to be a case here for the libido comparisons of the heroes and the villains. In the next movie I want Munni dancing exclusively for the hero. And a CBI enquiry in this matter is warranted anyway.
What’s good here? A pioneering effort on a subject that is ducked all too often. A good narrative, it’s hard to get bored. Bipasha Basu is getting slimmer by the day. I think she needs to act in some Kung Fu movies with Jackie Chan.
What’s not? Bad research, but I have said that before. The Devgun dude is still wooden faced and his wife needs to give serious acting lessons to him. Junior Khanna will do well to stop hamming like a fresher from the Methodist school of acting and be more of himself. Bips is underplayed.
There needs to be a strong reaction to a system which tries to control normal human emotions in the name of caste, khaap, perceived honour. Unfortunately political expediency prevents any concerted legal effort. Therein lies the responsibility of the audio visual media to, for once rather than concentrating on needless sensations, take up a cause which could actually stop the smothering of innocent lives. On the social responsibility scale, Priyadarshan and his team fails.

Movie Review- Robot

Powered by: Chakpak.com	Enthiran

How dare you review Rajnikanth? So if at the end of all this I am hit by a bullet fired from a remote island in the Pacific which ricochets off the gleaming belt buckle of the superstar, it is not a coincidence. It must be the intended mode of my assassination (plain murder more likely). So at the risk of my life I do declare that Rajni’s Robot aka Endhiran is a must watch for everyone below the mental or chronological age of fifteen. To enlarge the scope of the audience Rajnikanth has reportedly ordered everyone to mentally reduce their ages to the desired level which I dutifully did only to find that the experience wasn’t disagreeable at all if you don’t count the two songs during which I actually went off to sleep.
It’s a sci-fi extravaganza which more than justifies being the most expensive movie made till date in India. The special effects are a first for an Indian film and perhaps they account for a handsome part of the crores lavished on it. It’s a pity though that money cannot be spent on improving imagination because all the effects seem to be a combination of Spiderman, Transformers, Power Rangers, Matrix and The Mask. The so called original stuff is in the classical overkill genre of Tollywood which has specifically been patented for Rajni. But hey, this is a pioneering movie so a minor glitch here and a major faux-pax there is entirely forgivable.
Surprise, surprise, the movie even has a story of sorts but the director could have safely cut the first half and no one would have known the difference. Perhaps there is a lesson here. The movie would have been a taut thriller but for the song and dance routine and the unnecessary love interest sub plot. Having said that what would you have Aishwarya do? I think she is being overpaid for just looking pretty and dancing a few numbers. Rajnikanth can neither act nor dance to save his life but then when was that a deterrent for him. And remember this is a science fiction special effects movie. Who needs to act? The borrowed Robot and Rajni’s two assistants did a better job. The best actor is of course Danny Denzongpa (I always loved the ring of his name) who is back after a long time and does an efficient job of looking menacing in his brief role.
Despite how I may be sounding it’s a good idea to watch the movie if only to watch the science fiction genre coming of age in Indian cinema. Its aeons ahead of the flying arrows in sets of three decorated by the constipated expression of Vijay Arora, a la Meghnath, in Ramanand Sagar’s Ramayan. It is also agreeable to sleep through a few songs if only to witness the climax which has been conceived on an unbelievable scale. And last but not the least for the coinage of a new word by Rajni, hold your breath...... “Robotsapiens”.
Lord, thou shall have to save me.

Movie Review- Raavan

Powered by: Chakpak.com	Raavan

Barely a week ago I watched Raajneeti and had Henry Mancini’s theme of Godfather ringing in my ears periodically punctuated by a shrill Mahabhaaaaarat and here I was back again in the multiplex revisiting Ramayan. My perennial lament for original stories continues to fall on deaf ears. And Mani Rathnam is apparently a fan of Bally Saggoo, DJ Aqeel and rubbish of similar sort for else why on earth would a proven talent like him experiment with remixes. Now that’s my take on his choice of subject on which the Big B has not twittered. I am also not going to apportion blame here for nonexistent issues. Let me say the movie is watchable but only just.
It’s watchable because in this sweltering heat anything remotely connected with coolness, direct or vicarious, is an exhilarating experience. See, the action takes place where it could be anywhere between Chirrapunji and the rain forests of Amazon. Everybody is barefoot and always wet. Pretty cool, but where would you find a Bhojpuri speaking Ravi Kishan hamming away. Incongruous but still ignorable. Now who do we have here? A very beautiful and sans make up Aishwarya Rai struck with shades of the Stockholm Syndrome. Vikram, the Chennai hunk masquerading as Ram. He needs a dialogue delivery tutor. Govinda, the delightful Hanuman (I never liked him better). And the weakest character in terms of cinematic representation was the Junior Bacchhan and he cannot be blamed for that. Mani R slipped here. Why our heroes can’t be shown in a completely negative role where one has no regrets or justifications to kill and maim. A near perfect storyline was murdered by turning an epic action saga to a mundane revenge episode. AB could have been projected as a total villain who can cause mayhem on a whim but nooooo, all our heroes need an excuse to be bad which is all so old, passé, predictable and boring. The end of my thumb looks to the ground here. Mani’s Ramayan ignores the seductive Shroopnakha and instead projects a helpless victim. The only redeeming feature, if it can be termed one, is that a man’s naked backside has been passed by the censor board without any cuts. That also ought to be a cause for litigation by the ilk of Ram Jethmalhani. Reverse discrimination needs to be brought to a forum of discussion. )
Positives? I loved the photography of Santosh Sivan. The rain forest effect, the misty hills, the beautiful Ash was just too good. A R Rehman has again composed a forgettable track. The only redemption is the wedding song, which again appeals probably because of its vivacity. Great computer graphics.
Negatives? A potential hit narration botched on compromising with an epic and turning it into a Manmohan Desai masala blunder. I would have appreciated a bolder version. Keep Ravi Kishan out of mainline Hindi cinema and take a long a hard look at Govinda’s capabilities. AB Junior looks like a million bucks but would have been more menacing with lesser and toned down dialogues. A R Rehman needs to be reminded that there is a little difference between a Hindi movie score and an Andrew Lloyd Webber opera.
Just to feel better on a hot humid day go watch and feel wet.

Movie Review- Rajneeti

Once upon a time there was a small time average novel writer who, as they say in the diamond fields, struck a blue vein when he conjured a believable story of one of the most intriguing entities of our time, the Cosa Nostra. That’s Mafia for the uninitiated. However the novel was an average success until its movie rights were bought by Francis Ford Coppola and the rest is history. The Godfather, the book and the movie, went on to become venerable classics of prose and cinema. The movie raged across the world in 1972 and since then movie makers across the world have been paying a perennial homage to it by consistently and dutifully stealing the original concept. Dharmatma & Sarkar are our contribution to this plagiarism and the latest is Rajneeti. But Parkash Jha is a smart alec. He has made The Godfather meet Mahabharat with thinly disguised characters from contemporary Indian politics and well, come out with a winner. So who do we compliment? Mario Puzo, Ved Vyas or Parkash Jha.
Well my vote has to stay with Jha. Having lost twice in the general elections he is no stranger to the rough and tumble of Indian politics and he has successfully captured the dirt and grime of electoral machinations. But at the same time it was a little disturbing to see the portrayal of people controlling the fate of millions plan a clinical execution of gruesome violence. Not once in a single character there is a hint of hesitation or fear of law or retribution. It’s done because it’s required to be done. Cynicism apart it is a little scary to imagine that there are real life people like that. The reality of politics which feeds on money, muscle and manipulation has been skilfully transported to the screen and as a purely cinematic experience it is thrilling and so relentlessly engrossing that one doesn’t feel as if one has sat through a three hour movie which barely has any song and dance routine.

Powered by: Chakpak.com	Raajneeti

The story is an unabashed saga of dynastic politics. The pace of narration is so immediately swift that it takes a while to identify the who’s who of the story. The players are all so recognizable and half the fun is in identifying the character with the politicians of our times. Jha has of course made his disclaimer but there are parallels which are too obvious to ignore. Do successive assassinations in the family and finally the daughter in law donning the political mantle ring a bell? Almost all the actors with the exception of Ajay Devgun have done commendable jobs. He really needs to get his act together. Wooden faced brooding is not acting. Ranbir Kapoor is the pick of the lot for his portrayal of the ruthless behind the scenes Machiavelli. For once Nana Patekar doesn’t scream his guts out. He plays a smiling Lord Krishna of sorts and is aptly named Brij Gopal. On the lighter side there is one great tradition of Hindi movies which has been left undisturbed here. There are three main female characters all of whom promptly become pregnant on sleeping with their beaus. Bollywood still seems unfamiliar with safe sex and with this kind of fertility we will never be able to check our growth rate.
Since cricket and politics are two things which the Indian populace never gets tired of ,Rajneeti is going to touch a nerve of every audience. We swear by our families and therefore despite protestations of nepotism have come to accept and tolerate dynastic politics. And finally here is a movie glorifying all that and we are going to happily lap it up.

Movie Review- Badmash Company

Powered by: Chakpak.com	Badmaash Company

At any age anything fresh is good and at my age a reminder of how things were is better. So that is how the movie starts with a “Company” which is seems promising. Badmash, well, ok, so be it. We are initiated with the things that were. Good old Doordarshan, parental pressure to excel in studies (so what’s new?), rickety auto rickshaws, the lure of everything foreign. A group of friends decide to be carriers for a sleazy smuggler who darlings everyone. One off trip to the South East (when things were cheaper there) gives them adequate moolah and a temptation for more.
While the rest of the crowd is your average Johnny wanna make more money, our hero who is the classic topper of the college has his head swinging with dreams of riches. Anupam Kher has made a career out of his performances of the do gooder, middle class, never be secure, sermonizing father. He does no less here and succeeds in expelling his only son from his life. Not to be deterred the son embarks on plans which seem legal only on celluloid. While the background of the story is set in the Doordarshan era, the director conveniently switches gear to the reformation age of Dr Manmohan Singh who in one budgetary stroke throws a spanner in the spokes of our hero’s business. The phoenix needs to resurge and where else but in the land of everlasting opportunity (as well as the most incompetent- they get equal opportunities too). U S A.
The heroes of Bollywood rarely get to slog, so why should Shahid Kapoor. With SK’s beer swilling, chic ogling friends and an ever ready lover Uncle Sam hardly stands a chance. The first round always belongs to the risk takers and so it happens. Parmeet Sethi has obviously been following the stories of the global recession and the subprime crisis and ought to rewarded for using the subject for furthering the narration of his story where the hero takes a cue from the financial giants of the west and makes millions from repeated sales of an undervalued property. The easy millions and promise of more rip apart the bonds of the friends. One goes the way of the Bacchus, the other for the fairer sex and hero with his delusions of grandeur banishes the love of his life.
Nemesis comes hard and after the statutory incarceration our man starts on the road to redemption. So where does that leave the viewer? The movie is entertaining for the non discerning viewer. There is no message but there is no in your face, oh its pure entertainment kind of stuff either. The essence of the story seems to have got lost in the presentation of the gloss of high life. The shades of gray of the characters are cool and the vivaciousness and independence of the female lead is cooler. There needed to be a greater balance in the strong characters portrayed and the events which overtake them. The director has faltered but only just. The hero takes off on a rebellious path only to end up pleasing his father in the end. Can’t we have a pure villainous hero please? A wicked smile in the final scene would be so much better that the mushy family reunions.

Volunteers say ‘Let’s do it Delhi’- Hindustan Times

Volunteers say ‘Let’s do it Delhi’- Hindustan Times

Movie Review- Karthik Calling Karthik

Powered by: Chakpak.com	Kartik Calling Kartik

This movie is unlikely to make it to the wish list of ‘aam aadmi’ but the discerning cinema buff is going to love it. Farhan Akhtar has proved his talent time and again and he hasn’t disappointed this time either. It’s being promoted by the multiplexes as a thriller but I would like it to be specifically categorised as a suspense drama. And, what a drama! In true Hitchcockian style the suspense is not revealed almost to the end. Of course the medically inclined start having an idea of what’s it’s all about half way into the movie but therein lies the excellence in crafting the narrative. We all know that we are witnessing an impossible situation but the director keeps you thinking about possibilities and even then manages to spook you into believing otherwise.
Farhan plays Karthik the classical white collared pen pusher who is constantly steam rolled into submission by his overbearing boss and riddled with the guilt of having caused the death of his brother in his childhood. Deepika Padukone is the bindaas architect in the same company and also the girl of his dreams who is always looking through his insignificant self. A silent lover he constantly pours his feeling into the numerous mails to her which are always saved as a draft and never sent. Despite his hard work in the office he gets sacked. Alone, without a job, without a girl and after days of mindless punching of the buttons of the television remote and rotating the Rubik’s cube he decides to kick the bucket. Just as he about to pop a few dozen sleeping pills, the phone rings. The voice on the other end who too calls himself Karthik becomes the road to redemption for this also ran creature and metamorphoses’ him into a slick go getter who is re hired by his bully boss with all the money and perks of a hot shot executive. The current lover of Deepika is literally slapped out of her life and in walks our man Karthik oozing charm and sensitivity. The voice on the other end of the phone constantly monitors its student’s upward progress. Everything is perfect? There is a rider. No one is to know that Karthik is calling Karthik. Split between the loyalties to the woman of his dreams and his mentor, Karthik is called upon to make a Faustian choice. The rest of the movie is about the repercussions of his actions.
Its serious stuff but the movie is replete with the classical one liners which are becoming a Farhan hallmark. It’s crazy humour one minute which acquires dark hues in another. The use of Rubik’s cube throughout the movie is a particular deft touch which needs to be interpreted by the viewer. The music by Shanker Ehsan Loy is good as always especially the title song but the surprise package here was the fantastic background score by the rock band Midival Punditz ably assisted by the US based Karsh Kale. I found the movie really good but go and make up your own mind

Movie Review-My Name Is Khan

Powered by: Chakpak.com	My Name is Khan

With the quality of movie making escalating recently it has become rather likely that you come across a movie which leaves you gasping in wonder or split with laughter or thrilled with heart thumping action. Movies that you enjoy but get over soon after you leave the hall. Karan Johar is known for making slick tear jerkers and I had really not expected anything different this time round either. But ‘My Name Is Khan’ blew me away. It’s a rare classic and would be rated so in the annals of Hindi cinema.
Religion is always a tricky subject to deal with and Hindi movies have usually been either way too clichéd or unnecessarily melodramatic, often losing sight of the core issue. In today’s times the scourge of terrorism has affected ordinary lives the world over and yet most of us have sensitised ourselves into reading and watching news reports on rampant killing, shaking our heads and making meaningless noises. Remember Mumbai? Well this movie is a chronicle of the domino effect that unrelated events cause in the personal lives of ordinary people. Oh, did I say ordinary? Well almost! It’s a tale of love between an autistic man and a divorcee hairdresser played out by Kajol and Shahrukh Khan. While Kajol’s craft is expected it’s Shahrukh’s show all the way. He has played the role of an autistic man to near perfection. He marries Kajol after pursuing her with relentless determination and single minded honesty. To me those are the key factors which cement any lasting relationship. Post 9/11, uncontrolled events lead to the beating and eventual demise of Kajol’s son from her first marriage. The grieving mother loses control and blames the killing on the surname Khan and orders him to leave. He immediately accepts the diktat of his love and innocently asks when he can come back? Enraged she gives him the near impossible task of declaring and convincing the whole world that although he is a Muslim he is not a terrorist. So real! How quick we all are to brand an entire community because of the acts of a few. Sikhs in 1984, Muslims in 1993 and well the world changed after the Twin Towers were brought down by a few fanatics. The rape of Iraq is still on and coffins of ordinary men continue to roll. What happened to the love for your fellow man, the respect of human life? The mindset of the autistic Khan knows only one thing. Fulfil his mission by meeting the President of USA and making his declaration of innocence. Thus starts his epic journey across America. Shades of Forrest Gump? Yes, but for once I am not complaining. Along the way he is mistaken for a terrorist and thrown into a prison a la Guantanamo and tortured for information. The media takes up his case (Star News breaking news again!!) and the man is released but he returns to help friends in a hurricane hit village. He eventually does complete his mission and is reunited with his lady love. That’s the story but the narrative conveys a compelling message. The essential goodness and determination of man ultimately prevails over terror and fanaticism. And even in these impersonal times there is recognition of human values which are and will remain timeless. It’s this message of universal brotherhood that to my mind is the appropriate reply to the lumpen goons of Shiv Sena. Reading today’s paper about the movie goers’ response in Mumbai has only reaffirmed my belief. Go and watch the movie. It brings a lump to your throat which refuses to go away long after it’s over.