LOOTERA- MUSIC REVIEW

There is a certain level of expectation from an album when it is composed by Amit Trivedi, more so if the lyricist is Amitabh Bhattacharya. For quite some time now, music aficionados have been complaining of the below par level of music compositions which go on to become big chartbusters, the recent case being that of Ye Jawani Hai Deewani.

Many had started to believe that Bollywood music was all about electro and techno beats (much of those beats were straight lifts of the songs from the far East) and that rhythm, "raag" and the usage of instruments had become a thing of the past! But as long as albums like Lootera keep on coming out, the faith in the modern music will be restored time and again.

Lootera brings back the terrific trio of Vikramaditya Motwane-Amit Trivedi-Amitabh Bhattacharya who were responsible for bringing out one of the finest movie in the Indian Cinematic History as well as a ground breaking music album in UDAAN. Thus is it needless to say that the album of Lootera comes out amidst huge expectations.  There are 6 songs in the album, each one carrying a distinct flavour and style. 

SAWAAR LOON- The album kicks off with Monali Thakur lending her voice for Sawaar loon. The musical setup here transports the listener to the 50's and 60's. This song has weaved in the fusion of various instruments so beautifully that it feels like Salil Chaudhary's work. Top this up some wonderful poetry by Amitabh Bhattacharya and a wonderful sync of Flute along with the actual tune and you have a timeless classic in your hands. Monali Thakur does full justice with her superbly textured voice. (If you ignore the credits, you might confuse it for a Shreya Goshal song.) Keep this on the repeat mode and trust me you would still want more of it.

SHIKAYATEIN- Next up in the album is a Mohan Kanan and Amitabh Bhattacharya jugalbandi as they deliver Shikayatein. There are shades of soft rock, metal as well as melody in this number which gives it a very fresh appeal and this is one track which grows on the listener. The signature tune of the movie comes up in the final minutes of the song and that itself is enough for a hair raising experience! Applaud the genius of Amit Trivedi as he masterfully makes unconventional music sound so convincing.

ANKAHEE- Amitabh Bhattacharya brings out the mystic element with Ankahee. What works here is the musical arrangement and the words. Bhattacharya plays along with the lyrics and Amit Trivedi churns out a brilliant tune to take Ankahee to a different level altogether. The song hits the highs in the mid part and is overall very pleasing to the ears. Amitabh has sung this song beautifully. A cup of coffee; stormy rainy night; and Ankahee on your iPod could potentially be one deadly combo!

Monta Re- You would have to travel all the way to Bengal in order to see around but Monta Re (Oh my Heart!) will take you around Bengal simply with its music and Swanand Kirkire's earthy vocals. There have been songs which have defined the colours of a certain area but none of them does it as beautifully as Monta Re. Trivedi sticks to minimal usage of instruments and lets the Sitar and Ektara do the talking and leaves it on the able shoulders of Kirkire to pull this extremely difficult song and provide the impact it was intended to.

Zinda- Amit Trivedi dons the hat of playback singer with this heart wrenching number. Unsnapping the pathos of life, this song is painful and with Trivedi's haunting vocals, a brilliant orchestral arrangement with focus on strings for a major part of the song and powerful lyrics it will definitely get you into a thoughtful mood. Sample these lines- "Mujhe chodd do mere haal pe..Zinda hu yaar kaafi hai..Kuch maangna baaki nahi..Jitna mila kaafi hai." This track unplugs the best of Amit Trivedi's playback singing. 

Manmarziyan- Shilpa Rao, Amit Trivedi and Amitabh Bhattacharya come together to sing the final track in the album. This song is very unique. For most of the part it is the tune and the musical arrangement that hooks you but it is actually Shilpa Rao's terrific singing that makes Manmarziyan stand out from the rest of the songs. This song also brings out the beauty of the superb poems penned by Amitabh Bhattacharya.

It is high time that Bollywood takes notice of this talent. You will hardly find a composer as versatile as Trivedi for he can work out a DEV D as well a LOOTERA! 

There is no point if YJHD goes on to win the best music album award this year!

Lootera is one album that you would want to own rather than to download and preserve it for your grand children (just like many of our elders did with the records of Madan Mohan) to make them aware about the fact that there once lived a great musician called Amit Trivedi. 

*4.5 STARS*

BOMBAY TALKIES- Review

4 Ace directors. 4 short stories. One common cause- TRIBUTE TO THE 100 YEARS of INDIAN CINEMA! Indian Cinema has really come a long way. From the first motion picture Raja Harishchandra to Black, from the first talkies ALAM ARA to Barfi, from Muhgal-e-Ajam to Jodhaa Akbar, the 100 years of cinema has yielded some of the finest thought provoking and entertaining films.

The most progressive trend that Indian cinema experienced was in the early 50's which continued till late 60's with film makers like GURU DUTT, BIMAL ROY, VIJAY ANAND bringing out some of the most progressive films that Indian cinema has witnessed. From the 70's to late 90's continued a trend of regressive films but the new millenium promises to take Indian cinema forward. 

*KARAN JOHAR*

The movie starts off with a short story directed by Karan Johar. This story has a mind numbing shock appeal and it catches the attention because it is here that we see Mr. Johar working his way, out of his comfort zone!! Karan's story handles the topics of Homosexuality and Bisexuality. 

KJo has been accused of being far too regressive in his selection and portrayal of subjects in his movies. With KANK and MNIK, KJo did try to get out of the mould which he had been typecasted in but he could not pull it off convincingly. 

But with this story, he has delivered a shocking-ly good presentation. In order to show shades of progressiveness in his cinema, he does, at times, rely completely on creating uncomfortable situations and awkward silences. And it works!

It is almost impossible to see a son bash up his dad in a Karan Johar movie!! Or for that matter how many times would you imagine a KJo directed movie filmed on railway over-bridges and slums rather than plush European locations or to see Randeep Hooda and Saqib Saleem get on each other passionately!

Johar does put across his point convincingly but you will have to give it up for Rani Mukerjee! She is able to convey so much through her eyes that it becomes unbelievable after a point of time. 

Randeep and Saqib perform sincerely in their roles. 

There is also a sense of nostalgia in this story. I wish i could have a music room like the one Randeep has in the movie. Filled with collection of the classic songs of the years gone by. And yes, by this short film, KJo also pays tribute to one of the finest yet the most underrated musician that Indian cinema has ever witnessed- Madan Mohan! 

*DIBAKAR BANERJEE*

Dibakar Bannerjee adopts a short story written by one of the greatest legends of cinema, Satyajit Ray. His is probably the best story among the 3 others and with a director of the class of Dibakar, one can rest assured of absolute cinematic brilliance!

The story catches the happenings of a day in the life of a theater artist caught up in a struggle to keep his body and soul together. There is s much attention being paid to detail that it leaves an immediate amazed response every time the audience takes notice of it!

There is very strong emotional undercurrent that flows throughout the story but is made to erupt in the final moments of the story!

There is Nawazuddin Siddique who plays the lead here and boy, he will make you rise from your seats and applaud. 

Applaud the genius that you witness on screen, for the sheer energy that Nawaz extracts out of the character and for the last 3 minutes of the short film where there is no dialogue or background music and Nawaz, with his superlative acting abilities narrates whatever transpired throughout the day to his daughter!

*ZOYA AKHTAR*

Zoya Akhtar's story has a protagonist who wishes to dance like the way Sheila (Katrina Kaif) does when He grows up against the wish of his father who wants his child to pick up more masculine habits! The story is very sensitive and it is handled effectively, but only in parts. 

Some portions look totally unbelievable whereas some portions are filled with simple and sweet moments. Altough Zoya tries to establish the sentiments of joy and freedom by making the child dance out to the tunes of the Sheila Ki Jawani but it turns out really disturbing to watch!

On a simple note, the film makes a point about parents forcing their dreams on children. Importantly, her story is a strong psychological snapshot on the impact that filmy passion has on the minds of an individual. 

It also tries to delve into the topic of sexual confusion that the child faces and this is where a seemingly enchanting tale experiences short falls.

*ANURAG KASHYAP*

This story is a simple ode to the super-stardom that is experienced by the film stars and the effects on a simpleton who visits Mumbai just to fulfill his fathers last wish! Anurag Kashyap is in full form as the scenes that he establishes are filled with wit and yet again, no one beats this man when it comes to shooting on real locations. There is so much to feel for the lead actor as he starts off his journey to meet BIG B and his experiences with the city called MUMBAI!

There are scenes which are simply brilliant- 

1) The protagonist finding a place to sleep in the city.

2) The train journey wherein you can feel that yes, only people from UP can talk like that. 

3) The scene where the "martbaan" carrying the "murabba" eaten by BIG B breaks. It almost brings out tears!

The story has a very innocent appeal yet it fails on many counts. One simply fails to understand the motivating factor behind the protagonist struggling so hard to let BIG B have a bite of the Murabba. 

But you tend to forget this flaw for the simple reason that it is a tribute to the small-town fan whose aspirations are driven by the larger-than-life Bollywood hero, typified here by the magic of Big B. This is Anurag at his best, defining what superstar madness is all about.

There is a brilliant song which plays out in this story. Though with many positives, this story falls way short of expectations, stretches for long periods and as a result the impact that was intended, never quite gets established.

BOMBAY TALKIES opens up in a brilliantly designed opening credits sequence. It carries the aura throughout and keeps the audience hooked on to the silver screen till the intermission. Karan Johar and Dibakar Banerjee are at their best as they bring out the void in the lives of people and their tryst with melancholy!

It is post interval that the movie beings to fall apart. Zoya and Anurag's story had substance but it does not come out properly on screen. Kashyap's story is in fact a big letdown as there is nothing interesting the main frame of the story and as a result the efforts have been made to make the scenes more impactful. 

The dialogues penned by Niranjan Iyengar (KJo), Dibakar Banerjee and Anurag Kashyap are good but Javed Akthar's dialogues (Zoya Akhtar's story) fail to provide the desired impact.

BOMBAY TALKIES comes loaded with varied subjects to celebrate the simplicity of Indian Cinema.

Do watch to witness a progressive trend in film making and to experience the celebration of cinema.

Rather than being an extravaganza to pay tribute to the stars of the Indian Cinema, Bombay Talkies pays tribute to spirit of cinema. The spirit which echos, "The show must go on."

*3 STARS*

EK THI DAAYAN- MOVIE REVIEW

Expectation- A path breaking Hindi movie in the horror genre.

Reality- Just any other horror movie. (Though way better than what Mr. Vikram Bhatt and RGV have been dishing out for quite a few years now)

As there was Mr. Vishal bhardwaj handling the script and the screenplay department, there should not have been any major glitches in the storytelling. But sadly, there are far too many loopholes that make ETD loose out on all the thrills and chills and nullifies the effect of a superbly crafted 1st half of the movie. Almost the entire first half plays out in the flashback mode as Emraan Hashmi narrates out his entire childhood under the effect of hypnosis to his psychiatrist and this is the time when we get to see the Witch and her craft. Be prepared for some spine chilling scenes.

Ten minutes into the second half and you realize that the director is guiding the ship into a more predictable and comfortable (read clichéd) zone. The scenes happen at the same locations, using the same elements far too frequently and then Kalki appears in the scene. None of the folks at the theatre could understand as to what she was supposed to do in the movie. Her character sketch has been drafted shabbily, written absurdly, lacks depth and has no connection with the story. (I found myself thinking about all the possible reasons as to the inclusion of Kalki in the cast. The best I could guess was a Sequel! )

The visual effects and background score have been done pretty well. The editing is good. The dialogues are superb.

Lyrics penned by Gulzaar sahab are fresh and the music by Vishal Bhardwaj strikes the right chords.

Yaaram essentially is a brilliantly written and composed track!

Huma Quereshi performs her part well. This girl is really talented. And looks great as well.

Emraam Hashmi becomes monotonous after some scenes.  He performs all what he was required to do with utmost sincerity.

But hold your breath. KONKANA SEN SHARMA it is. Her performance alone is worth the price of admission. She manages to scare the shit out of the audience when in her DAAYAN avtaar. Her image gets stuck in the mind and it stays there long after the movie gets over.

AND then comes the climax. It ruins all the fun, goes down the predictable lane and does everything which is stereotypical. The horror in the 2nd half does not invite humour (thankfully) but it bores the audience. 

Ek thi Daayan promised to be a real path breaking movie could have been a movie which would have had a proper concept behind the horror elements but it falls short. Director Kannan Iyer, makes his effort look polished and gets his bit right in pieces but is not able to guide the entire movie to its desired goal. 

Too many loose ends, unexplained characters and repetition of stereotypical elements take away the charm from Ek Thi Daayan. Still waiting for a good horror movie from bollywood!

**2.5 stars** 

SAHEB BIWI AUR GANGSTER RETURNS - REVIEW

Saheb Biwi Aur Gangster Returns brings back the fascinating tale of power games, love and deceit, clubbed with bedroom politics; set in a royal background. Love is abused and tainted from the very beginning!

Saheb (Jimmy Shergil) is now on the wheel chair and Biwi (Mahie Gill) is now the MLA who cant lift herself from her drinking stupor on most occasions.

Irrfan plays the dreaded Gangster who wants to settle scores with Saheb and is in love with Soha Ali Khan (Ranjana) . But Saheb wants to marry Ranjana.  

So Gangster befriends Biwi who wants to destroy Saheb's power but doesnt want to ruin his health. Meanwhile Ranjana falls for Saheb who wants to exercise his power over the political scene in Uttar Pradesh. Pheww. 

It is a complex web of sub plots that makes the script of Saheb Biwi Gangster Returns powerful. But there are many loose ends in the script which hamper the progress of the movie and makes it irritating at certain junctions.

If detailing can make some movie a masterpiece then SBGR surely is one. Amazing detailing in every scene. The lifestyle of the Royals is the same despite the palace being in a deplorable condition. 

The Scorpio has been replaced by a Fortuner. The minister now has a laptop which he uses to attend meetings via video conferencing and to watch porn. 

For once this movie can be watched solely for the amount of work and effort that has been put to create every scene. But some of these scenes don't necessarily go with the basic premise of the movie and hence dont add any value to the drama.

The cinematography is brilliant. Editing though, is not up to the mark. Background score is gripping and Music by Sandeep Chowta is worth listening. 

The dialogues are very smartly written and are the highlight of the movie. Sample some-

1) Yaha badtamizi bhi tameez se ki jaati hai

2) Unki taaqat ko khatam kijiye, tabiyat ko nahi

3) kaun kehta hai aasman me suraakh ho nahi sakta, ek patthar to tabiyat se uchaalo yaaro

4) Jang hogi. Ghamasaan hogi

5) Ye mard hi kyu milte hai mujhe, shayar kyu nahi
6) Hum abhi zinda hai. Makbara nahi hue hai

Jimmy Shergil gives a towering performance. He is just fantastic. He looks like a king and carries himself in such a manner that one can feel a royal persona around him when he is on screen. He gets to mouth some of the most powerful dialogues and does proper justice to them.

Mahie Gill's performance is probably a major setback for the movie. Her character, despite being unique, becomes repetitive. She has some scenes which are painstakingly long and bores the viewer thoroughly.

As for Irrfan Khan, i dont think words would suffice to praise the genius of this actor. He looks suave and cool without even trying to look so. INKI TOH GAALI PE BHI TAALI PADTI HAI.

His eyes, as usual, conveys more emotion than all the acting stints of Katrina Kaif put together. 

Soha Ali Khan looks ethereal, acts pretty well and holds her front despite having scenes with Jimmy and Irrfan.

Though there is only one scene where the Gangster and Saheb come face to face but believe me, that scene contains acting of some extraordinary level.

The supporting characters lend great support.

Tigmanshu Dhulia creates the enigmatic world of the erstwhile Raj Gharana's, their yearning for power for they also know that their days are limited, and the shady politics that they indulge in to fulfill their motives. 
Tigmanshu had a complex script at hand and he doesn't simplify it. It is for the audience to deduce the implications of certain scenes. This is a good move. But to test the patience of the audience by including sub plots and scenes which are irrelevant, is just a pain for the audience. The steam that he generates ever so slowly and smartly is let to cool down very quickly because of the barriers in the screenplay.

Mr. Dhulia does show his class as a director. The scene where the minister interacts with Irrfan while watching porn is hilarious. 
The engagement scene is just class apart. The viewer can actually feel the loneliness and void that has made up for most of the part of Mahie's character.

But at the end of it all, he is not able to retain the command over the movie.

The movie is 15 to 20 minutes too long.

Mahie Gill's character becomes the most irritating element about the movie instead of being the most powerful one!

The item song is of no use what so ever. Furthermore it is so pathetically choreographed that it is not even watchable.

2 hours and 45 minutes later, when i came out of the theatre, it was just one thought that was running in my head- this movie surely could have been something way beyond what was shown! And that is the sad point. 

(Or probably i had huge expectations from the movie simply because the 1st part was raw and intense or more so because i am a big fan of Mr. Dhulia's work)

Sahib Biwi Aur Gangster Returns is just about there, it is bold in its approach, unique in its style but it somehow does not manage to cross the line of being an average fare!

BIG DISAPPOINTMENT! 

**2.5 STARS**

KAI PO CHE- MOVIE REVIEW

We have always read poetry. Heard people reciting it. But to see poetry in motion is truly a revelation of sorts. This is exactly what KAI PO CHE delivers. 

A richly detailed, soothingly emotional and a BRO-MANTIC tale of three friends takes us on a journey which makes us root for every character. 

BROMaNCE has always rocked the box-office. (Dil Chahta hai {DCH}, ZNMD, Pyaar ka Punchnama{PKP} etc) 

Kai Po Che is also doing a fair amount of business at the ticket window. 

The fim is based on Chetan Bhagat's best selling novel 3 MISTAKES OF MY LIFE. 

The movie is set in Ahmedabad and shows the graph of the three friends as they mature from BOYS to MEN, taking into consideration the various events that happened during 1999-2003 and the impact it had on their friendship.

The Cinematography is marvelous. Background score is apt. Editing is crisp. 

(There is a major fault towards the end of the movie. The film makers have shown an absolute green strip of land as the cricket pitch in the stadium. I've never seen any pitch which even closely resembles the one shown in the movie. Though it is a very minor fault but for a movie that partially revolves around cricket, this kind of fault seems like a grave mistake.)

What gives Kai Po Che an edge over films like DCH and PKP is the seamlessly flowing screenplay. De-barred of any jerks or hindrances, the screenplay in itself one of the major reasons to watch this film. Chetan Bhagat helped Abhishek Kapoor with the screenplay and the efforts paid off really well.

There are so many scenes that make you want to stop your breath and savor the magic that transpires on screen. 

One of the most amazing sequence in the movie is the historic INDIA-AUSTRALIA TEST MATCH @ KOLKATA in the EDEN GARDENS in 2001 and its relation to the story. brilliantly depicted.

NOTHING UNITES INDIA THE WAY CRICKET DOES.

The film boasts of some superior performances by the cast.

SUSHANT SINGH RAJPUT (ISHAAN) is here to stay. He makes a stunning debut. Though his character follows a linear graph devoid of much complexities, he pulls off a stellar performance.

AMIT SADH (OMI) is wonderful. The way his character changes tracks towards the interval is great. He has a good screen presence as well.

AMRITA PURI is fantastic as the vivacious sister of Ishaan. 

RAJKUMAR YADAV steals the show yet again. He excels in the portrayal of Govind. He gracefully portrays his restrain and the scene where he looses his cool on Ishaan is just an example of how talented and hard working this guy is. Hats OFF!

AMIT TRIVEDI has prepared an absolute gem of an album for this movie. I seriously dont have words to appreciate the talent of this gifted musician. The lyrics by Swanand Kirkire are meaningful and fresh, as always.

ABHISHEK KAPOOR strikes the right chord once again after delivering the path breaking movie  ROCK ON (2008).

He has given the movie an identity of its own. There has been a lot of hardwork done behind the making of this movie. And the result is great. He has shown great maturity in dealing with the topics of GODHRA riots and communal tension. Not for once do you feel that the director is taking sides. The whole movie is very well paced. 

This doesn't mean that the film is absolutely flawless. The romantic angle between RAJKUMAR and AMRITA doesn't provide the impact it was intended to provide. Towards the end you do wonder about the relation of this sub plot with the actual plot.

The movie does end abruptly. There is a strong build up towards the climax and everything just falls loose after that.

This BROMANCE is here to stay. I found the movie worth of every paisa i spent on the ticket.

(INCLUDING THE RIDICULOUS AMOUNT OF ENTERTAINMENT TAX OF ABOUT 51% ON THE BASIC TICKET FARE)

Go along with your gang of guys, go along with your family and experience friendship all over again.

**3.5 stars**

Special 26 Review

Asli power SCRIPT me hoti hai.

When the script is good and the narrative unfolds as per the demands of the story, even Akshay Kumar cannot do any harm to the movie. Yes. A script so taut, a narrative pattern so lucid and actors so perfect, Special 26 is here to entertain you. 

With his last outing (A Wednesday) Neeraj Pandey had created waves in the industry. He continues to do the same. There is subtle use of satire and black comedy which makes the audience grin. The script here is the backbone but it gets a little crippled because of the unnecessary romantic track between Akshay and Kajal. 

(Why insert a romantic track when it hardly has any connection to the main plot.)

Certain chase sequences and shots are very long and induce boredom. And then there are songs which jump up from nowhere. The sad part is that the songs are not even worth humming.

All said and done, the scene involving Manoj Bajpayee ,Jimmy Shergil and Anupam Kher will make you forget every flaw. 

Manoj Bajpayee is just fantastic. His outburst towards the end of the movie is something to look out for.

Anupam Kher. Well . It will hard to imagine Anupam Kher as anyone but a CBI officer after you watch this film. So much involvement in the character. Stand up and salute this genius.

Akshay Kumar is SURPRISINGLY bearable but is still the weakest link among the ensemble cast. 

We want to see more of Jimmy Shergil, dont we?

Special mention about the art direction and cinematography. Very well done.

Neeraj Pandey manages to stick together an interesting tale with enough witty moments and edge of the seat entertainment . 

Watch this film for some intelligent dose of entertainment. 

**3.5 stars**

DAVID MOVIE REVIEW

Director Bejoy Nambiar explores the world of three different people, their stories set in different decades, in different cities and portrays how destiny has its plans of getting them together at some point in time. And yes, the name remains DAVID.

--NEIL NITIN MUKESH'S STORY (DAVID NO.1)--

The most intriguing set up and story out of the 3 stories. The story is set up in London, 1975.

The introductory shot of NNM has been shot in typical Guy Ritchie style. their is so much visual flair and style in the narration that it covers up for the faults in the story. Oh yes there are some amazing shots, superbly written and shot scenes, wonderful set pieces, brilliant narrative pattern and yes, some wonderful acting. NNM stands out yet again. He looks dashing. He commands attention and has this amazing aura around him every time he is on screen. There are so many scenes in this story which i could watch on repeat mode simply for their sheer uniqueness and style. HATS OFF Mr. Nambiar. Take a bow!

THIS SECTION HAS BEEN SHOT IN BLACK AND WHITE MODE and believe me it looks better than all the stunning visuals you've seen in the recent past.

--VIJAY VIRMANI'S STORY (DAVID NO.2)--

This story is set in Mumbai,1999. It showcases David's tryst with religion-inflected-politics, career struggle and the emotions of revolt and fear. This story had the potential of being a real emotion stirrer but it fails. Though it has been written well, the emotions somehow fail to come up on the screen. Vijay Virmani gives a decent performance. 

--VIKRAM'S STORY (DAVID NO.3)--

Well when you cast Vikram for a role, half the job is done. His entry shot is just WOW. The other half is also ably managed by the director. The set up depicts GOA, 2010. The story of Vikram's David is a bit on the comical side and has a romantic angle attached to it. It has enough moments which make the audience smile as well as LOL. VIKRAM steals the show as a drunkard. What a performance. Brilliant understanding of the character as well as superb body language. No wonder Vikram enjoys such stardom down South. He is one fantastic actor.

Take a bow Mr. Bejoy Nambiar. Near perfect direction. He does so well that as a result certain scenes send a chill down your spine while others will leave you with goosebumps. Such amazing grip over the movie. So many new techniques of movie making explored and showcased. BEJOY NAMBIAR is INDIA's GUY RITCHIE. 

I have never seen a movie with such style, flair and visual appeal (barring SHAITAN, which again was Nambiar's work). WONDERFUL DIRECTION.

The technical aspects are brilliant. The cinematography, camerawork, editing, background score, sound mixing and screenplay are so well executed that DAVID comes out as a product high on STYLE as well as SUBSTANCE.

The music is great. wonderful compositions. Splendid blend of Western music and Indian classical.

Damadam Mast Kalandar is still as fresh as ever. 

But what makes DAVID stand out (other than the style) are some superbly cast supporting actors. NEIL BHOOPALM, TABU and  SAURABH SHUKLA are three performers to watch out for. There is ms. Sarika as well rendering the Damadam Mast Kalandar number.

The movie does have an abruptly built climax and ending but the way it has been done makes you forget about the abruptness for some time.

DAVID  would have surely been a difficult movie to make. The hardwork and dedication reflects in the movie. 

Do watch David for some of the most stylised narrative style, excellent performances, good stories and some wonderful music.

**4 STARS**

INKAAR

2013 seems to be the year of conceptual and strikingly different cinema. 
2012 saw some of the fine work of Conceptual cinema being noticed by both, the audience as well as the critics. 
Table No.21 set up the tone for the year. Though the movie had faults at many places, it was still a brave attempt at making subject driven cinema.
INKAAR sets itself up for a mid january release. 
The movie has been directed by ace director Sudhir Mishra. (chameli, hazaro khwahishe aisi, khoya khoya chand etc)
The film is based on office politics. 
It showcases how the greed for power can lead to situations as serious as a case of sexual harrasment. 
The film is NOT about sexual harrasment at workplace. It does touch upon that fact but it is much more. It is a film that showcases the difference between ambition and greed, love and lust, corporate culture and human emotions. 
Every character is so human like. 
There are shades of love, sympathy, empathy, greed, ambition, lust, sacrifice and loyalty in the characters that appear in the film.
Everyone has a bright as well as a grey shade. (which is realistic to the core)

So there is maya (Chitrangada Singh), who despite being the protege of rahul (Arjun Rampal) ,doesnt think twice before  taking up a promotion and not informing Rahul about it and climbing up the ladder of success and thereby spoiling the relationship between them.
And there is Rahul who is so hurt with Maya's behaviour that his hurt turns into a bitter hatred towards Maya.
The film uses minimum outdoor locations. Most of the drama is shot in the office conference room and indoor shots are more prominent. And yet it grips you. That is the art of direction. Not even a single loose end.
The maturity with which the subject has been handled is worth an applaud. 
The characters have been portrayed in such a way that you love them in one scene and hate them in the other.

There are some technical faults. The continutiy seems to have gone for a toss. Editing could have been far more better. Cinematography is dull.

The performances are average. Arjun Rampal manages to hold his role throughout but ends up giving only an average performance.
Chitrangada Singh is way below par. But her charm covers up for her faults.
Deepti Naval gives a good performance.
The supporting cast is great.
There are scenes with lines filled with solid wit. These scenes will make you smirk and grin and fill you with anger and agitation.

Sudhir Mishra yet again sticks to his method of film making. Content is the king for him. And he manages the movie well. Inkaar is a movie which showcases complex human emotions handled in a very matured way and this is what makes the movie watchable.

Watch Inkaar for some good writing and concept based approach to cinema. It will not disappoint you.
3.5 STARS.

MATRU KI BIJLI KA MANDOLA

They say that the title defines the essence of a film.

Mr. Vishal Bhardwaj does his best to stay true to the above mentioned line.

So yes, MKBKM is as whacky  as it sounds. Or even a bit more, maybe.

Mr. Bhardwaj attempts at making a social satire with various political and economical elements syncing in with the main plot.

One thing that a viewer expects from a VISHAL BHARDWAJ's film is wonderful characterization (the Witch of MAKDEE, Abbaji of MAQBOOL, Langda Tyagi of OMKARA, Bhope Bhau of KAMINEY, to list a few) and sparkling dialogues. And Mr.Bhardwaj does not disappoint at all.

So there is Harry Mandola (Pankaj Kapur) who suffers from a split personality disorder.

(He visions to take over the farmers land and industrialize his village when sane, and, leads protests against himself with the villagers, when drunk.)

Imraan Khan plays the role of Matru. He does appear to be out of place at times but is bearable.

(Any actor, for that matter, seems out of place when sharing screen space with Mr. Pankaj Kapur)

Anushka Sharma does what she has been doing for quite some time now. Though she does fairly well playing the role of a high voltage, bubbly and outspoken girl Bijli, it's time for her to look out for something different.

To watch Shabana Azmi perform on screen is sheer delight. In fact it's the chemistry between Shabana and Pankaj which is more vibrant than that of Anushka and Imraan.

I will have to say that PANKAJ KAPUR will make you stand up, applaud and salute him for his acting abilities . I dont find myself competent enough to review his performance.

Technical aspects have been handled well. Cinematography visually appealing and catches the rustic charm of Haryana. Editing is fine.

MKBKM boasts of some really fine music. Indian classical, Haryanvi Folk and African Folk! W.O.W mahn!! 

And to top it up, there is Gulzaar sahab. One has to admit that be it the nonsensical lyrics (oye boy charlie, beedi jalaile, dhan te nan) or the more sensible ones (naina, khamakha, bekaraan), Gulzar delivers a gem everytime he works with Vishal Bhardwaj. These two indeed form a formidable pair.

KHAMAKHA and OYE BOY CHARLIE are the best tracks in the album. BADAL UTHIYA will please the patrons of Indian Classical music.

Vishal Bhardwaj had, is and will continue to surprise the audience with the kind of movies he makes. Though 7 KHOON MAAF was not captivating, it was still very different.

MKBKM is like a platter filled with delicacies from different cuisines.

It might look tempting at the first instance but to digest all of it is going to be a difficult task for the audience.

MKBKM is a good movie but it comes with its share of flaws.

The screenplay meanders along, touching upon weakly built subplots, diverts from the main issue and slows down the movie considerably, thereby irritating the audience at frequent intervals during the 1st half.

The film is a masterstroke. No questions about that. But the director over indulges in filming some sequences. His command is extremely evident, as almost every scene in the movie is very well executed. Some of the scenes are just fantastic.

"YOU MIGHT TAKE VISHAL BHARDWAJ OUT OF SHAKESPEARE BUT YOU CANNOT TAKE SHAKESPEARE OUT OF VISHAL BHARDWAJ."

Yes there is a bit of the Leftist Movement, UFO's,  Drunk (plane) DRIVING, ZULU Tribe being gifted by Arya Babbar to Anushka Sharma and there is GULABO. The PINK Buffalo. 

Yes it is that kind of a movie.

This movie could well have been the new age JAANE BHI DO YAARO.

It is a complete web of some amazingly creative scenes and situations. But to understand every bit of this creative brilliance becomes a bit problematic at times. Or rather, to sink in so much creativity is a tough task.

Overall, MKBKM is a very good movie which offers a bit too much to be digested at one go. Do watch this film for the performances and some solid wit and humor.

I repeat again-

PANKAJ KAPUR IS A MASTER ARTIST. PERIOD.

3.5 STARS

Dabangg 2

So the Salman Khan Festival is still on.

a 10 day business of 130+ crores and counting.

That is quite some money.

Dabangg, according to me, had one of the finest character sketches which have ever been drawn for every character (barring sholay), in spite of the fact that it had to carry a considerable  commercial burden on its shoulders.

The characters spoke for themselves and a national award came its way.

Totally worth it.

Dabangg2 has nothing new to offer to you.

The script is missing.

The story is, well, you know it already...a cop. A baddie..family being tortured..a climax where the shirt is destined to come off salman's torso and yeah its again a script where salman khan plays himself on screen.

Expectations were sky high from dabangg2. The only reason being that its 1st instalment had set up new benchmarks in probably every aspect connected to commercial film making.

What followed dabangg1 was a trend to cash in on some nonsense scripts, over the top action, mindless comedy and the race to reach the 100cr club.

So dabangg 2 starts and you feel you have seen this before.

A slight pressure on the left portion of your brain would make you realize that the same stuff had been seen with akshay kumar in place of salman khan in rowdy rathore and ajay devgn in singham.

Dabangg 2 lacks originality. The script is, well, to say the least, uninspiring.

The less one talks about the music, the better it is. Dabangg had a sparkling sound track.

Dabangg2 is an album which comprises of tunes which are a straight lift from other songs.

Fevicol is still better at sticking paper. It could not get the viewer stick to the screen as such.

Cinematography, editing, etc etc are of least importance when mr.salman takes the big screen.

With over 80 percent of the movie to be directed by either the action director or the choreographer, Arbaaz khan had nothing to direct.

He played safe with his debut effort and how!

Salman probably played the finest role in his career when he appeared as mr.chulbul pandey. Please Pandey ji, get back to doing some groundwork.

Show us something new.

100 crs will still come your way.

Dabangg2 did not require any review.

It is a fun watch. 2 hours will zip off in a flash. And probably after an hour or so you will forget about the movie. Nothing bad in that.

But spare a thought for films like Shanghai, paan singh tomar, wasseypur series etc.

They dont deserve 100 crs.

But such cinema needs recognition. Give awards to these films.

SRK or Salman dont even deserve a nomination for their performances.

So Filmfare. Look beyond Khans, Kapoors, Roshans etc etc.

There is a hell lot of talent waiting for a chance. Let them make it big.

And as for the Salman Khan festival ...

It will be celebrated every year. Come what may. Period.