Hindi Movie Reviews

The fascination with gangster movies has been immense worldwide. On this side of the Atlantic, several gangster films have left giant footprints on the sands of time. Films like DEEWAAR , DHARMATMA , NAYAKAN , ANGAAR , PARINDA , AGNEEPATH , SATYA and COMPANY , VAASTAV , GANGSTER , D and SHOOTOUT AT LOKHANDWALA have tremendous recall value to this day.

ONCE UPON A TIME IN MUMBAAI recreates an era that so many of us have left behind and for those who arrived on this planet post 80s, I am sure, they must have visited the era through some medium or the other, mainly movies and internet or during their academic careers.

ONCE UPON A TIME IN MUMBAAI is not part of history, but it attempts to portray on celluloid tales that are now considered legendary, that continue to make news to this date. Of course, the disclaimer claims that it bears no resemblance to a particular person, but you can’t help but draw parallels with real-life characters. It could be a coincidence, though!

ONCE UPON A TIME IN MUMBAAI is a fascinating story that talks of how the mafia came into force for the first time in Mumbai. A thriller that depicts the crime scenario in Mumbai during the 70s and 80s. The rise to power of two young boys, in different age-groups, who grew up to ‘rule’ the streets of Mumbai.

Since there’s tremendous speculation in the media that ONCE UPON A TIME IN MUMBAAI chronicles the lives of Haji Mastan and Dawood Ibrahim, the curiosity to watch the film increases manifold. Of course, I am no one to comment if it’s actually based on their lives or merely borrows a few incidents from their lives or is pure fiction, but as a cinematic experience, I couldn’t help getting transported to the bygone era, getting sucked into a world I had no clue of.

Besides the gangster chapter, one enjoys this film also because of its riveting drama and the power play. It could’ve been set anywhere, in the corporate world, in politics, in the film industry. Anywhere. The rise and subsequent fall of the King and the emergence of the Prince as the super power is what makes this film a compelling watch. The icing on the cake is the magical and lilting song compositions that are juxtaposed so beautifully in the goings-on. On the sidelines of the power play, a game of hearts is being played and that’s what makes ONCE UPON A TIME IN MUMBAAI a wholesome movie experience.

Final word? ONCE UPON A TIME IN MUMBAAI is not to be missed. Set everything aside this coming weekend and watch this one. Strongly recommended!

The film, set primarily in 1970s Mumbai, follows the rise of Sultan Mirza and the conflict that ensues, when his protégé Shoaib Khan challenges his supremacy and usurps power to rule the murky underbelly of Mumbai.

ONCE UPON A TIME IN MUMBAAI is a power-packed drama that makes you thirst for more. You rewind to an era of romance, smuggling, cabaret and mafia, but director Milan Luthria and writer Rajat Aroraa ensure that there’s no sleaze or bloodshed-n-gore. In fact, there’s hardly any violent sequence in the movie, except for one when Ajay hammers a cop during a naaka-bandi.

ONCE UPON A TIME IN MUMBAAI is not a biopic, but narrates the story through the eyes of a police officer , who traces the changing face of the Mumbai underworld. The screenplay encompasses several moments that may compel you to draw parallels with real life, but talking strictly from the movie-going point of view, it satiates you completely. In fact, the writing is cohesive, smart and watertight and there’s never a dull moment. Besides, there’s no time to think whether it’s factual or loosely based on someone’s life or a work of fiction.

As I look back and recall the movie, a number of sequences flash across my mind. Note the sequence when Ajay divides the city amongst gangsters… The train sequence at the very start… The introduction of Emraan Hashmi’s character… Randeep Hooda’s landing on a film set and confiscating the equipment… The subsequent sequence, when Randeep is framed for accepting bribe… The romantic moments between Emraan and Prachi in the jewellery shop… Emraan starting his business and the confrontation that ensues between Ajay and Randeep… The showdown between Ajay and Emraan, with Ajay slapping Emraan in full public view… The conclusion to the story is equally novel. It stays in your memory and sets you thinking.

On the flipside, the story begins with Randeep attempting suicide, but the writer should’ve cited the reason that prompted him to take that drastic step. Sure, there’s a mention at the start, but it doesn’t register well. Also, you are keen to know the chain of events that drove Randeep to suicide. Also, the pace slackens in the middle of the second hour, but picks up dramatically when Ajay returns from Delhi and confronts Emraan. Besides, how I wish the film had a shorter, mass appealing Hindi title to attract more eyeballs and a big jump in footfalls for a mass appealing subject like this.

This is director Milan Luthria’s best work to date, no two opinions on that. Recreating the bygone era is tough and the director, the writer and the art director deserve brownie points for giving the film that authentic feel. In fact, the film wears a chic retro look throughout. Even otherwise, Milan’s handling of the subject material is exemplary. This film is sure to catapult him to the top league. Rajat Aroraa’s screenplay is powerful and engaging. The writer marries heavy-duty drama and subtle and delicate emotions beautifully. I would like to make a special note of the dialogue, also penned by Rajat Aroraa, which are simply fantastic. In fact, the dialogue writing is such it elevates even an ordinary sequence to great levels. One rarely comes across such potent dialogue in today’s times.

Pritam’s music is another ace. Injecting songs and that too a terrific soundtrack in a gangster film is tough. He did it in GANGSTER. He does it again in ONCE UPON A TIME IN MUMBAAI. ‘Pee Loon’, ‘Tum Jo Aaye’ and the remix of APNA DESH track are super compositions, which are also placed appropriately in the plotline. Cinematography captures the look to perfection. Akiv Ali’s editing is sharp.

ONCE UPON A TIME IN MUMBAAI is embellished with fantastic performances. Ajay Devgn is splendid as Sultan. The actor had enacted a similar role in COMPANY, but it must be said that his interpretation is so different in ONCE UPON A TIME IN MUMBAAI. He adds so much depth to the character, which only goes to prove his range and versatility. This is, without a trace of doubt, Ajay’s finest work so far. Emraan Hashmi is brilliant as the power greedy, wildly ambitious rebel. He plays the dark character to perfection. He’s incredible in the penultimate moments of the film in particular. Besides carrying the look to perfection, Emraan is sure to break-free from the lover boy, serial kisser image with this film.

Kangna Ranaut is extremely natural and performs very well. Also, she brings so much of sensuality and glamour to her character . In fact, Ajay and Kangna make a wonderful on-screen pair. Prachi Desai is a bundle of talent who proves her mettle yet again. She’s proficient in emotional scenes and sizzles in the BOBBY song-sequence. Besides, the chemistry between Emraan and Prachi is exciting. Randeep Hooda is top notch. Even though the film belongs to Ajay and Emraan, Randeep makes his presence felt with a powerful performance. This film should prove to be the turning point in his career.

Avtar Gill is good. Naved Aslam is perfect. Mehul Bhojak is competent. Ravi Khanwilkar is satisfactory. Gauhar Khan sizzles in the remix track.

On the whole, ONCE UPON A TIME IN MUMBAAI is an extremely well-made film that lingers in your memory. The realism coupled with stellar direction, power-packed writing, exceptional performances and ear-pleasing tunes are its trump cards. An outstanding cinematic experience!

When Priyadarshan and Akshay Kumar join hands, you expect the cineplex to reverberate with laughter. Let’s not forget, the team has regaled us with some terrific entertainers in the past. Naturally then, you expect KHATTA MEETHA to take the legacy forward.

Unfortunately, KHATTA MEETHA is noise , more noise and only noise, while the content takes a complete backseat. Although KHATTA MEETHA shouldn’t be compared to this combo’s earlier works, since this one’s a satire, I have to add that this is their weakest film to date.

The first question I asked myself once the movie got over was, what’s the story? Okay, okay, neither did Priyadarshan’s last few films had a story to tell, but when you attempt a satire, when one talks of the hardships faced by the common man, when one talks of corruption in society, there HAS to be a story in place. That goes without saying!

KHATTA MEETHA raises a finger at the corruption in government establishments, but what it tries to say, or expose, has been witnessed over and over again. In fact, it’s the writing — sorry, the absence of it — that makes matters worse. The beginning is good, the middle falters and the end is exasperating.

Final word? This one’s far from being meetha. It’s a khatta experience!

Struggling road construction contractor Sachin Tichkule is doomed. There is no chance that his dreams will ever come true, simply because he has no money to bribe. To make matters worse, the new Municipal Commissioner turns out to be his ex girl friend , who now hates him.

The film reveals the extent of corruption and bribery rampant in the system and the ingenious means you have to adopt if you want to survive in today’s times.

KHATTA MEETHA attempts to say a lot many things in those 2.40 hours. Oh yes, its running time is a problem, more so because the narrative lacks the power to keep you hooked to the proceedings. Okay, coming back to what I wanted to say, KHATTA MEETHA is more of a collage of isolated incidents encompassed in those 2.40 hours. The collapse of the bridge, the consequent murder of Tinnu Anand, the constant bickering in the house, the tu-tu-main-main between Akshay and Trisha, the sister’s track, the corrupt netas and government babus, the payment issue of workers… several sequences are a repeat of what’s you watched barely minutes ago or an hour ago.

While the romantic track is the weakest link , the flashback portions, depicting Akshay Kumar as a college student , is just hard to digest. Even the end is worn out and doesn’t give the feel of contentment that one expects at the conclusion of a film.

Priyadarshan’s handling of the comic sequences is noteworthy, especially in the first half of the film. The repair-and-paint sequence at Asrani’s mansion is sure to bring the house down. Ditto for the conversation that Asrani has with multiple people, in person and also on phone. Also, the road roller sequence is a laugh-riot and prior to that Johny Lever’s sequence of repairing the road roller is truly funny. But a few isolated sequences aren’t enough. The veteran storyteller ought to know the importance of a watertight screenplay by now.

Cinematographer V. Manikandan’s lens captures the exteriors with flourish. Pritam’s music is easy on the ears and at least two songs are extremely popular as well, but the placement of songs in the narrative acts as a roadblock. Dialogues are funny at times, especially the one-liners.

Akshay Kumar plays the common man with gusto. He looks his part and more importantly, not once do you feel that he’s repeating himself. However, he goes over the top in a few sequences. Trisha carries the Plain Jane look well, but fails as an actress. The fiery attitude, so vital when you’re enacting the role of the Municipal Commissioner, is missing. Rajpal Yadav is in terrific form yet again. What a splendid actor!

Urvashi Sharma is awkward. Makrand Deshpande is wasted. Tinnu Anand is hardly there. Even Aroona Irani is sidelined. Kulbhushan Kharbanda is first-rate. Asrani is excellent. Manoj Joshi screams so much. Ditto for Neeraj Vora. Milind Gunaji is okay. The actor playing the role of Urvashi’s husband does a good job.

On the whole, KHATTA MEETHA is a major letdown from the accomplished director. It’s not a full-blown comedy. It’s not a full-scale satire either. Hugely disappointing!

During the showcasing of LAMHAA at the recently held I.I.F.A. in Sri Lanka, I was compelled to ask director Rahul Dholakia about the catch line of the film: ‘The untold story of Kashmir’. Obviously, I was curious. What was Dholakia going to narrate that we, the viewers, hadn’t witnessed in films earlier or read in newspapers or watched on news channels? Dholakia gave a convincing response, justifying the catch line, but obviously not revealing much about the film.

As LAMHAA unfolds, you realize that Dholakia may’ve borrowed a few incidents from life, but as it moves forward, it comes across as a typical Bollywood enterprise that harps on being real, but ends up being a masala film that we have witnessed over and over again. The catch line, in my individualistic opinion, is quite misleading.

Dholakia seems to have researched extensively on the issue and LAMHAA does boast of some razor-sharp moments, but the viewer is keen to have an insider’s viewpoint on Kashmir, something that we haven’t read/seen earlier, which LAMHAA just doesn’t provide.

Just one word for this film: Disappointing!

The Military Intelligence gets a whiff of a plot that is likely to disrupt and possibly paralyze Kashmir. Vikram is sent to investigate this highly confidential mission and he assumes the identity of Gul Jehangir. The same day that he lands in the valley, Haji , a top separatist leader, survives a blast. Is there a connection between the blast and the operation?

To solve this conundrum, Vikram teams up with Aziza , Haji’s young, aggressive and outspoken protégé. The intensity of their beliefs and their will to survive against all odds creates a special bond between them. They embark together on a journey to uncover the truth.

First things first! LAMHAA has been filmed in Kashmir and you’re awe-struck by its beauty, with DoP James Fowlds doing a splendid job in capturing the scenic locales on celluloid. The constant shaking of the camera also gives a real feel. Unfortunately, LAMHAA, though controversial in nature, merely touches the tip of the issue, instead of going all-out and narrating a story that offers reasons and perhaps, a solution to the crisis.

The problem clearly lies in its scripting, the written material . Like I pointed out earlier, Dholakia should’ve stuck to realism, instead of trying to strike a balance between realism and make-believe. The viewer is told at the very outset, and also at regular intervals, that ’something big is going to occur’. But the entire conspiracy comes across as too trivial during the final moments of the film and therefore, the impact is missing.

Honestly, LAMHAA comes across as a disjointed effort, in terms of writing. It’s more of a collage of several isolated incidents, which explains why the screenplay lacks the power to keep you engaged. Sure, a few sequences are attention grabbing, but showing the heroic side of Sanjay Dutt appears very filmy. Even the finale – Sanju busting the conspiracy – comes across as child’s play.

One expects a lot from Dholakia, but he lets you down completely in LAMHAA. The politicians wanting a bigger piece of pie or children getting trained for jehad or their bodies being stuffed with bombs is not an eye-opener anymore. What one is keen to know is the mindset of Kashmiris, which, frankly, this film doesn’t really project. In the end, if you recall the visuals, not the content, it means something is seriously wrong with the film and LAMHAA, sadly, is right intentions gone wrong. Even the dialogue , like the screenplay writing, tries to strike a balance between real and filmy. Mithoon’s music is easy on the ears, but acts as a speed breaker in the narrative.

Sanjay Dutt tries hard to look the character, but I just couldn’t connect with it. The rugged look, the sunglasses and the trendy attire made me feel that Sanju had strolled into the sets from an ad film shoot. Bipasha, again, doesn’t look her part, although I must add that she has put in a lot of effort to stay true to her character. The sequence when she’s attacked by the women workers of Anupam Kher’s political party is simply brilliant.

Kunal Kapoor is royally sidelined in the first hour, but has a few interesting scenes in the second half. His speech in the finale is flat and devoid of the required emotions. Anupam Kher is the lone actor who actually looks the character he has been assigned to portray.

Mahesh Manjrekar is wasted. Ditto for Yashpal Sharma. Vipin Sharma is effective. Jyoti Dogra stands out. Murli Sharma is perfect. Shernaz Patel is decent. Rajesh Khera, Yuri Suri, Vishwajeet Pradhan, Asif Basra, Denzil Smith and Ehsaan Khan are okay in their respective parts.

On the whole, LAMHAA just doesn’t work.

Osama Bin Laden. Just Google this name and I am sure, the results would be amongst the highest on the web. Post 9/11, terror has a new name and also a face. Now imagine Osama Bin Laden running a poultry farm and also running behind chickens. Imagine Osama Bin Laden ogling at a makeup woman. Imagine Osama Bin Laden urinating outside a television studio, but ready to hand-over his business card to the person urinating on the other side. Imagine Osama becoming a business partner in a tacky salon.

Smiling, are you? That, in a nutshell, is TERE BIN LADEN, a wicked comedy with an out-of-the-box concept that offers laughter unlimited. In fact, I don’t think I’ve flexed my facial muscles in any other film in the recent past as much as I did while watching this satirical comedy. What gives TERE BIN LADEN an edge over other comedies is that it’s not the slapstick humour that keeps you entertained. This one has a story to tell as well, which also delves deeply into the minds of today’s youth.

Final word? Grab a popcorn, sip your cola and get ready to laugh non-stop for the next two hours. You would love Osama Bin Laden, for a change!

TERE BIN LADEN is a tongue-in-cheek comedy about an ambitious young news reporter from Pakistan , who is desperate to migrate to the U.S. in pursuit of the American dream. His repeated attempts to immigrate are shot down as his visa is always rejected. But when things couldn’t look worse, he comes across an Osama Bin Laden lookalike. Ali then hatches a scheme to produce a fake Osama video and sell it to news channels as a breakthrough scoop.

Unfortunately, there are serious ramifications as the White House gets involved and dispatches an overzealous secret agent on Ali’s trail.

Although TERE BIN LADEN uses a surname that’s known across the globe, there’s not one serious moment in this film. Even the modus operandi of the Americans to nab Laden is so juvenile and crazy that you can’t help but smile at the sequence of events.

Again, in a film that has Osama Bin Laden playing the central role, you’re curious to know what its culmination will be like. Whether debutant writer-director Abhishek Sharma would settle for a realistic conclusion or an open ending. Thankfully, the film doesn’t get preachy at all, nor does it get serious in those penultimate moments. It’s as funny as the rest of the film and makes you wonder, kaash, the solution would be as simple in real life.

Debutant director Abhishek Sharma takes an offbeat story and gives it an interesting twist. Who would’ve ever thought of making a film on Osama Bin Laden and that too a comedy? This guy sure has courage to swim against the tide. Besides writing a crazy film and decorating it with madcap characters, Abhishek also does justice to the subject by handling it so well. Making people laugh is a herculean task and maintaining the tempo is, perhaps, the biggest challenge. One continues to smile from Scene A to Z and in two sequences specifically, I ended up laughing hysterically. One, when Piyush Mishra falls in the drain and lands straight on the hot seat and the second, when a bomb explodes inside the studio. Outrageously funny sequences, both!

The first-time director also deserves credit for recreating Pakistan in Hyderabad in India. Right from the look to the language to the costumes to the artefacts to the typical truck that you see in Pakistan, TERE BIN LADEN gets it right. Santosh Thundiyil’s cinematography is good. Dialogue are witty and the one-liners specially evoke mirth. The review would be incomplete if I didn’t highlight the invaluable contribution by its music composers Shankar-Ehsaan-Loy. ‘Ullu Da Patha’ is already a rage, while ‘I Love Amreeka’ is foot-tapping as well.

Casting new, confident and most importantly, talented actors gives the film the right push. Ali Zafar is a star, no two opinions on that. The youngster is a package of good looks, super talent and the right screen presence. He charms his way into your heart with a super-confident performance and I strongly feel that there’s no stopping him after this film. In fact, TERE BIN LADEN heralds the arrival of a new star in Bollywood.

Pradhuman Singh is a replica of Osama Bin Laden and is in terrific form in the film. In fact, the film would’ve fallen flat had it not been for the actor enacting this part so convincingly. Piyush Mishra is exceptional, like always. Sugandha Garg is first-rate. Nikhil Ratnaparkhi is very good. Rahul Singh is perfect. Barry John is competent. Chirag Vohra supports well. Chinmay Mandlekar is decent. Rajendra Sethi is natural.

On the whole, TERE BIN LADEN is a fun-ride that makes you smile constantly and even laugh outrageously in those two hours. A thorough entertainer, this film has all it takes to not only make its viewers laugh in the aisles, but also its investors laugh all the way to the bank.

During my schooling days in Himachal Pradesh, a fellow student wouldn’t long for the annual vacations in December, like all kids generally do. I often wondered why. Much later, I was told that his stern father called the shots with a cane in hand and my friend would literally shiver at the very thought of spending the next three months with his family.

We lost touch after we completed schooling and with the passage of time, I forgot all about him. Till I watched UDAAN and his face loomed large at the very start of the film. UDAAN does that to you!

Poignant, unsettling and disturbing, UDAAN is a brilliant take of an adolescent who has stepped into his teens and how he faces a tyrant father, a step brother he never knew existed and how he eventually breaks the shackles and frees himself from a world that’s slowly suffocating him.

UDAAN mirrors the real life and although the plotline is simple and uncomplicated, I must add that simple stories are extremely difficult to narrate. However, debutant director Vikramaditya Motwane remains faithful to the written material and handles the characters in the film with tremendous care, understanding and maturity. I genuinely feel that UDAAN borrows something from everyone’s life. And that’s what makes it an absorbing watch, especially its defining finale.

Final word? This one’s a must-see for every parent, every child. This coming-of-age story is unique and speaks a universal language and hence, shouldn’t be missed!

After being abandoned for eight straight years in boarding school, Rohan returns to the small industrial town of Jamshedpur and finds himself closeted with an authoritarian father and a younger half brother who he didn’t even know existed. Forced to work in his father’s steel factory and study engineering against his wishes, he tries to forge his own life out of his given circumstances and pursue his dream of being a writer.

The best thing about first-time directors is their ability to narrate a new story without bowing down to market diktats. UDAAN is realistic to the core, so much so that the viewer becomes a participant after a while and feels that he’s getting a first-hand account of what the troubled teen is enduring.

A number of sequences leave a stunning impact. But I’d like to single out a few that continue to stay with me, even while I write this review. Note the sequence between Rajat Barmecha and his step brother, when they meet for the first time. Also, the one when Ronit Roy and Rajat Barmecha have a confrontation at the dinner table, when the talk veers to Rajat’s plans for the future. Another sequence that caught my attention was the heated argument between the brothers . And, of course, the finale, the culmination to the film, which will have its share of advocates and adversaries.

Actually, all through the second hour, I was very keen to know how Motwane and co-writer Anurag Kashyap would conclude the story. But Rajat Barmecha’s breaking-free sequence, a redemption of sorts, is simply brilliant. On the flipside, the pacing is very slow towards the second hour. Besides, the length could’ve been sharpened by at least 10/15 odd minutes.

If director Vikramaditya Motwane deserves distinction marks for narrating a slice of life film with aplomb, he along with co-writer Anurag Kashyap deserves the highest praise for handling the delicate and sensitive relationships lucidly. Every character in this film — there are four principal characters — is well etched and so identifiable.

Casting the right names must’ve been a tough call for its makers, especially casting the two kids in pivotal parts. The seniors are accomplished actors with years of experience to their credit. Yet, UDAAN explores a new facet of both Ronit and Ram. Ronit is super as the bully, semi-neurotic father with demons of his own to battle, while Ram underplays his part with rare understanding. The two kids, Rajat Barmecha and Aayan Boradia, are the real stars of this enterprise. Rajat seems to have got a tailor-made role and he sinks his teeth into it. Aayan, the child actor, displays the vulnerability beautifully. His tender expressions and soulful eyes convey so much!

On the whole, UDAAN is a simple, straight-forward film that doesn’t need to be explained. It needs to be experienced.

Freshly cooked, piping hot food is savoured instantly. Similarly, a film that radiates freshness catches your eye instantaneously. Conversely, if a film takes a really long time to hit the screens, it generally doesn’t find a place in your things-to-do-this-weekend list, unless the word of mouth is electrifying. MILENGE MILENGE suffers for this reason. Even the man on the street knows that it’s a dated product!

The gap between the commencement of this film and its eventual release is quite substantial and that’s pretty evident when you look at its promos. Especially the way the lead actors look. The camera doesn’t lie, right? Perhaps, that’s a prime reason why MILENGE MILENGE doesn’t propel you to rush to a nearby cineplex and grab a seat, despite the fact that its lead stars are at the prime of their respective careers and enjoy a solid fan-base.

But never judge a book by its cover. Sure, you march into the film with zilch expectations, expecting a dated product with a hackneyed plotline, but as the reels begin to unspool, you realize that it does have a story to tell. So what if MILENGE MILENGE borrows from the John Cusack – Kate Beckinsale starrer SERENDIPITY . The Indianisation by writer Shiraz Ahmed is quite engaging at places.

The ‘recipe’ for that perfect love story is simple : Cast a good looking pair, choose a tried-and-tested story , garnish it with sweet/cute/romantic/delightful situations, add a couple of energetic songs and shoot the muvie at panaromic locales. Presto, prem kahani tayyar ho gayee!

But MILENGE MILENGE has ‘kismet’ keeping the lovers apart. Imagine a love story where the lovers have already expressed love for each other, but some force beyond their control gets in their way and keeps them apart till the end of the film. The script indulges in bringing its leads together, but also makes sure that they stay far away from each other till minutes before the film is about to conclude. Sure, this thought sounds interesting on paper, but there’s a flipside to it. With Facebook, Twitter, Google and also cellphones at one’s disposal, is it difficult to trace anyone in today’s times? Naah, not anymore!

Final word? MILENGE MILENGE may be dated, but watch it for the chemistry between its lead pair. Perhaps, this JAB WE MET jodi may never team up ever again!

Immy and Priya meet at a youth festival in Bangkok. Priya is a romantic at heart and expects her life partner to be a teetotaler, a guy who doesn’t smoke and also, who doesn’t lie. Immy is totally opposite of what Priya wants from her life partner. Their world collides when Immy lays his hands on Priya’s personal diary and learns of her likes and dislikes. He poses as her dream mate by giving her a totally different picture of himself.

While preparing to return to Delhi, Priya discovers the copy of her diary in Immy’s room. She realizes that Immy has made a fool of her and decides to confront him. In the meantime, Immy confides in his friends that although he has cheated Priya, he is truly in love with her. But Priya appears in front of him and all hell breaks loose. She decides to end the relationship.

Immy tries to regain her trust by telling her that they are destined to be together. Priya decides that if it is destined that they be together, then they will find each other in Delhi again, although both do not know each other’s whereabouts in Delhi. Three years later, Immy returns from abroad, while Priya is now settled in Mumbai. Immy is engaged to a family friend’s daughter , while Priya has also moved on in life. She is in a relationship with a pop singer.

Both of them are about to be married, but after all these years, they still have this nagging feeling that the other was his/her true love. Of course, fate conspires to bring them back together as they simultaneously undertake one last attempt to find one another just before they get married to someone else.

MILENGE MILENGE starts off like one of those countless love stories, with mandatory songs and lovey-dovey scenes aplenty, but the twist minutes before the interval is so well executed that it suddenly raises the bar of the film. Naturally then, you expect the post-interval portions to charter a new path.

The second half has its share of engaging moments, but, very frankly, it tends to get repetitive and melodramatic as well. The entire track of a particular Rs. 50 currency note and the book with Kareena’s name and phone number on it, although novel, hasn’t been portrayed too effectively. Even the finale — when Shahid reaches out to Kareena — isn’t convincing. Like I pointed out earlier, what binds the film together is the chemistry between the lead pair and a few charming moments.

Satish Kaushik’s handling of a few sequences is commendable. Himesh Reshammiya’s musical score is quite good. ‘Kuch To Baaki Hai’ and the title track are good compositions. Cinematography is okay.

Both Shahid and Kareena play the hopeless romantics to the hilt. Their off screen chemistry comes across very well on screen. Although the film was shot several years ago and Shahid looks boyish all through, his performance is consistent and believable. Kareena is equally convincing. Aarti Chhabria has nothing to do. Delnaaz Paul and Sarfaraz Khan get ample scope and are noticeable. Satish Shah is hardly funny. Kirron Kher sparkles in a brief role. Himani Shivpuri is wasted.

On the whole, MILENGE MILENGE has the charismatic lead pair, who are very popular with the youth, as its USP. But the problem is its dated look. Having taken a long time to reach the theatres, it will have to rely on a solid word of mouth to lure the audiences into cineplexes. Business-wise, there’s some hope in the Hindi belt, where traditional love stories and melodrama are accepted.

In most Hindi films, the first thing you notice at the very start is a disclaimer which states that the film is a work of fiction and bears no resemblance to any person living or dead. But RED ALERT – THE WAR WITHIN admits that it’s based on a real story. Even otherwise, the issue it dares to portray — the Naxalite movement — is topical, piping hot and an issue that has been dominating the front pages of newspapers for quite some time now.

Come to think of it, who’d be interested in knowing what happened in the life of a poor villager, living a hand to mouth existence in a hamlet in Andhra Pradesh? Aren’t these stories covered on news channels and forgotten the next day itself?

But the written material of RED ALERT – THE WAR WITHIN is so powerful and the execution of the subject so rivetting that you can’t help but keep your eyes wide open as the story unfolds. You gradually realize that you aren’t merely watching a film on the Naxal movement, but also the heart-wrenching story of a simpleton who gets embroiled in a mess only because he wants to feed his family and send his kids to school.

Final word? Give this realistic film a dekho. It’s worth it!

RED ALERT – THE WAR WITHIN tells the story of Narsimha , a farm labourer, who desperately needs money to fund the education of his children. He suddenly finds himself in the midst of Naxalites, when he goes to deliver the food in the jungles. From being a mere cook to actually training in weapons to being involved in shootouts and kidnapping, Narsimha finds himself in the thick of life he had never bargained for. A confrontation with the group leaders turns his life upside down; he is now on the run from both law and the militants.

Almost a decade ago, LAAL SALAAM , starring Nandita Das and Sharad Kapoor, tackled the Naxal movement quite effectively. RED ALERT – THE WAR WITHIN is real as well and though it stars well-known stars who’re known for their work in hardcore masala films, immense care has been taken to present them as characters, instead of capitalising on their star status. This is evident at the commencement of the film itself, when Suniel Shetty, who has played a toughie in film after film, runs for cover and loses consciousness when the cops and Naxals indulge in gunfire. He’s as helpless as you and I would be, if caught in a hazardous sitaution like that. That’s not all, even Sameera Reddy is minus makeup and as shattered as any woman would be, after being gang-raped.

The characters apart, RED ALERT – THE WAR WITHIN keeps you engrossed in most parts, more so towards its second hour. However, its ending, talking strictly in terms of impact, isn’t as strong and impactful as the rest of the film.

RED ALERT – THE WAR WITHIN is director Ananth Narayan Mahadevan’s best work to date. It overshadows his previous works and proves that he has genuinely evolved into a fine storyteller. His handling of the difficult subject — a complete contrast to what he has attempted earlier — is simply first-rate. Aruna Raje’s screenplay is watertight, save for the climax that tends to get predictable. Action scenes are as real as real can be. K. Rajkumar’s cinematography is top notch. It must’ve been so tough to shoot this film in dense forests!

Every actor in RED ALERT – THE WAR WITHIN delivers a splendid performance. Suniel Shetty delivers his most sensitive, most amazing performance that can easily be called his career-best. It makes you realize that there’s a reservoir of talent that hasn’t been tapped to the optimum. Sameera Reddy is a complete revelation, a complete shocker. She leaves a hammer-strong impact. Like always, Seema Biswas is excellent, while Ayesha Dharkar is supremely efficient. Ashish Vidyarthi is outstanding. Why don’t we see more of him these days?

Gulshan Grover leaves a mark. Bhagyashree is effective. Makrand Deshpande underplays his part very well. Zakir Hussain is super. Aditya Lakhia is perfect. Sunil Sinha and Ehsaan Khan are good. Vinod Khanna, in a brief role, and Naseeruddin Shah, in a lone sequence, are superb.

On the whole, RED ALERT – THE WAR WITHIN is a well-made film that portrays realism effectively. It may not lure the audiences in hordes or set the box-office afire, like a typical entertainer generally does. Nonetheless, it will leave a strong, indelible impression on those watching it. Watch it for the sake of encouraging thoughtful, relevant and truly scorching content!

The first thing that attracts you to I HATE LUV STORYS is its title. Let’s face it, we adore love stories… at least I do. We idolise the characters decades after the movies have come and gone. The songs that come on our lips instantly while playing a game of antakshri are romantic songs as well. In fact, the biggest moneyspinners, let’s face it, have been love stories, right? So how can we ‘hate’ a love story?

No matter how mushy or cheesy they are, we find love stories irresistible because of the tremendous rush we experience at the end. Some of us are big suckers for love sagas, aren’t we? That’s precisely the reason why this title nagged me no end every time I watched the promo of this film.

Helmed by first-timer Punit Malhotra, I HATE LUV STORYS is typical candyfloss romance with a story that’s not jaw-droppingly different, let me forewarn you. But if you’re young at heart or a diehard and hopeless romantic, you’d lap up I HATE LUV STORYS like a kid laps up his fav candy.

Now to the vital question: If I HATE LUV STORYS rests on a thin plot, what is it that drives the film for the next two hours? My answer to that is, four factors: The fresh pairing and chemistry between the lead cast, tremendous youth appeal, terrific music and magical moments that make a love story work.

Final word? The makers have never claimed that I HATE LUV STORYS will change the face of Hindi cinema. Nor did they ever claim that I HATE LUV STORYS will change the mindset of the viewer towards romantic films. So let’s sit back and enjoy the fun ride. This one’s by the youth, for the youth. It’s this age-group that would come out smiling, cheering and rooting for this prem kahani.

‘I hate love stories’ is the maxim Jay lives by. But as an assistant director to Veer , the most famous romantic film-maker of Indian film industry, Jay has little option but to live with larger than life, glossy, cinematic love on an everyday basis. Things only get worse when he is made to work under the new production designer on the film, Simran , with whom he shares the strangest first encounter.

Simran loves love stories, so much so that even her life has begun to resemble one. With her ideal job and the perfect boyfriend Raj , she lives a blissful, dreamy life. One that is rudely interrupted by Jay’s cynicism.

Writer-director Punit Malhotra wins Round 1 by casting the right actors in the roles of Jay and Simran. In fact, it wouldn’t be erroneous to state that the casting is the trump card of this film. But what Punit ought to know by now is that every story ought to have a strong grip to keep your attention arrested for the next two hours. In this case, the film rests on a waferthin plot, with not much movement in the story in the first hour. In fact, the story barely moves in the first part.

Yes, post-interval, the story does gather momentum and though you’re well aware of the journey and what the culmination will be like, you don’t mind the ride because you can’t take your eyes off Imran and Sonam. Also, a love story works if one pines for the on-screen lovers and in I HATE LUV STORYS, you genuinely want the duo to sort things out, which means that you’re involved in their lives. Even the finale – it won’t be fair on my part to reveal how this movie concludes – may be filmy or cliched, but let’s face it, it works.

Let me draw parallels with another love story, also starring Imran Khan. Recall the finale of JAANE TU YA JAANE NA, which had Imran riding a horse to reach his sweetheart at the airport. I distinctly recall, a lot of people found the end bizzare and rightly so. Can you imagine anyone galloping to the international airport in Mumbai? But I was truly surprised when I learnt that the youth were whistling and clapping all through. The finale is different here and you exit the auditorium with a smile on your face.

Director Punit Malhotra is heavily inspired by Mills & Boon novels and several Bollywood films… love stories all. But like I pointed out earlier, Punit needs to polish his writing skills, although the director in him bails the writer out and takes the film to a different level. The sequences between Imran and Sonam are well penned, but the ones between Sonam and her parents or Sonam and Samir Dattani are half-baked. Directorially, Punit shows super-confidence in moulding the two actors in their respective parts, so much so that you get sucked into Jay and Simran’s world after a while.

A love story ought to be embellished with a lilting score – that’s a compulsion – and Vishal-Shekhar are in true form this time. The score is trendy, energetic and beyond fantastic and what’s more, it’s already a rage. In fact, the musical score only takes the movie a step ahead. Ditto for Salim-Sulaiman’s background score, which matches the mood to the T. Ayananka Bose’s cinematography is awesome. The ace DoP proved his credentials in KITES recently and with I HATE LUV STORYS, he should find himself entrenched in the top bracket. The styling is top notch.

Imran enacts his part effortlessly. Though the role doesn’t demand histrionics, you keep reacting to Imran because of the magnetism he radiates. The devilish streak in his character is sure to appeal to the youth. Besides, Imran has been photographed and presented very well. Sonam is a revelation. From salwars to skirts in I HATE LUV STORYS, Sonam finally gets a role that does justice to her as an actress. The ease and class with which she carries off the glam look is fantastic. She’s like a whiff of fresh air and you actually wonder, is she the same girl from SAAWARIYA and DELHI 6? In fact, I HATE LUV STORYS will only multiply Imran and Sonam’s fan base manifold.

Samir Dattani is decent, although his role gets sidelined as the story moves forward. Samir Soni’s character reminds you of a certain hi-profile director and he plays the part extremely well. Kavin Dave, as Imran’s buddy, is first-rate and steals the show in several scenes. Aamir Ali is perfect, while Pooja Ghai doesn’t get scope to deliver. Bruna Abdullah looks sensuous and adds to the glam quotient. Ketaki Dave is wasted. Anju Mahendru is adequate.

On the whole, I HATE LUV STORYS is a young and vibrant love story with tremendous appeal for the yuppies. The fresh pairing and the on-screen electrifying chemistry, the lilting musical score and the magical moments in the film should attract its target audience – the youth – in hordes. If you’re young or young at heart, this one’s for you!

Raising a strong voice against the system, corrupt netas, dishonest cops, fraudulent land sharks and the corrupt practices in general has been a fav subject of dream merchants in Bollywood. Mehul Kumar’s KRANTIVEER is best remembered, among other things, for Nana’s fiery performance and his outburst in the finale, when he’s about to be hanged in public. I distinctly recall, the single screens reverberated with ceetees and taalis when Nana delivered those acidic lines.

KRANTIVEER – THE REVOLUTION remains faithful to the core issue. This time, it’s Nana and Dimple’s screen daughter Jahan who takes the onus of fighting the politicians, land sharks and corporate honchos who take the common man for a royal ride. That’s not all, Jahan even ‘awakens’ a harassed housewife who is assaulted in full public view by her errant husband. Quite a hothead!

KRANTIVEER worked for various reasons, but a strong reason was it being amongst the early films to raise a voice against injustice and malpractices. Post KRANTIVEER, there has been a barrage of films that have followed a similar path. That’s why KRANTIVEER – THE REVOLUTION, despite the right intentions, doesn’t stand out. However, the provocative dialogue and the reference to 26/11 do catch your attention in its second half.

The young daughter of the man responsible for the last revolution, Pratap , is now wielding the power of media as a fearless journalist. Roshni has inherited not only the courage and sting of her legendary father, but also the spirited lingo and the indomitable style.

Roshni acts as a pivot of the revolution and gets along her determined neighbour Vishal and college mates Uday and Goldie . The story takes all of them on a mission to rid the present society of the evils, a revolution for cleaning the system.

While the plotline is easy to guess, the execution of a few sequences do make a difference. Veteran Mehul Kumar handles the plot like a complete expert, more so towards the second hour, which has some engrossing moments. Sachin-Jigar’s music is okay, with the birthday song being the pick of the lot.

Jahan delivers a fiery performance and remains true to her character. She does a wonderful job. Sameer Aftab is decent. Aditya and Harsh are okay. Govind Namdeo and Mukesh Tiwari enact their villainous parts with ease. Ashok Samarth stands out in the confrontation sequence after the interval. Farida Jalal is as usual. Hiten Paintal is competent. Aman Verma plays the lecherous corporate bigwig well. Ranjeet, Darshan Jariwala, Avtar Gill and Suhasini Mulay feature in brief roles.

On the whole, KRANTIVEER – THE REVOLUTION is an ordinary fare, which is for the hardcore masses.

It’s time for the modern-day version of ‘Ramayana’ to unfold this Friday, exactly two weeks after ‘Mahabharata’. The very thought of watching an epic in the present-day milieu only enhances the curiosity for the film. And if the present-day adaptation of ‘Ramayana’ is helmed by a master storyteller , the moviegoer should, and must expect the moon. Nothing less would suffice. After all, a Mani Ratnam film is not merely an experience, it’s an event!

Mani Ratnam, who has penned the screenplay of RAAVAN, models his characters on the lines of ‘Ramayana’:

• An upright cop, the punisher, the law/Lord Rama ;
• His doting wife/Goddess Sita ;
• The lieutenant he befriends in the forest/Hanuman ;
• His confidante/Lakshmana ;
• The antagonist’s sister, who triggers off the war/Surpanakha
• And, of course, the antagonist, the Robinhood turned Raavan who kidnaps the top cop’s wife and keeps her in his custody, in his Lanka/Raavan .

Mani Ratnam has also included the part where Goddess Sita was banished from the kingdom of Ayodhya due to the gossip of kingdom folk. It was agni pariksha then, but in the film, the husband asks the wife for a polygraph test to prove her chastity/fidelity. At the same time, RAAVAN brings back memories of a movie that, coincidentally, had a similar storyline — JUNGLE .

You’ve come to expect scintillating visuals in the master film-maker’s films and RAAVAN is no exception. But RAAVAN falters in narrating the story with dexterity. In fact, this one’s a game of see-saw, with a dull and lifeless first hour, an absorbing second half and a weak, lacklustre climax.

Final word? RAAVAN comes with the baggage of humungous expectations, mainly for the one name attached to it: Mani Ratnam. Even though comparisons with the genius film-maker’s earlier accomplishments like MOUNA RAAGAM, NAYAGAN, AGNI NAKSHATRAM, GEETHANJALI, ANJALI, ROJA, BOMBAY and GURU are sacrilegious since all belong to diverse genres, RAAVAN is nowhere close to those epics. The benchmarks only get higher and higher every time Mani Ratnam makes a film and RAAVAN, unfortunately, is a step down. Sorry, several steps down!

Dev falls in love with Ragini , a spunky classical dancer who is as unconventional as him. They get married and he takes up his new post in Lal Maati, a small town in northern India. A town where the world of law is not the police, but Beera , a tribal who has, over the years, shifted the power equation of the place from the ruling to the have-nots of the area.

Dev knows that the key to bringing order to any place is not to vanquish the big fish; in this case — Beera. In one stroke Dev manages to rip open Beera’s world and set in motion a change of event which will claim lives. Beera, injured but enraged, hits back, starting a battle that draws Dev, Beera and Ragini into the jungle. The forest becomes the battleground. The battle between good and evil, between Dev and Beera, between Ram and Raavan.

Mani Ratnam’s adaptation of ‘Ramayana’ begins with the wife getting kidnapped and her husband launching a massive hunt to track down his wife and nail Raavan aka Beera. The reason why Beera takes this extreme step is revealed much, much later, towards the post-interval portions, which means that Mani Ratnam follows the nonlinear pattern to narrate his story.

Let’s talk about the factors that pull this film down. First and foremost, when you’ve a title like RAAVAN, the demon king, who couldn’t be vanquished by Gods, demons or spirits, you expect Raavan aka Beera to be equally powerful, who could send a chill down your spine, who spells terror and fear. But, in RAAVAN, Beera comes across as a psycho. The streak of madness in his character makes a mockery of the character itself.

Also, his makeup and also the shabby avtaars of his family/henchmen is not something that makes them looks menacing. In fact, it makes the entire gang look repulsive.

Even the finale leaves a lot to be desired. Ideally, the film should’ve ended after the fight on the bridge, but the entire track thereafter seems like an add-on, which is forced into the screenplay. Ash having a change of heart for Abhishek is equally unpalatable and makes you wonder, how and when did she develop such strong feelings/emotions for Beera? The writing is flawed, no two opinions on that!

On the plus side, the track, which starts from Nikhil’s kidnap to the entire flashback portion, is attention grabbing. The factors that prompt Beera to spell havoc in Dev’s life are apt, although Beera’s sister’s portions, while narrating the atrocities committed on her, aren’t easy to comprehend in entirety. What was she trying to say, frankly? Yet, the impact of the flashback portions is worth noting.

The fight on the bridge — between Abhishek and Vikram — is astounding. One hasn’t watched something like this on the Hindi screen yet, I’m sure. In fact, the execution of each and every stunt is exceptional. Every Mani Ratnam film is embellished with stunning visuals and RAAVAN boasts of mind-boggling visuals as well. Shooting the film at tough locales isn’t easy and Santosh Sivan and V. Manikandan’s vision creates magic on screen. Every frame is worth admiring and applauding.

A.R. Rahman’s music is excellent and the visual appeal only enhances the impact. I’d like to single out ‘Behne De’ and ‘Thok De Killi’, two tracks that I’d like to hum even after the show has concluded. In fact, the latter is very energetic in terms of choreography. Vijay Krishna Acharya’s dialogue hit you like a sharp object at times, which is in sync with the mood of the film.

I’ve admired Abhishek’s work in Mani Ratnam’s earlier films YUVA and GURU, but despite putting his best foot forward, for some strange, inexplicable reason, Abhishek doesn’t look convincing for the part. Also, the dialogue delivered by him aren’t coherent at times. Aishwarya is wonderful, looking ethereal and enacting her part with conviction. Vikram is first-rate, although the role isn’t substantial enough. Govinda fails to create any impact whatsoever. Amongst the plethora of actors, Nikhil Dwivedi , Ravi Kishan and Priyamani stand out.

On the whole, RAAVAN is a king-sized disappointment, in terms of content. From the business point of view, a Mani Ratnam film might ensure a healthy opening , but the weak script on one hand and the heavy price tag on the other will make RAAVAN see red.