Saheb, Biwi Aur Gangster Movie review

Saheb, Biwi Aur Gangster
Dir: Tigmanshu Dhulia 
Cast: Randeep Hooda, Jimmy Shergill, Mahie Gill 
Rating: 3.5/5


Even before the movie begins, you get a good feeling about it.  Fortunately, it lives up to that intuition. A crackling script, fantastic direction and amazing performances, this movie almost deserves to be called a classic.

Sahib (Jimmy Shergill) is a sovereign who has lost all his glory and money, and therefore has to resort to certain criminal activities to keep up his ostentatious lifestyle. Add to that, he has to borrow money from his stepmother (who has inherited all the money from his dad). On top of it, he is losing the power game to his rival... all these factors not helping his self-esteem. His mistress Mahua and   his trusted servant ???, however, ensure he gets his periodical ego boosts.

Biwi is Mahie Gill, who is mentally imbalanced and pines for her husband's attention, while he spends most nights with Mahua. Then there's the handsome, but cocky Bablu (Randeep Hooda), who has a clear agenda in place. But all the agendas and motives go for a toss, when Bablu falls in love with the Biwi. While she is looking for physical gratification, he is looking for something far beyond.

Some of the dialogues in the movie are so brilliant that the writer of such gems deserves a big pat and perhaps some awards too. Director Tigmanshu Dhulia (who has co-written this stellar script with Sanhay Chauhan) doesn't let your attention waver even for a minute, as he spins the story of a violent nexus between power brokers and politicians, and how far they will go to protect their power equations.

Randeep Hooda stands out for his brilliant performance. This guy definitely deserves more such roles. Jimmy Shergill is also very good. Mahie Gill, however, fails to really excite given that she has some fantastic bold scenes to show off her acting skills. No doubt she looks hot, but she ends up giving an average performance.
But the superhero -- I must reiterate and stress on this again -- is the script and its fantastic dialogues.

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Force Movie Review

Force an Action Fiesta

 Force
U/A; Action
Director: Nishikant Kamat
Cast: John Abraham, Genelia D'souza, Vidyut Jamwal
Rating: 3/5

 Stroy:

CP Yashwardhan (John Abraham) is upright and so focused about his duties that he doesn't want to get distracted by any romantic liaisons. In comes Maya (Genelia D'souza). She openly professes her love for him and the cop has no choice but buckle in. Oh yes, and in the rarest chance in a Hindi film, Maya gets to tell Yash that she wants to make love to him.

Unfortunately Yash has yet another distraction (this one unpleasant though) to deal with -- a powerful and super smart opponent (Vidyut Jamwal), who wants to be the kingpin of drug dealers.

While we have seen many super cop versus vicious villain movies recently, a good film is a good film. Force keeps you hooked throughout, may it be in the action sequences or the romance between the two lovebirds.

Kamath manages to bring in a reality factor to this adrenalin-pumping action fiesta. This film is perhaps almost on par with the last good cop film Sarfarosh by John Mathew Mathan. But then Mathan had the advantage of having Aamir as ACP Rathod. While you cannot even compare this ACP with that one, John puts in a sincere effort.

While some may disagree, I actually liked the choice of Vidyut Jamwal as the powerful rival. What stands out for me is that this is not a vicious villain, but a normal cotton shirt and jeans wearing strapping young man, just like the hundreds of criminals that exist around us. The action sequences are breathtaking and thankfully not mindless.

 Final Talk:

Total paisa vasool.



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Mere Brother Ki Dulhan Movie Review



Cast: Arfeen Khan, Kanwaljit Singh, Imran Khan, Katrina Kaif, Ali Zafar, Parikshat Sahni
Producer: Aditya Chopra
Music Director: Sohail Sen
Director: Abbas Ali Zafar
Rating:  2.75/5


Story line:

The story of ‘Mere Brother Ki Dulhan’ revolves around Kush Agnihotri (Imran Khan) and Dimple Dixit (Katrina Kaif). They belong to an upper middle class family of Northern India. Kush’s brother, Luv Agnihotri (Ali Zafar) stays in London and is looking for his ideal Indian bride and wants Kush to find that perfect match for him. In his quest, Kush emabarks upon a journey that comprises of him meeting different kinds of women and finally meeting Luv's perfect match Dimple, who is crazy and wacky. The families meet and decide on the marriage, but Kush falls in love with Dimple, his brother's soon-to-be dulhan. What follows, is a topsy-turvy love story and whether Kush gets his love remains the biggest question.

Performances:

As far as the performances are concerned, Imran Khan has done comedy in a much more mature fashion than his other films. He is more confident in the comic scenes. On the other hand, Katrina Kaif looks good in the grungy look and endears herself to the audience. This is Katrina’s film all the way. Her performance is absolutely fantastic. Katrina will also earn brownie points for her graceful dances. Ali Zafar has done a fine job. He looks very cute. Tina D’Souza stands her own, especially in the climax.



Last Word:

Mere Brother Ki Dulhan is a pretty ordinary effort. It's the kind of movie where everyone looks catalogue cool and beams with enthusiasm to make the going-ons appear droll and exciting. And though one's a sourpuss for not buying it, I'll take the risk of being one.
 



















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7 Khoon Maaf Review

CAST :Priyanka Chopra, John Abraham, Neil Nitin Mukesh, Naseeruddin Shah, Irrfan Khan, Anu Kapoor, Vivaan Shah  
Director: Vishal Bhardwaj

7 Khoon Maaf, based on a short story by Ruskin Bond, is about a woman’s quest for love. Only this woman, Susanna played by Priyanka Chopra, unerringly manages to find and marry the worst candidates, not once but six times.

She walks down the aisle with cheery optimism and the knowledge that if it doesn’t work, there’s always the other option. Why doesn’t she just leave or opt for divorce? Because, as her faithful butler explains, that is her nature.

This is a tough story to pull off and despite the voluminous talent on display here – from director-co-writer-composer Vishal Bhardwaj to Priyanka to co-stars like Irrfan Khan and Naseeruddin Shah – the film stumbles and fumbles.

The episodic nature of the narrative makes the plot predictable. You know that each husband is going to be killed – you are just waiting to find out how and why.

Bond’s slender story works marvelously because the author leaves much to the imagination. There are hints that most husbands were fortune hunters and at least one drank too much but their faults aren’t explicitly spelt out.

Here each one is assigned a fatal flaw – so if one is a sexual sadist, another is a gold digger. But few are memorable – there is one superbly creepy scene in which Neil Nitin Mukesh, playing a one-legged Army Major, caresses Susanna with his amputated limb - but most of them don’t make an impression. They seem more like walking targets than characters.

Thankfully Susanna has more texture. She is a chameleon – vulnerable and tearful in one moment and an unfeeling viper in the next. Susanna is vain and cruel and Priyanka doesn’t try to soften her. Instead she revels in the chance to go twisted, dark and frankly ugly. But beyond a point, even she can’t prop up the sagging plot.

The transitions from one husband to the next are nicely done as is the rollicking number Darling. But eventually the film becomes such a slog that when interval arrives with the warning that there are four more husbands to go, it almost feels like a threat.

Vishal loosely tethers his tale to reality – television, radio and newspaper headlines reveal which year we are in - but mostly this fantastical story happens in a dark Neverland. But this mysterious gothic world of murderous servants and their mistress who keeps cobras as pets, needed to be more fully realised and our journey into it needed to be far more seductive and engaging.

Final Verdict:
 7 Khoon Maaf was a disappointment.

10:14 PM | Posted in , , | Read More »

Patiala House Review

Patiala House is the best work director Nikhil Advani and Akshay Kumar have done recently. It is an old-fashioned Hindi movie with big drama, solid dialogue-baazi and moments that are genuinely moving and rousing.

Akshay as Gattu, a forlorn man who has watched his dreams die, is effectively restrained and refreshingly sincere. But all of this is servicing a story that is so silly and strained that it’s hard to get swept up in the histrionics.

The central conflict in the film is between Gattu and his father, Bauji, played by Rishi Kapoor. Bauji seems like a long-lost sibling of Chaudhary Baldev Singh, the stern patriarch from Dilwale Dulhania Le Jeyenge.

Bauji also lives in London’s Southall area and has never assimilated into his adopted country. He suffered racial attacks, was jailed for violence against ‘goras’ and now hates them with such a passion that he prefers that his son, who is a cricket prodigy waste his life running a convenience store than play for the English team.

Honestly, I couldn’t make sense of this. If Bauji dislikes everything English, why doesn’t he move back to the motherland? And if he persists in such borderline-psychotic behavior, why doesn’t the gigantic joint family of Patiala House, which includes his wife, played by Dimple Kapadia, various aunts, nephews and nieces, stop him.

Instead everybody in the family follows Gattu’s dreary example and throttles their desires.

Each one has ambitions to be something suitably different – chef, filmmaker, rapper – but each one stays quiet until the fiery Simran, played by a hyper Anushka Sharma, prods Gattu and eventually the family into rebellion.

Advani who co-wrote the screenplay with Anvita Dutt, works hard to invest plausibility and emotional heft into the tale. But the plot just gets more and more far-fetched.

At one point, Gattu is the cricket team’s most valuable player – a man celebrated by the entire country but Bauji or the Sarpanch of Southall, as Gattu calls him, doesn’t have a clue. These gigantic loopholes hobble Patiala House.

As does the lazy writing – none of the other family members make an impression and Bauji is such an exasperating character that even Rishi Kapoor can’t humanise him.

As a result of which, Patiala House never soars but it is a notch better than the mediocre fare that we see every week. If you have patience and not much else going on, check it out.






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Yeh saali Zindagi Review


Yeh Saali Zindagi Movie Review
A while ago, while chatting him up for my show on TV, I had queried Sudhir Mishra as to why Hindi film industry fails to produce qualitative movies, unlike the 1960s and 1970s, which have tremendous recall value even in the present day? I markedly remember, Mishra didn’t blink an eyelid while answering this one: “That’s because most producers are not literate enough to understand scripts that could elevate the standards of Hindi films. Film-making for them is limited to the weekend business these days.” The proclamation stayed with me!
When you saunter into a cineplex to watch a Sudhir Mishra film, it’s given that this maverick film-maker will serve you non-formulaic stuff. As a viewer, I liked some of his efforts [IS RAAT KI SUBAH NAHIN, HAZAARON KHWAISHEIN AISI], but a few didn’t live up to my expectations. His new film, YEH SAALI ZINDAGI, has already generated the buzz for a variety of reasons. It’s ‘controversial’ or ‘provocative’ title being the key one.
Before I proceed further, let me tell you that the title is of immense significance to the film. Sure, it may sound offensive [the Censor Board chief too raised a hue and cry, asking Mishra to change the title of the film], but why does a commonly used word ['saali'] create an uproar? Actually, I am quite amused at the brouhaha. In our society, we refer to the sister-in-law as saali, don’t we? Besides, almost three decades ago, the Dilip Kumar starrer SAGINA had a very popular song [which we recall to this day], ‘Saala Main To Sahab Ban Gaya’ and more recently, ‘Pappu Can’t Dance Saala’ from JAANE TU YA JAANE NA took the nation by storm. Even recently, the word ‘Saali’ was used in a song from NO ONE KILLED JESSICA, ‘Aali Re Saali Re’. Also, when you view YEH SAALI ZINDAGI, you realize that ‘saali’ has been used as a symbol to the vagaries of life and not as a derogatory, abusive, swear word. It’s not slang, but a flare-up of expression.

Yeh Saali Zindagi Movie Review
It requires a fearless and courageous film-maker [Prakash Jha] to back an audacious film-maker [Sudhir Mishra] to create a motion picture that defies stereotype. The risk involved is colossal, but the satisfaction of having created a product that has tremendous shelf life is incalculable. YEH SAALI ZINDAGI is a striking case in point.
In an industry where mediocre scripts rule and funds are readily available for projects only if ‘saleable stars’ are ready to sign on the dotted line, in an industry where tried and tested formula and shortcuts have become a habit, YEH SAALI ZINDAGI comes as a courageous attempt. It may not be this fiercely independent film-maker’s most accomplished effort, but it has the guts and valor to narrate an innovative story with a brand new approach.
At the same time, I’d like to add that the content is quirky, the relationships depicted in the film are complex and twisted and the format of narrating the story [including the edit pattern] is poles apart from what one is used to watching in the customary Hindi film. Even the spoken language is harsh, crude, with lots of expletives and swear words thrown in. But that’s the beauty of this film. It walks a different path.
Final word? Sudhir Mishra is back in form. You need a strong belly to stomach this one!

Yeh Saali Zindagi Movie Review
Arun [Irrfan Khan] has to save Priti [Chitrangda Singh], the woman he loves, but for that he first has to save the man Priti loves, Shyam [Vipul Gupta], the future son-in-law of a powerful Minister. Meanwhile, time is running out for Kuldeep [Arunoday Singh], the young gangster who is on his last job as his wife [Aditi Rao Hydari] is threatening to walk out on him and he begins to suspect she is leaving him to go into the arms of another man.
The job has gone haywire for it is still unknown to Kuldeep that the Minister’s daughter’s engagement with Shyam is off and now she doesn’t care whether Shyam lives or dies and more importantly, neither does the Minister who Kuldeep hoped would pay the ransom. Priti finds herself inextricably caught in this mess and Arun has to save her life. But for that he has to risk everything and put his own life at stake, he wonders why he should do it at all, if she still loves another man. He’s torn, but love knows no reason.
Sudhir Mishra has worked on a taut screenplay to ensure that at no point in those 2 hours monotony sets in. Multiple stories are running concurrently, but unlike other films, these stories are linked to each other till the very conclusion. There’re twists aplenty and the punches that come at regular intervals startle you since they don’t follow the set blueprint that most Hindi films follow.

Yeh Saali Zindagi Movie Review
But the film is not without blemishes. One, Mishra should’ve ensured that the narrative unfolded in the most simplistic manner, for there are sequences which leave behind queries and come across as difficult to comprehend. Since the film has too many characters and too many incidents taking place in the course of a few days, the treatment had to be simplistic, without confusing the viewer, who’s seated on the fence and is overseeing the proceedings. Also, the inconsistent pacing is a deterrent. Besides, you find sequences that just add to the run time and have not much significance to the main plot whatsoever.
The climax would meet with mixed reactions, especially the ‘bullet’ sequence. It would’ve worked big time in a Manmohan Desai film, but in view of the fact that Sudhir Mishra walks the realistic path, it’s a bit difficult to absorb. Nonetheless, it’s a brilliant way to end the film!
The soundtrack of YEH SAALI ZINDAGI bears a different sound, especially the title track. Sachin Krishn’s cinematography is perfect [the locales of Delhi and outskirts are well captured], but the only problem is that most of the shots have been dimly lit up, which may not be a problem at city plexes having good projection systems, but would pose a problem at smaller towns for sure. Something that even Vishal Bhardwaj had agreed with my viewpoint during KAMINEY. Dialogue [Mishra and Manu Rishi], like I pointed out earlier, are straight out of everyday conversation. The hoi polloi in particular would relish the cuss words, which are generously interwoven in the narrative. Background score is electrifying and the editing [most parts] makes the goings-on impactful.
YEH SAALI ZINDAGI is embellished with gifted actors and as always, it’s Irrfan who leads the pack with a superb performance, holding your attention from the very start. He’s aggressive when required [with Saurabh Shukla], but docile when handling matters of heart [Chitrangda Singh]. Chitrangda looks stunning and matches up to Irrfan in most parts. In fact, her screen persona is so strong you can’t take your eyes off this lady.
Arunoday continues to climb the ladder with every film. The youngster excels in his part and stands out not only because of his towering personality, but also because he’s a complete natural. Aditi Rao Hydari is very good. Saurabh Shukla is an accomplished actor and he proves it yet again. Sushant Singh is first-rate, Vipin Sharma is utmost convincing, Yashpal Sharma is remarkable and Prashant Narayanan is superb, as always. Vipul Gupta is another talent to watch out for.
On the whole, YEH SAALI ZINDAGI is a striking example of new age cinema. A daring film with a brand new approach, it’s impulsive and engaging with skilful direction and power-packed performances as its strong points. This is one more solid attempt that takes the graph of Hindi cinema to a greater level.
The Rating
3.5
out of 5

10:51 PM | Posted in , | Read More »

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