Billu Barber - Movie Review

Priyadarshan is synonymous with ha-ha-thons, but the talented storyteller has been equally proficient while handling intense dramas like SAZA-E-KALA PANI, GARDISH and VIRASAT. Like VIRASAT and MALAMAAL WEEKLY, BILLU, the accomplished director's new outing, is also set in a hamlet.

Although the story has been attempted in Malayalam [KADHA PARAYUMBOL] and Tamil [KUSELAN] earlier, the story actually takes its inspiration from the legendary friendship between Lord Krishna and Sudama. In this case, the story talks of the friendship between a superstar and an ordinary mortal who runs a salon.

BILLU is a simple story about simple people, told in the most simplistic manner. There's a generous dose of glamour as well, given the fact that the protagonist's friend happens to be a superstar, but what actually works for the film is the simpleton's story. He wages a daily battle to make ends meet.

Although the film is engaging, Priyadarshan reserves the best for the finale this time, when the superstar reminisces about his childhood friend and the deep bond that they shared. The end is remarkable and is sure to strike a chord with all sections of moviegoers.

Final word? BILLU is amongst Priyadarshan's finest works. And also Irrfan and SRK's. This tale of friendship is sure to steal your heart!

BILLU tells the story of a simple ordinary man, Bilas Rao Pardesi [Irrfan Khan], living in a small town with his wife Bindiya [Lara Dutta] and two kids. His life undergoes a drastic change as superstar Sahir Khan [Shah Rukh Khan] visits the village for a film shoot. Everything changes. Things go from good to bad to worse to good again.

Ten minutes into the film and you get absorbed into Billu's small world. The salon is in bad shape, the family is facing tough times, the neighbours and acquaintances are fair-weather friends... Billu's life gets grim with each passing day.

The story takes an interesting turn when Billu's life collides with the superstar's. And the assorted characters -- right from an aspiring poet/lyricist [Rajpal Yadav], to a stingy money lender [Om Puri], to the principal of the school [Rasika Joshi] -- everyone wants favours from Billu. These characters only make BILLU more interesting.

SRK's track is equally fascinating and only spices up the proceedings. In fact, Priyadarshan has amalgamated the three songs [featuring SRK with Deepika, Priyanka and Kareena] in the narrative smartly. Not once do you feel that you're watching two stories concurrently.

The best part of the enterprise is its climax. The superstar recalls his humble beginning and how his friend stood by him in times of crisis. The writing is brilliant and SRK only takes the scene to greater heights with his terrific portrayal.

Priyadarshan is adept at handling relationships and with BILLU, he proves he can handle emotions with as much flourish as comedy. To tell a simple, uncomplicated story, without the usual frills, is an arduous task indeed and Priyadarshan tackles the material with remarkable ease. The humour here is subtle, not loud, and a constant smile remains on your face all through.

Mushtaq Shiekh and Priyadarshan's screenplay is foolproof. In fact, the writing never loses focus and the highs and the lows in Billu's life are sensitively penned by the duo. Manisha Korde's dialogues are simple, gelling with the mood of the film.

Pritam's music is energetic. The songs, promoted aggressively prior to the release, only get an impetus thanks to the presence of the three actresses. 'Mar Jaani' and 'Love Mera Hit Hit' are, of course, the pick of the lot. V. Manikandan's cinematography is top notch. The locales [Pollachi] are breath-taking.

In the recent years, Irrfan has emerged as a force to reckon with, his performances have appealed to all strata of moviegoers and his work in BILLU will only cement his status as a remarkable actor. Shah Rukh Khan needs to be admired for two reasons. The show belongs to Irrfan, although SRK could've forced himself in every scene. Also, he has chosen to opt for a film that's not one of those run-of-the-mill types. In terms of performance, SRK shows his true potential towards the finale.

Lara Dutta springs a pleasant surprise. She goes through her part with complete understanding. Om Puri is excellent. Rasika Joshi is too good. Rajpal Yadav is really funny in the penultimate scene, when he recites a film song of an SRK film. Asrani and Manoj Joshi are passable.

On the whole, BILLU is a sweet-n-simple film that lingers in your memory even after the show has concluded. The final 20 minutes are the highpoint of the enterprise and that elevates the status of the film to great heights. The film has the potential to grow with a strong word of mouth. Recommended... Take your family for this one

Luck By Chance - Movie Review

By Taran Adarsh

One has often heard, read and seen [on screen] the positive and negative aspects of Bollywood. It would be erroneous to state that LUCK BY CHANCE does a pol-khol of the glamorous industry. Let's put it this way: The film mirrors the behind-the-scenes drama and manoeuvring exactly the way it occurs in showbiz. Watching LUCK BY CHANCE is like experiencing it first-hand.

If you're associated with Bollywood, if you know how the machine works, you'd laud and applaud, laugh and smile, identify and understand and at times, empathize and sympathize with the characters in LUCK BY CHANCE. Zoya Akhtar's take on an industry that attracts millions of hopefuls year after year is bang on target.

Almost three decades ago, Hrishikesh Mukherjee's GUDDI depicted a star-struck teenager's [Jaya Bhaduri] obsession for a top star [Dharmendra]. Along with the core issue, the film highlighted the behind-the-scenes hard work and labour that went into making movies.

LUCK BY CHANCE taps almost every important facet of Bollywood and presents assorted characters you've encountered some time in life: An over-ambitious aspirant who knows to make the right moves; an actress trying hard to get that big break, even if she has to compromise; an icon of the 1970s who desperately wants her daughter to be a star; a producer who looks at riding on big names, script be damned; a failed actor now looking at direction to redeem his career.

One of the prime reasons why LUCK BY CHANCE works is because the writing [Zoya Akhtar] is simply wonderful. Right from the characters, to the individualistic scenes, to the way Zoya puts them in a sequence, LUCK BY CHANCE is easily one of the most cohesive scripts this side of the Atlantic.

The verdict? Leave aside everything and hitch this joyride called LUCK BY CHANCE. It would be sacrilege to miss this one!

Sona [Konkona Sen Sharma] arrives in Mumbai with dreams of becoming a film star. She does whatever it takes, to make it. Vikram [Farhan Akhtar] has just moved to the city leaving the comforts of his Delhi home. He is used to getting what he wants and is smart enough to know when to demand it and when to manipulate it. Gradually, Sona and Vikram develop a romantic relationship.

Rolly [Rishi Kapoor] is a successful though superstitious producer who only works with the biggest stars. He is making a potential blockbuster launching Niki [Isha Sharwani], the daughter of 1970s superstar Neena [Dimple Kapadia]. The hero of the film, Zaffar Khan [Hrithik Roshan], is the superstar.

Zaffar decides to opt out of Rolly's film and that creates havoc in Rolly's life. Rolly decides to cast newcomers and finally, Vikram is shortlisted for the main role...

LUCK BY CHANCE picks up characters straight out of life and that's the beauty of this script. The interesting part is that each of these characters has a story running parallel to the main story. Although the writing is foolproof, this review would be incomplete if one failed to acknowledge a number of scenes that are the hallmark of this enterprise...

Note the sequence when Rishi Kapoor breaking down after Hrithik has walked out of his movie. It moves you!

On the lighter side, Farhan strikes a conversation with Dimple at a movie premiere and extols lavish praises on her.

Much later, an angry Dimple instructs Isha to patch up with Farhan, soon after Farhan and Isha's debut film has been declared a success. Watch the moments when Dimple recalls her early years.

The sequence featuring SRK.

If Zoya's writing is superb, her execution of the written material deserves distinction marks. This may be Zoya's directorial debut, but she treats the difficult subject like a veteran. Javed Akhtar's dialogues are remarkable. Shankar-Ehsaan-Loy's music is a mixed bag; the score could've been better. However, the choreography of the circus song is remarkable. Carlos Catalan's cinematography captures the right moods.

Farhan Akhtar is evolving into one of the most dependable actors of his generation. He's very real, very believable. No wonder, this character stands out. Konkona Sen Sharma is exceptional. The supremely talented actress delivers a sparkling performance yet again. Rishi Kapoor is incredible. A performance that merits the highest praise. Dimple Kapadia is in terrific form. It easily ranks amongst her most accomplished works. Juhi Chawla is first-rate. Isha Sharwani does her part well. Sanjay Kapoor springs a surprise. He registers an impact. Aly Khan is perfect.

Hrithik Roshan is truly wonderful. Note the sequence when he strikes a conversation with Karan Johar, only to realize that he himself had paved the way for Farhan in the industry. Only an accomplished actor could've handled this sequence with aplomb. Amongst the A-listers who make fleeting appearances in the film, the one who registers the maximum impact is Shah Rukh Khan.

On the whole, LUCK BY CHANCE is an outstanding film in all respects. A magnificent outing from the producers of ROCK ON!!, LUCK BY CHANCE is sure to prove an extremely lucky and rewarding experience at the box-office. Strongly recommended!

Victory - Movie Review

By Taran Adarsh

LAGAAN and IQBAL are landmark films on cricket. The response to LAGAAN specifically was so electrifying [and emotional] that theatres turned into stadiums during the penultimate cricket match in the film.

VICTORY traverses a different route altogether: This one revolves around a cricketer, talks of the highs and lows in his life, how greed, arrogance and lust almost ruin his career, but how he regains his lost form and becomes a hero all over again.

The difference also lies in the fact that the sportsmen in the film aren't actors, pretending to be cricketers, but real-life cricketers. And that makes the goings-on identifiable.

VICTORY may not be a true-life account of any one person, but you can't help but draw parallels with people who led a wild life off the field. Also, any sports-based film works if it arouses the right emotions and VICTORY does so towards the final moments. But there's a hitch. The film could've done with a shorter running time [instead of approx. 2.35 hours] and a tight script. More on that later!

Final words? A few interesting moments don't really help. This one tries to hit a boundary, but ends up taking a single.

VICTORY tells the story of Vijay Shekhawat [Hurman S. Baweja], who hails from Jaisalmer. Soon, he becomes India's latest world-class batting sensation and is catapulted to superstardom.

However, the glam and glitter makes the young, vulnerable Vijay stray from his true vocation of cricket. Unfortunately, this leads to a loss of focus and to a miserable drop in his performance. But by the time Vijay realizes his mistake, he finds himself thrown out of the Indian cricket team. Suddenly, the hero becomes a villain in everyone's eyes. His father [Anupam Kher] suffers a paralytic stroke.

This tragedy awakens Vijay's conscience. He wants to redeem himself in the eyes of his father and every Indian. Against great odds, he once again makes it back to the Indian team and gets to play in the finals of the Champion's Trophy against Australia, where he plays a stellar role in enabling India to win the Trophy.

Ajitpal Mangat chooses a difficult subject for his directorial debut. Placing immense trust on a newcomer [Hurman] and casting real-life characters could be tough and demanding, besides being expensive [cricketers' fees and paying for the various stadiums]. But Ajitpal achieves the required results.

The initial moments are very mediocre, but the pace picks up when Hurman goes astray, when he can't digest success, when he falls into wrong hands [Gulshan Grover]. The graph is erratic; sometime interesting, at times boring. However, what rescues the film from failing are the penultimate moments, especially the one when Hurman faces the final ball.

On the flip side, the writing isn't convincing at several points. The first 30 minutes of the enterprise makes you break into a yawn, frankly. Also, the film is stretched in the second hour for no reason and could've done with some tight editing. The songs in this hour are a big deterrent.

Ajitpal Mangat makes a confident debut as a director, but VICTORY would've made a stronger impact if the writing [screenplay: Ajitpal Mangat, Kannan Iyer] would've been watertight. Anu Malik's music is listless. Barring 'Balla Utha' and 'Money Money', the remaining songs are of the fast-forward type. Cinematography is excellent.

Hurman S. Baweja displays the required confidence. He gets the body language right, looks dapper when required and conveys the required emotions well. Only thing, he needs to control his expressions at times. Amrita Rao does very well, although this isn't her film actually. Anupam Kher gets it right yet again, especially towards the second hour when he suffers a paralytic stroke. Gulshan Grover is very effective.

On the whole, VICTORY is a strictly average fare. Barring a few moments in the second hour, there's not much that you carry home.

Raaz - The Mystery Continues - Movie Review

By Taran Adarsh

The team behind RAAZ - THE MYSTERY CONTINUES have often clarified that it's not a sequel to RAAZ, one of the most interesting cinematic experiences, besides being the biggest Hit of that year. Yet, you cannot but draw parallels with the first film of the franchise.

Horror as a genre hasn't been tapped to the optimum in India. We've witnessed spooky fares in the past and some of them have succeeded in making you break into a cold sweat [BHOOT stands tall in this list]. Last year's PHOONK and 1920 were scary movies as well.

There's tremendous curiosity to watch RAAZ - THE MYSTERY CONTINUES, but does it scare the living daylights out of you? Fortunately, yes!

The story [Mohit Suri] is absorbing and Mohit treats the subject like a veteran, as if he knows the genre very well. There're moments that make your heart beat faster, you watch the events with eyes and jaws wide open. Sure, there're blemishes as well, but they don't overpower the plusses or make you change your opinion about the film. While the beginning and the middle of the film is engrossing, it's the end that could've been better thought of.

Wanna get scared? Wanna get goose pimples? Buy the ticket for RAAZ - THE MYSTERY CONTINUES pronto. It lives up to the hype and expectations completely.

A brooding artist Prithvi [Emraan Hashmi] experiences mysterious and distressing visions about Nandita [Kangna Ranaut], a woman he has never met, while he paints on canvas. Intrigued by these visions, Prithvi tracks her down and warns her that these are not merely paintings of her, but accidents that are waiting to happen.

At first, Nandita refuses to believe him and dismisses him as an eccentric stalker. However, the striking resemblance between Prithvi's paintings and the near-death incidents in her life is hard to ignore.

Now, one of Prithvi's paintings has revealed her as dead. The only way she can change her fate is to unravel this mystery with his help, at the risk of alienating herself from her boyfriend, Yash [Adhyayan Suman]. But he refuses to believe in Prithvi's premonitions. Will Nandita risk her love and her life to unravel this mystery?

Most of us have heard, witnessed or perhaps had a first-hand experience of supernatural. The present-day generation may, perhaps, term it as wild imagination or hallucination, while the believers may have their point of view. Mohit and screenplay writer Shagufta Rafique's characters in RAAZ - THE MYSTERY CONTINUES are believers and non-believers, both.

Mohit smartly builds up the atmosphere. Sample these: Emraan and Kangna's first encounter at a mall and minutes later, inside an elevator; the New Year bash when Kangna is 'attacked' by spirits; Kangna's experience in her bathtub and also when she looks at the mirror; Kangna almost jumping off a cliff; the highpoint sequence, when angry bulls attack Emraan and Kangna. Incredible sequences all! Mohit has handled the most difficult portions with panache.

However, the entire flashback part, towards the pre-climax, is not as convincing. The ending too could've been better in terms of writing, although Mohit has filmed it exceptionally well.

Mohit's choice of the subject as also the actors is right. This is, without doubt, his finest effort to date. Shagufta's screenplay is watertight at most times. Like always, the Bhatts come up with a lilting musical score and at least two songs -- 'Soniyo' [Raju Singh] and 'Maahi' [Sharib-Toshi] -- are first-rate compositions. Ravi Walia's cinematography is up to the mark. The effects are impressive.

On the acting front, both Emraan and Kangna vie for top honours. Emraan is excellent. He conveys a lot through facial expressions and that's the sign of a proficient actor. He's just getting better and better with every film. Kangna is top notch. After FASHION, this one's another power-packed performance from the actress. Adhyayan Suman is super-confident and registers a strong impact, especially towards the climax. He shows promise. Jackie Shroff is quite okay in a brief role.

On the whole, RAAZ - THE MYSTERY CONTINUES is rich in the horror quotient and that is one of its major USPs, besides the highly competent performances by its principal cast and a lilting musical score. At the box-office, this one will continue the winning streak of Mahesh Bhatt and Mukesh Bhatt's Vishesh Films. The 4-day weekend [Monday, January 26 in a holiday] will only cement its status further. Go for it!

SLUMDOG MILLIONAIRE - Movie Review

By Taran Adarsh

First things first! SLUMDOG MILLIONAIRE deserves all the accolades and awards that it has been receiving of late and will continue receiving in the future. Also, in this writer's individualistic opinion, SLUMDOG MILLIONAIRE doesn't make a mockery or an attempt to sell the poverty of India to the West.

Sure, SLUMDOG MILLIONAIRE depicts life on the mean streets of Mumbai, so what? Doesn't it exist? Should we ridicule the effort it just because a gora has made it? We don't raise a noise when Indian film-makers do so, so why now? Double standards!

SLUMDOG MILLIONAIRE is, at heart, a love story and director Danny Boyle treats it like a Bollywood film. In fact, the screen writing [Simon Beaufoy] is so smart, so energetic [he must be a big fan of Bollywood] that everything is spoon-fed to the viewer, unlike most international films.

Sure, SLUMDOG MILLIONAIRE is dark and gory at places, but at the end of it all, it offers a ray of hope for those who've been plain unlucky when it comes to the materialistic things of life and most importantly, love.

So what's the final word? Jai Ho!

Accused of cheating and desperate to prove his innocence, an eighteen-year-old orphan from the slums of Mumbai reflects back on his tumultuous life while competing to win the prized money on India's 'Who Wants To Be A Millionaire'.

Jamal [Dev Patel] may not have a penny to his name, but that could all change in a matter of hours. He's one question away from taking the top prize on India's most popular television game show, but as with everything else in Jamal's life, it isn't going to be easy.

Arrested by police under suspicion of cheating, Jamal is interrogated by the authorities. The police simply can't believe that Jamal could possibly possess the knowledge to get this far in the game, and in order to convince them of how he gained such knowledge, Jamal begins reflecting back on his childhood.

As young boys, Jamal and his older brother Salim lived in squalor and lost their mother in a mob attack on Muslims. Subsequently forced to rely on their own wits to survive, the desperate siblings fell back on petty crime, eventually befriending adorable yet feisty young Latika as they sought out food and shelter on the unforgiving streets of Mumbai.

Though life on the streets was never easy, Jamal's experiences ultimately instilled in him the knowledge he needed to answer the tough questions posed to him on the show.

Danny Boyle and screenplay writer Simon Beaufoy join hands to create one of the most engaging rags-to-riches story of a boy raised in the slums of Mumbai. A few scenes may put you off completely, but if you're a Mumbaite, you must've surely encountered such characters on the back of your street.

SLUMDOG MILLIONAIRE keeps you hooked, there's not a single dull moment and most importantly, your heart pines for the lovers [Jamal and Latika] to unite, after all that they've gone through in life. That's one of the prime reasons why SLUMDOG MILLIONAIRE works big time.

If Boyle's direction and Beaufoy's screen writing works, so does A.R. Rahman's exuberant musical score. The background score is eclectic, while the song 'Jai Ho' [at the conclusion of the film] is mesmeric. The camera [Anthony Dod Mantle] captures the streets of the metropolis remarkably. Note the chase at the very start, with a constable chasing the young Salim and Jamal in the slums. Brilliant!

Dev Patel is top notch, while Anil Kapoor is highly competent. Freida Pinto does very well. Irrfan Khan gives his individualistic style to his role. Mahesh Manjrekar and Saurabh Shukla are first-rate. Madhur Mittal [older Salim] is alright. Ankur Vikal spells terror. Special mention must be made of the young actors in the film; they are such fine actors. Especially the young Salim and Jamal.

On the whole, SLUMDOG MILLIONAIRE is a must-see! One of the finest films of our times, this one should not be missed for any reason.

Chandni Chowk To China - Movie Review

In the initial years of his career, Ramesh Sippy made two gems that we remember [and cherish] to this date -- SEETA AUR GEETA and SHOLAY. SEETA AUR GEETA was about twin-sisters -- the docile and the aggressive. SHOLAY, of course, needs no introduction. Yet, to update the unacquainted, Ramgarh is gripped by a terror called Gabbar. Resultantly, Thakur recruits two men to put an end to Gabbar's tyranny.

Nikhil Advani pays homage to Ramesh Sippy's movies by merging SHOLAY and SEETA AUR GEETA. But this concoction called CHANDNI CHOWK TO CHINA is as bland as khichdi.

Come to think of it, Nikhil Advani had everything going for him. It's a dream project, what with heavyweights such as Warner Bros., Ramesh Sippy, Akhay Kumar and Gordon Liu agreeing to be a part of this mammoth project. But Nikhil slips and trips, falling flat on his face.

A masala film is always welcome. In fact, two desi films [RAB NE BANA DI JODI and GHAJINI] have been lapped up by the junta in a big way, but CHANDNI CHOWK TO CHINA is an unbearable masala fare that insults the intelligence of the moviegoer.

The problem with CHANDNI CHOWK TO CHINA is that it lacks a watertight screenplay to keep you glued for those 2.45 hours. Agreed, you don't look for logic and reason in hardcore potboilers, but the least the director and his team of writers could do is provide loads of entertainment. Sadly, writers Shridhar Raghavan and Rajat Aroraa make mincemeat of a plot that had the potential to woo viewers from Chandni Chowk to China to Chicago to Cape Town.

So, what's the verdict then? Enjoy Chinese food instead. This one's a big, big, big letdown!

Sidhu [Akshay Kumar] cuts vegetables at a roadside food stall in Chandni Chowk in Delhi. He longs to escape his dreary existence and looks for shortcuts -- with astrologers, tarot readers and fake fakirs -- believing anything except himself, despite his father figure Dada's [Mithun Chakraborty] best efforts.

The story takes a turn when two strangers from China claim he's a reincarnation of a war hero and take him to China. Thanks to the devious translator, a conman by the name Chopstick [Ranvir Shorey], little does he know that he is being taken to the Chinese village of vicious smuggler Hojo [Gordon Liu].

Therefore, Sidhu blissfully sets forth to China with Chopstick, who instigates dreams of a delicious future and forgets to reveal the perils, which await him. Along the way, he meets Sakhi [Deepika Padukone], who has embarked on a journey to pay homage to the land of her birth and her dead father and twin.

Hojo catches up with Sidhu and eliminates Dada right in front of everyone. Sidhu seeks revenge and finds the one man who will make him a Kungfu expert and set the village free from Hojo's tyranny.

On face-value, what do you expect from CHANDNI CHOWK TO CHINA? Laughter unlimited, great martial arts, a glimpse of China. But what's served on the platter is so insipid, so lame, so senseless that you wonder if there was a script in the first place. The comic scenes [that make you laugh] are few and far between. The scenes depicting martial arts are hardly exciting. Also, barring the Great Wall of China, don't expect China darshan here!

There are big holes in the script. Sample these... * How and why do the two oppressed Chinese men suddenly land up in Chandni Chowk in Delhi? Also, how do they zero on Ranvir Shorey? No explanations offered. * Deepika's track of visiting China is trite. Wasn't the twin-sister, an infant, thrown off the Great Wall of China? How did Gordon Liu suddenly decide to bring her up? * Similarly, Deepika's father was also pushed from the Great Wall, but he survives. Akshay too is beaten black and blue and thrown off [coincidentally, from the same place -- Great Wall], but is rescued mid-air by Deepika's father. Miracles never cease to occur, must add.

Post interval, Akshay undergoes a gruelling training session, but not once does the preparation give an impression that Akshay is seething with anger and vengeance. That's because the director has injected humour in these scenes and that takes away the seriousness from the plot. The climax is equally contrived and hence, makes no impact whatsoever.

Although the year 2009 has just begun, this film is sure to be a strong contender in Razzies in two departments mainly -- direction and writing. Nikhil Advani goes horribly wrong this time. As for the writers, well, they ought to take a crash course in film writing pronto. The songs are okay, with the title track and 'Naam Hai Sidhu' being the pick of the lot. The stunts [Dee Dee Ku] are plain mediocre. Even the dated martial arts' movies produced in the East offered better stuff. Himman Dhamija's cinematography lacks the picture perfect look.

Akshay Kumar is the sole saving grace, but the director hasn't tapped his potential to the fullest. Deepika Padukone is passable. Gordon Liu is decent. Ranvir Shorey is functional. Mithun Chakraborty is bland. Roger Yuan, Deepika's father in the film, is fair.

On the whole, CHANDNI CHOWK TO CHINA is a brilliant opportunity gone appallingly wrong. The film falls way below expectations and is a major disappointment in all respects. At the box-office, the hype might translate into a bountiful weekend, that's it. Thumbs down!

Ghajini - Movie Review

The wait is finally over! An Aamir Khan film is nothing short of an event. The supremely talented actor acts in one film a year and no two films are ever identical in terms of plotline. No wonder then that you await an Aamir starrer with bated breath.

GHAJINI, the Tamil version, has been a massive hit and so was its dubbed Telugu version. Will the Hindi adaptation live up to the humungous expectations? The hype is unmatched and you expect no less than a present-day masterpiece.

Now the good news: GHAJINI demonstrates how strong film-making can enhance and elevate an already solid concept.

GHAJINI is a revenge saga, one ingredient that has been the staple diet of Hindi films since time immemorial. It is a powerful film. It has the power to sweep you off your feet from the word 'go'. It has a riveting story, which has been told with flourish by director A.R. Murugadoss. And, of course, it has a knockout performance by Aamir Khan. If at all there's a shred of doubt whether Aamir is The Best in the business, all you've got to do is check out GHAJINI.

Flaws any? Running time [almost 3 hours]? Not at all! There's so much happening in every scene and the screenplay is so gripping that you don't feel the need to look at the auditorium ceiling or at your watch at brief intervals. You aren't restless. As moviegoers, we've watched countless good versus evil fares over the years and although GHAJINI belongs to the same family, not once does it take the beaten track. The story has been told differently and most importantly, the story offers so many twists-n-turns that you just can't guess what would unfold next.

Is it violent? It is, at times, but the violence here is justified. In fact, every time the protagonist bashes up the evil-doers, you clap and root for him. The climax is jaw-dropping -- dissimilar from the original, but it's an out of the world experience nonetheless.

To sum up, GHAJINI is commercial Hindi cinema at its best. The film has 'Hit' written all over it. Let me put it this way: Cancel whatever you're doing today and go watch GHAJINI instead.

Aamir Khan is suffering from acute short-term memory loss set off by the violent murder of his girlfriend Asin. He's got to work around this handicap, but with methodical and meticulous determination. Aamir etches a path of clues that lead him on his road.

To aid him in his quest, he carries around a sheaf of Polaroids and when he is really sure of a piece of information, he has it tattooed on his body, which stands in for the damaged part of his mind. His indelibly marked torso is the repository of his grief, his rage and his reason to go on living.

Any more revelation would do gross injustice to the film and to its viewer.

First things first! GHAJINI is not MEMENTO. There're minor similarities, but GHAJINI takes a completely different route to tell its story. Director A.R. Murugadoss tells this one differently. It starts off with what happens in the past, comes to the present-day, goes back in time again and returns to the contemporary again. This is a breathless, exciting story, heart-breaking and exhilarating at the same time.

Hindi movies have often depicted people suffering from amnesia/memory loss, but GHAJINI is poles apart because the protagonist recalls events only for 15 minutes. The story is its USP, without a doubt. But what adds sheen and glory to the story is Aamir's portrayal of a man suffering from short-term memory loss. Aamir hardly speaks. In fact, the leading lady [Asin] speaks more than Aamir in the film. But Aamir speaks volumes with his eyes, he conveys whatever has to be conveyed through his body language, he says it all with his facial expressions and that only makes GHAJINI a memorable, never-seen-before experience.

Director A.R. Murugadoss deserves brownie points for not just coming up with an interesting story, but also presenting it [refreshingly] differently. The storyteller balances the light moments and the ones demanding intensity with expertise. There's dum in every sequence. Even if the director has to depict violence, he doesn't resort to blood-n-gore or knives-swords-pistols for effect.

A.R. Rahman's music is top notch. At least three numbers have the unmistakable stamp of a genius -- 'Guzarish', 'Behka' and 'Kaise Mujhe'. Ravi Chandran's cinematography is stunning. The film bears a stylish look all through. The action sequences are brilliantly executed. The Hindi moviegoers haven't seen such scenes ever.

Aamir delivers his career-best performance. In the first place, it requires courage and maturity to name the film after the villain. Knowing how egoistic our stars are, something like this is next to impossible in Hindi films.
A lot has been said and written about the GHAJINI look -- Aamir's hairstyle and his dream physique. It's awe-inspiring and if more and more people adopt the 'Aamir look' or hit the gym, it would be courtesy the actor.
As far as his acting is concerned, he's natural as the tycoon, but like a wounded, ferocious tiger when he goes on an avenging spree.
Without doubt, it's a concentrated, layered performance. He acts with his entire being. His body movement, the details of his performance, everything rings true. He is both vulnerable and hard. The pain in his face when he can't remember, is palpable. It's not only the plot that carries GHAJINI. It's also the mood and the expression on Aamir's face that makes GHAJINI a treat.

Asin is fabulous. To share the screen space with an actor of the stature of Aamir Khan and yet remain in your memory even after the show has ended is no cakewalk. She looks fresh and photogenic and acts her part brilliantly. Pradeep Rawat, the villain, is first-rate. Jiah Khan impresses, especially in the sequence when Aamir follows her to a shopping mall.

On the whole, GHAJINI is a winner all the way. The film will set new records and has the merits to emerge one of the biggest Hits of all times. The weekend business should be historic, the Week 1 business should be unparalleled, the lifetime gross should be amongst the biggest of all times. In short, GHAJINI has 'Blockbuster' written all over it.

Rab Ne Bana Di Jodi - Movie Review

Well, to start off with, Aditya Chopra spells yet another poignant dimension of pure love as in his previous ventures with SRK; DDLJ and Mohabattein. Yeah! These tales were retentive impressing everyone from 8-80yrs old men and women. Of course, we fell in love getting imbibed with those spellbinding personations in these flicks. So, guess what about Rab Ne Bana Di Jodi – a film that brings back sensational pair SRK-Aditya together after 8yrs? Does the film exceed everyone's expectations on 'Love' n 'Entertainment' factors? Or merely conks out dashing down our hopes?

Hats off to Aditya Chopra! An awesome motif of delineating a touching story of romance...

Have you ever stopped to think if the most ordinary, uninteresting, unobtrusive man you might see on the road or around you might have a love story to tell?

Maybe not! How can an ordinary man have a breathtaking, goose flesh igniting, awe inspiring love story of all things to tell?

But guess what - love does not differentiate between the ordinary and exceptional, the uninteresting and interesting, the unattractive and attractive. Because love knows no distinction. It can happen to anyone and once it does it engulfs us into it completely and gives us those heaven-sent experiences that only love can yield.

Perhaps, everything in fine and good with the one-liner…. But Aditya Chopra fails in crafting a gripping narration all throughout the show. A flimsy screenplay lacking finesse with bits and pieces of discontinuities and these attributes easily scatters audiences' attention. The best illustration goes with SRK's ducky actresses shaking legs with him for 'Phir Milenge Chalte Chalte' on theatre screen. It's completely odd for that situation and possibly, the sequences could've been switched over to latter half as a 'special round in Dance show'. Was it an attempt to deliver a replica of 'Om Shanthi Om' song of film stars dancing together?

The film is about Surinder Sahni (Shahrukh Khan) - a simple, clean hearted, honest man working for Punjab Power, leading a humdrum life, when he meets his total opposite and finds love in the flamboyant, fun-loving, vivacious -Taani (Anushka Sharma) for whom the whole world is her canvas and she paints her own life with the colours of rainbow all until unforeseen circumstances changes it all and brings them together. Sooner, its biggest dance show in Amritsar and Surinder coiffes himself as Raj what he calls 'Macho Chap'… He does it all to impress his girl Taani and what's next?

It's a journey filled with laughter, tears, joy, pain, music, dance and a lot of love. A journey that makes us believe that there is an extraordinary love story in every ordinary jodi.

The first half dawdles with sluggish narration until earlier minutes to pre-interval where SRK's soliloquy with statue takes on emotional quotients. Well, the latter half comprises of few enjoyable moments like Anushka racing on her bike with 'Dhoom Machale' on BCM and next ultimate shot of Vinay Pathak-SRK at garage.

It's a crème de la crème performance by Shah Rukh Khan as he emotes resplendently on all situations. Be it his make-over sequences adjusting his tight jeans in dance class or the performance in penultimate minutes, King Khan is awe-inspiring. A flawless performance by debutant Anushka Sharma and of course she eclipses Shah Rukh on many parts. What to say about Vinay Pathak? He's over-the-top and more emblazons to the screen. He strides sparkling smiles on our lips with his wiggeries and soaks our eyes as he gets emotional. Don't miss the great dance of SRK-Vinay for the original tune of 'Rab Ne Bana Di Jodi'. Its emotional outbursts from every characterization that turns entire spotlights on RNBDJ…

Aditya's innovative thought is laudable on certain parts like Shah Rukh laying rose next to food and again placing it vase, pictorial of Anushka's face for the song 'Tuj Mei Rab Diktha Hai' and entire Amritsar being lit up, 'I Love You' deserves grand round of applause. Fine! Young lads and missies would hail with praise worthy comments for Adhi's ideation. Both SRK and Anushka swallowing Pani Purees followed by abrupt sequence where he has to finish of delicious Biriyani are evokes laughter.

Nevertheless, the biggest flaw is that how come a woman fails to recognize her husband with a slight-make over…. The characters of Surindar and Raj differ merely with thin moustache, hair style and costumes. Both the characters have same voice sans any modulations….

What barricaded Aditya's cognizance while dropping these lines on his paper? Indeed, it's a billion dollar question.

Ravi K Chandran's cinematography enhances visual quality and his placement of creative angles deserves special attention. The duo Salim-Sulaiman seems to have not percolated a lot for background scoring. It's again the pieces of existing numbers in album tuned and they sway on all songs.

Possibly, 'Haule Haule' and 'Dance Pe' peaked with high-promos prior to release. For sure, both the versions of 'Tuj Mei Rab Dikta Hai' capture your senses with beauteous visualizing. 'Phir Milenge Chalte Chalte' fails to make it big despites grand set decorations, costumes and top-charting actresses with SRK. Ritesh Soni's editing especially on 'Dancing Jodi' at the climax is mind blowing... Choreography by Vaibhavi and Shiamak are sumptuously ne plus ultra…

On the whole, Rab Ne Bana Di Jodi is enjoyable on many parts with fun, frolic, lots of music and dance, pains and emotions.