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Band Baaja Baaraat (Indian Movie)

Labels: Bollywood

Shruti (Anushka Sharma) and Bittoo (Ranveer Singh) are two young graduates from Delhi University’s Hans Raj College. Apart from their studies these two are of opposite poles. Shruti, coming from a middle-class household, is very driven, ambitious and focused, while Bittoo is a bit of a slacker and mostly interested in having fun with his friends. A chance meeting leads them to reluctantly start a tumultuous business venture as Wedding Planners together, however with one strict rule – not to mix business with pleasure. Through their business they experience the ups and downs of the lavish world of the glamour and glitz of Delhi weddings. In this mean while they knows one another well is the storyline of BandBaajaBarat (BBB).

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Tere Bin Laden

Labels: Bollywood, Lollywood

Tere Bin Laden is a complete entertaining and funny movie released on 16th July. You wont believe this is one of the funniest movie from past 3-4 months. With no big star cast, the movie seems to be directed very well and came out as a really good entertainer.

Tere Bin Laden revolves around a guy who looks like Osama Bin Laden but actually he is completely different in nature. If you really want to have some butterflies in your belly you must watch this movie directed by new director Abhishek Sharma who is also the writer of the story.

Other cast and crew includes Barry John, Ali Zafar, Chirag Vohra, Nikhil Ratnaparkhi, Piyush Mishra, Rahul Singh, Seema Bhargava, Sugandha Garg.

Tere Bin Laden is a lighthearted humor about a determined young news journalist from Pakistan who is anxious to migrate to the United States in chase of the American dream.

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Phas Gaye Re Obama (Indian Movie)

Labels: Bollywood

About

What’s the recipe for a winning motion picture? A gigantic financial plan? Striking locales? A mammoth star cast? Strictly going by the number of low cost films that found tremendous appreciation, it reiterates and restates the fact that content always reigns supreme. ‘Small’ films like LOVE SEX AUR DHOKHA, TERE BIN LADEN, UDAAN, PEEPLI [LIVE], KHICHDI and DO DOONI CHAAR have had a lot to say when compared to several mammoth ventures, which drove on star power while content took a complete backseat.

Subhash Kapoor’s Phas Gaye Re Obama banks on a taut screenplay and not a showy star cast to deliver the goods. Choosing an interesting plot is one thing and doing justice to it is another. But the assorted characters, the sequence of events in the narrative and the bunch of talented actors do the trick. At the same time, though the film has the right running time, it could’ve done with some sharper editing at places.

Final word? Phas Gaye Re Obama may not boast of stars to entice the viewers in hordes. It may not have a colossal canvas [on the contrary, the making is very basic]. It may not have a wonderful musical score to act as a hook [there are hardly any songs here]. But Phas Gaye Re Obama succeeds, and succeeds largely, in its endeavour: Make the viewer laugh at the right places. A small little gem that deserves a watch.

Phas Gaye Re Obama traces the journey of Om [Rajat Kapoor], an American citizen of Indian origin, who loses all his wealth overnight to the global recession and is asked to vacate his home by the bank, unless he pays up $ 100,000 [the mortgaged amount] within 30 days.

Seeing no other option, Om comes to India to sell a small piece of an ancestral property. But within days of landing in India, he is kidnapped by a ‘recession-hit’ underworld gang [Sanjay Mishra, Manu Rishi, Amit Sial], who think that he is still a millionaire. How do the gangsters cope with their catch forms the rest of the story.

Phas Gaye Re Obama showcases how global recession/meltdown impacted lives, affecting not just an America-based businessman, but also an underworld don in the dusty plains of small-town India. A spanklingly new idea indeed. And the assorted characters, right from Sanjay Mishra to Manu Rishi to Neha Dhupia to Amole Gupte, only make the goings-on spicy.

Handled deftly by Subhash Kapoor, an extremely talented director, the film has several sequences that stay in your memory much after the film has concluded. I’d like to single out the sequence when Manu Rishi meets Rajat Kapoor for the first time. The sequence involving the English class teacher also stays with you. The climax is smart and I really liked the way Subhash Kapoor concluded the story.

Phas Gaye Re Obama is an engaging film because of its largely original writing. Also, director Subhash Kapoor allows the actors enough room to interpret their characters well. Rajat Kapoor as the suave NRI is natural, Neha Dhupia as Lady Gabbar is convincing, Sanjay Mishra as the broke gangster is incredible, Manu Rishi as the helpless sidekick of the gangster is wonderful and Amole Gupte as the gangster/politician gets his timing spot-on. Although each actor pitches in a commendable performance, I’d like to single out Sanjay Mishra and Manu Rishi for making every sequence they feature in, tremendous.

On the whole, Phas Gaye Re Obama banks on an interesting premise rather than a galaxy of stars to deliver what it promises. Few film-makers stick their necks out to tell tricky and complex stories in these days of mindless entertainers making loads of money at the ticket window. For their intentions alone, the makers of Phas Gaye Re Obama merit that support. Here’s a request to all cine lovers and also multiplexes, from this writer. Give this one a chance. Let’s nurture and support it well, so that genuine and honest efforts like Phas Gaye Re Obama don’t go unnoticed.

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Khelein Hum Jee Jaan Sey (Indian Movie)

Labels: Bollywood

About

Adapting a work of literature into a movie is an arduous task. Satyajit Ray’s ‘Apu Trilogy’ [PATHER PANCHALI, APARAJITO and APUR SANSAR] was based on two Bengali novels written by Bibhuthibhushan Bandopadhyay. Ray’s SHATRANJ KE KHILADI was based on Munshi Premchand’s short story of the same name. In fact, film-makers have always been fascinated by best-selling books/novels for adapting into feature films. Mira Nair’s THE NAMESAKE, P.C. Barua, Bimal Roy and Sanjay Leela Bhansali’s DEVDAS, Pradeep Sarkar’s PARINEETA, Rajkumar Hirani’s 3 IDIOTS, Atul Agnihotri’s HELLO and the recent AISHA have been adapted from literary works. Even in Hollywood, LORD OF THE RINGS, HARRY POTTER, NARNIA and many more have been successfully adapted from novels by reputed names.

However, if you analyze the past, you will realize that not all movies adapted from novels/short stories have set the cash registers jingling at the box-office. Films like PINJAR, PAHELI, RAINCOAT and international experiments like BRIDE AND PREJUDICE and THE MISTRESS OF SPICES have found very few takers in the past.

This is not the first time Ashutosh Gowariker has adapted a book into a film. Khelein Hum Jee Jaan Sey is yet another book-to-movie adaptation by this talented storyteller [this one is based on the book 'Do And Die: The Chittagong Uprising 1930-34' by Manini Chatterjee]. Again, this is not the first time Ashutosh Gowariker has revisited the bygone era. He did it successfully in LAGAAN [period], then JODHAA AKBAR [historical] and now Khelein Hum Jee Jaan Sey [period].

Recreating the bygone era is indeed demanding, laborious and strenuous. It’s a challenge to present the era convincingly. Besides extensive detailing to lend authenticity, the director carries the responsibility of making the characters come alive to the present-day generation. Gowariker has successfully done that in the past and does it successfully yet again in Khelein Hum Jee Jaan Sey.

Once the film-maker takes on the task of depicting a chapter from history, it’s imperative that he/she remains factual to the depiction of the revolution, giving an accurate account of what actually transpired in that period. But details alone won’t help, it needs to be well dramatized for the big screen. There’s a vast difference in the style novels are written, but one needs to take extra care to make it film friendly. While I may not be able to comment on whether Gowariker has been faithful to the book or tampered with it or implemented some changes, which may be necessary to suit the tastes of the present-day spectators and make it more palatable, I would definitely like to say that what comes across on screen is very absorbing, truly informative and exceptionally inspiring.

Final word? The expectations from Khelein Hum Jee Jaan Sey are minimal, but you can’t overlook the fact that it’s a genuinely honest effort that needs to be encouraged and appreciated. I would like to add here that the promotional posters/billboards/promos don’t create any impact whatsoever. Wish the makers would’ve looked into this very important aspect as well!

1930, British India: In the province of undivided Bengal lies the sleepy, peaceful port of Chittagong. In this unassuming little town, a revolution is about to begin; a revolution which will forever wake all of Chittagong and inspire the entire nation.

April 18. 1 night. 5 simultaneous attacks. A band of 64 – 56 innocent yet fearless young boys, 5 defiant revolutionaries, 2 determined young women, and an idealistic leader [Surjya Sen], a school teacher by profession.

This group of 64 represents a little-known chapter in history; a forgotten night that reigned terror on the British through a series of calculated attacks. This is a true story of these forgotten heroes and the narrative takes us through every step of the action from the initial trepidation, to the thrill of the attack, to the underground movement, daring escapes and tragic captures, and most importantly, their undying legacy.

A film-maker of extensive aptitude and sensitivity, Gowariker’s tryst with period films continues. Seems like he has worked himself to the grind in order to attain perfection. The writing [screenplay: Raoul V. Randolf and Ashutosh Gowariker] and execution of the material are so credible that it influences you to wonder if the writers and director were part of the revolution. The Bengali ethos and the behavioral patterns of the characters, recreating the etiquette and body language of people who lived in a different era along with their attire and styling and also their dwellings come across as very pragmatic. In fact, Gowariker has left no stone unturned to make a film that does justice to the event.

Khelein Hum Jee Jaan Sey has almost entirely been shot in Goa and not Chittagong [now Bangladesh] because the location that was there in the 1930s no longer exists in that shape, I understand. However, the film captures the spirit and intensity to perfection. On the other hand, with Gowariker’s films, the length/running time of the film is always a topic of discussion and that’s a problem with Khelein Hum Jee Jaan Sey as well. The film has a running time of approx. 2.48 hours and the editor [Dilip Deo] and director could’ve easily trimmed a few fight sequences in the second half, to make the goings-on crisper.

Musically, Khelein Hum Jee Jaan Sey is embellished with soft and soothing compositions, but I have an issue with that. Sure, the album is high on patriotic sentiment, but the songs in the first hour act as a roadblock in the narrative. Ideally, it should’ve been a songless film. However, the background score [also by Sohail Sen] enhances every scene, making it more impactful. The production design [Nitin Chandrakant Desai] transports you to that era. It’s that authentic. The stunts [Ravi Dewan] are true to life. Kiran Deohans and Seetha Sandhiri’s cinematography captures the era to perfection.

Abhishek as Surjya Sen suits the character right. His character appears very fervent, but at the same time truly tranquil, incredibly unperturbed and really unruffled, which merges very well with the character of an educationalist that he illustrates. A freedom fighter with these attributes hasn’t been presented in a motion picture before. Abhishek gets to the character a certain authority. The rebelliousness and boisterousness are depicted to perfection.

Deepika sheds her glam look and looks every bit the character she illustrates. Kudos to her first of all for accepting a challenging role [of a woman revolutionary of the 1930s] so early in her career and then almost living that character in the film, continuing to prove her mettle far ahead of her poise and exquisiteness.

Sikander Kher leaves a terrific impression. He excels in several scenes. Vishakha Singh is a complete natural. She catches one’s attention instantly. Samrat Mukerji, Maninder and Feroz Wahid Khan, each actor is earnest and sincere to the core. In fact, every actor in the film looks most convincing in their respective parts. I would like to make a special mention of the young artists [most of them seem like first-time performers], who have a very unpolluted/uninfluenced approach to acting. Brownie points to each one of them.

On the whole, Khelein Hum Jee Jaan Sey, based on the Chittagong rebellion, is an enlightening experience of a poignant, but little-known chapter in history. It’s a film of immense significance which evokes a colossal patriotic fervor. A motion picture like Khelein Hum Jee Jaan Sey isn’t created targeting the box-office solely. It’s also made for the gratification of the senses. And that it does in sufficient measure. In an industry obsessed by opening weekend business and box-office records, this is one of those rare films that doesn’t compromise on its gracious objectives for the sake of becoming more box-office friendly. At the same time, a film like Khelein Hum Jee Jaan Sey, although very well made, may not appeal to those who relish the customary kitsch and masala. Therefore, the film will have to rely on a very strong word of mouth to create any kind of an impression or impact at the box-office.

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Watch Break Ke Baad (indian Movie)

Labels: Bollywood

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Director Kunal Kohli pouches in a new and youthful couple, sultry dude Imran Khan and vivacious Deepika Padukone, concurrently in his approaching picture ‘Break Ke Baad’. Directed by debutant chief director Danish Aslam, the cinema has been generated by Kunal Kohli under the banner ad of Kunal Kohli Productions, in collaboration with Reliance Big Pictures. Music composer duo Vishal-Shekhar has draw close up with a youthful rom-com, youthful and buoyant tunes, the lyrics of which have been penned by Prasoon Joshi. ‘Break Ke Baad’ is set to bang the theaters on 26th /November/ 2010.

A childhood fellowship spinning into teenage love progressing to a optimistically eventual bond configurations the nitty-gritty of ‘Break Ke Baad’. Abhay Gulati (Imran Khan) and Aaliya Khan (Deepika Padukone) have famous each other ever since they were four. As they improvement to teenage life, so does their fellowship into a love affair. However, Aaliya visions of turning into an performer and moves out all population and everything digression that draws close through her way. Contrary to Aaliya’s visions, Abhay is still unwary of what he wishes for to become. It is due to these individuality divergences that attracts the two and drives them apart as well. A smash heads in their bond as Aaliya takes a plane off to Australia to follow her research moving out behind Abhay to deal with his unplanned career. Here commences their trip of investigate, love, wishes for and greatest dreams.

How this smash advances to change Abhay’s and Aaliya’s life on private enclosed land and to each other is what is to be monitored out for. As the two entrust numerous faults and deal with disappointments to the bounds of suffer forfeit each other, you can only approximation the next barrier awaiting them as they graduate to one another. In this fickle world where bonds smash up on even the least important of divergences, will Abhay and Aaliya supervise to save theirs and bond with one another? With an unconventional pairing of dashing Imran Khan and amazing Deepika Padukone for the first time, will they be winning in bringing ahead some good on-screen chemistry? Wait till 26th November, 2010 for the cinema to distribute and review out for yourself.

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Ramaa The Saviour (Indian Movie)

Labels: Bollywood

Ramaa The Saviour

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Ramaa - the Saviour is a fast-paced, edge of your seat jungle adventure film with a central cast of children. It's a story of six kids - Rohan , Riddhi , Kunal , Komal , Sameer and Saanjh. Rohan and Riddhi are siblings studying in a public school with Sameer while Kunal and Komal study in an international school. They face each other in a dance competition where they try to defeat each other but competition results in a tie. As a winning prize, these 6 kids become first to play a newly launched video game - The Last Battle.

While playing the game, the game room starts flickering and before anyone could realize, kids find themselves on a very beautiful island.

The children, while exploring the island, run into a spot of trouble. Riddhi is attacked by huge giant man like a creature Vali who is almost double the size of human being. But she is rescued by a young man - Ramaa who is been living in this jungle all alone throughout his life.

Danger arrives in the form of a boat commanded by Kali with a small army of mercenaries, and a brilliant and beautiful scientist assistant - Samara.

The rest of the tale unfolds as Ramaa and the kids come to their friend's rescue, resulting in Kali demanding Ramaa to show him the way to the river. How will Ramaa and children get out of this spot and save their lives? And will they be able to defeat Kali and save the treasure? Will they be able to get back to the world they have come from? All these questions are answered in the second half off the film.

An gamming adventures ride which will transport every kid viewing the film to this beautiful island of Azzra full off magic, gizmos, live interaction with wild animals, living in the jungle adventure, having to face all the danger and survive it on their own and a lot more, but not alone they will want to be accompanied with their parents who will equally enjoy the cinematic experience of a life time.

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