Delhi-6 - A Masterpiece indeed

Well, 'Rang De Basanthi' was about embellishing the young rebels with spirit-of-patriotism that had a very colorful appeal. Yippee!! Rakeysh Mehra is back with a bang emblazoning Delhi fantastically. Trust us; it's an unforeseen 'Wall of Old Dilli' where nothing rules, but everyone is surmounted with humanity. Of course, the auteur unravels the beauty of not just the street corners, jelabi shops, but heart-binding relationships… An appealing relationship between various communities has been decorously depicted that draws us straight into streets of Chandni Chowk. Perhaps, it's not 'too-sweet-for-the-heart' moments as there are peculiarities of caste-communalism differences that get us through a chain of unexpected sequences.

Precisely, the film possesses the best attributes of getting ennobled as 'World Cinema'. Maybe, the plot is a bit clichéd to 'Swadesh' where an NRI makes his way to India getting adhered to scenario bounded with happiness and tribulations.

So if you are guessing what could be the common traits between 'Rang De Basanthi' and 'Delhi-6' here we have it for you in a platter. An enriching characterization with the finest narration is what you will witness. Rakeysh brings in a couple of metaphors that goes more relevant across the characters; 'Kaala Bandhar' and Stage Play of 'Ramayana'. Indeed, Rakeysh deserves special applause for these exceptional motifs…

When his Naani (Waheeda Rehman) loves to breathe her last not in New York, but in her hometown Chandni Chowk of Delhi, her grandson Roshan (Abhishek Bachchan) fulfills the wish. But sooner, he gets more glued to the new land of fun, frolic and happiness where everyone is blessed with a good heart and his friend. He finds elated amidst the kites, pigeons, sporting snookers with Uncle Ali (Rishi Kapoor) and tasting jelabis. On the pars, he is stuck with puzzling thoughts about witnessing untouchables, an arrogant police officer (Vijay Raaz), and his uncles (Om Puri, Pawan Malhotra) who've risen within their house. And finally, the sweet Bittu (Sonam Kapoor) caged in a circle of ancient-culture.

If you're a good analyst of films, there's something uniquely trenchant with Rakeysh. Unlike other flicks that have carried on with the First-Second half, the director has inherited the narration with 3-Act formulas. Something that isn't common, right? Yeah, 'Delhi-6' is yet another example to suggest the changing face of Bollywood. Getting on with the metaphors of 'Kaala Bandhar' and 'Ramayana' stage plays, he tries pulling the realistic pictorials. When the throngs are bounded devotionally watching the mythological drama, politicians interrupt it. And again, watch the special performance of Lord Shiva's 'Rudra Thandava' for the politician.

It's all about – Even Gods get down for the sake of politicians in the present world. Years back, one incident had really shaken not just the Dilliwalas, but the entire Nation and it was the 'Monkey Man' terrorizing the streets. Blending it to the script, the idea has worked out well. The director's portrayal of the Hindu-Muslim communal conflict and the solution drawn out it is quite appealing.

The characterizations have been brilliantly designed. Rightly as Sonam suggested 'it is Delhi who's the protagonist', it's true and we feel it too. There aren't too many locations, but patently the streets of Chandni Chowk have been decorously portrayed. Hats off to cinematographer Binod Pradhan for a spellbinding piece of work. You don't see Abhishek and Sonam alone presented with prominence, but everyone seems to have had a vital role to play. Be it Rishi Kapoor with his hidden love or the so-called untouchable Divya Dutta; they're top-notching with their performance. Abhishek Bachchan is up with his usual resplendence while Sonam seems to have matured up from her 'Saawariya' days.

The musical score by A.R. Rahman is 'wordlessly colossal', especially the number 'Masakali' is a rich fiesta offered to the audience. Don't miss his background score in the penultimate sequence where there's hunt for the 'Kaala Bandhar'.

Precisely, the screenplay is intricately beautiful that you don't feel like watching the film but taking a walk down 'Delhi-6'.

On the whole, 'Delhi-6' is an incredible flick in terms of all panoramas. The film is simply prodigious with flawlessness and a piece of work that takes Indian Cinema to the next level.

Verdict: The real taste of Delhi.

Drona - Better luck next time Nithin

The theme of a don who lives in a den in an island and forms a group to train kidnapped children into criminals for doing anti-social elements for person benefits is already told in the yesteryear super hit film ‘Rakshasudu’.

‘Drona’ is a rehash of the story with bit of changes here and there. Starring Nithin, Priyamani in the lead cast, J Karuna Kumar has debuted as director with this film, presented by D Saraswathi and produced by DS Rao on Saikrishna Productions banner.

Story

Drona (Nithin) is the only son of Mukhesh Rushi and Sita. Drona’s father Mukesh Rushi is an honest and dedicated Police officer. Drona likes his mother Meenakshi (Sita) so much and love her as his own life. When he was a child Drona steals his father’s revolver to scare his friends. On knowing this his father scolds him, consequently Drona leaves his home and gets lost.

After 10 years, he comes back to his parents with the name Chandu. A Neighboring girl Indu (Priyamani) likes Drona/Chandu a lot. On a fateful day, she finds out that Chandu is none other than the long lost boy, Drona.

What are the consequences that made Drona to comeback after 10 years and get introduce in a disguise? Why was Sarkar group searching for Drona? To get the answers watch ‘Drona’ on screen.

Performance of Cast

Nithin looks determined on screen to taste success and has dedicated himself to come out with a slick performance. He has succeeded in his attempt but the long known vintage plot drags his meticulous trails back and doesn’t reap what is expected out of it.

More than Priyamani, her body acts in the film with abundant glamour in almost all scenes. She has been roped in to give the oomph factor and it does bolster the movie.

Mukhesh Rushi and Sita as Nithins parents gave a good performance. *Kelly Dodge, debuted as a villain with ‘Don’ (Nagarjuna starrer), he has appreciably portrayed the role of Sarkar. Dr.SivaPrasad also did well as Mama. Raghubabu, Sunil, Venu Madhav as Nalla Balu, have done well within the scope of their roles. Bob Anthony as Dange has displayed some good acting skills this time around.

Work of the Crew

Anup Rubens, the music director of ‘Jai’ scores in the background music but it’s a disappointing act when it comes to the songs. The numbers are badly orchestrated and are a major con for the film.

Photography by Bhupathi is beautiful and riveting. Art director Prakash’s work is laudable with the construction of the Den set and for the songs. Fights composed by Selvam Prakash have a touch of realism and is neat. Editing by Gautham Raju is average. Overall, the making value of SaiKrishna Productions is good.

Director’s Portrayal

The director has earlier worked in the direction division of SS Rajamouli and debuted as a director with ‘Drona’. The way he rendered the story line is good but the story is a stale and creates a feel of Deja vu. The director relied more on action and glamour rather than the script which is the heart for any movie. His efforts should be appreciated but it’s a big question if it will bring the audience to cinema halls to make the movie a hit.

Criticism

‘Rakshasudu’ starring Chiranjeevi and Radha was a super hit film of those times and ‘Drona’, the new comer in the same line is disappointing. The storyline has not been properly altered to suit present society and the director has missed to make changes in it.

Flicking a story from the past is not new nowadays, but a sensible filmmaker will surely make his director’s touch felt in the script which will make it a big hit if rehashed. But, the makers of ‘Drona’ didn’t do it and this negligence won’t go unnoticed which will cost them bitterly. Karuna Kumar should rework his skills and make a better comeback next time.

For Nithin, alas! What can we say expect it’s a sad disappointment for the actor who looked forward eagerly to a hit. Let’s hope he gets lucky next time.

Verdict: Disappoints at many instances

Director: Priyadarshan
Cast: Irrfan Khan, Lara Dutta, Shah Rukh Khan
Rating:


Priyadarshan decides to make (rather remake) another film. Perhaps his criterion for remake depends more on the ease of adaptability, over appeal in the original source. That leads to bland attempts like Billu .

Irrfan Khan is given the onus to act while Shah Rukh uses the attempt as a testimonial to himself. The curvaceous profiles of Deepika, Priyanka and Kareena are supposed to make up for the flatness of the plotline.

Billu (Irrfan Khan) finds it difficult to make ends meet by working as a barber (oops, is that a derogatory term? At least the multiple mute punches in the film imply so). He doesn’t earn enough to pay his children’s school fees or ensure daily bread for the family. He has less customers and more cash-crisis.

Abruptly enters Sahir Khan (Shah Rukh Khan), a Bollywood superstar who shoots for item songs while his film’s script is still being randomly written. The script is supposedly futuristic in genre but Sahir strangely insists on shooting it in a village. The unit ends up in Billu’s backyards.

Word spreads that Billu and Sahir were childhood friends following which the star-struck village lends liberal support to the poverty-stricken barber. Everyone from the village moneylender (Om Puri) to the school principal (Rasika Joshi) wants to have a glimpse of Sahir Khan through Billu. But Billu is too hesitant to approach Sahir due to the vast difference in their social status.

Priyadarshan and Mushtaq Sheikh take credits for the screenplay, though ironically they only snip out scenes from the original Malayalam film Katha Parayumpol . The retained portions are a frame-to-frame replica of the original film with no novelty. Nevertheless the storyline of the primary source in itself is one-dimensional throughout and only stressed and stretched on the barber’s starry influence with no twists or turns whatsoever.

One doesn’t expect the sensitivity of Hrishikesh Mukherjee’s Guddi with the film-inside-film setting. But the story is neither intricately woven around the film industry like in the recent Luck By Chance nor is the format entertainingly-exploited like in Shah Rukh’s own Om Shanti Om . All that the Bollywood backdrop does is make way for some superfluous item numbers or formulaic action sequences, unconnected to the core plot.

There are those regular glitches galore – like the village belle Lara Dutta is always decked up with eyeliners and lip-gloss though there’s no food for the family. The scenes shot in Sahir’s film hardly need a village setting. It’s never explained how the villagers know of Billu and Sahir’s friendship when Billu never makes it public. And perhaps the term barber and hajam sound offensive only when sung, since they are muted in songs but oddly retained in dialogues. What’s the logic? You don’t ask that question in a Priyadarshan film, even if it’s not his fault.

The director continues his brand of loud comedy though Manisha Korde’s figurative dialogues come to rescue at some instances. Finally the film attempts to reconcile its patchy plot with an emotionally driven climax but it only turns out to be an end of too much coincidence and convenience. However the culmination could still work for all those who get touched by the likes of Shah Rukh’s emotive outburst in Mohabbatien . The friendship between Billu and Sahir is never established throughout the film and only surfaces in the last scene. Some flashback account of their childhood companionship could have helped. Sadly after all this, the film doesn’t even end on a moral tone, though it had ample scope for it.

Irrfan Khan is aptly cast in the role of Billu and carries off his character effortlessly. But we have seen him play such roles so often that there remains no uniqueness in his act. Shah Rukh Khan has to just play himself which brings no challenge to his character. The onscreen and offscreen mass hysteria of his Southern prototypes, like Rajnikanth in Kuselan , is so colossal that SRK comes nowhere close in making his character ‘hero’ic. Rajpal Yadav, Om Puri and Asrani are so common to Priyadarshan films that it becomes difficult to differentiate them from their earlier works.

Reportedly, Priyadarshan plans to attempt a horror film next but the hair-raising effect has already started. That’s because you would rather want to skip visiting Billu barber’s parlour. This one’s certainly not worth letting your hair down.

A feel-good entertainer

Going by his previous record (barring Aata), Siddharth's presence in a movie generally indicates it would be a family entertainer with a love story woven in. And his latest Telugu film, Koncham Ishtam, Koncham Kashtam (KIKK) is certainly one with all the necessary ingredients for a perfect entertainer.

Siddharth seems to have the uncanny ability to pick the right scripts in this genre, and invariably succeeds in pulling it off with good support from fellow artistes and technical crew.

Here, of course the credit should go to debutant director Kishore Kumar for penning a script which is entertaining yet meaningful.

Siddu (Siddharth) is a happy-go-lucky gen-X guy who loves to spend his time with friends, particularly girls. Though he has a MBA degree to his credit, he doesn't seem to care about finding a job. He is busy 'romancing' girls. He lives with his mother Rajyalakshmi (Ramya Krishna), a college Professor. Siddu's father Prakash (Prakash Raj mother are estranged for 18 years.

Their lives go on smoothly till Geeta Subramanyam (Tamannaah) enters. At the behest of her father Subrahmanyam (Nazar), Geeta comes to Hyderabad from her village to study. Here she meets Siddhu who is part of her cousin Swati's gang of friends.

Hate at first sight slowly leads to love. Siddu too slowly falls for her. Geeta's father is against the match. Will their love reach the final destination?

The movie is evenly paced -- the first half has all the fun in terms of friends, a bit of action, etc. The second half gets a bit more serious and sentimental, and the friends fade into the background.

But there are some interesting, refreshing moments in the film. For instance, the scene when Siddu talks to the photo of Shirdi Sai Baba and agrees to fast for Geeta's sake and then sees Geeta and her cousin dunking chicken at the restaurant while he stays hungry!

The humour is induced by Brahmanandam who as the cricket-crazy Gachibowli Diwaker breaks the serious tone at times. Venu Madhav as Siddu's friend adds a few laughs.

The characterisation is good. Both Siddu and Geeta have substantial roles and screen space. The small quarrels and the way they make-up is quite realistic.

On the face of it, KIKK is a love story. Below the surface, the film also dwells albeit briefly on the issue of parents being separated on account of the ensuing problems particularly ego. In that sense, the film offers a slice of life.

The script should take the major cake. Debutant Kishore Kumar seems to have worked hard on it and delivers a winner.
The casting is another highlight. Siddharth with his penchant for new directors and good scripts hits the bull's eye here. He adds another feather to his cap with a good performance. As Siddu, he is real, and delivers a subtle and emotional performance.

Tamannaah gives him good company and both make a good pair. She is able to deliver an understated performance too.
This is the third time Prakash Raj and Siddharth appear as father and son on screen in Telugu films. Though they don't have that much screen space, they rock. They are seen in a totally different way here. It is well known that Prakash Raj carries off any role with panache -- which is what he does here too. Ramya Krishna is a picture of elegance. Nazar is believable as the village head and portrays the dilemma a girl's father faces well.

Shankar-Ehsaan-Loy's music has been rocking the charts ever since it was released. Koncham Ishtam Koncham Kashtam has a high entertainment quotient. It's definitely worth watching.

Neo Rating:

Flicks based on tinsel town aren't new to the world of cinema. Be it Krzysztof Kieslowski's 'Camera Buff' or Federico Fellini's '8 ½'; these avant-garde films dealt with intrinsic something more than filmmaking. Precisely, it was far away from shooting spots of clapboards and 'Camera Rolling –Action-Cut'. To start off with, 'Luck By Chance' is worthy to be called as the best of its kind. Earlier, the same producers brimmed with an extraordinary flick 'Rock On' and again, here's one more tremendous piece of work accommodating itself across the 'Changing phase of Bollywood'.

Hats off to Zoya Akhtar for a splendid debut! Unlike debutants, there is nothing to be called as 'amateurish' about her work on any quotient.

Ye Kaise Ho Saktha Hai?

When you've a legend Javed and a fantastic filmmaker accompanying her on the button, with a gripping storyline and perfect casting (including guest appearances of superstars) is what makes 'Luck By Chance' fantastic. The fantasy sellers and the devoted audience, the insane love for Cinema mixed with the eccentric notion of divinity and archaic beliefs; these are the contradictions that keep this world spinning.

The stark reality of living in India juxtaposed with the fantastical world depicted on screen suddenly begins to make sense…

Sona (Konkona Sen Sharma) arrives in Bombay with her dreams of becoming a film star. Wide eyed but ambitious, she does whatever it takes, to make it. She lives on her own in a rented apartment - a luxury for most in this bustling city, and spends her time with a motley crew of loyal friends whose lives are also entwined with Bollywood, each one in search of a bigger dream.

Vikram (Farhan Akhtar) has just moved to the city leaving the comforts of his parents' Delhi home. He is a mover, he is used to getting what he wants and is smart enough to know when to demand it and when to manipulate it. He is young and handsome, and full of promise. Sona begins to enjoy Vikram's attention and affections; they develop a romantic relationship.

Rolly (Rishi Kapoor) is a successful but superstitious producer who only works with the biggest stars. He is making a potential blockbuster launching the nubile Nikki Khurana (Isha Sharwani), the 18-year-old daughter of 70's superstar, Neena (Dimple Kapadia). The hero of the film, Zaffar Khan (Hrithik Roshan), is Rolly's favorite superstar. He was launched by Rolly and went on to become a huge draw at the box office.

The wheels of fate indeed continue to spin favorably for Vikram, as elsewhere in the industry, havoc spreads on the sets of producer Rommy Rolly's new film. Vikram is called in for an audition and uses this opportunity to the fullest.

The film is about a slice of Bollywood life, in which "Kismet" plays a huge role. Here, notions of superstition, fate and destiny underline every life, as grand desires and opportunity converge to form strange patterns.

In such an unpredictable climate is success and failure that others define for you… or is it something you decide for yourself?

As mentioned earlier, casting happens to be the most promising attribute for the film. Farhan Akhtar is marvelous with his casual air. The actor never seems to have exposed his strained take of performance in any scene. He's cool carrying off everything with his penchant for perfection. Not far away is Konkona Sen Sharma. The actress with her top-notching show emotes stupendously well in various situations.

She doesn't complicate herself while getting emotional outbursts. It's merely with her facial expressions and simple gestures that she emotes so well. Precisely, watch out for her final conversation with Farhan Akhtar on shooting spot, it is too good. A 5-star credit to Rishi Kapoor for an excellent performance throughout the show. Watch out for the reflections of disappointment on his face with a lowered voice, when Hrithik Roshan walks out of his project. And again, a glimpse on his actions while Hrithik congratulates him over the phone; he eclipses everything in the frame. His intonations of appraisals for Farhan like 'Volcanoes of Talents' doubtlessly gets us to laugh.

Dimple Kampadia's flare-up lines with her daughter are worthy of applause. Juhi Chawla in her minimal role is brilliant.

Getting on with superstars making their cameo, this isn't something of a lavish show. Apart from very few, everyone has a vital role to perform. Need an illustration? It goes off with Karan Johar's talk with Hrithik Roshan at Kareena's party. Above all, Shah Rukh's portion in the penultimate sequence is worth a mention with a strong substance.

Musical score by Shankar-Ehasan-Loy is of mediocre quality as only a couple of songs 'Bhaaware' and 'Sapno Se' do well on the screen. The same scenario persists with the background score as well but it is well established on few parts. Cinematography by Carlos Catalan offers an enriched visual quality with distorted tones. He has well-designed cuts with his innovative angles adhering to emotional touch.

This is more evident during Konkona's talk with her agent (First, both the characters focused clearly, towards the end, the camera pans depicting them in silhouette). Javed Akhtar's dialogues are gripping, especially with Konkona portion during climax.

Zoya Akhtar comes up with a good screenplay that's quite lively in the first half. But it turns to be slightly flimsy in latter part till the last few minutes. Nevertheless, an appealing climax diminishes those flaws.

On the whole, 'Luck By Chance' is sure to be loved by film buffs, multiplex audiences or those related with tinsel town. With no biggies slated to release for next couple of weeks, the producers can 'Rock On' filling their sacs with profits.

Verdict: It's worth a watch!

Rating : ***

It happens to be a welcome First Friday for a couple of debutant filmmakers in Bollywood. Yup! If Zoya Akhtar does it with 'Luck By Chance', Ajithpal Mangal takes on with 'Victory'. Perhaps, film 'n' cricket buffs were elated picking on 'Lagaan' and 'Iqbal'. These flicks had much more about the emotional side touching the poignant theme of unity and integrity. Well, real biggies on cricket field teaming up for 'Victory' got our adrenalines shot up expecting a much greater show. Unfortunately, the film doesn't gratify to audiences' interest in many vistas.

In fact, a film made on 'Cricket' has the clichéd formula of protagonist peaking with triumph as there aren't any other options. 'A Hero Must-Win' factor always persists in any sports-based films and 'Victory' isn't elision. No fault in the script penned; but the lengthy duration of 155 minutes of 'Rise of the Phoenix' story does get everyone annoyed with more fidgetiness.

Ok! In India, cricket is much more than just a game; it is a passion, an obsession, a religion! Millions of youngsters, in all the corners of the country dream of playing for India! A dream which incredibly only one in every 100 million realizes.

'Victory' is the story of a father, Ram Shekhawat (Anupam Kher), who saw such an impossible dream for his son! This is also the heroic story of his son Vijay Shekhawat (Harman Baweja). Hailing from the small town of Jaisalmer, Vijay Shekhawat becomes India's latest world-class batting sensation and is catapulted to superstardom!

But it is the glamour and the glitter of this very demigod status that makes the young, vulnerable small-town boy 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 the error of his ways, it is too late and he finds himself thrown out of the Indian cricket team because of disciplinary reasons. Suddenly the hero of the cricket crazy India becomes a villain in everyone's eyes. His father Ram Shekhawat's dreams are shattered and suffer a paralytic stroke.

This tragedy awakens Vijay's conscience and sense of honor. 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. In the emotionally moving final, in spite of being hospitalized mid-innings because of an injury, Vijay returns to bat, risking permanent injury, when India are nine down, to pull off an impossible victory against the world champion, Ricky Ponting's Australia.

In this match Vijay Shekhawat fulfils his father's dreams and enters the pantheon of Indian cricket.

Harman Baweja looks amateurish performing as a cricketer on the grounds. It doesn't matter about his batting skills, but on many parts he fails to emote as an aggressive guy or an elated one. Sweating in liters and rolling eyes-all over doesn't offer a tensed look. Perhaps, watching at least couple of real matches could've got him the psychological feel of emotions displayed on the grounds. Of course, even in most of the sequences outside the field, he isn't up with finesse. Amrita Rao has nothing big to spell apart from supporting the hero and appearing in songs. Gulshan Grover does justice to his role, with this one the farthest distance away from his previous one 'Karzzz'. A flawless performance by Anupam Kher.

Getting on with Debutant Ajithpal Mangal; dealing with a complicated theme with real life characters makes his deserve a grand round of applause. But, the director doesn't accomplish his directorial task so effectively. Especially, his sluggish screenplay in the latter half offers nothing more than boredom to the audiences. Sometimes you yawn and are restless and the scenario seems to be quite different during penultimate scenes as he makes a good comeback with the climax. But every best effort gets weakened due to the irksome screenplay. Not alone Ajithpal, Kannan Iyer too needs to be blamed for it.

Anu Malik doesn't come up with an extraordinary musical on both the songs as well as the background score. Apart from a couple of songs, 'Balla Utha' and 'Money Money', nothing is quite worthy heeding. Cinematography and editing, to a certain extent is commendable, but only a few computer generated works are quite laudable.

On the whole, 'Victory' could have made it bigger on the screens if the entire team had worked on an effective preproduction. Apart from this, it's a film worth watching for the different attempt by this debut filmmaker. Though loaded with more favorite cricketers on the screen, the film lacks solidity on many quotients.

Verdict: Merely a mediocre.

Rating : **

Perhaps, the title 'Raaz' should've got everyone's adrenalines shot-up, anticipating it to be a stupefying ride of roller-coaster. Well, the 'Bhatt' factor seems to spell tremendous magic when it comes to 'Horror'. Of course, who can refuse it or forget the most scintillating horror flicks released by the 'Bhatts'. Years back it was 'Raaz' and then '1920' had us tied to our seats and now 'Raaz – The Mystery continues' isn't an elision.

Mohit Suri brims with a commendable directorial and precisely, he strikes with a decent effort on all quotients. Not only does this flick include a gripping screenplay; his top-notch designing of the technical aspects of cinematography and background score too has us raising our hands for a grand applause.

Does 'Raaz – The Mystery Continues' offer a never-seen-before show of an exceptional storyline? Nah! You've the clichéd plotline of a ghost's unaccomplished desire for seeking revenge. But, the difference comes in the form of the unique intentions of a thirsty soul. Don't get surprised to experience certain replicas of 'The Exorcist', or the Recent Hollywood releases 'Mirrors' or 'Stigmata'. With all these properties Mohit Suri doesn't get you disappointed at any moment of the show.

Precisely, at particular points we've him getting through the lines of the 'classic-horror touch' that'll let your nerves frizzled and move you to the edge of your seats. Looking for an illustration; Uh-huh! Kangana's bathtub sequences, Adhyayan Suman dropping cash from an ATM Machine, they are sure to horripilate your senses.

A successful model Nandita (played by Kangana Ranaut) is in love with a creative director of a television program, Yash (played by Adhyayan Suman). Everything is fine and cool until Nandita's life takes a dramatic turn when she meets an artist, Prithvi (played by Emraan Hashmi). He tells Nandita that all the paintings he has made on her are getting disfigured which spells impending danger for her. Initially, she does not believe him but then she starts facing horrifying situations herself. After this, hell breaks loose and an unstoppable storm begins. Thus unfolds some of the most thrilling horror sequences of Bollywood with 'Raaz – The Mystery Continues…'

Kudos to Kangana, Emraan and Adhyayan; they are 'wordlessly stupendous,' showcasing their brilliant performances. Kangana engrosses with her fantabulous actions as a scary girl on the pursuit of detangling the dark-hidden mysteries. Watch her scream while on her anesthesia, they're tremendous getting you awestruck. Obviously, it's a million-dollar expression. On the pars, we have a flabbergasting performance by Emraan Hasmi in a silent-stubborn guy bounded with inscrutable looks. Possibly, Mohit Suri seems to have been vividly influenced by Ed Norton's looks in 'The Illusionist'. Thus getting similar makeovers for Emraan... Doesn't look like a debut show, but a decorous act by Adhyayan. Emoting to different situations of joy, horror and pain, he's patently colossal. Jackie Shroff does justice in his minimal role.

When it's a horror flick, everyone's gotta follow Hitchcock's traits of coalescing the factors of 'foreshadowing', 'pre-planting' and what else? Shuddery twists and turns with shocks 'n' surprisals. Mohit Suri doesn't tread away from the master's theory. If he had penned an impaling screenplay sans unwanted songs and presenting a fine-ending, things would've been far better than the present scenarios.

In fact, a 'horror' doesn't strike richer without perfect musical scores and a spellbinding cinematography. Of course, it's the most innovative angle-moves that fling such a feel… Ravi Waliah's cinematography is top-notch, particularly in the exotic locales.

A short-break from horror is offered through the songs 'Soniyo' [Raju Singh] and 'Maahi' [Sharib-Toshi]. The background scoring is stunningly prodigious enhancing the visuals, especially on scary sequences.

On the whole, 'Raaz – The Mystery Continues' is a superb horror flick with few middling attributes. Although it doesn't happen to be as powerful as '1920', it's worth watching for the enchanting directorial of Mohit Suri.

Verdict: Scary on many parts

Rating : ***

Perhaps, Chandni Chowk to China has nothing phenomenal, but a timeworn script of a coward transcending into a hero, and an estranged family getting unified. Producers promoted CC2C as 'First Ever Bollywood Kung Fu comedy' and for your kind information, the flick doesn't possess top-notching humorous elements or the splendid Kung-Fu you would expect. Well, you've them in bits 'n' pieces amidst of a very long show, running for 160 minutes. Sluggish screenplay blended with lots of ridiculous factors does get you annoyed and Nikil could have cut the duration short thereby favoring him.

Despite Akki, Ramesh Sippy, Warner Bros and biggies together on the lead, the flick doesn't surmount your expectations. Above all, the most disappointing attribute is that we don't get to see spell-binding stunts choreographed by Huen Chiu-Ku. Naturally, everyone expected there to be ones like "Crouching Tiger, Hidden Dragon", "Kill Bill” Volmes. 1 and 2 and "The Mummy: Tomb of the Dragon Emperor". Again, it's all about dashing down our hopes.

Our protagonist Sidhu (Akshay Kumar) is the lowest on the totem pole, cutting 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. His redeeming moment arrives when two strangers from China claim him as a reincarnation of a war hero in the past and take him to China. Sidhu now dreams of wine, women, and a princely existence in foreign lands. Thanks to the devious translator, a conman by the name Chopstick (Ranvir Shorey), little does he know that he is being taken to the Promised Land to rid the Chinese village of the 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), Ms. Tele Shoppers Media (Ms. TSM) who has embarked on a journey to pay homage to the land of her birth and her dead father and twin. Initially, Sidhu through a series of lucky coincidences manages to sidestep being beaten by Hojo's men but finally Hojo catches up with him and exposes him as the country buffoon that he really is. Sidhu has the fire of revenge in his belly and finds the one man who will make him a Kung Fu expert and set the village free. Armed with his Sifu (master), faith in himself and the love of the fair Sakhi, Sidhu sets forth to conquer all!

Nothing to blame on star-casts for they stride with their best spells. Akshay Kumar getting back to pavilion with action-hero is over the top and comedy sense is a splendid show. But, he gets stripped out with an inadequate script. A newfangled Deepika Padukone on dual role steals the show, especially on the characterization of 'Meow-Meow'. Alas! There's nothing such as romance so-touching between Akki and Deepika, blame Nikil Advani for that.

Gordon Liu strikes with a mind-boggling performance. Be it his gestures or his scaring stare, they're awesome. Mithun Chakraborthy with his minimal role makes a good impression (As in his previous flick 'Yuvvraaj'.) Ranvir Shorey with his clichéd acting wins appreciations emoting stupendously on all situations).

The narration is really perplexing. Wonder how Warner Bros picked up a flimsy script with absurdities. It is ok to miss out fine logics when you're penning a script on fantasy-action, but Nikil Advani comes up with quite galling attributes. How come strangers from China assume Akshay as their reincarnated war-lord? Even a dim-witted or 5-sense individual wouldn't fleet to a strange land ignoring his relations with a blind plan. In fact, how does Mithun permit Akki for this meaningless venture? All these are questions to which we can’t find answers. And Deepika's trip to China is well expected and a formula already tried and exhausted in many films.

Perhaps, this is the first ever film to be extensively shot at the Great Wall of China, but again cinematography isn't worth mentioning. Songs are catchy on the screen especially 'Sidhu' is fantastic with hilarious elements blended. The whistling of 'Twinkle Twinkle Little Star' as signature tune is a good pick. Thanks to Mozart for an enchanting tune. 'Chak Le' is where you to get to watch Akki preparing for retaliation. Rather than depicting him seriously frustrated, it's weird to watch the protagonist with goofy gestures. These sequences fail to make an impact on the audiences. The latter half of the film lacks solidity with a dragging screenplay that offers 'boredom' till the penultimate sequences. Signature style of voice uttering 'From Chandni Chowk to Africa' during the climax is sure to delight Akki fans because we can expect a sequel.

On the whole, Chandni Chowk to China would have been better if Nikil had penned a substantial screenplay that could've got our attentions from getting scattered. Apart from a few hilarious scenes and Kung Fu (Especially Roti-rolling style), the flick lacks finesse.

Verdict: Middling on all quotients.

Rating: **½

Arundhathi - A Spellbinding Masterpiece

Appealing visuals combined with graphical technicalities has been producer M. Shyam Prasad Reddy’s stronghold since his first inception ‘Ammoru’ which gave way for wonders in Telugu cinema. Following the movie’s smash hit ‘Anji’ came posing an unique plot filled with twists and turns.

The delay in the release of Shyam Prasad’s latest movie ‘Arundhathi’ has no way affected its charm. His passion for cinema made him undergo such a long project that took 3 years to be conceived on celluloid. The makers unveiled the Sankranthi special film on Jan 16th that has made the audience spellbound.

The days and months of burning the mid-night oil and the filmmakers toil could be related on screen. When I come doesn’t matter but how I impress when I arrive does. In the same way, the days we took to finish is not what matters but the quality work bought out does. These could be the words rewinding in Shyam Prasad’s mind and it reflects in the end product. Read below for a concise review on ‘Arundhati’.

Story

The story unfolds with young girl Arundhati (Anushka)’s arrival to her ancestors palace located in the outskirts of Gadwal province. Engaged to her beloved Rahul (Deepak), she is filled with joy about her impending marriage. Arundhati’s grandfather, Bhupathi Raja (Kaikala Satyanarayana) and Chandramma (Manorama), their loyal maid look upon her as the heiress in the lineage next to Jejamma (Anushka), the princess of Gadwal province three generations back.

The time shifts to the past revealing the daring princess Jejamma who fights and slays the evil doer Pashupathi (Sonu Sood). She restores peace in her reign and Pasupathi’s soul prevails around his Samadhi bound by a magical spell. He awaits the time to break free and get his vengeance on the princess.

In the present, a couple on their way to meet Arundhathi with her wedding cards meets with an accident near the haveli (mansion). The lady goes missing and the man possessed by evil spirits breaks open the Samadhi. A Fakeer Anwar (Shayaji Shinde) who dwells around the place senses bad omen and summons Arundhathi to vacate the place for her own safety.

The Good VS Evil fight begins as Pashupathi mistakes Arundhathi for Jejamma and seeks revenge on her.

How the young girl Arundhati fights back the evil spirit and reigns over the evil doer in the present unveils on screen in a twisty, edge-of-the-seat narration filled with spellbinding visualization and astounding graphics.

Performance of Artists

Anushka, who appeared as a glamour doll till date, sheens in this new role that gives her space to perform onscreen. She is seen in a fresh antique look in one of the dual roles as Jejamma. Her performance as Arundhathi is also laudable. Although her work in a few scenes, in the second half is disappointing, her overall performance is appealing.

Sonu Sood the debuted star of 'Super' has improved considerably and his performance in the negative shade as Pashupathi is excellent. Ravi shankar's dubbing for the character brings life to the role on screen. The expressions and gestures of Subhashini who has played Pashupathi’s mother is good.

Kaikala Satyanarayana has returned after a long gap in movies. Ahuthi Prasad, Chalapathi Rao, SivaParvathi, Annapurna, Manorama, Meena, Jayalalitha have all did well in their respected characters. Baby Divya who played Arundhathi in her childhood years has exhibited a notable performance. Shayaji Shinde as the fakeer has made his presence felt in the movie.

Technicians Work

Koti has composed excellent tracks for the movie. Even though he was prominently not heard for sometime, he has made a mark. Especially, his background musical score that stands as the main highlight for the film.

The most important aspect to be taken note of is the special effects. Bringing back the old palace to life (taking the audience to the past glory of the palace); the murders committed by Pashupathi; the climax sequences in the old palace; the scenes depicting the raise of the spirit from the dormant samadhi and creating a havoc are notable. All this was mainly because of Senthil Kumars photography, Ashok's creative work in construction of sets. Surely these are the key elements in the film. Rahul Nambiar's creativity is also good.

The dialogues 'Ammaale…bommaale…' written by Chinthapalli Ramana, has given a caricature for the character of Pashupathi. His dialogues for Arundhathi suit the feel.

MS Reddy, Dr C Narayana Reddy, Ananth Sriram and Veturi's lyrics are nice. The song penned for Jejamma is enjoyable.

Shivshankars choreography in the sequences, while the spirit is being bound with the spell, is exceptionally well. During the drum dance, if the re-recording had been done on a high pitch, it would have been even better in the cinema halls.

Shyam Prasad Reddy’s pure passion for cinema unlike other producers interest in commercialism is evident in ‘Arundhathi’. Based on a heroine-centric subject, he has daringly invested 13 crores to churn out a spectacular entertainer sans compromise, which has re-established Mallemala Entertainments banner value.

Director's Portrayal

The director of cop stories, Kodi Ramakrishna got the name as the maker of graphical extravaganzas with M. Shyam Prasad Reddy’s produced ‘Ammoru’. He was away busy with small time movies and some predicted he might join the list of veteran directors. He did come back with a big budget magnum opus like ‘Arundhathi’ and reiterated his niche in creativity with this mile stone project.

Criticism

Shyam Prasad holds maximum credit for investing the huge amount in a woman oriented subject that didn’t use Anushka’s glam looks but her acting skills. His daring move has passed out with flying colors and has come out in glory. Even though two days late for the festival, ‘Arundhathi’ is the latest sensation and box officer forecasters predict it will rain collections in the coming days.

In a nutshell, ‘Arundhathi’ is Shyam Prasad’s technical wonder that had brilliantly reached the target.

And at the end of this year, there's a bedazing blockbuster in Indian Box office. Here comes our maestro of perfection swaying on with a different genre from his previous ventures. Merely, producers wouldn't have considered Ghajini as an 'Empaling Speculation' for enormous reasons. Well, when you've South India's top-charting Director, Bollywood's superstar, Musical Maestro and versatile technicians teaming up, undoubtedly results are off grandeur. On the buttons, 'Ghajini' is so tremendous on all panoramas of narration and technical aspects. The film had raised everyone's expectations across far-flung corners as Tamil and its Telugu dubbed version had walloping critical acclaims.

So, what's special about Aamir's Ghajini? Thank God! It isn't a copycat of Christopher Nolan's 'Memento' and carries more divergence from Tamil version in latter half. Well, even for those who had soundly watched Tamil version, they're gonna experience an enhanced spirit on emotions. Of course, tho' it's an action-packed thriller, emotions are boundless….

Perhaps, Murugadoss's gripping motif, script and polished screenplay shores on corking grounds with Aamir's more have-to doe with on all vistas. Fine! Let's pretermit Direction and Music, just pick out editing… Mr. Perfectionist's touch is more revealing on Antony's editing. It's more illustrious with each and every cut in 'Bekha'.

Tales centering on amnesias aren't something new in Bollywood, but a unique of its type 'Short Term Memory Loss – An individual losing out his memory for every 15mins' surmounted everyone's expectations. And what else? Aamir's eight-packs had its turn of grabbing everyone's outlooks prior to film's release.

The film isn't as complicated as Memento. Ghajini is a head-spinning venture of Sanjay Sanghania (Aamir Khan) who has determined to avenge for his girlfriend Kalpana's (Asin) death. Protagonist seeking revenge for his ladylove's death; its so clichéd, isn't? Nevertheless, his greatest stumbling block is that his memory loses every bit of details for every 15mins. And what doesn't get bleached from his deep memory is death of Kalpana and the name 'Ghajini' (Pradeep Rawat) who murdered her. Again, the biggest obstruction is that Sanjay doesn't remember antagonist's identity.


With a Polaroid camera, a cell phone in his hands and alarms beeping on every 15th minute, Sanjay has to tread settling his scores.

Screenplay is narrated on two separate chronicles; present life and flashback sequences of Sanjay. It's so gripping that you would ne'er feel restless or look at your watches throughout the complete show of 180mins. Except, 45mins of next-to-last sequences, there isn't any slight changes from original version and characterizations have been marvelously depicted.

'Wordlessly stupendous' – Aamir Khan or Mr. Perfectionist, whatever you like to call him, he is simply brilliant. Just note this down, unlike his previous flicks 'Rang De Basanthi', 'Fanaa' and 'Taare Zameen Par'; he has nothing do with dialogues. Perhaps, it's Asin, Jiah Khan and Pradeep Rawat who jump on uttering more words. For everyone, who were fond of this line 'Actions Speaks More than Words', you'll witness it with Aamir Khan. He emotes spectacularly with his facial expressions and gestures. For instances, watch him out in 'Bekha' where he spells the most minute expressions with brightness. While taking revenge, it's not the furiousness that's disclosed on his face, but the outburst of emotions for his lost love.

Of course, Asin deliver an over-the-top performance on every scene. She doesn't strain a lot but creates a deep impact on everyone with her role. She's got a great time here in Bollywood and she will rock with her well-brought-up show.

Don't expect a lot from Jiah Khan, if you were spellbound with her performance in 'Nishabd'. It's about doing justice to her role and her well-enhanced show is evident in penultimate scenes. She has to thank Murugadoss for depicting her so exquisitely.

Pradeep Rawat takes on with a decent role and his portrayal is as powerful as his characterization is so powerful than Aamir.

A.R. Murugadoss – He crowns each of his films with 'Success' and his debut directorial in Bollywood isn't an elision. With a trenchant script and screenplay, he reveals of a detailed work on every frame and shot. Working with Aamir Khan, should've made him fine-tuning his before-now version that yields his laurels from universal audiences. A hunky-dory of its kind, you'll witness a vivid groundwork put forth by the auteur, especially a fine-ending unlike Tamil version. As you step out of theatres, it's all about good shades of protagonist arresting your senses and not about hero's act of vengeance filled with bloodsheds.

A.R. Rahman with his tranfixing tunes steals the show. In particular, as everyone starts heeding to Mandolin's interlude on 'Guzarish', its claps, hails and whistles. Scenarios persist with 'Bekha' and getting to watch Aamir's acts and 6 get-ups, it's an appreciably innovative. 'Kaisa Mujhe' is sure to remain along with these two numbers on the charts of evergreen tunes.

Ravi K Chandran's cinematography requires special mention. Don't miss his stylish shots on exotic locations of 'Guzarish'. A grand round of applause for Location Manager for zeroing down an unforeseen never-never land. Costumes are so convincing and it's so nice to see Asin on finest looks in 'Aye Bachu'.


A matured touch of 'cuts' by Antony brightens up visual quality. Be it exposing Aamir's physiques or catching up for the mood of 'fast running notes in Bekha', he deserves best credits.

The film has whole lot 'A-FACTORS' of Aamir, A.R. Murugadoss, A.R. Rahman and Allu Aravind. Naturally, it's A-ONE quality rendered on their roles.

On the whole, Ghajini ends this year with a great Dhamaka for all universal audiences. For those who watched this year's releases with tentative thoughts, can head for Ghajini to witness 'The best film of this year'. For sure, all Khans, Chopras and Kumars should be eyeing on Murugadoss now while rest of the cast-crew would witness a great new dawn in Bollywood for this New Year.

Verdict: Remember this – It's a blockbuster

Rating : 4/5

CLICK HERE FOR MOVIE REVIEW

Reportedly King Khan (read Shahrukh Khan) has seen his upcoming film Rab Ne Bana Di Jodi at a private screening and he loved the film. A private screening of the much awaited film was recently held by the banner Yashraj Films for the film’s cast and crew which included SRK,Gauri Khan, their kids, Anushka Sharma, Aditya and Yash Chopra and Karan Johar. Everyone loved the film that’s the news we are getting.

The story line of Shah Rukh Khan starrer Rab Ne Bana Di Jodi was being kept as a guarded secret. There were reports that there were only three copies of the script. And even till end, Anushka wasn’t shown the script.(lol) But now it has been leaked.

So, heres the story line, apparently the film is a very earthy romantic film about Shah Rukh Khan who is married to Anushka Sharma and there is a huge age difference between them and they are not what one would call a perfect couple. They are merely stretching their marriage with no real romance in between them. They are two very different people. Theres reality dance show called Rab Ne Bana Di Jodi - which is the main backdrop of the movie. The show is on the lines of popular television show, Nach Baliye.

Apparently Anushka wants to take part in the dance competition but she cant because her husband is old and not hip and happening she fears that if she dances with him, she will lose the show and become the laughing stock among all her friends, who are taking part in the same. Shah Rukh Khan overhears his wifes problem and decides to go in for a makeover. He then watches some movies and changes his image completely and comes back to the show and woos Anushka off her feet.

All the way through the dance competition, she keeps falling in love with this new and improved Shah Rukh Khan, without once realising that the man she is dancing with is her real husband."
Yash Raj films has refused to comment on it.

Aditya ne bana di Superhit !

Rating : 3/5

Chandni Chowk To China, the first ever Bollywood Kungfu comedy takes you on a madcap Journey from the by-lanes of Chandni Chowk in Delhi, to Shanghai, the Great Wall and rural China, marrying in its wake hilarious gags, breathtaking action, spectacular locations, and heart stirring emotions.

Our protagonist Sidhu (Akshay Kumar) is the lowest on the totem pole, cutting 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. His redeeming moment arrives when two strangers from China claim him as a reincarnation of a war hero in the past and takes him to China. Sidhu now dreams of wine, women, and a princely existence in foreign lands. Thanks to the devious translator, a conman by the name Chopstick (Ranvir Shorey), little does he know that he is being taken to the Promised Land to rid the Chinese village of the 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), Ms. Tele Shoppers Media (Ms. TSM) who has embarked on a journey to pay homage to the land of her birth and her dead father and twin. Initially, Sidhu through a series of lucky coincidences manages to sidestep being beaten by Hojo's men but finally Hojo catches up with him and exposes him as the country buffoon that he really is. Sidhu has the fire of revenge in his belly and finds the one man who will make him a Kungfu expert and set the village free. Armed with his Sifu (master), faith in himself and the love of the fair Sakhi, Sidhu sets forth to conquer all!