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Jodhaa Akbar is a love story between the Mughal emperor, Akbar, and a Rajput princess, Jodhaa during the sixteenth century

Hrithik is Lajawaab in his performance, body language, dialogue delivery and overall emoting the role of Akbar. According to me his second best performance till date after Fiza.
It is the second time that I liked Aishwariya too as a performer after Devdas. She is not a bit wooden, very much in control, very natural and went deep under the skin of her character, her costumes and jewellery is to die for, Jewellery is exclusively designed by Tanishq for the movie...(please get it in the market)

Overall an entertaining movie and if you have no expectations in mind and dont expect a perfect masterpiece of history that is also as profound and interesting as Lagaan and Swades, you will not be disappointed, but will enjoy the show.

BUT if you are watching Jodha Akbar by keeping in mind the glorifying reviews, Ashutosh Gawarikar, and Lagaan & Swades then YES it is a disappointment.

If you can actually sit through this phenomenally long film (3:20), you may actually walk out feeling quite pleased with the effort. Last but not least AR.Rahman's music is as usual awesome no words to explain it... Jashne Bahara being my favourite….

Movies I watched in Theatres in the last 8 months:
AWARAPAN - **

FAV Song - Mahiya

SHOOTOUT AT LOKHANDWALA - ****

Fav Song - Eh Ganpat


PARTNER - *****
Fav Song - My Love, Soni de Nakhre

CHAK DE INDIA - *****

Fav Song - Maula Mere


OM SHANTI OM - ****

Fav Song - Deewangi Deewangi, Aankhon mein teri


SAWARIYA - **
Fav Song - Sawariya, Jab se mere naina


JAB WE MET - *****

Fav Song - Yeh ishq haye


WELCOME - ***
Fav Song - None

TAARE ZAMEEN PAR - *****
Fav Song - Maa (well no prizez for getting that one right, I am sure the whole population will tick on that, right?)

SUNDAY - ****
Fav Song - None

The best of all the movies I watched
Serious cinema - I still fail to decide between Chak de and Taare Zameen Par, first time ever I agree with Shahrukh's fans that yah he is good, infact too good in Chak de and Comedy nothing could beat Partner, an absolute entertainer and to top it all the OOOHhh so dashing SALMAN. Jab We Met is high on my favourite list too, too good.
Well I am so looking forward to the release of Jodha Akbar, I ablolutely enjoy historical movies, so something to look forward to.
Movies here in UAE releases on Thursdays, a day before it releases in India.
Tell me which was your favourite movie in the last 8 months and why????

Watched this movie on the weekend, my first reaction was I don't want to continue watching but I did, and these lines by Jan Nisar Akhtar are still playing in my mind, heart actually………

Sharm aati hai us shahar mein hain ke jahaan!
Naa mile bheek toh laakhon ka guzaaraa hi na ho!!

There are films that entertain. There are films that enlighten. TRAFFIC SIGNAL belongs to the latter category. This one doesn't get preachy. It just opens your eyes and mind to a deglam world that exists in the glam cities of India.

Madhur Bhandarkar has a penchant for stories that expose different aspects of modern society. And he imbues his movies with an element of realism. After the hard-hitting 'Page 3' and 'Corporate', the unconventional filmmaker completes his trilogy with 'Traffic Signal', which attempts to take you into the world of people making a living on traffic signals.

Director Madhur Bhandarkar's choice of the subject is laudable, although one wishes that there were ample dramatic moments in the narrative. Besides, the subject material will have its share of admirers and adversaries. Yet, there's no denying that the film has some brilliant moments. The Ranveer-Konkona track [including Ranveer's sad demise], the entire track of Manoj Joshi [right till his assassination] and the track of a beggar and the rich Gujarati businessman [with a turning point in a multiplex] are superb. From the writing point of view the penultimate 25 minutes are captivating.

Special mention has to be made of the costumes worn by the characters. They look real! Ditto for the makeup; it lends the required authenticity to the characters.

The ones who stand out with more than commendable performances include Kunal Khemu, Konkana Sen Sharma and Ranveer Shorey. Ranveer Shorey steals the show with a superb portrayal.

The climax is unconventional. There's no herogiri or bhashanbaazi here. The protagonist doesn't fight the evil forces single-handedly. He can't, he's too insignificant in front of them and he knows his shortcomings. And the only recourse he sees is approaching the law.

On the whole, TRAFFIC SIGNAL is a slice-of-life film and that is its USP. This deglam film should find a good share of supporters for its theme and also for the execution of the penultimate 25 minutes. At the box-office, the film has a major advantage -- a brand called Madhur Bhandarkar.

HRITHIK ALL DA WAY!!!

Cut the crap… Cut the gyan… Let's come to the point straightway: Is DHOOM 2 as big as its hype? Does it meet the monumental expectations? Or is it a gas balloon with a leak?

Yes, DHOOM 2 works big time!!!

With its stylish look, incredible stunts and tongue-in-cheek humour, the movie keeps you constantly on the edge of your seat without any safety belt.

The fact that we dared to watch a latenight show in full strength, 18 of us on a weeknight was paid in full by a Full2 Entertainer............

You can skip an early night or a roller-coaster ride for a movie like this. And you won’t miss a thrill. High speed chases, free-falls, pyrotechnics, death-defying stunts are all rolled together to give you goose bumps in every single reel of this 2.45 hr movie. And a lion’s share of credit for this goes to Hrithik Roshan , without whom this movie would have been a soulless body.

Story is not of as much importance to this movie as individual sequences revolving around robberies as Hrithik Roshan ingeniously pulls off one impossible heist after another.

‘Dhoom 2’ turns out to be a movie that redefines the action genre in Bollywood. And once again it is Hrithik Roshan who plays a pivotal role in stretching this quotient. The actor just keeps getting better at doing unimaginable stunts. He does sand-surfing, roller-blading, bungee jumping and much more with the mien of an expert. Besides the stunts, he stays in complete control of his character and convincingly brings out the emotional sides of Aryan in the second half. The movie truly belongs to him.

Abhishek Bachchan looks rugged playing the no-nonsense cop but is never able to rise above Hrithik’s presence. Bipasha Basu looks really hot and what not, On the other hand, Aishwarya Rai doesn’t look least bit better despite wearing a variety of skimpy dresses. The so called gorgeous actress is not able to carry herself comfortably in revealing outfits. Perhaps she is a beauty that ought to remain covered. The moment she opens her mouth you will write her OFF.

Uday Chopra is the only source of humour in this action-packed thriller. Although his comedy is generic, the flair and ease with which he does it makes his character very entertaining.

‘Dhoom 2’ isn’t void of faults, and some of them are so glaring to be overlooked. But overall it is a paisa wasool kinda movie.

All said and done, this Dhoom turns out to be bigger and bombastic than its prequel. It is essentially a cops and robbers story with some glamour and humour thrown in. In this tussle between cops and thieves, it is Love that wins in the end. After all, Aashiqon ka janaaza hai, zara Dhoom se niklega.

I say, watch it for Bronzed Hrithik and Brazil!!

AH KHAN!!! YOU HAVE DONE IT AGA(i)N!!!

There’s something about Salman Khan. Somehow, over and above his dashing good-looks, his charm manages to floor some (read most) of the most beautiful women in the world, or should one say the universe.

After a host of beauties who have been smitten by the charismatic Khan, the latest entrant to the ‘Salman fan club’ is Miss Universe 2006 Zuleyka Rivera, who is so smitten by the actor that she leaves no chance to get in touch with him.

It is alleged that the two bonded so well that Zuleyka apparently wanted to ride with Salman on his bike, so the actor was courteous enough to drop Zuleyka back to her hotel on his bike.

Apparently, she is so impressed with the star that she just can’t get enough of him. This Puerto Rican beauty, who is currently in India on an AIDS awareness campaign (part of her portfolio), visits him on the sets, and at times drops in at Khan’s home in Bandra too.

AS PERFECTLY QUOTED: GOOD LOOKS BRINGS GOOD PROFITS ;-)

Don-with-a-twist'

Well you must have read a few reviews and now that you have lowered your expectation, Don is a good watch.

There is also a slight hint of imitation in SRK’s performance. May be because it is difficult to improvise the part already played to perfection by Bachchan many years ago.

So the big question first – Can Shah Rukh do what Amitabh did? Heck, NO! But is Shah Rukh good? Indeed, just rid the comparisons.

When I sat in the hall with friends (whistling at any given chance) I had this thought that SRK will never be able to play Don the way the legendary Amitabh Bachchan did… and I was proved quite right…



ShahRukh could not be the suave, composed and all supreme Don who did things with such exuberance that made the impossible seem possible… His boyish self keep reappearing at any given opportunity, He could not portray arrogance in a subtle manner, but created his own mannerisms (as usual)!

Farhan Akhtar made sure that the story is customized to the new generation. He used modern narration techniques and advanced technology to narrate this Don in an interesting style. There is a huge twist in climax which would take you by surprise.

It is rare to see stars to come out and announce to the world that their films are doing quite well. It is further rare to see someone of the stature of SRK doing so. But then even the superstars change rules when 99% of media is hell bent of proclaiming their films a washout, when the reality is far from true.

My advice to Shah Rukh:
Now that you have tried your hands on what you cannot do with ease
Feel free to go back to doing what you do the BEST
wooing the lady loves and their moms :-)

Karan Johar's magnum-opus Kabhi Alivda Na Kehna (Never Say Goodbye) is finally here, and we celerated it's highly anticipated arrival by watching it with all our friends on Sunday.

'Kabhi Alvida Naa Kehna' with its enviable stellar star-cast is first of this year's multi-starrer big-budget productions to hit the marquees.

Johar has spent Rs.500 million on the film and brought together Amitabh, Shah Rukh, Rani, Preity, Abhishek and Arjun Rampal.

The film is a romantic meldorama involving two married couples, Shah Rukh Khan and Preity Zinta, and Abhishek Bahchchan and Rani Mukherji.

Legendary actor Amitabh Bachchan plays Abhishek's father, while Kiron Kher is Shah Rukh Khan's mother.

Karan Johar's movies I always maintain are treat for your eyes, beautful girls, handsome men, rocking locales and extravagant, mindblowing costumes.
Fine details even with the accessories was admirable, Christian Dior bags for Preity and LVMH bags and accessories for Rani was maintained throughout the movie.

Movie is good, performances Agrade and music awright.

My favourite - MITWA: "Mitwa…love will find a way", a boisterous outrage of lover, an animated expression of love, a feel of turbulent emotions is all set to rule the hearts and charts. The hard rock guitar strings along with fine concoction of auto-phonic instruments is garnished with rendition of classical Indian "ragas" by Shafaqat Amanat Ali Khan (lead singer of Pak pop group "Fuzon") in the youthful soundtrack "Mitwa". Its Sufi pop soundtrack sung with energetic pace, musical brilliance and poetic affluence
Picturisation of this song was awesome, I loved it

Adding to the buzz for the film are its songs like 'Where's the Party tonight' picturised on Abhishek and Preity in the film, as also the ''Rock and Roll Sonie'' song picturised on Amitabh, Abhishek and Preity, which are already a huge rage among all sections.

Shahrukh looked as vibrant as ever and Abhishek is just Wowww with his bearded look throughout.
Preity and Rani outstaged each other in terms of performance and looks, ENJOY viewers

Well answering THAT question:
Nope! When it comes to infidelity, Arth still remains the last word in Bollywood. And Silsila the most silken.

 

 

Courtesy: Rediff

Ever since it has been announced that Paheli has been selected by the Film Federation of India as India's submission for the 2006 Academy Awards, all hell has broken loose.

The film opened to mostly poor reviews across the country, and protesters are voicing dissent in all directions -- Shah Rukh Khan's acting ability, the tragic omission of critically loved films like Hazaaron Khwaaishein Aisi and Iqbal, and even raising the possibility of lobbying done by Rajasthan Tourism!

And an entire nation of critics, armchair and otherwise, seem incensed by the fact that Sanjay Leela Bhansali's Black has been passed over for this relatively smaller commercial success.

In this article, we choose to argue the merits of the FFI's arguably gutsy selection. Here we defend our Oscar entry, especially over what can now be called its archrival, Black. Here's to the riddle:

First things first, the two films being debated upon have quite a bit in common: Both feature the masterful cinematography of Ravi K Chandran; both highlight their sensational leading lady, Rani Mukerji; and both are undeniably works of extreme directorial self-indulgence.

But the difference lies in that very fact. Amol Palekar's bright abandon in Paheli leads to a languorously unhurried fairytale, a unique love story told without fuss. On the other hand, Sanjay Leela Bhansali trips the light narcissistic with his mega-budget Black to emerge with a half-baked, often derivative and crucially flawed film.

The story: Palekar adapted a folktale written by playwright Vijay Dandetha. Trusting in the script to do the talking, he peopled this setting with a fine ensemble cast and a magnificent Rajasthani setting. The story remains a familiar one as a ghost falls madly in love with a human, and dresses up as her husband. Even as the ghost is enjoying this life, the husband returns, providing the film with its simplistic point of conflict.

Meanwhile, Bhansali, goaded to heights of cinematic decadence after the inexplicable success of his most grotesque and overblown film, Devdas, puts together a dodgy tribute to Helen Keller that aims far too manipulatively for the heartstrings. Black slashes melodramatically across them, instead of tugging lightly, which is why kerchiefs stay largely in pockets; emotion cannot be this calculated.

The setting: It's easy to fall into the rut of using Rajasthan as a clichéd backdrop, but Palekar avoids this pitfall by sheer excellence. The colours of the film make you reel, and its fairytale content is aptly framed by the bright magnificence of the desert state. Cinematographer Chandran hits peak with the film, wrapping Rajasthan in appropriate dream garb.

Black is a beautifully shot film, but amounting to vacant ambiguity. The setting is peculiarly English, the characters speak with a light (at the best times) accent, and everything aims to be perfect. But the candles and the bathtubs, the vastness and the artworks on the wall, all reek of trying-too-hard, of slathering on excess upon excess so you don't notice the emotion. As a friend said to me, if Black was set in the local marketplace, and you'd have seen Rani stumbling around in Lokhandwala (a northwest Mumbai area), it would have been a lot more effective. Indeed.

The acting: Shah Rukh Khan, despite whatever misgivings you might have about his thespian abilities, woos women on screen with superb panache. The actor also has splendid comic timing, and the film sees him in a dual role, utilising both of his strengths and adding miraculous layers of restraint. The film's producer isn't the 'he-he-hey Anjali' actor of yore, and this is a breakout role.

Rani Mukerji seems to be incapable of putting a foot wrong these days, and this is a powerful, sensuous, emotive performance. The supporting cast isn't important, but some scene-stealing is done through the comedic efforts of Dilip Prabhavalkar and Rajpal Yadav. Amitabh Bachchan is magnificent in his brief appearance.

Black has some marvellous performances. Ayesha Kapur, an unschooled little girl, plays the young Michelle McNally to absolute perfection, decidedly the highlight of the film. Theatre veteran Shernaz Patel is superb as the mother, and Dhritiman Chatterjee provides adequate foil as the father. In a script requiring massive acting histrionics, Rani rises to the occasion on most parts, but it is tragically the script itself that keeps hers from being an immortal performance. Amitabh Bachchan, rattling some insanely grandiloquent soliloquys, hams tremendously. He is required to deliver, but just mires the film into mediocrity.

The narrative: Paheli is a slow film. It starts slow, stays slow, and remains a lazily told story. The simplicity of the story is plain; it is how the director has chosen to sketch in the details that makes the difference. For example, a pair of hand puppets share occasional dialogue with the ghost, fleshing out his, and the film's, character delightfully. The song sequences were a total letdown, the director unaccustomed to the classic Bollywood devices, and the lengthy songs just drifted harmlessly through the film, aided by the splendiferous colours.

Black works in fits and starts. While you are still adjusting to the vacuously lit, tremendous open spaces, characters and introduced and confusion is born throughout as none of them achieve true credibility. At best, the film is shadowy, free of empathy and surrounded by cinematographic smoke and mirrors. For example, Nandana Sen, who plays Michelle's sister, is an inexplicable persona, a cross between jealousy and affection the script never works on explaining.

The flaws: WARNING. SPOILERS HEREIN

Ah. The 'interesting' bit. Paheli has its share of loopholes, with a lot of viewers decrying the fact that the ghost eventually chose to enter the husband's body. Why couldn't he have done that at the very beginning? Well, readers, if we're assuming that a spirit can fall in love, why can't we assume that he too gets spooked (sorry!) by commitment? He's drawn to her, he wants to have her, but really, isn't it reasonable to think that he too might need time to think things over? Anyway, doesn't a fairytale (!) always have a blissful lack of absolute rationale?

Black's errors, on the other hand, weren't as harmless. To mention just one in a tremendously long list, Nurses were justifiably up in arms after the film, as Bhansali constantly mixed up Alzheimer's and Parkinson's! This in itself is an unforgivable error, and in a film aiming to be a finely oiled and polished product, there can be no possible defense. The film drags tediously on, painting a strange picture lacking almost completely in realism.

In sum:

Black is not a good film. Hold your protests, and I swear if anyone mentions Krzysztof Kieslowski (the Polish filmmaking genius) and makes comparisons -- as several critics did at the time of the film's release -- with his Blue again, I will hurl Devdas DVDs at their scalp. Despite lavish and even breathtaking cinematography, and a couple of standout performances, Bhansali's film is insubstantial and ends up utterly inconsequential. Sound and fury, signifying nothing. If we would have sent this film to the Oscars, it would be laughed away. Not least because of the plagiarised content.

Paheli, on the other hand, paints a dreamscape. The enchanting story is laid out elaborately, framed magnificently in colours and Rajasthani exotica. The language is rustic and the actors have their accent-work well in place, so the dialect sounds appropriately faraway. The desert setting provides the cinematographer a perfect background to capture the trademark vivid brightness in the state's everyday clothing. The pagris are rich, layered, and as irresistible as the simple romance.

This is a magical film, and lets all hope fervently that the West wakes up to it as strongly as the Audrey Tatou movie (The French Le Fabuleux Destin d'Amelie Poulain, directed by Jean-Pierre Jeunet), a couple of years ago. And we go one better, and grab us an Oscar.

Here's to you, Pahelie!

Viruddh' Against All Odds

Amitabh Bachchan and Sharmila Tagore, coming together on screen after many years, are the main protagonists of this touching movie that tells the tale of an elderly couple who take on the corrupt system to get justice for the killing of their only son.

In Mahesh Manjrekar’s words Viruddh is a movie inspired from a real life couple. The story is presented in the movie in an authentic way. Quite credibly, Manjrekar delineates the character sketch of Vidyadhar (Bachchan) as an elderly man of buoyant spirit.

This light-hearted jamboree of the initial reels stands in sharp and ironical contrast to the somber mood of the second half.

To an extent, Manjrekar succeeds in bringing forth on the screen and make the audience feel the very pain and plight of the aged couple. Thankfully, he shuns over-dramatization of emotions and deliberate placement of tear-jerking situations. The emphasis, rather, is on the realistic depiction of the story.

The movie’s dialogues are gritty and lifelike. And thankfully, there are no item numbers or other eye-candy distractions to chip in for some entertainment in this engaging albeit serious story.

Amitabh Bachchan and Sharmila Tagore deliver superlative performances. While Bachchan, true to his credentials, shows incredible mastery in conveying many emotions, Ms. Tagore, sans any cosmetic make-up, is very natural in her performance. And the cozy onscreen chemistry between the two is unmistakable.

John Abraham is getting better with every film and in Viruddh he is able to hold his place and deliver his role convincingly despite the presence of a megastar like Bachchan alongside. Sanjay Dutt’s role in the movie looks forcibly carved.

All said, Viruddh is a sensitive movie that will appeal to niche audience. The movie’s sad and somber mood and its lethargic pace (at places) may not go down well with masses.