Apr 24 2011

Dum Maaro Dum

Style bhi, thoda substance (abuse) bhi…

Pic: RSE, FOX Star; Source: Wikipedia

I like Rohan Sippy’s (director) style of filmmaking… whether it’s Bluffmaster or Dum Maaro Dum (I am going to ignore Kuch Na Kaho as a debutante’s mistake); he brings that effortless style to his cinema, which is the USP of Dum Maaro Dum. With an impressive ensemble cast, uber stylish look and no other decent Bollywood flick for over two months, Dum Maaro Dum had everything going for it. The film obviously opened well and thankfully is not a damp squib. It has what it takes to be a decent entertainer but that’s about it; it does not wow or blow your mind, it is a good time-pass affair at the most.

I will come to the story and acting later but will talk about the film’s style that makes it what it is. Starting from the teaser poster with Deepika Padukone’s tattooed waist to the well cut first promo; the film looked stunning (only Dabangg promos looked as exciting before this one). Well done the production design team (CROP) and the art director, Shazia Zahid Iqbal; you nailed it! There were some cool lines in the film that were funny and extremely smart (dialogue, Charudutt Acharya)… Styling by Falguni Thakore was a little over the top at places, especially with the women but nothing really to complain about; they all looked good (with the exception of Aditya Pancholi who is so 90s and didn’t fit in this stylish flick). The camera work by Amit Roy was great and he managed to give the film a feel that suits the title.

All good, except a few places where they over did it… like in the song ‘Thayn Thayn’, which may have appeared cool to the makers but could have been done away with. Similarly, the much talked about title track with Deepika (she never looked better) had some stunning moments that were ruined by tacky lyrics (Jaideep Sahni you are way too good to dole out such stuff). The background score was quite nice and the original Dum Maaro Dum (from Hare Rama Hare Krishna, 1971) guitar riff was incorporated well; kudos to Midival Punditz and Karsh Kale. Otherwise, the original music by Pritam was below average and most songs could’ve been done away with.

Coming to the screenplay, it is the strength as well as the weakness of the film. Shridhar Raghavan mounts a great plot that reminds you of Nat Geo’s Jailed Abroad as well as Bolly-thrillers of the 70s. Till the interval, the film moves at a breakneck pace and then falters, only to come back with a killer twist (in true Raghavan style, remember Khakee), which I really believe could have been handled better by the director and the editor (Aarif Shaikh).

Performance wise, it is the return vehicle for Abhishek Bachchan who is very convincing as Kamath, a fearless cop on a mission to get Goa rid of the drug mafia. Bipasha Basu as Zoe fits the bill but doesn’t shine; how I wish Zeenat Aman was younger enough to do this role. Aditya Pancholi as Biscuita (yes, you read it right) is ok but we could have done with a much smarter and meaner baddie here (think Ajay Devgn in a meatier role). Prateik Babbar aka Lorry is brilliant as a young, innocent guy stuck in the drug trafficking mess. He is an actor to watch out for as he is able to comfortably change basis the character. Finally, Rana Daggubati, the Telegu film-star who made his Bolly-debut with this film… he is good and the girls seem to love him; guess a star is born.

Overall, Dum Maaro Dum is worth a watch but don’t expect too much… Aapki Sewa Mein Janhit Mein Jaari…

My rating: * * * Three stars on five

 

Feb 28 2011

Vishal Ko 7 Khoon Maaf

Pic Source: Wikipedia

A couple of weeks ago, I had written a post on ‘The Genius of Vishal Bhardwaj’ and had great expectations from his next film, ‘7 Khoon Maaf’ based on Ruskin Bond’s short story, ‘Susanna’s Seven Husbands’ (adapted for screen by Vishal and Matthew Robins). It’s been little over a week since the film’s release and a lot has been said about it, good, bad and ugly. Though I did not love the film, I still think Vishal is amongst the best filmmakers we have in India today and his weakest is eons better than many others’ best. So what worked and what did not work for 7 Khoon Maaf… here’s my list of 7 things (plot spoilers ahead for those who haven’t seen the film)

Screenplay – A killer plot but a very straightforward narrative did not help the film. The whole world knew that Susanna (Priyanka Chopra) is going to murder her seven husbands in the film but one expected some surprises and some twists throughout… the murders were lined up like a multi-course meal and we got entrée after the hors d’ourves as promised; in fact there comes a message at the interval point – ‘4 more to go!’ The film is full of brilliant moments and images like a Persian cat walking down a grave made of snow; John in a blue negligee playing chor-police; Susanna asking her poet husband, “who is Mukarrar” when he praises her couplet by using the Urdu word that means ‘again’; and Neil Nitin Mukesh dangling his amputated leg in his wife’s face, amongst many others. However, they somehow do not come together to leave a hangover like Vishal’s earlier films did.

Priyanka Chopra – She dazzled in Vishal’s Kaminey but could not really pull off a complex character like Susanna. Not her fault, she tried and tried hard but that effort showed and she never became Susanna like she became Sweety in Kaminey or Kareena became Dolly in Omkara or Tabu transformed into Nimmi in Maqbool. She shines in a few scenes but not throughout the film. The writing also did not support her as you neither feel bad for Susanna, nor you hate her. She moves from one marriage to the other but there is just so much happening that you’re left to wonder if she’s started to enjoy it or is a pained soul.

Climax – What saves the day is the superb twist in the end… the film lifts in the last ten minutes and Priyanka also delivers her best especially in the scene where she says, “this time I will drink his blood…” She appears sinister and then the surprise.

Music – A brilliant soundtrack helps the film move forward. Vishal Bhardwaj and Gulzar once again create magic especially with the song, ‘Daarrling’ (vocals – Usha Uthup and Rekha Bhardwaj) and ‘Bekaraan’ (vocals – Vishal Bhardwaj). The two rock numbers one after the other distract and only one would’ve been sufficient.

Cinematography – The scenes are set to create a mood and the lighting is dim… Vishal conceptualizes the scenes brilliantly and Ranjan Palit shoots them like never before. 7 Khoon Maaf looks like a brilliant piece of art but falls short of being a brilliant piece of cinema.

Make-up – The moment Susanna first appears on screen, you do not notice her but you notice her bad prosthetic make up that makes her look fake. A powerful scene is ruined with everyone discussing her cakey make-up around you. Of course, her journey from a young beautiful army wife to a middle aged frustrated woman requires her to look different but technical flaws like this take away from the emotion.

The husbands, the supporting cast – Some worked and some didn’t but the film has a very interesting ensemble cast. Annu Kapoor as an opportunistic policeman, Keemat Lal is brilliant and so is Irrfan Khan as Wasiullah Khan, a gentle poet by the day and a masochistic lover by the night. Neil Nitin Mukesh as Major Edwin Rodrigues, an insecure and jealous husband is good while the Russian actor, Aleksandr Dyachenko as Nicolai Vronsky is just about ok. Naseeruddin Shah as Dr. Modhusudhon Tarafdar is miscast as you just do not relate to him talking with a Bengali accent; and John Abraham as a drug addict rock star has nothing much to add. Vivaan Shah makes a confident debut and is able to manage the growth in his character over the years (though make up fails him also).

The burden of expectations is such that minor mistakes get magnified and a little disappointment is devastating. 7 Khoon Maaf also suffers from not matching up to the humungous expectations of Vishal’s devoted fans. But Vishal, 7 Khoon Maaf to you as well and we accept your take on Susanna and eagerly await your next with the same expectations (fans never learn, you see)

My rating: *** Three stars on five

Feb 27 2011

Tanu Weds Manu

 

Bhai mazaa nahin aaya ji…

Pic: Viacom 18; source: Wikipedia

Hello ji, I am Manu Sharma (R. Madhavan) … I am a London returned doctor, looking for a bride in India. I land in Delhi and my parents directly take me to Kanpur to meet a girl and her family. The girl is sloshed and passes out when we meet but I am so desperate that I fall in love with her instantly. The girl’s name is Tanu ji… she is pretty, has collagen injected pout, drinks vodka or rum neat, smokes up and abuses in our mother tongue. I like her a lot as she reminds me of what I do not possess – a spine.

Hello ji, I am Tanu Trivedi (Kangana Ranaut)… I am a Delhi University graduate and think that I am the god’s gift to mankind. Please don’t mind the way I talk as I still do not have a diction coach. I love a contractor boy from Lucknow but flirting-shlirting with bakras like Sharma ji aka Manu ji is good for my ego. He seems like a little lost puppy, wagging his tail and following me in the hope of some affection; no harm in playing along, you see.

Director, Anand L. Rai’s ‘Tanu weds Manu’ doesn’t have a path breaking story-line but a safe plot which usually works for a rom-com. But what’s required is an exciting screenplay (story by Himanshu Sharma) and crackling chemistry between the lead pair; think ‘500 Days of Summer’ or closer home, ‘Jab We Met’… but ‘Tanu weds Manu’ falters on both. Of course, there are mandatory wedding in Punjab scenes and some genuinely funny moments but not enough to sustain the film. The first half is silly but interesting; the interval moment holds a big surprise but after that it’s a downward journey as Madhavan’s character starts becoming a door mat and Kangana gets more irritating.

In such films, a lot depends on the lead actors’ charm. Kangana looked promising in the promos but her diction fails her again as she sounds completely unconvincing. In fact, you end up laughing at the way she says her lines than what she says. Madhavan is nice in the first half but his character becomes so weak in the second half that you stop feeling sad for him. The supporting cast is more interesting with Deepak Dobriyal as Manu’s best friend Pappi; this guy steals the show whenever he comes on screen. Eijaz Khan plays Jassi, Manu’s Sardarji friend very well and Swara Bhaskar as Payal, Tanu’s childhood friend has more charm and talent than the leading lady. Jimmy Shergill is good in his few scenes but his character isn’t well written; Ravi Kissen is wasted in his two bit role.

Madhavan’s stylist should take note and give him clothes that do not highlight his… eh… man breasts! Kangana looks nice in some parts and scary in some with her bee-stung pout; her wedding look in the climax is ghastly. The film’s soundtrack (music, Krsna; lyrics, Rajshekhar) has some nice Punjabi songs like ‘Sadi Gali’ (RDB) and ‘Jugni’ (Mika); and some really bad ones like ‘Mannu Bhaiyya’. Cinematography by Chirantan Das is good and a little bit of brutal editing (Hemal Kothari) in the second half would have helped the film a lot.

Overall ‘Tanu weds Manu’ is just about average and can be watched once. Tip: go in a large group and you’d enjoy it more… preferably after downing Kwaarter Baawttle Vodka* like Tanu ji.

My rating: ** ½ Two and a half stars on five

*Kwaarter Baawttle Vodka – borrowed from Anna Vetticad’s Tweets and Blog.

 

Feb 4 2011

Aao Award Award Khelein

Cinematic Excellence vs. Popularity – The Big Debate

Dabangg - 2010's biggest entertainer

Filmfare Awards, Star Screen Awards, Zee Cine Awards, IIFA, Stardust Awards, Apsara Awards, National Awards and many more awards are there to celebrate excellence in Hindi cinema today. However, the big question here is whether these awards actually salute excellence or reflect the popularity of the year’s blockbusters in competition. The credibility of these awards is a different matter altogether; actors and filmmakers have often accused organizers of playing favourites, selling trophies and pleasing the powerful. These days, new categories are introduced to please some stars and sponsors, all in the name of encouraging talent and public voting! Leaving aside the credibility issue, the biggest question any awards ceremony needs to address is what they stand for; are they going to felicitate the biggest hit or a technically superior film that may not have set the box office on fire.

Udaan - 2010's finest Hindi film

One school of thought is purely merit based, where big and small films compete on the same platform and the same judgment parameters apply to all. Public voting system may not work well here as whenever you try to go mass, the stars’ emotional connect and popular appeal may take over. The only possible solution is having a qualified jury based judging process like our National Awards and the Star Screen Awards; though there are always questions on the jury’s decisions. Internationally also the most prestigious awards are jury based, like the Oscars, which have a much more complicated judging process and a much larger jury. These merit based awards help smaller, well-made films gain recognition and some more business. In fact, success at Oscars have helped some small films reach blockbuster status; case in point, Slumdog Millionaire. The flipside to this process is that many popular films are overlooked and the fans are left disappointed. At last year’s Oscars, James Cameron’s magnum opus, Avatar was beaten by a much smaller film, The Hurt Locker for the Best Picture trophy. The masses who had loved Avatar had not even heard of The Hurt Locker and many had complained of it being boring. This year the same thing happened at the Star Screen Awards where the year’s biggest hit, Dabangg did not find a nomination in the Best Film shortlist and a lesser seen but much superior film, Udaan won the big prize.

Click here to read full post that appeared on http://www.nowrunning.com

Declaration: The author of this article has grown up watching film awards and has almost always enjoyed them. He wakes up at odd hours to catch the Oscars and stays up late to watch the star-studded Bolly film awards that come with never ending commercial breaks. In the last few years, he has been disappointed with the state of Hindi film awards but has not lost faith. He is also part of the TwiFi Awards’ Film Buff Jury.

To know more about the TwiFi Awards, follow them on www.twitter.com/Twi_Fi_Awards or www.facebook.com/TwiFiAwards

To know more about the Ghantas, log on to www.theghantas.com or follow them on www.twitter.com/theghantas


Jan 24 2011

The Genius of Vishal Bhardwaj

He is a composer, a playback singer, a writer, a producer and a director; he excels in all these fields and is amongst the finest filmmakers in the country today.

He has directed five brilliant films and his sixth one, 7 Khoon Maaf is already creating a lot of excitement in the filmy circles. He is Vishal Bhardwaj who has made delightful children’s films like Makdee and The Blue Umbrella and films that delve into the dark human emotions such as Maqbool, Omkara and Kaminey.

His adaptations of Shakespeare and Ruskin Bond have opened doors for more literary adaptations in the Hindi film industry. His musical compositions mean different sounds, unusual playback combinations and haunting melodies. The genius of Vishal Bhardwaj has not yet been fully discovered by the Indian film industry and something tells me that soon the whole world will sit and take notice of this brilliant filmmaker.

Here’s a look at his directorial ventures that have helped redefine Bollywood in the last decade…

Click here to read my full post that appeared on nowrunning.com on January 23.

Jan 22 2011

Dhobi Ghat


Well Done Prateik…

Dhobi Ghat; Aamir Khan Productions

Kiran Rao’s directorial debut, Dhobi Ghat is an interesting film that doesn’t quite fit into any Bollywood genre. It is shot beautifully and is all about the mood it creates. It doesn’t have a concrete story to tell and doesn’t have a point to make… that’s the USP of the film as it invites you to relax and just soak in the atmosphere on-screen. Having said that, you need patience with the film as it moves at a leisurely pace, despite its short run-time (95 minutes).

Dhobi Ghat is about Mumbai and people from different walks of life who make up the city. Through an interesting narrative, the writer-director connects the four principal characters and their lives. Arun (Aamir Khan) is a reclusive artist who discovers an unlikely muse in Yasmin (Kriti Malhotra), a newly married girl who is adjusting to the city and misses her previous life. Shai (Monica Dogra) is an Indian-American banker on sabbatical who wants to explore the city and its people through her camera; she finds Munna (Prateik Babbar), a dhobi (washer-man) by the day, a rat exterminator by the night and an aspiring actor, to be her guide.

While Aamir is good as usual, the other young actors get more prominence in the film and deliver fine performances. Prateik as Munna is the highlight of the film as you instantly connect with him and his sincerity. A well written character, enacted with ease by Prateik, you relate to Munna’s hopes, dreams and disappointments. The other heroes of the film are its background score and camerawork. Oscar winner, Gustavo Alfredo Santaolalla (Babel, Brokeback Mountain) has created a beautiful soundtrack that helps create the film’s mood with Tushar Kanti Ray’s visuals of rain-drenched Mumbai.

Dhobi Ghat is a nice experiment and thanks to the aggressive promotion is getting in the audiences too. Success of a film like this will certainly encourage other filmmakers to try different genres. However, is it a film that blows your mind? I’d say no; not because it’s not well-made but because it doesn’t seem that it intends to do that. The film sets the mood, there are some sequences that go straight for your heart but overall it stays a bit cold. It is a nice film that is worth watching for its treatment and Prateik Babbar but do not expect something extraordinary.

My rating: * * * Three stars on five

 

Jan 17 2011

Yamla Pagla Deewana

 

A huge lassi glass sized disappointment…


Pic: Yamla Pagla Deewana; source: Wikipedia

With Samir Karnik’s Yamla Pagla Deewana, I expected a ‘Balle Balle’ entertainer but got a lame film, which in Punjabi terms can only be compared to cold and soggy Chhole Bhature. The film tries hard to cash on the three Deols coming together, which by the way managed to get the audience inside the theatres. However, spoofing their old films and over-acting does not help if the rest of the script is disastrous. The first half of the film is unbearably bad and a friend of mine fell asleep 15-minutes into the film and left the theatre before the interval. Here’s my appeal to the makers, issued in public interest…

Dear Samir Karnik, Please think hard before you make another film and kindly acquire a very good script. Otherwise, we are not going to say ‘Kyun! Ho Gaya Na’, once again.

Dear Dharmendra ji, Please take roles that suit your stature and age. We would like to remember you for movies like Sholay, Aankhen, Chupke Chupke, amongst others and not for doing a sleazy number called ‘Tinku Jiya’ in a film like Yamla Pagla Deewana. Do roles like you did in Sriram Raghavan’s ‘Johhny Gaddar’; it was small yet impactful.

Dear Sunny paaji, You were the only good thing about this film but your sincere efforts sadly could not save it. Your Matrix meets Ghajini meets Gadar action sequences were good fun and of course your ‘Jatt risky after baalti whisky’ type lines. We’d love to see you back on screen but do choose your films wisely.

Dear Bobby, Why were you setting the world record for over-acting in this film? You knew you were not in a school play then why stress on your lines the way you are supposed to in the annual day stage performances. I can only compare this act of yours with Fardeen Khan’s in ‘No Entry’. And no, that wasn’t funny either. Thought about collaborating with Abbas-Mastan again?

Dear Kulraj Randhawa, You looked good and even tried to do a Kareena Kapoor ‘Jab We Met’ act in the film. Sadly, your character, Saheba’s cousin in the film, Poli (Sucheta Khanna) had a better written role as a ‘Caneda’ obsessed girl from Patiala. Thank the makers for the launch and look for better roles.

Dear Nafisa Ali, Well tried, but it’s a little difficult to displace Kirron Kher from the Punjabi mother characters… You looked the part but a bit too polished; not your fault and would love to see you again but in more urban characters.

Dear Emma Brown Garett, It was nice to hear you swear in Punjabi and your pairing with Sunny Deol was hilarious. Now look forward to your act in Rohan Sippy’s ‘Dum Maro Dum’. However, please be careful and don’t allow Bollywood to reduce you to the neighbor / party guest roles in films that get shot in Filmcity and pass off as Canada.

Dear Anupam Kher, I do not know about your supporting brigade of Mukul Dev and Himanshu Malik (of 17 kisses with Mallika fame), but you certainly deserve better.

Dear Music Directors (Anu Malik, RDB, Nouman Javaid, Sandesh Shandilya, Rahul B. Seth), The only good song in the album is the title track that too is a remixed version of a hit song. I still prefer the original ‘Yamla Pagla Deewana’ (Laxmikant Pyarelal) than this version. What’s with the slow Bhangra number and the pedestrian ‘Tinku Jiya’? Please refer to Singh Is King’s rocking soundtrack that made everyone in the theatre feel like dancing.

Dear fellow film buffs, Watch Yamla Paglaa Deewana if you must but please do not expect anything funnier than what you’ve already seen in the promos.

My rating: * ½ One and a half star on five

– Shrey Khetarpal


Jan 9 2011

No One Killed Jessica

 

 

Pic source: UTV Spotboy

Power… this one thing that is more abused in our country than it is used for what it’s meant for. From politicians to traffic cops to telephone linemen to the relatives of a bureaucrat; everybody is somebody in our country. The film, No One Killed Jessica opens with the same thought, albeit about the city of Delhi. Delhi, where no one killed Jessica Lall and no one killed Aarushi Talwar. Is it the city or is it the people or is it the system? Director, Raj Kumar Gupta’s second film after the very well made Aamir (2008) tries to ask the same question. No One Killed Jessica is a great attempt at making a hard hitting and brave film based on a real life incident that shook the nation’s conscience. I say a great attempt as the film makes a point but beyond the emotion, it falls short of achieving cinematic excellence.

The film opens with a spectacular credits sequence with the sensational ‘Dilli Dilli…’ track that sets the tone of the film. In fact, the music by Amit Trivedi with Amitabh Bhattacharya’s lyrics is the film’s one of the biggest strengths. Talking about strengths, the film’s leading ladies, Vidya Balan and Rani Mukerji shine as Sabrina Lall and Meera Gaity, a journalist with striking similarities to NDTV’s Barkha Dutt, respectively. The first half of the film belongs to Vidya who sensitively portrays a girl in her twenties who is vulnerable and at the same time determined to get justice for her sister’s murder. Rani makes a powerful comeback with a fiery character and once again shows what a powerhouse of talent she is. I only wish that she was made to scream a little less.  Rajesh Sharma as the chief investigative officer on the Jessica Lall murder case also deserves a special mention; he is believable as a frustrated cop.

With a powerful subject, good performances and a superb soundtrack, No One Killed Jessica could have been an outstanding film. However, the film is not consistent and has its fabulous and dull moments. The film really moves you but also drags in parts; some of the court sequences actually make you cringe due to the way they are shot with extreme close-ups. The film could have been fifteen minutes shorter for a much more impactful narrative (screenplay – Raj Kumar Gupta; editing – Aarti Bajaj). Having said that, hats off to the director and the producers, UTV Spotboy for making a relevant film like this. It is the right time for Hindi cinema to experiment and present real or realistic stories on screen; no matter if it doesn’t have a hero, people will come to watch as I saw today in a packed theatre. I recommend watching No One Killed Jessica once for the subject matter and the great performances by the cast.

My rating: * * * Three stars on five

A note for fellow film lovers: If you are tired of film awards that are not merit based, it is time to take the decision in your hands. Presenting the Tweeple Film Awards! Truly democratic awards that are ‘Of the People’, ‘By the People’ and ‘For the People’, to honour the most deserving in Hindi Cinema 2010. It’s a movement started by film buffs on Twitter to counter the nonsense that ‘Bollywood’ film awards are.

Follow Tweeple Film Awards on Twitter:  www.twitter.com/twi_fi_awards and on Facebook: www.facebook.com/twifiawards. You can also email on twifiawards@gmail.com


Jan 5 2011

Bollywood Wishlist

 

Expectations from the Hindi Film Industry in the next decade

Tabu in The Namesake

A lot has changed in Bollywood in the last decade and most of it for good. While bad films continued to pour in like a plague, there were many innovations and experiments that took the ‘industry’ to the next level…

Good writing finally gained the importance it deserves; casting started happening according to the characters and not based on the star power, and of course the technical improvements; Bollywood flicks covered a lot of ground in the last ten years. Specifically in 2010, the industry woke up to the power of small films that shadowed the biggies and hope this trend continues where content is the king. However, with so many improvements, there are still some irritants that we can do without.

Here’s my wish-list for Bollywood in the next decade:

Better roles for better actors: There are many good actors but a lot of times they do not get the right roles to play due to silly factors like star camps, favoritism and the actors’ own choices. Case in point Rani Mukherji, a supremely talented actress who did not get any powerful roles post 2005 when she was seen in Black, Bunty aur Babli and Paheli. Hopefully No One Killed Jessica works for her and she gets better films than the Hadippas andChunari Ka Daags of the world.

Similarly for Amitabh Bachchan, it is time that he only takes up quality work and avoids films like Teen Patti, Aladinand God Tussi Great Ho. Another fine actress, Tabu deserves better roles; her performances in Maqbool, Cheeni Kum and Chandni Bar were outstanding and with The Namesake, she garnered international acclaim. She has been signed on by none other than Ang Lee for his ambitious 3D project, Life of Pi; let’s hope that Bollywood also wakes up again to her talent.

Click here to read full post that appeared on nowrunning.com on January 3.

 

Dec 29 2010

Celebrating the Duds

 

The worst of Bollywood in 2010

Pic: Tees Maar Khan

Every year Bollywood churns out hundreds of movies and hundreds of them flop; only a handful of them get acceptance and are lauded by the viewers, and even fewer by the critics. Sometimes even the bad ones work at the box-office and nobody has any explanation for that, except maybe Sajid Khan as he manages to do that every time with his films (Heyy Babyy, Housefull). While the good ones will get felicitated at the multiple award ceremonies (the eternal optimist in me still believes in them a little bit); the bad ones are forgotten except by the financier or the distributor. This article is dedicated to the worst of Bollywood in 2010. Nobody really wants to make bad films or do bad work but maybe the filmmakers and actors learn something from these disasters.

Declaration: This column is the author’s expression of the pains he suffered by watching poorly made films, badly enacted scenes and other forms of torture deployed by the Bollywood-wallahs this year. The author payed through his nose to watch these films at expensive multiplexes and thinks that it is his right to give back. Should you disagree, please read no further; if you agree, do share your views on the worst of Bollywood in 2010.

RGV Ki Aag Memorial Award for the Worst Film: and the nominees based on the author’s personal views and a quick and dirty survey, are:

  • Anees Bazmee’s No Problem – Because the audience cannot be ‘Welcomed’ in ‘No Entry’ again and again
  • Farah Khan’s Tees Maar Khan – Because Khan Khan hota hai aur Kumar Kumar
  • Mani Ratnam’s Raavan – Because we had great expectations, Sir
  • Anurag Basu’s Kites – Because the controversy around the lead pair was more interesting than the film itself
  • Leena Yadav’s Teen Patti – Because you shouldn’t try to make desi ‘21’
  • Ken Ghosh’s Chance Pe Dance – Because the dancing was so bad
  • Sajid Khan’s Housefull – Because in reality Mr. Khan it is NOT your Titanic and you can NEVER make Avatar (Sajid Khan had compared Housefull to Titanic and promised Avatar on Komal Nahta’s show on ETC Channel)
  • Priyadarshan’s Aakrosh – Because if you can’t get it right then should leave Prakash Jha to make such cinema

And the award goes to Farah Khan for Tees Maar Khan. Recognition for ‘borrowing’ the story-line of an old, Italian flick (After the Fox, 1966) and ruining it with jokes that are not funny and scenes that are just randomly put together. However, I must mention the only good thing in the film – Katrina’s item song, ‘Sheila Ki Jawani’.

Click here to read full post that originally appeared on nowrunning.com