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Archive for May, 2008

Indhra – Routine masala film

Posted by harino1 on May 31, 2008

Now it has almost become very difficult to expect something novel from a box office actor like Darshan. A few peppy scenes, sentiment portion, strongly opposing the opponents, a few lilting tunes and major chunk of action and of course romancing with the beautiful lass are major constituents of action heroes. This is what fans ask for and box office demands. In ‘Indhra’ (remake of ‘Arasu’ Tamil film) Darshan repeats his earlier film ‘Gaja’ contents.

When an astute film viewer looks at something refreshing there is nothing. How long Darshan can repeat the routine films to his fans is the question that obviously strikes.

Rayanna and Indhra (both Darshan) are brothers. Rayanna living in the coastal area is a king maker. He has huge followers and his brother is very well educated. Rayanna is not tolerated by Mumbai dons as he is the hardship to their activities. Rayanna is attacked when he is traveling with the family by local dons. He will tolerate this insult on the peace measures of his brother Indhra but in one of the activities of dons the five innocent girls of a company where Indhra works are locked in prostitution case. This enrages both Rayanna and Indhra. When the real culprits are booked on the insistence of Rayanna the fury blows up resulting in the five innocent girls self immolation. There is utter chaos and mayhem again when Rayanna is attacked when he is traveling with his wife. Rayanna and his wife are brutally killed and this makes Indhra to settle scores with key don staying in Mumbai. After finishing a don in Mumbai Indhra settles down in a Brahmin colony in Srirangapatna. He is identified here by the police but he escapes after earning good from the people. The emergence of Cat Rama from prison makes Indhra to take on weapons once again. Indhra surrenders and he is given lesser punishment because he does what the law was supposed to do.

Darshan in double role for the first time is cool and killing. As an Iyengar he is cool and as Rayanna he is ferocious. For the first time the Dakshin Kannada belt Tulu language has come out perfectly from Darshan. In the action scenes he is matchless. Dancing with the sensuous Namitha Darshan looks grand. The second film of Namitha in Kannada is well crafted. She is a treat to watch in dance and song. Vinayaprasad, Ramesh Bhat, Bullet Prakash have given splendid support. After a long gap we have got a replacement for K.S.Ashwath kind of roles from Thimme Gowda. Kumari Pragna in a dumb role gathers attention.

Action director Ravi Verma has done some dangerous stunts that come in the second half. Darshan has taken part in the motorbike stunts self and it is really chilling.

V.Harikrishna fails in his music. Not even one song is worth remembering. A.V.Krishnakumar the prominent cameraman of Kannada cinema gives a splendid work.

Action lovers have a feast. That is ‘Indhra’.

Posted in Kanada | Tagged: | Leave a Comment »

Aandavan – Mani with another usual fare

Posted by harino1 on May 31, 2008

‘Aandavan’ is a regular Kalabhavan Mani affair -yet another take which glorify one-man vigilant justice. And as usual with his films, this too remains unsurprising and predictable to the core. In an obvious attempt at making a formulaic masala movie, the creators come up with another that turns out far from satisfactory.

The movie has Mani as Murugan, who is more popular as ‘Aandavan’, a demi god in his slum, a savior robin hood who steals money from the rich to help the poor. The peculiarity with him is that he is a specialist who repeatedly steals from only one man-Parameshwara Panikkar, his sworn enemy, the local tycoon and moneylender who is there into every unlawful business, from illicit liquor to massage centers.

Panikkar had destroyed Murugan’s family, years ago, getting him and his father arrested and assaulted on false claims.

Panikkar’s own son Sadasivan, who is now the Circle Inspector of Police couldn’t resist the brainy protagonist thief from continuing with his follies in his father’s house.  Murugan, who is also a childhood enemy of Sadasivan, execute the most daring and ingenuous of heists, looting the big share of money that Panikkar earns through his unlawful means. Murugan is even more particular to leave any money left after his charity activities, into the local police station, without revealing himself.

The new female Sub-Inspector, Sreelekha (Sindhu Menon) who is put into the charge of the related investigations takes up residence on the ground floor of house in which Murugan hides on nights. On recognizing Sreerekha’s paralized father, Murugan realizes Sreerekha as one of his childhood playmates.

Unaware of this friend in the attic, Sreerekha hatches plans to grab Murugan.

Meanwhile Sreerekha has to confront with Sadasivan who helps his father in his shady activities, which ultimately results in Sreerekha getting suspended from service. But, by now she has fallen for her childhood friend, realising the facts that made him a thief.   Murugan has now got a lot of things to accomplish. To take on his final revenge against Panikkar and his sons and to reinstate Sreerekha into the service. How he accomplish this forms the rest of the plot.

The biggest drawback of the film is that it is highly predictable. It ends up in a much contrived climax. The last reels of the film looks like a product made in a hurry, with little attention to details, logic or story continuity.

K Gireeshkumar in the scripts has reworked a story that seems to be as old as the Stone Age, failing to give anything unique to the story lines, that the audience can take back.

Kalabhavan Mani as Murugan has nothing more to do than be in his usual self. Sindhu Menon is passable as Sreerekha, while  Jagathy Sreekumar as Parameswara Panicker and  Anand  as Sadasivan are in their regular outings. Bijukuttan as the small-time ganja dealer Bhaskaran and Salim Kumar as the iron-man Mayankutty bring in some chuckles.  Seema G. Nair is remarkable as the local streetwalker Sarasu.

In the technical side, everything is in tune with the theme. M  Bawa in art direction has done an exceptional job in creating the slums, look natural. Vipin Mohan has opted for not much experimentation while Renjan Abraham in editing also is ordinary, employing innumerable white flashes..The action sequences are well-orchestrated and act as a catalyst to hold on the narratives.

The songs by Alex Paul are hummable of which, “Poonnila punchiri thookum…” rendered by Vineeth Sreenivasan has the potential to enter the charts. There is also the mandatory Mani song, which is also crisply visualized with good choreography, thankfully without an item girl.

Altogether the movie may not impress you, even if you are a die hard Mani fan. And for the rest, it is a sinking affair to be with this short flick which completes its run through in around one hour and fifty minutes. In an industry that appears to be in sinking state, there is really no apparent reason behind films like ‘Aandavan’ that have been hitting the screens every now and then, without any thing new  to offer. The industry can very well surely do better, without them.

Posted in Malayalam | Tagged: | Leave a Comment »

Pandurangadu

Posted by harino1 on May 31, 2008

Director Raghavendra Rao, who is known for bringing out excellent commercial films, changed his way and started bringing out devotional and periodical films. His films like ‘Manjunatha’, ‘Annamayya’ and ‘Sri Ramadasu’ were proved runaway hits.

The audiences had kept lot of expectations on ‘Pandurangadu’ coming from the same director in the same technical combination. However, this time, Raghavendra Rao chose Balakrishna as hero for the film, which was prepared with an inspiration from the earlier classic ‘Panduranga Mahatmyam’. However, the film could not stand on par with the earlier classic and remained just an okay film.

Pundareeka (Balakrishna) comes from a family full of Lord Krishna devotees. But he grows up as a wayward and irresponsible youth, who whiles away his time by enjoying the girls. Being handsome, all the girls are naturally after him. Lakshmi (Sneha) is an orphan and was brought up by a priest (Balayya). Being from an orthodox family, Lakshmi also preaches Lord Krishna. Pundareeka gets fascinated to a prostitute called Amritha (Tabu) and keeps spending nights with her always. Once, Lord Krishna appears in a dream to Lakshmi and tells her that Pundareeka would be her husband. Lakshmi impresses the entire family of Pundareeka, but fails to win his heart.

After a few days, with the intervention of Lord Krishna, she could manage to marry Pundareeka. But, he disappoints Lakshmi and goes to Amritha even after tying the nuptial knot. Again, it was Lord Krishna who comes to Lakshmi’s rescue and unites Pundareeka with Lakshmi. When they were leading a joyous life, Amritha’s mother (Y Vijaya) hatches a plan and swindles his entire property. Due to the impact of medication by Amritha’s mother, Pundareeka throws out the entire family out of house, while he too gets vacated by the former. Did Pundareeka realise his mistake? Did he meet his parents again? What happened to the marital life of Pundareeka? Did Lord Krishna gives salvation to Pundareeka? Answers to all these questions form part of the climax.

Balakrishna was at his best as far as performance. However, he could not appear young and the close up shots picturised on him showed that he was quite older. More so, he played dual roles in the film, not only as the devotee Pundareeka, but also as Lord Krishna. The second role was not etched properly by the director.

Tabu was romantic in all the scenes and she appeared half-naked in almost all the scenes without saree or half-saree. But the audiences had to understand that she needed to remain like that because her character in the film was a prostitute.

Sneha continued her family girl image again in this movie.

The director did not leave her too and projected her in a romantic way in one of the songs. Viswanath, Balayya, Prasadbabu, Sivaparvati and Sana did justice to their respective roles.

Comedy track picturised on Sunil, Brahmanandam failed to click in any manner.

Mohanbabu made a special appearance in the film and appears only in two scenes. He proved that he was the best and right choice for the character.

Behind the screen, writer JK Bharavi did complete injustice to the subject. He spoiled the entire spirit of the film which is devotional in nature. Instead of filling devotion, most part of the film was devoted to romance and romantic scenes. The dialogues in the film was also not properly written. They were neither colloquial (vaaduka bhasha) nor literary (grandhika bhasha). Use of words like ‘anta sannivesam ledu’ in dialogues, ‘willu’ (a Telugised English word for ‘will’) in songs spoiled the spirit of the film.

Camera work by Jayaram is just okay, while editing by Srikara Prasad is fine.

Music by MM Keeravani is worth listening.

Screenplay by seasoned director like Raghavendra failed to maintain the tempo. The director rendered the entire episode with Lord Krishna and his eight wives in a dramatised version and the audiences would get a feel of watching a stage play and not as a regular film.

As a whole the film was very poorly narrated with a changed version of the entire story. In the original, the hero renders the all-time favourite song ‘Hey Krishna Mukunda Murari’ like a lullaby to his father, in this film it was used in another situation. The prolonged climax, after the death of heroine also tested the patience of audiences. LB Sriram as Narada was horrendous and he failed to please any section of audiences. But for a 20-minute film (30 minutes after the interval and 30 minutes before the climax), the entire film was boring. Especially, the glow in the face of the hero (of the late NT Rama Rao in Panduranga Mahatmyam) was completely missing in this hero (of Pandurangadu)

Cast: Balakrishna, Sneha, Tabu, K Viswanath, Mohanbabu (special appearance), Balayya, Prasad Babu, Sameer, Sunil, Dharmavarapu Subrahmanyam, Ali, Anant, LB Sriram, Jr Relangi, Brahmanandam, Jenny, Siva Parvati, Sana, Archana (Veda), Suhasini, Meghana Naidu, Y Vijaya, Apoorva, Sireesha, Bhargavi, Neethu, Baby Kavya and others

Credits: Story and dialogues – JK Bharavi, Camera – Jayaram, Editing – Srikara Prasad,  Music – MM Keevarani, Producer – K Krishnamohana Rao, Screenplay and direction – K Raghavendra Rao.

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Hastey-Hastey – A test of one’s patience

Posted by harino1 on May 31, 2008

‘Hastey Hastey’ comes in this week with debutant Nisha Rawal accompanied by Jimmy Shergill and a triple role by Rajpal Yadav.

Synopsis…

Neel [Jimmy Sheirgill], a student at Columbia University, is in love with Maya [Nisha Rawal]. Sunny [Rajpal Yadav] is Neel’s room-mate and also his buddy. Neel accepts a career opportunity that requires him to go to India to set up a call centre business. Much against Maya’s wishes, Neel travels to India with Sunny.

Tanvi [Monishka Gupta] is a young executive who goes out of her way to help Neel and his team in India. She is instantly attracted to Neel and tries her best to win his heart. But Neel rejects Tanvi. Hell hath no fury like a woman scorned and Tanvi succeeds in making life miserable for Neel. How Neel comes out of it is the remainder of this misadventure.

‘Hastey Hastey’ is no doubt a very dull and weak plot. The story just puts you to sleep. The movie lacks miserably in terms of content. The movie offers zero laughter and would better be known as ‘Rothey Rothey’.

Right from the writing by some US based writer to the direction by Tony the film is an overdose of flaws which makes you get really irritated. The songs are an overdose and are just there for heck sake. Not a single track is registered and makes the film a never ending saga.

Nisha Rawal is just like a plastic Barbie doll, she struggles with the acting and her delivery is terrible. Monishkha too is dull and does nothing more than shedding her clothes.

Jimmy Shergill seems to have signed this movie while he was asleep.

Rajpal Yadav in a triple role! What were the writers and director thinking? Maybe they thought that one could escape with some ridiculous jokes by Rajpal Yadav. Rajpal too seems on a money making rollercoaster and needs to be very careful with the kind of movies he does. Rajpal too is terrible and what’s with the ridiculous clothes he’s wearing?

On the whole, ‘Hastey Hastey’ is a complete waste of time. It’s a test of one’s patience and is sure to be a washout with zilch comedy. The IPL matches are set to kill this venture.

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Woodstock Villa – Simply OK!

Posted by harino1 on May 31, 2008

Sanjay Gupta has often been associated with the so called ‘Hollywood’ style of film making. Sanjay has a fascination for technique and style not many in India believe in. Now, with ‘Woodstock Villa’ Hansal Mehta directs debutants Sikandar and Neha Uberoi very much the Sanjay Gupta way.

The film takes off with the kidnapping of a successful businessman’s wife (Neha Uberoi). The businessman (Arbaaz Khan) is soon threatened by the captor (Sikandar) for a heavy ransom. Things go wrong as the lady is murdered by someone and the captor in a fix buries the body. Soon things start to reveal itself with the re-appearance of the damsel.

Director Hansal Mehta goes very much the Hollywood style by trying to make his film look sleek be it the grainy look , the cinematography , the intensifying moments etc, but looses hold on the basics-the plot. Hansal definitely has got all the style elements in places be it the looks, bikes , cars , eye candy etc but the plot just intensifies and boils down to being pretty lame. Many will argue that the film boils down to a done to death concept.

But one must say that at no point of time is the film boring; Hansal ensures that either with the drama/action on scene or else there are some tracks to keep you glued. There is either Neha Uberoi impressing you with her beauty and dance moves and at a point when you have forgotten that this movie carries a Sanjay Gupta link, just for the record Sanjay Dutt does his bit in a rock number.

On the acting front, Sikandar needs time and more films to make an impact. He definitely stands nowhere close to Anupam Kher or Kiran Kher. Sikandar struggles with his dialogue delivery and as far as your dance numbers are concerned, keep Sikandar aside. To a large extent he reflects Abhishek Bachchan with his body language and will surely do well as your unconventional hero.

Neha Uberoi is pretty and impressive. She carries her character with elegance and ease. She is sure to give the so called ‘sexy’ ladies of bollywood a though time.

Arbaaz Khan too shows great maturity. He fits the bill and delivers well. Sachin Khedekar , Shakti Kapoor and Dayashankar Pandey are wasted.

Cinematography by Vikas Nowlakha is good carrying the thriller theme through the lens. Dailogues by Milap Zaveri are ok. Screenplay by Sanjay Gupta ,Farhan and Rajiv isn’t great.

The music of the film hinders the flow of events but the background score by Amar Mohile is good.

On the whole, ‘Woodstock Villa’ may find it hard to be accepted by the viewers who may consider this venture to be an episode from a serial or so. The film is sure to provide a decent platform for both Sikandar and Neha who are bound to feature in more Sanjay Gupta films. Business at the box office will be hampered by the IPL semi-finals and finals.

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Don Muthuswami – An overdose of sound effects and a dull plot

Posted by harino1 on May 31, 2008

After heading ‘Jimmy’ as producer a few weeks ago, Mithun Chakraborthy returns as actor with ‘Don Muthuswami’. The film spearheaded by Ashim Samanta , son of the late Shakti Samanta marks his debut as director. The film marks Ashim’s attempt to revive the legendary Shakti Samanta Films banner.

Synopsis……

DON MUTHUSWAMI (Mithun Chakraborty) is in a dilemma. His father, before dying, extracts a promise from him that he would mend his ways and become a good man. Muthuswami is in a fix, so are his henchmen who watch in disbelief as his father passes away after the Don has given his promise. There is no going back on his word now. From Don, he wants to transform into Sir Muthuswamy and his henchmen are still with him but they now double up as domestic help.

But Don being Don wants to marry off his daughter to the son of another Don. Sanjana (Hrishitaa Bhatt) refuses to be transferred from her prison like home to another Don’s home. So she resorts to lying that she is pregnant to call off the marriage. Add to it Don’s manager Pritam (Rohit Roy) who wants to marry his daughter and the confusion is complete. The Urdu teacher, Jaikishan (Mohit Raina), hired to polish Don’s language skills also falls in love with Sanjana. And there are the cops who are on the Don’s trail to see whether he has really turned a new leaf. Everything takes place in a matter of one day in the Don’s house.

To begin with, ‘Don Muthuswami’ offers nothing really concrete. The movie seems to be totally inspired by Mithun Chakraborthy’s amazing performance as ‘Krishan Iyer Nariyalpani Wala’ from ‘Agneepath’. The idea is good to portray a south-Indian Don with a talented Mithunda supporting you all the way but director Ashim fails to understand that it requires more than just developing a character to make a good film.

Also, things get worse right from the start with the overdose of unwanted silly sound effects that really annoys. The dialogues of the film are faintly heard thanks to the never ending sound effects that accompany almost every line in the film.

On the acting front, Mithun Charaborthy is fantastic and delivers with ease. He is convincing and funny but there isn’t much he can do when the entire setting and feel of the film fails to grab one’s attention. Mithun makes you laugh with his constant ‘Aiyoo Murga’ and other remarks.

Rohit Roy does well. Shakti Kapoor , Hrishita Bhatt and Mohit Raina fail to impress. Vishal Kotian , one of Mithun’s henchmen impresses with his comic timing.

The music by Anu malik is terrible and two tracks have been totally forced into the film .The film could have been done without the insertion of such boring songs.

Looks like director Ashim Samantha has a long way to go before the Samantha Films banner can shine bright once again like it used to in the good old days. As for the film, it may find a decent pull in the southern regions and Kolkatta where Mithunda has a huge fan following.

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Dhoom Dhadaka – Not enough Dhoom or Dhadaka

Posted by harino1 on May 31, 2008

Director Shashi Ranjan returns to direction after a hiatus since the Raveena Tandon ,  Jackie Shroff starrer ‘Doobara’. Though Sashi has been doing the rounds in the media for various social causes such as ‘Laadli’ and his involvement with the Tv industry through the ‘GR8!’ magazine, pressure seems to be riding on him with ‘Dhoom Dhadaka’.

The story begins with the ‘All Asian Bhai Meet’ being held in Bangkok where the falling sensex of ‘Bhaigiri’ in Asia is being discussed. In the discussion, a rival Don of Mungi’s [Anupam Kher], Fursat Lala [Gulshan Grover], proposes an ambitious plan for a piece of land in Alibagh and puts across a valid argument that it is important to have a waaris(hier), the new generation, to improve matters. Since Mungi has no waaris, it is only logical that the next man, i.e. Fursat Lala should be made the new Don.

Mungi assures the syndicate that he has a waaris, who he will present before the syndicate and asks for a month’s time to do the same. Now Mungi and his friend Jignesh [Satish Shah] set out to trace Mungi’s estranged sister Angoori [Bhavana Balsawar], whom Mungi had thrown out years back . One of the letters reveals that Angoori did give birth to Kamal. Mungi is thrilled and resolves to hunt his waaris in Mumbai, where he comes across a detective, Johnny English [Satish Kaushik], who promises to find Kamal.

Through his weird ways, Johnny English gets hold of an NRI [Sammir Dattani], who claims to be Kamal. Johnny takes him to Bangkok but, to his shock, finds another guy [Shaad Randhawa] there, who also claims to be Kamal. While this confusion is on, Shivani [Aarti Chhabria] arrives on the scene claiming to be the real Kamal.

A confused Mungi asks all of them to stay in the house till he arrives at a decision as to who the real Kamal is. In the ensuing drama enters the second girl Jiya [Shama Sikander], who claims to be a girlfriend of the NRI Kamal. Is one of them the real waaris?

Sashi Ranjan does attempt at creating one of those twisted comedies but lacks somewhere mainly as he fails to connect the flow of events at the cost of being simply funny. The screenplay of the film is totally hap hazard. Most portions of the film are questionable, particularly towards the opening where Anupam Kher junior is shown at a regular ‘mela’ and his father is shown as a victim of some bomb blast. Anupam Junior is shown running towards his father with a plastic looking arm in hand while his father lies apparently bleeding due to the loss of an arm and the arm actually visible through the clothes.

The dialogues have been penned by Ashwini Dhir who has already found his name on several big movies this year be it the dialogues of ‘One Two Three’ , ‘Krazzy 4’ , ‘U Me Aur Hum’ or direction of ‘One Two Three’. The drawback lies in his approach towards the dialogues. They may be indeed humorous but are too centered towards carrying a sleazy double meaning. ‘Dhoom Dhadaka’ too falls apart with such lines, especially with sequences involving Deepshikha .

The movie has been done on a grandeur level as far as the locales of Bangkok etc have been concerned but falls apart majorly towards the 2nd half. The confusion and jokes are alright till a period of time but later on carries a stale feeling.

Anupam Kher does a good job but such roles have been done to death. Satish Shah upsets you after his ‘Bhootnath’ performance. Shaad Randhawa and Sammir Datani have a long way to go.

Deepshikha does a lot of skin show and delivers with ease. She needs to be more selective with her roles. Aarti Chabria is good with her dance moves and dull on the acting front. Gulshan Grover is just a repeat of several other films. Zac and Razzak Khan are impressive.Satish Kaushik hasn’t done something like this in a while and is funny as ‘Johnny English’. Bobby Darling is ok.

Shama Sikander comes in as a revelation. The actress who has spent much of her career in the television industry makes her presence felt with ‘Dhoom Dhadaka’. The actress imitates Aishwariya Rai well with her opening sequence in the film and further carries those chirpy , vivacious vibes throughout the film.

The music of the film by Roopkumar Rathod isn’t great except for the title track. The cinematography by Ashwani K is ok.

‘Dhoom Dhadaka’ starts off pretty well and looses it strength tremendously as the events flow. The lines in the film may be funny but Sashi fails at merging these lines with the relevancy of the script and the film often takes you nowhere. If you just want to laugh , ‘Dhoom Dhadaka’ may serve that purpose.

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Kathavarayan – Conveying a strong message

Posted by harino1 on May 31, 2008

If student politics was the crux of Karan’s earlier venture ‘Thee Nagar’, the actor is back with a strong message in ‘Kathavarayan’.

Stay away from liquor and drugs. You will lead a happy and healthy life. This forms the crux of Karan’s ‘Kathavarayan’. Debutant director Salangai Durai has dished out a commercial entertainer which laced with this strong message.

It’s Karan all the way as he strikes the right chord playing a illicit liquor vendor in the first half, who reforms to save a girl from the hands of a drug-pedler. Unfortunately at many a places, the movie goes on a preaching mode and there are less drama elements to sustain the interest of the audience.

The movie revolves around Kathavarayan (Karan), who sells illicit arrack in Hogenakkal. Though he is involved in arrack trade, he is a man with golden heart.  Malathy (Vidisha), a student, comes to  the village as part of her NSS project. She vows to end the arrack menace in the village and takes efforts to arrest Kathavarayan. Thanks to her efforts, Kathavarayan gets arrested and lodged in prison in Chennai.

Call it fate, Malathy is arrested for no fault of her in Chennai. Her efforts to expose drug-pedlers in Chennai backfires. They hatch a conspiracy and Malathy falls a prey to it. She gets arrested for possessing drugs and lands in prison.

Kathavarayan comes out of jail to avenge Malathy. But comes to know her real intentions and the trouble she is facing. He masterminds a plan and joins the gang selling drugs and eventually exposes them only to save Malathy.

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Karan has come up with a matured performance. He is good in dance and stunt sequence. His diction of the Kovai Tamil also deserve a special mention. Debutant Vidisha does a decent job. She plays her part well. Vadivelu plays a money-lender who lands in trouble for no fault of his.

The cast also includes Sundara Travels Radha, Kadhal Dhandapani, Alex among others.  Dheena has scored the music which are very loud.

Salangai Durai deserve a pat for coming out with a strong message. But had he cut down on preaching, the movie would have been different.

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Jannat – Was it really Heaven?

Posted by harino1 on May 31, 2008

Emraan Hashmi returns with none other than the Bhatt camp accompanied by some good music by Pritam. But this time the Bhatt camp brings to you debutant Kunal Deshmukh spearheading the direction and partnering Vishesh Bhatt on the screenplay. Vishesh also makes his debut as story writer.

‘Jannat’ is the story of a man caught in a quagmire of crime and consumerism as he struggles to find heaven on earth.

Arjun (Emraan Hashmi) is a reckless young man with an obsession for making money at card games. A chance meeting with a girl named Zoya (Sonal Chauhan) in a mall gives him the reasons he was looking for to move out of his ordinary life. He steps up from playing small-time card games to becoming a bookie.

Stuck in a triangle of sorts between the woman he loves and his addiction to make a quick buck, Arjun moves on from being a bookie to a runner for the mafia.

He steps into the world of match fixing. Arjun switches on the limelight to something bigger, better, and faster, until his dizzying rise attracts the attention of the police. Arjun has to now choose between the love of his life, Zoya, and this newfound success and power.

As Arjun struggles to choose between the two, the Don offers the forbidden fruit of limitless wealth in exchange of his soul and draws him into his core entourage of money spinners.

How far will the horizon of reality stretch as Arjun and Zoya tread a fine, fast-blurring line between right and wrong to find the heaven they have been looking for?

Kunal Deshmukh gets a great chance to prove quite a bit with his very first film but gets it extremely wrong. Firstly the story by Vishesh Bhatt isn’t well defined; Jannat is neither a movie on cricketers nor is it a love story. It’s just such a mix of undefined confusing events that take you nowhere.

The first half just tries to build up the events by portraying an obsessed Emraan and how unconvincingly debutant Sonal falls for our bollywood’s serial kisser. The dialogues of the film by Sanjay Masoom are so dull. Certain remarks made at cricketers and scenes involving Pakistani cricket players won’t certainly find favour with a large section of the audiences especially from Pakistan.

The second half too has nothing much to offer with the cops and bad guys enveloping poor Emraan and his love story.

The cinematography of the film by Manoj Soni has nothing in store in spite of locations such as Cape Town.

The music is the primary reason that keeps the audiences engrossed the music by Pritam and Kamran Ahmad’s ‘Judaai’ are already hit numbers. But many would be disappointed not to find Kamran’s male version of ‘Judaai’.

On the acting front Emraan does carry the style and attitude. He is indeed convincing as the bookie but the weak script makes the love story fall flat.

Sonal Chauhan struggles with her character. She isn’t convincing enough and fails majorly in a film where the writers wanted to express a tragic love story engulfed by obsession.

The supporting actors Jawed Sheikh , Samir Kocchar and Vishal Malhotra are terrific as per the demands of the script.

On the whole , Jannat is a poor tale from the Bhatt camp and it’s quite surprising that the camp that explores varying love stories such as ‘Who Lamhe’ and ‘Gangster’ and eventually convert them into massive hits ; fall flat in the process of gambling with a love story and encashing on the current cricket madness of the IPL.

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Prachanda Ravana – Lacks power and continuity

Posted by harino1 on May 24, 2008

The new wave team has made a very good attempt to showcase the significance of ‘Ravan’. The end result is not convincing. Banking on the 55 years old script ‘Prachanda Ravana’ written by Kanagal Prabhakara Sastry the adaptation of it to the present day is a tough task. The seeking of elders and experts opinion in mythological films could have come to the support of first time director Srinivas Prasad. There is definitely grandeur. The costumes and sets look tremendous but complete involvement is missing.

It is interesting to find small bit songs every now and then. It increases the mood of the film that is supported well by the costumes, set properties and graphics.

‘Prachanda Ravana’ begins with Ravan shaking the ‘Kailasa Parvath’ the throne of lord Shiva and Parvathi from the power of his penance. Lord Shiva has not yet given the blessings. This makes Ravan to take extreme step of cutting off his head. This alerts Lord Shiva who comes before Ravan and gives him the ‘Atmalinga’. The scene shifts to Ravan durbar and Mandodhari condemning her husband for doing unfaithful job that is obviously pointing to Seethapaharan. The reel ticks fast without giving much prominence to anything. Once the entry of lord Hanuman takes place the film becomes very interesting. The finding way on the sea is also shown as a passing shot. The hurricane is the war scene wherein in just four arrows Ravan is finished and Seetha is freed.

Dynamic hero Devaraj looks perfect to the role but his full potentiality is not used by the debutant director. The role of Hanuman played by Bharat Bagavathar is the best of all. Rajeshwari a television actress playing the Seetha role is impressive.

There is very good cinematography from Ananth Urs. It is very difficult to maintain the color and mood of the film in a mythological film. The sets used for the film are OK. The songs of Vajrappa scored for stage play of ‘Prachanda Ravana’ retuned here by Mysore Gopi that is good in parts.

This could have been a better cinema. The consultation of experts in the field should have been made.

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