Barfi!


Of rainy afternoons, chai, fireflies & soap bubbles…

Pic source: Wikipedia

He loves her… she loves him too but is confused. She is practical, he is not. She cannot help but calculate; he doesn’t know that math… His love is in abundance and can only be cherished by someone who loves without thinking. Love, heartbreak, loss and a chance to win love back… That’s writer-director, Anurag Basu’s Barfi for you – it is beautiful, it is feel-good and thankfully devoid of any ‘screaming for sympathy’ antics despite differently-abled protagonists.

Barfi is a heart-warming film about a deaf and mute young man called Murphy aka Barfi, played by Ranbir Kapoor. His life may be without any sound but is not dark; he lives with his father who is a chauffeur in Darjeeling. He is mischievous and is aware of his good looks and charm, which he uses to impress the new girl in town – Shruti (Ileana D’Cruz). Then there is Jhilmil (Priyanka Chopra), the autistic grand-child of a rich businessman; she loves origami, dislikes getting her footwear soiled and is friends with their chauffeur’s son.

It is an unlikely love triangle that makes you sad one minute and smile the next. Ranbir once again delivers a brilliant performance, which exudes Chaplinesque charm and sincerity that we are used to seeing in him. I cannot think of another Indian actor who could have played Barfi and played better than him. Priyanka maintains restraint and communicates effectively what goes in Jhilmil’s mind through her expressions. Like Barfi, she also has little or no dialogue but you feel all that she does… kudos to the director for treating autism sensitively and not going over the top. This is also Priyanka’s best performance till date, right next to her character, Sweety in Kaminey. Ileana looks great in the second half and has some brilliant scenes… her dilemma is portrayed beautifully by the director, accompanied by a lovely track, ‘Phir Le Aaya  Dil…’ at one point in the film. She seems awkward in the first half of the film and with Ranbir shining bright, she looks a bit dull; but all that goes away as the film progresses.

Basu creates a special mood with the film that takes you back in time when life was simpler, childhood meant chasing fireflies and playing with soap bubbles. Darjeeling looks breathtakingly beautiful through the lens of cinematographer, Ravi Varman and production designer, Rajat Poddar adds the details to re-create the delightful 70s. Like its setting, the film moves at a leisurely pace, which is perfect; however a little bit of pruning in the second half could have helped (editing – Akiv Ali). Music by Pritam is first rate and his choice of singers is brilliant – from the fabulous versions of ‘Phir Le Aaya Dil’ by Arijit Singh and Rekha Bhardwaj to Papon’sKyon’ and ‘Ala Barfi’ by Mohit Chauhan and another version by Swanand Kirkire (also the lyricist). The soundtrack not only goes wonderfully with the film but is a perfect accompaniment to spend a rain drenched afternoon, reading a book and sipping tea.

If I have to criticize Barfi, then I will blame the length a bit and the criss-cross narrative that complicates things unnecessarily. But all that can be easily ignored as this Barfi has just about right sweetness… So, watch the film and get hold of the music!

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Agneepath

Outdated and unintentionally funny…

Agneepath; Dharma Productions; Source: Wikipedia

Hrithik Roshan starrer Agneepath was an unintentional funny film for me. No, I am not really a big fan of the original (1990; directed by Mukul Anand) starring Amitabh Bachchan but if we are talking remakes then the earlier version still wins. Karan Malhotra’s new Agneepath is full of plot holes and has the 80s-90s film-making sensibility that makes you cringe. I am a big fan of the original masala style of Bollywood film-making but the new Agneepath seems more outdated than the original one. Of course, the new film is also set in the 90s (1992 to be precise) but in a thriller made in 2012, one expects the filmmaker to respect the intellect of the audience. Let me list down a few gaffes to illustrate my point (spoilers ahead).

Before I do that let me share a brief synopsis for those not familiar with the plot. Agneepath is a revenge drama that begins in a tiny island near Mumbai called, Mandwa. A greedy landlord cum goon, Kaancha Cheena (Sanjay Dutt) falsely blames a conscientious school teacher and village leader, Deenanath Chauhan of rape and murder. Led by Kaancha Cheena, the village mob lynches the teacher whose pregnant wife and young son, Vijay escape to Mumbai. Years later, Vijay returns to extract revenge and to win back Mandwa. And here are some of the goofs that did not allow me to take the film seriously:

  • Inspector Gaitonde (Om Puri) makes a presentation on the gang wars in Mumbai and in the slide show, presents a photograph of an emerging young gangster, Vijay Deenanath Chauhan (played by Hrithik Roshan). Unfortunately, the picture is not the latest one but of a 12-year-old Vijay (Arish Bhiwandiwala) as they haven’t been able to get a recent photo of him (he is now shown to be 27-years old). Gaitonde goes on to describe everything about the gangster, down to his address and the charitable trust he runs. 10-minutes later, Vijay pays what-seems-like a regular visit to the inspector at the police station. But, they haven’t been able to get a picture!
  • Inspector Gaitonde in his detailed slide show also talks about Mandwa, which apparently is run by Kaancha Cheena like Hitler’s concentration camp. Really! And the Government of India sits pretty? As per him, they do not raid Mandwa as last time they tried, it led to many civilians dying in cross fire and human rights commission created a ruckus. So, now they decide to let Mandwa be.
  • In the second half, Vijay’s mother, Suhasini Chauhan (Zarina Wahab) while watching TV recognises a gangster murdered by Vijay as Surya from Mandwa. Please note when she left Mandwa, 15-years-ago, Surya was a kid and did not look anything like his grown up version. Neither did Suhasini stay in touch with folks in Mandwa who’d send her photographs (also Facebook wasn’t there in 1992). Heck, she didn’t even stay in touch with her own son!
  • After recognising Surya on TV, Suhasini for some reason goes to the police station to explain Vijay’s revenge plan to Inspector Gaitonde. Why? I don’t know. Why does she explain it to the first police man she sees (who is on pay rolls of Kaancha) I don’t know!
  • Hrithik has abs made of steel! In a fight with Kaancha, Vijay gets stabbed by at least a 12-inch long and 2-inch wide knife but after his shirt is torn (yes ladies, the abs are on display) you only see a hint of blood and lots of black soot.

Let’s leave all this aside and agree that the director wanted to make a 90s style film and didn’t care much about logic. After all Bollywood is about taking a leap of faith! Even then the film doesn’t shine much as both the build up and the climax are long and tedious (screenplay: Karan Malhotra, Ila Dutta Bedi; editing: Akiv Ali). Cinematography by Kiran Deohans is excellent but the production design lets it down. Sabu Cyril’s sets are so unbelievable that you forgive Omung Kumar’s over the top designs for Bhansali films. The fake banyan tree and Kaancha Cheena’s den look silly and well… fake! Music by Ajay-Atul is just about ok and the songs hinder the narrative (lyrics by Amitabh Bhattacharya). The much talked about item song, Chikni Chameli (featuring Katrina Kaif) does what it was meant to – help in film marketing and support a dragging second half. Being an action film, you’d expect some memorable stunts or fight sequences but you get none; there is just a lot of blood and gore (action: Abbas Ali Moghul).

Coming to the acting department; I think Karan Johar did well by choosing Hrithik Roshan over Abhishek Bachchan, son of the original Vijay Deenanath Chauhan. Hrithik does a good job and is believable in a local, gritty character that is cunning and opportunistic. Priyanka Chopra as Kaali is forgettable; she had a small role in Kaminey also and we remember Sweety but here you don’t connect with her, you don’t care for her. Sanjay Dutt as Kaancha Cheena is menacing and looks-wise reminds you of Marlon Brando in Apocalypse Now and Ralph Fiennes as Voldemort in Harry Potter. The real star of the film however is Rishi Kapoor who plays Rauf Lala, a ruthless drug lord in Mumbai. His is a new character that did not exist in the original film but leaves an impact.

Watch Agneepath if you’re a Hrithik fan and also for Rishi Kapoor.

My rating: * * * Almost three on five

– Shrey Khetarpal

 

Don 2

The King is back… or is he not?

Don 2; Source: Wikipedia

Shah Rukh Khan’s second outing as Don may not be an edge-of-the-seat thriller but it has enough action and style to qualify as an average entertainer. Directed by Farhan Akhtar, Don 2 suffers from the same old Bollywood problem – a weak script (story & screenplay – Ameet Mehta, Ambrish Shah and Akhtar himself). Instead we are offered fancy locales, exciting stunts and oodles of style… oh, and of course, King Khan.

While the first Don (2006) was a remake of Amitabh Bachchan starrer of the same name (1978); it packed a lot more punch and a killer twist in the end as compared to its sequel. The biggest strength of the film is SRK who seems to enjoy playing the bad guy. He is effortlessly cool and sinister in most sequences but has some cringe-worthy moments towards the end where his ‘love-interest’, Roma is involved. Priyanka Chopra reprises the role of Roma, the tough Interpol cop who is still licking her wounds after being fooled by Don in the first film. She has nothing much to do in the film except being called ‘Jungli Billi’ (wild cat) by Don and a little am-a-cop-and-I-can-kick-ass sequence towards the end. Lara Dutta in her brief role steals Ms. Chopra’s thunder in the glamour department and sheer screen presence. Newcomer, Saahil Shroff sadly doesn’t get enough scope and other actors including Om Puri, Boman Irani and Kunal Kapoor are fine in their respective roles.

The film’s other strength is its style quotient for which the Akhtar siblings are well known for. Don 2 is the first Hindi film to be shot in Germany (Berlin) and naturally the locales look refreshing. There are some interesting stunts including SRK’s 300 metre jump from a skyscraper (though it pales in front of Tom Cruise’s Burj Khalifa adventures that we recently witnessed in MI4) and an elaborate car chase sequence where sponsor, Hyundai’s cars prove to be the best. There is an elaborate bank robbery meets 26/11-style hostage crisis sequence that forms the second half of the film. The actors’ styling in the film is quite impressive including Don’s menacing long-haired and un-kept look in the Malaysian jail, followed by well fitted jackets and over coats. Lara looks stunning while Priyanka has some off moments, including one where she chases Don in a slinky designer gown (costume: Jaimal Odedra; hair: Walter Dorairaj, Diane Commisariat). Cinematography by Jason West is also first grade with fantastic aerial shots of Berlin, Thailand and Malaysia.

While the film scores high on style, its slow pace and the length prove detrimental (editing: Anand Sobaya). Despite borrowing heavily from the first film’s soundtrack, music director trio of Shankar, Ehsaan and Loy deliver a below average music score.

Overall, Don 2 disappoints and is certainly not a fitting return for the King. However, it is also not a bad film and is definitely a one-time watch for fans of the franchise and SRK.

My rating: * * * Three on five

– Shrey Khetarpal

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

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.

Rom-Com Gone

 

Bollywood’s Romantic Comedies fail to impress in 2010

Romantic comedies or rom-coms have worked well in Hollywood and in the recent past the trend has taken off in Bollywood also with movies like Hum Tum, Jab We Met and Love Aaj Kal. With young directors at helm, the concepts are more urbane, the look more stylish and the issues more inane in these films. They have the potential to work as they provide two things to the young audience today – relatable themes, “oh! This happened to my friend” and escapism in the form of beautiful people in designer clothes at fabulous locations; however, this year has seen a spate of disappointing rom-coms. This is what I think of Bollywood’s rom-coms in 2010, starting with this week’s release, Break Ke Baad:

Pic: Kunal Kohli Productions

Break Ke Baad

The girl, Aaliya Khan (Deepika Padukone) is more believable than the guy, Abhay Gulati (Imran Khan)… she is independent, headstrong, enjoys attention but no intervention; the guy is sensitive, caring, packs her undergarments neatly in her bags and has no life other than her. Childhood romance wanes off for the girl but not for the guy; she dumps him but he follows her to win her back. From being every girl’s dream guy, Imran’s character slips into this spineless creature who is described as an ATM machine in the film as machines only give not ask for something. Deepika’s character earns the title of a cold heated b*tch (courtesy: my fellow movie watchers) to a chudail / witch (courtesy: Pammi Bua played by Lillete Dubey). Both actors try hard but their limited acting abilities and a lacklustre script don’t help; the fun elements in the first half appear repetitive and boring in the second.

The world is a ridiculously nice place in this Danish Aslam directed rom-com, where Abhay gets visa on arrival in Australia and stays on to build a chain of successful restaurants from scratch in a couple of months. On the other hand Aaliya comes armed with a full scholarship to the University of Goldcoast; checks into a sea-facing resort like accommodation for just 600 Australian Dollars for six months, gets noticed by a casting director in a college play and becomes an international movie star (really now!)

If the girls watching the film with me found it cute in the beginning, the climax disappointed them also in a big way. Break Ke Baad has a lot of smart lines, some good clothes (and some bad), good locations and an average music score (Vishal Shekhar); the film falters with a thread-bare script, the lack of crackling chemistry between the lead pair and the lamest ending in the recent past. The film has an interesting supporting cast featuring Sharmila Tagore, Lillete Dubey, Shahana Goswami and Yudhishter Urs but that’s not good enough to hold the film together. I won’t write off the film completely as the three girls who watched it with me seemed to like it but it certainly isn’t a film that can make it to anyone’s must-watch list.

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

Pic: Dharma Productions

I Hate Luv Stories

Well what do I say… doesn’t the film’s title says enough? Boy meets girl, girl believes in candy-floss-romance and the boy hates luv stories (please note, he doesn’t hate love stories, smart!) Directed by Punit Malhotra, the film was produced by Dharma Productions and worked well on the box-office, however I am yet to meet anyone who luved this film. Sonam Kapoor plays Simran, a die-hard romantic whose clothes match her boyfriend Raj’s (Samir Dattani) shirts or vice-versa; she is an art director working on a big ticket romantic flick, directed by a Karan Johar like film maker. Jay (Imran Khan) hates such cinema but is still assisting on the film; he also shows off his newly acquired abs to Bruna Abdullah in a song, to make us believe that he is the new age Casanova. Opposites attract and Simran falls for Jay but Jay hates luv stories, end of chapter one. In chapter two, Jay realises his mistake as he luvs love stories but Simran goes back to Raj who buys her white gerberas daily (remember, daily one red balloon in Dil Chahta Hai?) Chapter three… you know what happens. Punit Malhotra and Sonam Kapoor’s twitter squabble with Shobhaa De after she ripped apart the film in print was more interesting than the film itself.

My rating: * * Two stars on five

Pic: Cinergy Productions

Jhootha Hi Sahi

It was Abbas Tyrewala’s next directorial after the hugely successful, Jaane Tu Ya Jaane Na; John Abraham’s first production with music by maestro, A R Rahman. The expectations were sky high with an interesting working title, 1-800-LOVE. The film eventually came out as Jhootha Hi Sahi and all the expectations came crashing down. The music did not work very well (though I like the Cry Cry song) and everyone wondered who this mature actress opposite John is? She turned out to be the director’s wife who was also credited for the script – Pakhi Tyrewala. After all, it is all about loving your family, eh… wife. The film tried to recreate the magic of American sitcoms like Friends and How I Met Your Mother but somehow couldn’t manage to get the same chilled out feel on-screen largely due to the weak screenplay. Having said that, I love the way London’s beautiful summer is captured in the film.

My rating: * * Two stars on five

Pic: PVR Pictures

Aisha

Fantastic promos, an interesting cast, great publicity stills and a peppy soundtrack… Aisha looked like it is going to be the ultimate chick-flick to come out of Bollywood. Inspired by Jane Austen’s Emma, the film ended up to be more like a documentary on the lifestyles of the rich and famous young Delhites. The film surely has great clothes on showcase but one can go to Delhi’s Emporio or Select Citywalk mall to see that or can watch The Devil Wears Prada again. Sonam only looked good and Abhay Deol was wasted in this Rajshree Ojha directed film. Producer, Rhea Kapoor is now thinking of desi Alice in Wonderland with sister Sonam and more fabulous clothes. Hmm…

My rating: * * Two stars on five

Pic: Eros International

Anjaana Anjaani

Two suicidal protagonists, Aakash (Ranbir Kapoor) and Kiara (Priyanka Chopra), who decide to have some fun in the last few days of their lives and end up falling in love. They are both poor but wear trendy clothes, visit hep night clubs at New York’s Times Square and Las Vegas… I quite like their lifestyle actually! They try to die by wrapping cling-wrap around their faces (now you know why it isn’t a toy, keep it out of reach of children) and jumping off a bridge, but they don’t. Fifteen minutes into the film, you start praying for them to die so that the film gets over but they don’t; instead Zayed Khan is also unleashed by director, Siddharth Anand on us to increase the Chinese torture. Both Priyanka and Ranbir are good actors and promising stars but they should look hard at the scripts they choose. Siddharth Anand on his part is creating a library of mediocre rom-coms.

My rating: * * Two stars on five

Pic: Yash Raj Films

 

Pyaar Impossible

As a policy I cannot comment on a film I haven’t seen; and I could not drag myself to the theatre for this one after watching the trailers only, despite all my love for Yash Raj Films.

Pic: Yash Raj Films

 

Band Baaja Baaraat is the last rom-com to hit the screens before the year ends, am hoping the year ends on a bright note for this genre.

 

Shrey Khetarpal


PS: Don’t think that I don’t like romance / rom-coms as a genre; I am just a disappointed film buff. Click here to read my earlier post on the best romantic films according to me.

What’s Your Raashee?

 

Interesting Concept, Poor Execution

Pic source: planetbollywood.com; courtesy: UTV, AGPPL
Pic source: planetbollywood.com; courtesy: UTV, AGPPL 

The other day I was complaining about people getting too cynical and therefore not being able to enjoy any movies. Whether it is Vishal Bhardwaj’sKaminey or Yash Raj Films’Dil Bole Hadippa’; fault-finders can never be satisfied. I will talk about that in another post but the point here is that even my eternal optimism for Bollywood did not allow me to enjoy Ashutosh Gowarikar’sWhat’s Your Raashee?’

What’s Your Raashee? (WYR) is about a Gujarati, NRI boy Yogesh Patel (Harman Baweja) who must marry in the next ten days in order to inherit his grandfather’s property and help his debt-stricken brother. He decides to meet a girl from each of the twelve zodiac signs in order to find his perfect life-partner. Over the next few days he meets girls (all characters played by Priyanka Chopra) ranging from a conscientious doctor to a dominating business woman; a wannabe model to a sexy micro-biologist; so on and so forth.

The plot is quite interesting but suffers from the classic case of poor execution. The screenplay is extremely repetitive, slow-paced and just not funny enough. As if the stories of twelve girls were not enough, the director decides to throw in silly sub-plots and characters which were not required at all. WYR ends up being a three and a half hour long film, which is not entertaining enough and has an even more disappointing climax.

Harman Baweja is quite likeable in the film despite some weird scenes he is made to do. In one scene he actually screams, “I am Yogesh Patel, 100% mard (man), no protein supplements”. I feel a bit sorry for the guy as with this film he has had a hat-trick of duds starting from ‘Love Story 2050 (Oh lord! I shudder at the thought of that one) and ‘Victory’ (I didn’t watch that one). Priyanka Chopra tries hard and delivers a good performance for most of the characters but is not convincing enough with a few. I do not even remember which character belongs to which zodiac except a few, which is not her fault but the writer’s.  Most of the characters are under-written and do not even get the scope due to a forced song for each.

Technically also, the film has nothing much to offer; editing tops the department that should have been more efficient (Ballu Saluja) but guess it is the director who likes his films long (remember ‘Lagaan’ and ‘Jodhaa Akbar’). Music by Sohail Sen (who is he?) is one of the weakest points in the film, as in a Bollywood rom-com you expect at least the music to be good. Nitin Chandrakant Desai, the art director manages to give the film a very Gujarati feel but at the end, it looks more like a TV serial (that too an Ekta Kapoor production).

WYR is a major disappointment, especially since it comes from the director of ‘Lagaan’, ‘Swades’ and ‘Jodhaa Akbar’; but everyone is allowed to make mistakes and hopefully learn from them. I will still go back and watch the next Gowarikar film as I believe in his talent. However, I sincerely hope he would be a little less arrogant at the next year’s award ceremonies 😉

My Rating: * * Two stars (on five)

Shrey Khetarpal

Kaminey: Movie Review

 

Awefome Kameenapan! 

Pic source: in.movies.yahoo.com

Pic source: in.movies.yahoo.com

Dear Mr. Vishal Bharadwaj,

What have you done with Kaminey? You have created a big problem for rest of the Hindi film industry and the organizers of different movie award nights. How will they not nominate your film for Best Picture (Filmfare and IIFA did not nominate Omkara in the category while Krrish and Dhoom II found mention) and if they do, how will they nominate a 150-crore grossing, mindless-sexist-racist comedy in the same category? This is not fair.

Yours sincerely,
Bollywood well-wisher

Coming back to Kaminey, it is pure cinematic brilliance. Take a bow Vishal Bharadwaj; you have made a classic that will be talked about in the decades to come. From start to finish it is a roller coaster ride and one does not get time to catch a breath. There is not one thing that does not work for this film… story, dialogues, acting, music, lyrics, cinematography, editing, everything is first rate and it all comes together in an absolutely Kameeni film.

Kaminey is about identical twins, Charlie and Guddu (played by Shahid Kapur); the former lisps (says ‘f’ in place of ‘s’) and the latter stutters. Both of them have chosen different paths in life; Charlie is involved in a gang and can do anything to achieve his dream of becoming a bookie at the race course, Guddu on the other hand works with an NGO and loves spending time with his fiery Marathi girlfriend, Sweety (Priyanka Chopra). For Guddu, Charlie is as good as dead and Charlie prefers a Kaali Billi (black cat) to his manhoof(s) (inauspicious) brother. One fateful night their lives get intertwined and they have to save their dreams along with their lives.

In his career best performance, Shahid has done a fantabulous job of bringing alive, two distinct and difficult characters – Charlie and Guddu. He lives up to the super high expectations and is the new superstar (one who can act) on Bollywood’s horizon. Priyanka Chopra is simply delightful as Sweety; she is feisty, romantic, strong and vulnerable, all in one. Once again the best I have seen of her till date. There are many more characters including corrupt police officers, a trio of Bengali gangster brothers, a flamboyant drug-lord and African smugglers, amongst others. But there are two supporting characters that stand out… Amol Gupte as Bhope Bhau, a Maharashtra loving gangster cum aspiring politician who dislikes immigrants in his city especially those from Uttar Pradesh; and Chandan Roy Sanyal as Mikhail, Charlie’s coke-addict, whimsical best friend.

Vishal has done a great job in the writing department. The script based on an idea by Cajetan Boy, a writer from Nairobi, is taut and keeps the viewers hooked with plenty of twists and turns. One cannot afford to go out for popcorn or even answer a text message as the screenplay is arranged like a jigsaw puzzle and you are supposed to fit in all the pieces, no spoon feeding by the director here. There are so many characters and no time to develop them, Vishal does not bother with that and lets you discover them through their actions. There is tremendous attention to detail that builds these characters. For example, Bhope Bhau is shown checking his blood sugar level while barking orders to his gang members, establishing the fact that he is diabetic.

Dialogues in the film are simply mind-blowing, sample these… Charlie says, “Yeh life badi kutti cheez hai” (life is a bitch) and “Paifa kamaane ke do raafte hain, ek fhort cut aur doofra chhota fhort cut” (there are two ways to earn money, short cut and a shorter short cut). Sweety says, “Kya maine rape kiya tha tumhara” (did I rape you?). There are many more moments in the film that will make you laugh out loud and at the same time shock you.

Vishal once again strikes gold in the music and the background score department. Starting with ‘Dhan te nan’ (Sukhwinder Singh and Vishal Dadlani create magic here), the signature tune in the film to the slow numbers (the title track, ‘Mere raaste kaminey’ and the ballad, ‘Pehli baar mohabbat ki hai’), the music is outstanding. What I really loved is the usage of two male and two female voices for the same song, ‘Raat Ke Dhai Baje’ (Rekha Bharadwaj, Sunidhi Chauhan, Kunal Ganjawala and Suresh Wadkar) and ‘Fatak’ (Sukhwinder Singh and Kailash Kher). Gulzar as usual has penned some out-of-the-box and brilliant lyrics. All these songs are weaved beautifully in the narrative and with the crisp editing you are almost left asking for more. The background score uses the ‘Dhan te nan’ theme extremely well and some catchy numbers from the 70s like ‘Duniya mein logo ko dhoka koi ho jaata hai’.

Tassaduq Hussain’s cinematography is amazing and you are not treated to perfect still frames which add to the entire experience. He has mostly used a hand-held camera to capture the rain-drenched city of Mumbai. Meghna Manchanda Sen and A. Sreekar Prasad deliver on the editing, which can make or break a caper like this. Dolly Ahluwalia’s styling and Sham Kaushal’s action are also brilliant.

What elfe fhall I fay about thif film… it if the beft film I have feen fince Aamir Khan’s Taare Zameen Par. Kaminey if a film with an attitude… I ftrongly recommend thif awefome flick, don’t miff it and watch it in a theatre.

My Rating: * * * * ½ Four and a half stars (on five)

– Shrey Khetarpal

Pic source: in.movies.yahoo

Pic source: in.movies.yahoo.com