skip to main |
skip to sidebar
Friday, August 27, 2010
Rate: 2/5
Cast: Subrat Dutta, Neela Gokhale, Pranay Narayan and Swara Bhaskara
"Chawl Mumbai culture is never too far from Hindi cinema. From Basu Chatterjee Piya Ka Ghar is Sanjay Jha has Pran Jaye Par Chawl Na Jaye is Mahesh Manjrekar golden city of Striker and Chandan Arora, many interesting stories and the flexibility of the family was on the screen where no self-pity or hatred of people who are disadvantaged in their lives with dignity, optimism and humor, even if the hours of queuing for public toilets dirty.
Madholal ... Keep Walking is a good look at the people we know of chawls although we have never been in one. The conversation between the characters is authentic. But the sad thing is that these characters do not seem to be saying something that anyone outside the interests of the people who talk about mundane issues involved acquires a certain quality to the screen where banality is treated with extraordinary empathy. This was the case recently with Irfan Kamal Thanks Maa in the search for a young neighborhood to be a parent makes all the characters in the routine is a life beyond their boredom named.
In Madholal ... The plot and dialogue do not create interest in the characters. For half the film we grow comfortable with hand to mouth in the world of the protagonist (Subrat Dutta) Madholal, family loving wife and two daughters and her circle of friends that he commutes by train every days. The conversation between two friends is primarily about sex or the lack thereof.
Can not remember with joy and warmth middle-class women to travel back and forth on local trains in Mumbai soap "Special Women. None of these characters travel in overcrowded trains Madholal seems interesting enough to meet, let alone in the house.
Amid the housing narrative there is an explosion of a bomb on a train. The life of the people who populate the movie are over. Madholal, we are happy to know, walk. There are poignant moments in the history of design and emotional sincerity that is played in the second half. The actor who plays Purba Dutta Madholal reflects a deep anxiety and helplessness in the second half. His train trip at the end when it comes to dealing with your situation has changed in life is a measure of resistance embodied middle class in Mumbai.
Unfortunately the film never quite takes off. The plot is too rough on his noble intentions to transmit the pain of ordinary people caught in the decline of terrorism. It looks like the immortal spirit of Mumbai is like a village Mela after closing. If Slumdog Millionaire has been Madholal Mumbai on steroids ... Keep Walking takes life from a lifeless chawl trip.
Friday, August 27, 2010Rate: 3 /5
Cast: Raj Singh Chaudhary, Vinay Pathak, Swati Sen, Akhilendra Mishra, Himanshi, Jaya Bhattacharya, Neelima
Jog the memory and remember the film stress annoyance called dowry. Pictures of many films should immediately conjure up before your eyes. Now think about kidnapping the groom. Have you heard or Pakrauah Shaadi "(as it is for North India)? I Had vaguely heard of it once, but was unaware of the reasons that prompt people to kidnap the son of Eligible men. Antardwand not only specifies the grounds, but also to address the issue with rare understanding.
Movie fans are hungry for news and untold stories and Antardwand is a film worthy of greeting that fills the void. Real, disturbing and surprising, Antardwand, was based on a true story, is an ultra-powerful movie. If you are looking for new stories and often complain that Hindi films have begun to stagnate, Antardwand should be your choice this weekend.
Jog the memory and remember that it is a pity that the film stress is called a dowry. Pictures of many films evoke immediately before your eyes. Now, think about the kidnapping of the groom. Have you heard or Pakrauah Shaadi "(because it is in North India)? I Had vaguely heard once, but did not know the reasons that prompt people to kidnap the son of Eligible men. Antardwand is not defined solely on the ground, but also to do with rare understanding.
The boy is forced to married gunpoint, despite himself and wants the girl. Once married, they are locked in a room for several days until they have completed their marriage and accept each other completely. But do they accept each other despite the inevitable?
Sushil Rajpal Director should be commended for choosing a new story and it speaks to thrive. Filmed in the field, the novice director not only captures the atmosphere well, but also preserves the realism alive during these two hours. In fact, one of the strengths of the film is its unconventional story / script (Amitabh Varma) and even if the viewer becomes a participant after a while, you can not guess what will happen or how the film never ends. In fact, think open-end assemblies and, above all, also seems appropriate.
The director first conducted a series of sequences with a vengeance. The whole episode of the husband is kidnapped, tortured physically and mentally and his subsequent marriage gives you goosebumps. Until the end, when the girl reacted strongly, is brilliant.
Sushil Rajpal has a solid impact as a storyteller. But the story stagnates in the second hour, but the momentum collectors quickly thereafter when the guy applying the wedding drunk. They twist and becomes the last rolls also keep you well absorbed.
Antardwand has great performances by all. Raj Singh Chaudhary is natural. Swati Sen is first class. Akhilendra Mishra is dynamic. Vinay Pathak is calm and sober. Himanshi (as Sia) is correct. Jaya Bhattacharya stand out. The actress enacting the role of the mother Swati is good.
In total there Antardwand hitherto Untold Story of saying when she tells the most convincing. Of course, made a film like Antardwand a niche audience, which I am sure that should praise the effort.
Friday, August 27, 2010
Rate: 2/5
Cast: John Abraham, Prateeksha Lonkar, Shreyas Talpade, Anaitha Nair, Sonal Sehgal, Girish Karnad, Vikram Inamdar
Almost every new-age film wants to try a true story about the film. The stories that are simply out of life / newspapers / news channels. These stories usually find an agreement with the ticket buying public if you say so convincing and, especially, said within commercial parameters.
Nagesh Kukunoor has been a pioneer in the measurement of choice and real-life stories are concerned. Aashayein also acts as "our" history. Here is a man who suddenly discovers he has a few months to live. The indomitable spirit of living life fully, in all circumstances is what you expect. But Aashayein is so weird and abstract, that you feel anesthetized after a point. Sorry, you do not respond to characters, you do not react to the film is.
As previous attempts to Kukunoor, Aashayein is sensitive and has said several times moving and poignant, but the story moves away from realism and eventually be a fantasy, leaving a bitter taste in the mouth. The Ark Raiders full track, with John thinking about Harrison Ford's boots, it is strange.
At a party celebrating a big gambling win, Rahul (John Abraham) to propose to his girlfriend Nafisa (Sonal Sehgal). Within minutes, he announced his engagement to collapse on the floor. After a medical diagnosis, Rahul discovers that only a few months of life. It 'was lung cancer.
Rahul may be shocked to hear a hospice, and without seeming out of his girlfriend on the packaging of your baggage and leave the middle of the night. Meet a number of people in hospice care, which may be healthy, but the spirit fair.
Millions of viewers worldwide, Hrishikesh Mukherjee's classic Anand (Rajesh Khanna, Amitabh Bachchan) is still one of the best films is a fantastic spirit of a person diagnosed with a terminal illness. That person (Rajesh Khanna) knows there is not much time to craft and distribute the light and decides to cheer about.
Aashayein While Anand has nothing to do (even if it is a reference to the film), the minimum Kukunoor Could have to tell the story without WAS HAVING Fantasy Zone. When it comes to issues as serious as death, when people seem to spend his last days in the hospital, you can not be diverted. Even the hospice here seems smaller than the destination city, where people came on holiday. Gravity is clearly missing!
On the positive side, the sequences between John and Nair Anaitha are wonderful. Same with John and Farida Jalal. Salim-Sulaiman's music in harmony with the environment of the film. The song was shot in Shreyas Talpade resumption of the lot. Sudeep Chatterjee camera captures even outside. But the writing is unclear and, as I noted at the outset, the climax of the story is hard to decipher.
Kukunoor is a master when it comes to extracting ideas and Aashayein also boasts of sparkling performances by each member votes. John is a whitewash of his earlier works and come to an honest and sincere performance. In fact, make you forget that this movie has a striking personality. Instead, you will notice fine actor under looks good and is what makes your relationship with this character for most regions.
Anaitha Nair is pure dynamite. Fiery, feisty, someone who can start a fire with water. He has certainly made people notice his talent after this film. Taine Sehgal is efficient. Girish Karnad, Farida Jalal and Prateeksha lonko are complete. Ashwin chital (as Govinda) is a natural center. Vikram Inamdar (as Xavier, a friend of John) is in order. Sonali Sachdev (Doctor) is sufficient. Shreyas Talpade is a song.
Overall, Aashayein falters and fails writing level. Aasha not much (hopefully) from Aashayein. Nevertheless, the film and was a shoe-string budget, then, as the recovery from theatrical distributors, safe ways to preserve, even if the business performance theater Would be disastrous.
Friday, August 20, 2010
Rate:3.1/5
Cast: Neil Nitin Mukesh, Deepika Padukone, Kay Kay Menon, Piyush Mishra, Manish Choudhary, Namit Das, Amey Pandya
At times, your reputation precedes you. Comment Pradeep Sarkar's reputation is essential for women to make films. Films like Parineeta and Laage Chunari Mein Daag to prove it. Who would have thought of doing Sarkar turn 360 degrees in his third film called Lafangey Parindey, put Chawl and make his characters speak tapori lingo? Hard to digest, is not it? To put it bluntly, an expert storyteller takes you on a journey was least expected from him.
When you try something that has not been tried before or ventured into before, or falls flat on his face or walk with his chin in the air. Sarkar does not slip, but Lafangey Parindey has its share of hiccups that occur intermittently. Unlike Parineeta and Laaga Chunari Mein Daag, Sarkar tells a simple story this time and if you have nothing to do with Rajesh Khanna - Mumtaz - Meena Kumari starrer Dushmun, can not help but draw parallels with that, frankly, it could be a coincidence. But to be fair to Sarkar, venturing into uncharted territory, as an experienced player.
On the back of the film a big mistake, and dilutes the impact of a way: Neil Nitin Mukesh as Casting Tapori. It just does not look like one. Although he tries very hard to get into the skin of the character, you can not communicate with him from the suave and handsome behavior makes him look like a return to Harvard, not someone from the street or wadis Mumbai decided.
Lafangey Parindey is a group of young people living on the streets of Mumbai back. It 's a love story Nandu (Neil Nitin Mukesh) and Pinky (Deepika Padukone).
One-Shot Nandu take boxing to a new level by shooting down his opponents - blindfolded. Obviously, One Shot Live life itself and it is a local hero among his friends. But everything changes when he meets Pinky.
Pinky working in a mall, but a kickass dancer on skates. Headstrong, fiercely talented and ambitious, she wants to rise above all the "losers" who lives in his place and carve a niche for themselves. Two different personalities. Two different lives. Designed to meet.
Lafangey Parindey begins with panache! In addition, it moves on a singular path, without diversifying into undesirable subplots and unnecessary characters. Indeed, taking the story at the beginning of the film itself and the way Neil and lives get intertwined Deepika made for interesting viewing.
The film has moments of genuine commitment, and most of them in its first hour. Sequences between Neil and Deepika after the accident are wonderful and keep you hooked. But things begin to loosen the parties post-interval, when the love story takes over and Neil and Deepika realize they share a deeper bond. Just when things are down, the climax occurs and Lafangey Parindey is back on track. Indeed, the drama of the finale - when Deepika and Neil perform the final act of a television show - the highlight of this film. The skating sequences and choreography is amazing and humbling.
Defects? Oh yes! Love Story is a normal and boring. The investigating officer is also a sad song and shows an add. Moreover, the film scored mediocre (R. Anandha). Bambaiya Hindi also has its limits.
As I said earlier, Neil was the wrong choice for this part. Moreover, he did not come out of position to make flourish. Lafangey Parindey clearly belongs to Deepika Padukone, which fits the nature and implements its own jurisdiction so that will impress you. Beautiful girl has just enhanced every film. Piyush Mishra is first class. Kay Kay Menon is in place and a role soon. Friends, each of them, leaving a mark. In particular, is Das, which is wonderful. Shiamak Davar, Juhi Chawla and Javed Jaffer short feature roles.
In general, Lafangey Parindey may be predictable, but fun and engaging, however. A show worthy!
Saturday, August 14, 2010Rate: 2.2/5
Cast: Bobby Deol, Mugdha Godse, Sophia Handa, Shreyas Talpade
Horror films made in Bollywood follow the same path. At least most of them. The Aatma / spirit seeks revenge for wrongs to him. Spirit breathes fire and spits poison fear ripped from the false-power-hungry and eliminates them one by one. But in a cast, put the atrocities of the late actor Aatma. All's well that ends well.
Help is no different. It follows the same rules, except that it has an interesting dimension to the offer, which, again, is sure to have its share of advocates and adversaries. Unfortunately, the screenplay, based on an interesting concept, it becomes repetitive and sometimes excruciatingly slow at the scene. In addition, the unwritten rule of horror films is that they scare you in the right places, but within a sequence or two that give jhatkas, the film lacks the fear quotient. In other words, emotions are absent.
Vic (Bobby Deol) and Pia (Mugdha Godse) through a difficult period in their marriage and in the midst of these difficult times, have to rush to Mauritius to look after his ailing father to Pia. Upon landing in Mauritius and return to the old family house of Pia, Pia is facing its distant past.
Just know that there is something in this house. When Richard discovers she is pregnant, this spirit of evil, he and Roy start to kill people close to him. Vic is now a race against time to save a pregnant woman, who seems to Have kept the spirit of her twin sister, Dia, who died when Were both 5 years old.
The very first series of teaching raises the bar and expect the others are riveting, or maybe more. But the model is comparable to the great see saw: Participation and not engaged on a regular basis. The writing in some way not entirely convincing, and in places gives the impression that writing is easy. Authors (Deepak Pawar and Viddesh Malandkar) to come up with truly horrific situations from time to time, but switch to a familiar and tested in situations to take the story forward.
The ending is a disappointment, because we can not understand how and why the mind is afraid of mirrors. Even the way is sidelined Shreyas Talpade in the climax makes you feel depressed. Are not you supposed to release the spirit of family? So why divert attention to Bobby?
Director Rajeev Virani has drawn a number of sequences well. The implementation of the object is truly elegant. The ranges of writing interesting and there has been - that type of situation consistently. The songs are well done. Cinematography (Dhiman Vyas) is catchy.
Bobby pitches in a sincere performance. Mugdha shows a significant improvement on its previous performances. Shreyas Talpade to make out its enforcement role. Jyoti Dogra is effective. The actor enacting the role of father Mugdha is sufficient.
In general, aid is at best a common effort.
Friday, August 13, 2010
Friday, August 6, 2010:
Abhay Deol, Sonam Kapoor, Cyrus Sahukar, Arunoday Singh, Ira Dubey, Amrita Puri, Lisa Haydon
Remember the adage secular: marriages in heaven. Consumed on earth. But we have not met many people in real life trying to put things in place between friends / acquaintances? In fact, take it upon them to make games, and meddling in the affairs of others. It is, ultimately, is the plot Aisha.
But the news is not entirely positive good compliments of the above are intended strictly for the film before the interval. Story revolves cute, fashionable girl who loves to be match-maker for his friends, Aisha can certainly effect the public the first time some well-targeted sequences and great performances. But the temporary post is just beginning to walk the same old rotten way to make your true love and forgiveness for the same. Although the film is too long in duration, but drags a lot in its second hour and was nothing new in the name of the content to support the impact generated by its initial reels.
Indeed, the fact is that Aisha strongly dependent on the care and, therefore, comes off as the product only partly right as regards the content of history. All eager audience easy to predict the complete film and its climax, when just watching the first film of 10 minutes. We can say that, if policy makers would have more weight in its content than its design, the film could have been a milestone in the career of Sonam Kapoor.
Based on the novel Emma by Jane Austen, and also inspired by “Clueless” (1995), the film has all the colors in the right tone, but the real problem is that colors are not many. As the film ends, the characters become boring and monotonous, not allowing them to connect emotionally with viewers.
In the first half brighter note Aisha and that is good because of some excellent performances by its cast of support that most beginners make their presence felt.
And Ira Dubey and Amrita Puri Sonam’s just really lovely to see. They will immediately catch your attention immediately after the first attack, and Excel. In particular, Amrita Puri, who really has talent to examine the right way? Cyrus Sahukar stupid rich boy as hard this time and not impressive. Arunoday Singh also left its mark honestly looks. Anand Tiwari as the son of a middle-class friendly, but foreign Lisa Haydon as a return to the scenes of her just standing, expressionless.
In the lead role, this is good news for fans of Sonam Kapoor as the girl is in its complete form and style. With his talents as an actress, she promotes a strong flair for fashion with her clothes and makeup great. Sonam easily carry the entire film on his shoulders and proves once again that it is undoubtedly among the most talented girls in the town of tinsel. Sonam has always managed to do full justice to their roles in the past, but for reasons all his films so far only partially right and the same thing happened with Aisha. I wish that in the future, she will give a super hit film.
But for fans of Abhay Deol, Aisha cannot give them a reason to rejoice that the actor thinks is not present here in its full spirit. Abhay under plays his part well, but in the absence of a well written character, it does not run the kind of impact it used to. But I liked his silence and dialogue liners delivered in his own unique way.
AISHA can work for young audiences due to its sleek production values, type of costume design and sticky Mills; Boon romantic theme. But for small establishments not required to be great merit. Director of Rajshree Ojha has certainly made the film keeping in mind the city and only multiplex. This is a great number of composed by Amit Trivedi as “Suno Aisha” and “Gal Mitthi Mitthi Bol”. But I could not understand why the end, the party song “Gal Mitthi Mitthi Bol” was saved to be used in the credits only.
Overall, Aisha should appeal to young people especially and there very likely that this segment of moviegoers falls for its charm. From the perspective of business decision-makers found a large portion of their investments from the sale of satellite rights and music rights and recover the balance amount of theater in India and overseas video should be a pleasure.
