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Posted by harino1 on July 28, 2008

Dear Friends,

                    If you want to send and feedback/critics on posts, you can do that at

Happy Stay,

Hari S


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Moggina Manasu – Good in parts

Posted by harino1 on July 24, 2008

The second film from ‘Mungaru Male’ producer E.Krishnappa coming on the screen after a battle with the regional censor board with U/A certificate from Tribunal is good in some parts. The routine style of narration of teenage girls crossing limits and parents getting worried is out of date subject. Having four cases of teenage girls the director tries to hold a mirror to the society in an avant-garde style. The style of narration is not absorbing and it is easily imaginable. It is a freak out time for teenage girls and boys but highly tension ridden life for parents.

Director Shashank catches up with this and makes a prolonged narration. At drop of a hat everything is understandable today. For such atmosphere here there is no point in consuming more time. The home work of the director Shashank who directed ‘Sixer’ in the last year is not of high quality. The high quality he gets from cinematography and music department of course there are some pretty looking girls on screen.

Passing out SSLC girls Renuka Devi (Shuba Punj) and Chanchala (Radhika Pandit) join the Queens College for pre university study. After initials pranks from Sanjana (Sangeetha Shetty) and Deeksha (Manasi) the first year degree students all the four become thick friends.

Insistence on having a boy friend for Renuka and Chanchala although not acceptable is enforced in the film by the director Shashank with no social responsibility. After having a boy friend what is the state of affairs in life? It is ditching for Renuka Devi who commits suicide while Chanchala showing affection to singer Rahul (Yashas) withdraws from her decision at this stage to prosper in her studies. Facing the dejection is the situation of popular singer Rahul now. Rahul waits after a beating but in the end to get back Chanchala.

Radhika Pandit the newcomer is a treat to watch. She has the right ability and surely reaches the top spot. Shuba Punj in an innocent role is very attractive. Manasi and Sangeetha Shetty are cool in their roles. As the caring parents Achyuth Rao and Sudha Belawadi show good support. Master Kishen the child prodigy in a small role is attractive. Among the new boys Jedi Nagaraj has the perfect looks. Others are fit for supporting character roles. Sharan comedy is boring and senseless.

Two other fabulous contributions are from cinematography by K.S.Chandrasekhar and melody king Mano Murthy. Among all the songs Male Baruvahagidhe Manaveega Hadidhe….is rich in melody, lyrics and there is visual treat.

For the teenage trauma and throwing the dreams at whims and fancies ‘Moggina Manasu’ is a half hearted attempt.

Scoring 6/10

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Maanavan Ninaithal – Bhagyaraj hogs the limelight

Posted by harino1 on July 24, 2008

Debutant director Gnanamozhi has dished out an oft-repeated storyline based on campus love although with predictable sequences.

Newcomers Ratheesh and Priyashree play the lead role. The supporting cast includes K Bhagyaraj, Nalini, Pandu, Kottachi and Manobala.

Bhagyaraj hogs the limelight and manages to leave his mark in the brief role spicing it with his unique style of wit and punch dialogues.

Newcomer Ratheesh and Priyashree have done their best to be noticed.

Ratheesh hails from a poor family and manages to secure good marks in his school final examinations. He gets admission in a prominent college in Chennai. He falls in love with Priyashree, who studies in the same college. His life then takes an unfortunate turn.

He gets acquainted with a group in the college and goes the wrong way. He takes to drugs and liquor. Realizing his folly, he decides to end his life.

He conveys his decision through an audio cassette and sends it to his parents. Enters K. Bhagyaraj, a do-gooder, who helps Ratheesh overcome all his problems.

Newcomer Dashi has come up with a couple of hummable tunes.

Produced by Adhavan creations, ‘Maanavan Ninaithal’ is a movie that could have been made better had the director infused pace in the screenplay. The narration too could have been placed in a better order.

Taking into considering that this is Gnanamozhi’s maiden venture, a pass mark can be given.

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Parunthu – Fails to take off

Posted by harino1 on July 20, 2008

The hype around two superstar movies with similar plots suddenly fell flat with ‘Parunthu’, ending up as one that seldom keeps us engaging. Largely inspired from the likes of ‘Devaasuram’, in drawing the negative caricatures of protagonists, the movie just places another central character, this time a cruel money lender, in the already set frame of transition and turning a new leaf in the life of the lead baddie.

‘Parunthu’ has Mammootty as ‘Parunthu’ Purushothaman, a blade mafia chief having a particular penchant for hot cash, operating in Kozhikode city. He is like the ravenous hawk who pounce upon his preys, who are in demand of money and tearing them apart with his sharp eye with little care for any human emotions. He don’t believe in any form of relationships as  his mother had abandoned him at a young age, leaving him to grow up as the right arm of a money lender, Kunjikka.

Purushu’s  curious forms of  entertainments includes watching football matches on television, and practicing yoga and  exercises other than eating ‘Nadan’ Chicken fry and creating havoc’s in families, trying to milk in his capital and its crude  interests.

Puroshothaman’s few  associates includes  Vinayan (Jayasurya), another youth  trapped in  a planned ‘Hawala’ case, Kunjachan (Cochin Haneefa) a defaulter who now turns out as his cook and Poojapura Mahendran (Sooraj Venjaranmoodu), a small time land  broker. Purushu’s only soft corner is with Seetha (Lakshana), whose property he has taken over after the elopement of   her husband, who defaulted Purushu’s loan. The only opponent of ‘Parunthu’ is Kallayi Aziz, another cunning blade mafia don, who runs the Calicut chits and real estates.

The movie opens with a mass suicide of a family due to Purushu’s harsh dealings. But Purushu never gets moved by these incidents, which he considers as a regular outcome of his business. He goes on to thrash other families who are already in his debit list and to drive them out of their properties, by using his thugs. The latest in his list is Hemanthbhai, a business tycoon who is in the verge of big loss due to pending court cases. Purushu halts the wedding of Rakhi, Bhai’s daughter. And this leads to Bhai losing his mind and gradually succumbing to death.

The later half of the movie presents the expected but unavoidable change of the cruel hero into a hearty person, following a number of reasons of which, very few are convincing. In between all these incidents, Kallayi Aziz creates some situations that demands fights and intense dialogues. ‘Parunthu’, as usual, drags into its much predictable and sentimental climax, leaving the viewers much in despair.

T A Rasaq is easily the topper in the list of the best of the dialogue writers, available in Mollywood. But that does not qualify him as a good scriptwriter, though the veteran had an experience in the field of around two decades. ‘Parunthu’ is one best example of this never gripping screenplay writing. The   pit holes of the narratives, show more than itself in ‘Parunthu’, which even after with this inviting premise fails to take off to better arenas of film realization. Rasaq miserably fails to make the transition of the protagonist smooth enough to suit the demand of commercial format. Like the catchword in the scripts that he talks through the character ‘Nammal randum villanmara, Villain jayikkunna charithrame illa” and ends up taking the old fashioned ways for transformation of the villain into a savior.

Then comes the choreographer Rekha, who has done the most harm to the movie by the two songs that she has done for the movie. The first one, the Kavady song, is embarrassing and awful to watch, disturbing the mood and seriousness of the movie to the levels of amateurism. The repercussions on the viewers, who started booing this song from the shot one, subsided only after ten minutes from the song. The second song in the movie, the Gujarati stuff, also seldom invites much interest with poor shot selections, all through it

And we suspect the director M Padmakumar who has shown much promise with his first three ventures, did his very little share, to rise over an ever faltering script lines. This movie never matches the quality and ingeniousness of his previous ventures. In the acting front, Mammootty in an out and out negative role holds the movie from ending up as bits and pieces. The  highpoint of the film is his attempt to break the mould of the  super hero  to present himself in black and grey , at the same time resisting any attempt to demeanor ‘Maadambi’ – the other movie with same plot ,running in theatres, thus avoiding a star warfare. Jay Kumar, a TV serial actor, as Kallayi Azeez   is a revelation and show promise of being in the industry for some more time.

The songs by Alex Paul are nothing exceptional while Ouseppacahan in rerecording has tried his best to make the movie, more engaging. Sanjeev Shankar behind the camera and Ranjan Abraham in editing just go through their routine jobs cycles.

All in all, ‘Parunthu’, provides a few good moments, but offers little else to distinguish itself from other slashed films, made with similar plots. Like any other humble birds, it is destined to fly low.

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Hare Ram – One more hit for NTR Arts banner

Posted by harino1 on July 20, 2008

Nandamuri Kalyanram launched a banner called NTR Arts as his career failed to click despite two films to his credit. He himself played the hero on that banner introducing Surender as director for ‘Athanokkade’. The film turned out to be blockbuster. Again Kalyanram’s films that came after that hit, failed to reach the audiences expectations. To regain his sagging image, Kalyanram planned another film on his banner again and once again he was able to hit the bull’s eye with another debutant director Harshavardhan. For the first time, Kalyanram played dual roles in the film and the director too maintained good suspense and the movement of the film was also gripping.

Hari (Kalyanram) and Ram (Kalyanram) are brothers with different mindsets. Hari is intelligent and Ram always feels that no one should be greater than him. As their father (Chandramohan) was all praise for Hari, Ram tries to attack his father and brother. On noticing this, Ram’s mother (Sita) takes him away, while Hari remains with his father. As Hari’s father dies in his childhood, his paternal uncle and aunt (chinnanna, pinni) (Chalapati Rao and Sudha) bring him up and he becomes an IPS officer, while Ram’s mother somehow bring him up by working as a cook. On the other side, there is a minister (Kota Srinivasa Rao), whose brother (Rajiv Kanakala) was a scientist. Both are crooked and the scientist invents a dangerous virus which spreads very fast and also its antidote. They plan to spread the virus first and then release the antidote later and earn money. A TV channel camerawoman (Sindhu Tulani) reveals this secret. As a result, she gets killed by the henchmen of the minister in association with her fellow journalist. Later, the journalist and the scientist get killed under mysterious circumstances. Suspecting some foul play, the CBI deputes Anjali (Priyamani) for investigation and she traps Hari and arrests him after he confesses the crime. Who is the real murderer among the two – Hari or Ram? What is the relationship between Ram and the camerawoman? What made Hari to confess the crime? Who took revenge against the killing of the camerawoman? Answers to all these questions form part of the climax.


Kalyanram, who faced successive failures, worked with a commitment to make the film a hit. Moreover, the film is being made on his own banner. He worked hard and showed good variation between both the characters. At the same time, he showed perfect ease in dances and they were choreographed in a stylish manner. Priyamani was proved herself once again as a good performer, besides filling the glamour slot. Her costumes in dance sequences were little revealing but not shoddy. Comedy by Brahmanandam and Raghubabu were able to tickle the funny bones to some extent, but the role played by Venumadhav appeared waste. Ali is okay in some scenes. Chalapati Rao, Chandramohan, Sudha, Sita, Kota Srinivasa Rao and Ashokkumar are adequate and did justice to their roles.


When it comes to the choreography of action scenes, Selva and Ram-Lakshman gave the best of their abilities to attract the mass audiences. They were moulded in a stylish manner and the chase with vans and cars was shot well. The blast scenes were also shot in an expensive manner. As far as the canning of songs, they are worth watching, though Mickey J Meyer’s tunes were fine with modern appeal. As far as the story and its movement, it has some similarities of an earlier film ‘Manmadha’, with one hero playing two roles after the death of one hero. Camera work by C Ramprasad is good while the editing by Gauthamraju is adequate. The production values of NTR Arts banner are good enough.


With a clear indication that the film was aimed at masses, all the action scenes, songs and dances were targeted to attract the mass audiences. In order to give a boost to the image of the hero, the director tried his best to expose most of the film on the hero. The director was able to extract good acting talents not only from the hero, heroine and the villain, but also from all the artistes. The film has many commercial elements. As a whole, the film started with a hit talk from the morning show.

Cast: Kalyanram, Priyamani, Sindhu Tulani, Kota Srinivasa Rao, Ashokkumar, Chalapati Rao, Chandramohan, Brahmanandam, Ali, Venumadhav, Raghubabu, Rajiv Kanakala, Nutan Prasad, Prabhakar, Sita, Sudha, Apoorva and others

CREDITS: Music – Mickey J Meyer, Lyrics – Sitaramasastry, Camera – C Ramprasad, Editing – Gauthamraju, Art – Vivek, Action – Selva and Ram-Lakshman, Producer – Kalyanram, Story, screenplay and direction – Harshavardhan.

Banner: NTR Arts

Released on: July 18, 2008

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Sangamam – Well-knit Indian sentiment in foreign locale

Posted by harino1 on July 20, 2008

Many Indians settled in the US and are cashing in on their knowledge as they get adequate recognition to their talent there. But, many patriots grumble that they were selling their knowledge to foreigners for the sake of money. But they did not admit that it is not sale of knowledge but recognition of talent. Whatever be the case, the Indians who settled in the US, always used to feel that they were missing the attachment with their relatives in India. The same feeling was portrayed on the celluloid in a fabulous way.

Raghava Rao (Avinash) and Jagadish (Muralimohan) are brothers. Once Jagadish happens to meet a girl from the US and falls in love with her. They get married and Jagadish leaves for the US, against the wishes of Raghava Rao, who always believe that every individual should work for his own country. He feels that it is a sin to go to the US with a view to earn money. He also feels that those who settled in the US will ignore our culture and tradition and get addicted to boozing and other such maladies. Jagadish’s wife dies after delivering Sneha (Sarah) and he too suffers losses in business. So he returns to India only to face a refusal from his brother to receive him at home. Unable to do anything, Jagadish goes back to the US. Raghava Rao also had a daughter called Sanskruthi (Sindhura Gadde). Once she meets with an accident and doctors find that she was suffering from a heart disease while conducting tests, whose cure is possible only with a surgery to be performed in the US. Though Raghava Rao is reluctant to send Sanskruthi to the US, he had no option as he loves his daughter. Venkateswara Rao (Raghunatha Reddy), a family friend of Raghava Rao, speaks to Jagadish and with his help contacts Dr Gita (Suhasini). So Dr Gita and Sneha receive Sanskruthi at the airport. In the US, Sanskruthi meets Sneha’s friend Abhiram (Rohit Khurana), an agricultural scientist, who falls in love with Sanskruthi. After a few days, he proposes to Sanskruti, but the latter refuses the proposal as she knew very well that her father is against marrying a foreigner. Accidentally, Sanskruthi meets Sneha’s grandmother (Radhakumari) from whom she realises that Sneha is none other then his cousin and is the daughter of Jagadish. After a talk with Abhi, Sanskruthi realises that Jagadish and his family is not at fault. She enjoys their company. Doctors perform surgery and Sanskruthi recovers and returns to India. Does the union (Sangamam) of Abhi and Samskruthi occurred? Did Jagadish and Raghava Rao reunite? Answers to these questions form part of climax.


Though not a very handsome personality, Rohit Khurana gave a brilliant performance and he did it with very ease. He played a typical Telugu guy brought up in the US. His language has a foreign accent in English and scents well while speaking Telugu. He showed nice histrionics wherever possible and his body language is good. The director was able to grab good expressions from all his movements. Sindhura Gadde, for the first time came before the camera after bagging Miss India title. Her performance also had an admixture of subtle nuances. She is beautiful and at the same time, the director chose to use traditional costumes to depict the traditional Andhra girl. Muralimohan is the other notable performer in the film for the smooth movement of the story. Brahmanandam played yet another memorable role in this film. He played the role of an Indian, who gets tortured by a girl in the US, by taking away his passport and Visa. He played ‘Vaaralabbayi’ role in the US, who moves from house to house as guest to eke out living. All the artistes including Suhasini, Avinash, Raghunatha Reddy gave their best of performance.


MM Keeravani gave melodious tunes to all the songs. Even the background score is also done with precision and helped in elevating the tempo of the scenes. Camera work by Jayaram and S Sandeep Reddy is okay. They were near perfect because the director himself a cinematographer and knows the colour grading and lighting effects. Editing by Gauthamraju is sharp and one can’t find any unnecessary scenes in the film. Lyrics by Anant Sriram are good and has good literary value. Dialogues by Surendra Krishna too are good in parts.


The film gives the audiences a ‘feel good’ experience and definitely director Rasool Ellore’s work would get critical acclaim. But the absence of commercial and mass elements may prove costly for the producers as the film could not attract the mass audiences. It would be a definite hit in ‘A’ grade centres, but the success of the film in ‘B and C’ centres is a little doubtful. However, we can’t dismiss the success of the film, give the success of films like ‘Happy Days’ and ‘Anand’.

Cast: Rohit Khurana, Gadde Sindhura, Muralimohan, Brahmanandam, Raghunatha Reddy, Avinash, Krishna Kaushik, Anil, Anand Varma, Sivannarayana, Narsing Yadav, Raghava, Subbaraju, Suhasini, Sarah, Anita, Vijayasri, Radhakumari, and others

Credits: Lyrics – Anantha Sriram, Music – MM Keeravani, Camera – Jayaram and S Sandeep Reddy, Editing – Gauthamraju,  Story and dialogues – Surendra Krishna, Script Assistance – Suresh and Prakash, Choreography – Babu and Vidya, Presents – Gavara Parthasarathy, Producers – Ramana Pemmaraju and Kripakar P Tadikonda, Screenplay and direction – Rasool Ellore.

Banner: Manoranjan Entertainment

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Bramhanandam Drama Company – Galaxy of comedians failed to deliver entertainmen

Posted by harino1 on July 20, 2008

There are many directors, who could tickle the funny bones, with the movement of the story itself. They could script the screenplay and story in such a way that the scene itself brings smile on the face of audiences. They were able to reap good entertainment with heroes itself. Heroes like Venkatesh, Rajendra Prasad, Raviteja, Vishnu and the latest Ram, were able to give entertainment, despite showing heroism on the screen. There some other directors, who keep a comedy track, which has a link with the story and at times, without any link as well. But, keeping the entire comedians of Tollywood in his star cast, director I Srikanth failed to provide entertainment, though the subject was proved a hilarious comedy show in its original form (Bagham Bagh).

Anandam (Brahmanandam) has two heroes in his drama company Sivaji (Sivaji) and Ravi (Ravikrishna). An NRI contractor (AVS), who was fascinated with the beauty and dance of the heroine of the drama company (Sameeksha) books them to stage shows in Bangkok. Before they leave for the abroad trip, both the heroes misbehave with the heroine. This forces her to quit the job and leave the drama company just before they were about to board the flight. To make use of the abroad trip, the entire troupe boards the flight sans the heroine. They somehow manage the contractor that their heroine was busy with some modelling and will join them later. Then the heroes start search for a suitable face as heroine. In the process, Ravi was able to bring Arpitha (Kamalini Mukherjee), into their troupe. After giving performance in one show, she meets with an accident due to her mental disorder (suicide tendency). Later, she was taken away by one Mahendra (Raghu) who claimed to be her husband. Soon, the trio (Anandam, Sivaji and Ravi) gets implicated in abetment of suicide case. How they were able to come out of the case? What makes her to commit suicide? Did really Arpitha die? What made her to say that she is the wife of Mahendra? Why the gangsters were after the trio? Answers to all these questions form part of the climax.


It is Brahmanandam, who is a seasoned comedian, delivered good performance in the entire film. All the other artistes, who were also seasoned comedians could not evoke even a smile on the faces of the audiences, leave alone a big laugh. Moreover, good artistes like Sivaji and Sivajiraja too gave a very unimpressive performance. Ravikrishna kept a big blank face in the film. Neither he showed any feelings in his face nor had put up a good body language. Kamalini is the only saving grace in the film. However, she was also portrayed in a deglamorous character. However, she showed ease in a couple of dances which gave a little relief.


Dialogues by Ramesh-Gopi are very unimpressive. Camera work by PS Babu is a big minus. Though a major part of the film was shot in Bangkok, he failed to grab the beautiful locales with his camera skills. Songs lack any foot-tapping dances and music by Sai Karthik is not at all melodious. Only a remix song, which has a mixture of first stanzas of popular songs evoked good response in the theatre. Screenplay and direction by I Srikanth are very disappointing. The director failed to run the film with a good tempo.

REMARKS: The audiences who go to the theatres with lots of expectations on the entertainment would face miserable disappointment in the absence of any scenes worth watching. The producers who took more than one and a half years to complete the film, were not in a position to release the film in the absence of any takers, possibly because of the unimpressive movement of the film. Somehow, they were rescued by some distributors who dared to release the film. It is very much doubtful whether any of the buyers would get back their money or not.

Cast: Brahmanandam, Sivaji, Ravikrishna, Kamalini Mukherjee, Sameeksha, Ranganath, Dharmavarapu Subrahmanyam, Jeeva, Ali, AVS, Raghubabu, Sivajiraja, Allari Ravi, Raghu, Kamal, Gundu Sudarshan, Apoorva, Sasirekha, and others

Credits: Camera – PS Babu, Music – Sai Karthik, Dialogues – Ramesh-Gopi, Fights – Selva, Presents – B Gurunath Reddy, Producers – Palli Kesava Rao and K Kishore, Screenplay and direction –  I Srikanth,

Banner: Sriramachandrulu Films

Released on: July 11, 2008

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Kismat Konnection – Enjoy the simplicity and romance

Posted by harino1 on July 20, 2008

here is a lot riding on this flick for several reasons

· Aziz Mirza returns after a hiatus since his last ‘Chalte Chalte’

· Shahid Kapur is back with the his loverboy looks

· Pritam has fused in some amazing tracks for this one


Raj [Shahid Kapur] was numero uno. In academics, sports, dramatics. But four years after winning the best-student-of-the-year trophy from his architectural college, he’s wondering why a brilliant architect like him, with designs to set the Canadian landscape on fire, is still struggling to find that one big chance to showcase his mettle.

It’s almost as though some negative kismat is following him around because whenever something good is about to happen, it seems doomed to fail.

Desperate to get rid of the bad phase in his life, Raj meets a quirky oracle, Hasina Bano Jaan [Juhi Chawla]. She tells him that soon his stars will change and make everything work in his favour; but for all this to happen, Raj has first to find his lucky charm and never let go of it. But she tells him no more, leaving Raj mystified, trying to figure out what this charm could be.

Suddenly, his life seems to be on the right track. He’s managed to impress top builder Sanjeev Gill [Om Puri] into giving him a prestigious project.

Priya [Vidya Balan] is a tough-talking, tough-decision taking girl with a heart of gold. She is an idealist who is intent on making the world a better, more humane place and is quite willing to fight a lone battle for it.

Raj succeeds in persuading Priya that he’s the Messiah who can save her beloved Community Centre from destruction. And also opens her eyes to her philandering fiancé [Amit Verma]. Raj even manages to thwart the evil designs of old-college-foe-turned-deadly-professional-enemy Dave [Manoj Bohra]. Does this mean that Raj has unwittingly discovered his lucky charm?

‘Kismat Konnection’ does well in establishing the connect because of its simplicity. The film is outright plain and simple. A film truly for the masses! Aziz Mirza succeeds in his storytelling of romance and the reality of life that dawns upon this romance.

Aziz Mirza along with his son and co-director Haroon succeed with the romance which has always been Azizji’s forte. All Aziz Mirza’s film have always brought about ambitious men stuck in the midst of their career and love . Take a look at ‘Chalte Chalte’ and ‘Yes Boss’ and nothing much has changed with Azizji’s approach. It’s simplicity that has ruled and what works with ‘Kismat Konnection’too.

The biggest drawback that comes with this flick is its length. The film starts dragging primarily during the second half and the culmination of events takes too long. Couple of scenes and characters such as Habiba (Juhi Chawla) could have been done away with.

If you are wondering whether the film may be lacking the Shahrukh angle that has been associated with all Azizji’s film; Shahid Kapur lives up to all expectations. He delivers well, expresses well and entertains. He carries the film so well on his shoulder and shows immense maturity as an actor. Watch out for the comic sequences and his body language.

Vidya Balan too does well and is just apt for the film. She brings about that chemistry with Shahid and things look real. On the costume front too, Vidya is much better than her previous ‘Hey Baby’.

Juhi Chawla does well but her character could have been done away with. Om Puri impresses. Boman makes a blink appearance. Himani Shivpuri is hilarious. Vishal Malhotra too does well as Shahid’s friend and is hilarious.

The cinematography by Bino Pradhan is interesting and music by Pritam entirely lifts the film. The choreography with ‘Ai Papi’ and simplicity with ‘Is this love’ is terrific.

On the writing front Rahila does well with the initial ideation. Vibha Singh and Kabir Sai fall a little short with the flow of events . Sanjay Chel is good with the dialogues.

The film isn’t highly intellectual or so and isn’t in any manner preachy or unique. It’s been done but it’s the treatment and simplicity that works here. Aziz Mirza even at 66 has a lot to offer and from no angle does the film look devoid of any youthful element.

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Contract – Sequel to ‘Satya’, ‘Company’ or ‘Aag’?

Posted by harino1 on July 20, 2008

After ‘Sarkar Raj’ , Ramgopal Varma teams up with Praveen Nicshol for yet another film on the underworld. This time out it goes as follows:

1998: Satya

An inside view of the underworld

2002: Company

An Overview of the underworld

2008: Underworld meets terrorism

Well Ramu has always played it well with topics concerning the underworld; well now let’s see how he fuses in the terrorism angle.

Primarily the film is such a drab leaving you nowhere. Majority of the sequences and occurrences in the film make you wonder whether it has really been done by Ramgopal Varma or one of his so called ‘chelas’.

The narration, treatment, screenplay is almost void in the film. Prashant Pandey’s writing is extremely miserable and you are totally lost. One wonders why Ramu or the producers would engage in blasphemy by calling this film the completion of a trilogy after ‘Satya’ and ‘Company’.

The editing of the film by Amit Parmar and Nipun Gupta is vague. For a Ramgopal Varma film claiming to be the completion of a trilogy , it’s a big letdown. Take a look at films such as ‘Company’ and ‘Satya’, at no point where you bored or stranded in the middle of nowhere. This film ‘Contract’ has no relevancy whatsoever and requires serious trimming.

What was Shama Sikander doing with that so called item number or rave party sequence?

There are so many things that just annoy you and lack substance like the character Goonga’s(Upendra Limaye) wife, the silly dialogues of foolishness rather patriotism and the excessive use of the word ‘Secret’. Why did Ramu make such a film? ‘Secret’.

On the acting front Adhvik Mahajan is ok but nowhere close to characters that have remained with us since ‘Satya’ or ‘Company’. Sakshi Gulati too is just fine. Zakir Hussain and Upendra Limaye are not at their best. Sumeet Nijahawan fits the bill as RD.

For a great filmmaker like Ramgopal Varma , ‘Contract’ comes as a shock to all Ramu fans and aspiring directors who have always looked upto him. But, Ramgopal Varma ought to rise up and maybe take a break from films on the underworld or the occult and rather return to his ‘Rangeela ’days.

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Mehbooba – A delayed project!

Posted by harino1 on July 20, 2008

‘Mehbooba’ comes across with the likes of Sanjay Dutt, Ajay Devgan and Manisha Koirala. You might be wondering how come Manisha plays the heroine in 2008 when she has almost vanished from the film circuit. Well, take a closer look at a much slimmer Manisha and the drastically younger looking Sanju Baba and you will definitely figure out that the movie is maybe over 6-8years old.

The film fuses is various elements of bollywood like numerous dance sequences with enormous sets, Manisha Koirala in the midst of two men , elements of ‘Hum Dil De Chuke Sanam’ and a battle for love between two brothers that would have worked years ago.


Shravan (Sanjay Dutt), a casanova, loves being in the company of beautiful and desirable women. His charm and money gets him any beauty he desires till he meets Varsha (Manisha Koirala).

Varsha is the first girl in Shravan’s life who says ‘no’ to his advances. Shravan is not the type who would take no for an answer. Yet, he realizes his mistake and apologizes to Varsha. To make amends, he asks for Varsha’s hand in marriage. Varsha’s father convinces her that he is a changed man now and genuinely loves her. After much deliberation, Varsha agrees and they get engaged. Soon, their romantic sojourn ends in lovemaking.

Varsha’s dream comes to a shocking end when Shravan tells her that his love for her was just a drama so he could sleep with her. Heartbroken and shattered, Varsha feels shattered, her father dies of heart failure. She leaves New York and starts life afresh in Budapest.

Much later, Shravan’s younger brother Karan (Ajay Devgan) decides to get married. The girl is Payal, who, in actuality, is Varsha. Is this a plan by Varsha to teach Shravan a lesson? What happens when Karan gets to know what transpired between Varsha and Shravan?

Director Afzal Khan handles the proceedings well but the story by Rumi Jaffrey is outdated. Also the film drawing tremendous resemblance to ‘Hum Dil Chuke Sanam’ offers nothing new from Ajay Devgan. The similar drunk sequences, the same lines of returning the heroine back to her first love etc.

Manisha Koirala who was at the peak of her career when the film was shot does well. She emotes and expresses but wonder whether today’s audiences would accept her in a wet red sari dancing across the screen.

Sanjay Dutt or our very own Munnabhai who is the ultimate good guy for all Indians after the Munnabhai series has been portrayed as a Casanova who rapes his wife and then dumps her. Well though the latter half of the film portrays a change of heart, audiences may not approve Sanjay as the Casanova. Also take a look at the lack of continuity is the film as Sanjay goes from long hair, younger looks to the present looking Sanjay Dutt. Afzal Khan can’t be blamed for that as this film was being shot in the midst of all court hassles surrounding Sanjay.

The music by Ismail Darbar is not bad with couple of tracks actually seeping into you. The album would have been a sure hit years ago.

One element that comes across as a treat in the film is Ashok Mehta’s cinematography. It’s brilliant capturing the various locales of Budapest and Rajasthan.

On the whole, the film is definitely not headed for success at the multiplex’s but caters more to the single screen audiences who still enjoy watching films with over 6 tracks and all that family drama . The film is definitely good for it’s time but falls flat in the present.

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