13B

By Taran Adarsh

Rating: *1/2

Do you believe in spirits? Have you had paranormal experiences? If the answer is in the negative, 13B would try to make you believe in them.

For almost three decades, the Ramsays used skulls-n-skeletons to scare the living daylights out of you. But post BHOOT, supernatural thrillers, errie and spooky themes and scary movies have only evolved this side of the Atlantic.

13B, directed by Vikram Kumar, belongs to the same family as THE RING and PULSE. No, it's not a copy of these two films, but there's an uncanny resemblance: A home appliance is used by the spirits to convey their message.

To give the credit where it's due, 13B involves you in the proceedings and most importantly, scares you as well. But the director, who also happens to be the writer of the film, ought to know an unwritten rule for movies of this genre. Cut it short. 13B is stretched, sorry over-stretched by at least 25-30 minutes and you just can't help but exclaim, 'Enough! Come to the point please.'

The problem is, 13B takes its own sweet time to come to the point. Besides, you can't help notice the blemishes in the screenplay. What eventually comes across is a film that had the stamina to win the marathon, but which runs out of breath and starts huffing and puffing midway.

Manohar (R. Madhavan), an upwardly mobile middle class Indian, moves into a new apartment -- 13B on the 13th floor -- with his family. From the first day in their new home, the women are hooked to a new TV show 'Sab Khairiyat'. The show is about a family eerily similar to their family, who have also just moved into a new house.

As the TV show unfolds, the incidents that happen in the show start happening to Manohar and his family.

Initially, a number of happy events take place and a lot of good things happen, both in the show and with Manohar's family. Then things take a turn for the worse and shocking incidents start happening in the TV show.

Will the same happen to Manohar and his family? Will Manohar be able to solve the mystery in time before it consumes him and his entire family?

Now let's look at the plusses: P.C. Sreeram's exceptional camerawork, the brilliant sound design and of course, an energetic background score that enhances the mood. Add to it a few individualistic sequences, which merit ample praise. The sequences with the septuagenarian neighbour and his dog are exceptional, especially the sequence when the dog refuses to enter the flat.

But the screenplay goes back foot at regular intervals. In fact, the writer builds up the story really well, it reaches its crescendo and then... it blows it up. The viewer is curious to get to the bottom of the mystery and when you do reach there, you aren't too convinced with what actually unravels.

If the television set had to spill the beans towards the end to the culprit, why didn't it do so to the main protagonist earlier? Also, a photo album is unearthed from the play area of the garden, but how come it wasn't unearthed when the mansion gave way to a high-rise apartment?

Even the track involving Deepak Dobriyal had the potential to be a great 'twist in the tale', but the limitations in the writing show up during this chapter as well.

Director Vikram Kumar has executed the material well, but he should've limited the running time of the film to 1.30 hours or maximum 1.45 hours, definitely not 2.28 hours (yes, that's the running time of this film).

Dialogues are, surprisingly, pedestrian. How could the director okay them in the first place? Shankar-Ehsaan-Loy's music is more of an intrusion. Ideally, it should've been a songless film.

Madhavan does a commendable job. This is amongst his better works. Neetu Chandra is alright. Amongst supporting actors, Deepak Dobriyal's body language and performance leaves an impression. Poonam Dhillon gets no scope. Sachin Khedekar is wasted. Dhrtiman Chatterjee, the neighbour, is first-rate.

On the whole, 13B is interesting in parts, not in entirety. Also, as mentioned earlier, films of this genre, the world over, have a shorter duration (1.30 hours or 1.45 hours) and the approx. 2.28 hours' running time would test the patience of the viewer.

At the box-office, with cricket matches on one hand and examinations on the other proving major oppositions, this scary movie would prove to be a scary proposition for its investors.

Dhoondte Reh Jaoge

By Taran Adarsh

Rating: **1/2

Surprise, surprise, surprise! Dhoondte Reh Jaoge is a pleasant surprise, frankly. Let's admit, we've witnessed a spate of nonsensical comedies in the past and laughed during most of them actually. Dhoondte Reh Jaoge is also non-stop nonsense, but, thankfully, with a story.

Come to think of it, you walk into Dhoondte Reh Jaoge with zilch expectations, almost sure that you're going to devote 3 hours of your precious life to a film that would soon be forgotten the very next day itself.

Okay, now let's forewarn you... Don't wear your thinking caps for this one. This film is plain silly. It has a ridiculous storyline (two good-for-nothing desperate to make a flop film), the most ludicrous jokes (Paresh Rawal, Johny Lever and gang), the most tacky sets... yet, this film works. It entertains and most importantly, makes you laugh at the right places.

Feeling morose or low? Has the global meltdown and recession hit you like a ton of bricks and you need a break? Try out Dhoondte Reh Jaoge. It's silly, but quite funny!

Anand (Kunal Khemu) and Raj (Paresh Rawal) are, perhaps, the two most extreme individuals that have walked the city of Mumbai. While Anand is a chartered accountant, Raj is a film producer.

They hatch a plan to raise big money to produce a feature film and then actually make it at a pittance amount.

In fact, they decide to make it so badly that audiences would reject it on the first day of its release. Anand and Raj believe this would give them a foolproof chance to decamp with the remaining huge amount they've raised for the making of this venture.

But the film turns out to be a huge hit. Now the financers and distributors are after Anand and Raj for their chunk of shares from the huge profit.

In films like Dhoondte Reh Jaoge, the emphasis is not on story, but on the entertainment quotient and the film works on that level. The jokes are quite funny at times and the witty dialogues do the trick as well.

But you can't shut your eyes to the deficiencies in this project. If the first hour succeeds in transporting you to ha-ha-land, the film dips in the second hour, but picks up speed in the pre-climax, at the big nite -- the premiere screening of the film.

Ample time is devoted to the film made by Paresh and Kunal, funnily called 'Solay Se L'Gaan Tak' (yep, that's how it is spelt). The spoof on SHOLAY, D.D.L.J., GADAR and LAGAAN are simply hilarious.

Director Umesh Shukla may not be a proficient technician, but he succeeds in keeping your eyes glued to the screen for most parts of the film. His choice of actors is perfect. Sajid-Wajid's music is of fast-forward quality.

Paresh Rawal and Johny Lever steal the show with their impeccable comic timing. Both excel in their respective parts. Kunal Khemu is a revelation. Very likable.

Sonu Sood plays the moody and tantrum throwing star to perfection. Soha is completely in sync with her character. Dilip Joshi (as Soha's uncle) is top notch.

On the whole, Dhoondte Reh Jaoge is silly, but quite funny. A film that offers laughter in the garb of mindless entertainment. It might just work with people who are looking for some time pass fun, without taxing the brains.

Source: SantaBanta.Com

Siddharth - The Prisoner

By Taran Adarsh

Rating: *

There's a thin line that divides unconventional and experimental cinema. Siddharth - The Prisoner, directed by debutante Pryas Gupta, has an unconventional plotline, but what comes across is quite abstract. In fact, a film like Siddharth - The Prisoner is more suited for film festivals, not mainstream commercial platform.

Also, Pryas's prayaas sounds interesting on paper, but is not even part interesting on celluloid.

Just released from prison, Siddharth (Rajat Kapoor), a once-famous writer, completes a new manuscript. He re-engages with the outside world, hoping that the new book will restore his reputation and reconcile him with his estranged wife Maya.

However, fate has other plans for Roy when his briefcase gets exchanged at a cyber café with a similar briefcase containing a large sum of money. Roy loses the only copy of his manuscript, while Mohan (Sachin Nayak), the cyber cafe manager, comes under pressure from his boss (Praddip Sagar) to recover the lost money.

Director Pryas Gupta devotes the entire first hour in introducing the handful of characters in the film. Ideally, a thriller -- this one had the potential to be a riveting fare -- should unfold at a feverish pace, but the story unfolds at a lethargic pace and worse, there's not much movement in the story in the first hour. In fact, the first hour is too boring.

But the plot does move post intermission, more so towards the pre-climax when everyone starts double crossing the other. Sadly, the end ruins just about everything. What was Pryas wanting to say, lacks clarity. There may've been a message, but it doesn't come across at all.

Besides, the screenplay leaves a lot of questions unanswered. The film begins with Rajat being released from prison, but the reasons that resulted in this celebrated writer being put behind bars remains a mystery till the end. Ditto for the failed relationship that she shares with his wife. Half-baked tracks. Also, Rajat's about-turn in the penultimate moments looks weird.

The direction is below the mark, while the writing is bad. Ditto for the editing.

Rajat Kapoor doesn't get much lines to deliver. Nor is he given an opportunity to display histrionics. He's strictly okay. Sachin Nayak enacts his part convincingly. Praddip Sagar has his moments. Pradip Kabra is bland.

On the whole, Siddharth - The Prisoner is too abstract for Indian moviegoers. A disastrous fate awaits this film at the box-office.

Kisse Pyaar Karoon

By Taran Adarsh

Rating: *

Certain themes worked in the '70s and '80s. But they seem completely out of place in today's times. You can't connect with them, plain and simple. That's the issue with Kisse Pyaar Karoon.

Kisse Pyaar Karoon? uses every rule in the book to entertain the viewer. It borrows heavily from all masala films that one has watched and admired over the years. To give the credit where it's due, a few scenes are indeed funny. But it comes too late in the day. Ideally, it should've released a couple of years ago.

Sid (Arshad Warsi), John (Aashish Chowdhry) and Amit (Yash Tonk) are thick friends. Everything is going fine till Sheetal (Udita Goswami) enters the scene. She plans to usurp the wealth of John. She entices him and John falls for her.

Realising that Sid and Amit could thwart her plans, she creates problems and hurdles in their friendship. Sid and Amit realize her game and plan to throw a spanner. They decide to drill sense in John, but John is in no mood to listen. He's completely smitten by Sheetal. Sid and Amit embark on a plan to save John from Sheetal.

Director Ajay Chandhok displays a flair for comic entertainers, but there's not much he can really do since the writing (Yunus Sajawal) is archaic and outdated.

The same formula has been repeated so many times in the past, you don't react to it any longer. Despite the shortcomings, Chandhok has the potential to strike the right note if he gets the right script. Daboo Malik's music is pleasant. The title track and 'Bechain Saansein' come easy on the lips.

Arshad Warsi, Aashish Chowdhry and Yash Tonk play to the gallery. We don't expect histrionics in a film like this. Instead, we look for buffoonery and that's what they end up doing.

Udita Goswami makes her presence felt, while Aarti Chhabria is hardly there. Shweta Menon entertains when she's on screen. Shakti Kapoor and Ashish Vidyarthi are wasted.

On the whole, Kisse Pyaar Karoon? comes too late in the day. Perhaps, this masala film may've struck a chord a few years ago, not today.

Source:SantaBanta.Com

Photo

Sonam Kapoor

Delhi 6

By Taran Adarsh

Rating: *1/2

Rakeysh Omprakash Mehra thinks out of the box and it's more than evident now. First AKS, then RANG DE BASANTI, now Delhi 6.

A two-liner of the story may give you an impression that it's similar to UTV's earlier outing SWADES, directed by Ashutosh Gowariker: An American of Indian origin returns to his roots and decides to stay back in India. But Delhi 6 bites more than it can chew.

Set in old Delhi, the screenplay (Rakeysh Omprakash Mehra, Prasoon Joshi, Kamlesh Pandey) takes its own sweet time to come to the point. In fact, the entire first half is dedicated to the sundry characters in the bylanes of old Delhi, where several stories run parallel with the main plot...

The two warring brothers (Om Puri, Pawan Malhotra) and the wall that divides the two; the daughter of the house (Sonam Kapoor) aspires to be an 'Indian Idol' contestant; a moneylender's (Prem Chopra) wife has an illicit relationship with one of his lecherous debtors (Cyrus Sahukar); an 'untouchable' (Divya Dutta) makes more sense than the so- called thekedaars of samaj; a friend of the family (Rishi Kapoor) has still not forgotten his first love (Tanvi Azmi).

Oh yes, there's also a 'Kaala Bandar' who spreads havoc in the locality. Really, Rakeysh tries to pack in multiple stories in those 2.18 hours.

But, alas, the problem is that barring a few individualistic sequences, you don't carry the film home. The film is engaging in bits and spurts. Worse, it tends to get monotonous, preachy and boring and the end is so bizarre, you actually want to ask the writers, 'Hey guys, you okay?'

Let's cut a long story short: Rakeysh Omprakash Mehra misses the bus this time.

Delhi 6 tells the story of a young American boy Roshan (Abhishek Bachchan) of Indian origin, who comes to India for the first time, to drop his ailing grandmother (Waheeda Rehman). She wants to retire and spend the last leg of her life back home; dissolving into the soil she was born in.

In America, having led a very western lifestyle, Roshan is not familiar with the sites and smells, the food and culture, the religion and beliefs, this huge melting pot that India is. He believes that Dadi had left her family and loved ones back in America, only to realize that how wrong he was.

The warmth and affection of the neighbourhood embraces him with open arms. Amidst all this he meets the beautiful Bittu (Sonam Kapoor), who wants to break free from the typical Indian social structure, to whom Roshan is destined to lose his heart.

That Rakeysh Omprakash Mehra is an accomplished storyteller is evident in several individualistic scenes. Note the scene when Vijay Raaz slaps Abhishek and Abhishek slaps him back.

Also, portions in the second hour, when a Baba (Akhilendra Mishra) triggers off the Mandir-Masjid talk and divides the two communities, is very well structured. The sequences are disturbing and the writers and director succeed in exposing the fickle-minded people residing in the locality.

But the screenplay isn't foolproof. The romantic track is the weakest link in the enterprise. The love story falls flat.

Also, the ending is so abstract that an average moviegoer would find it difficult to comprehend what the actual culmination is.

The sequence in the end, when Amitabh and Abhishek have a conversation, looks weird. In fact, ridiculous. What was the need to have this sequence? It makes no sense. Even the Ram Leela sequences, interspersed at regular intervals, are forced in the screenplay.

Rakeysh's handling of the subject is exemplary at places. But the writing (faulty at times) as also the execution of the material isn't the type that would appeal to all sections of moviegoers. A.R. Rahman's music is outstanding; it's easily amongst his finest works. 'Masakali', 'Ye Dilli Hai Mere Yaar', 'Rehna Tu', 'Maula' and 'Genda Phool' are amazing tracks. Ditto for Prasoon Joshi's lyrics; they're gems.

Binod Pradhan's cinematography is brilliant. Watch the Jama Masjid sequence (breath-taking) or the camera movements in the bylanes of old Delhi. Just one word to describe the output: Incredible!

Abhishek doesn't work. Also, his American accent looks fake. Sonam is likable. Waheeda Rahman enacts her part well. Rishi Kapoor is wasted. He deserved a better role. Amongst supporting actors, Om Puri (powerful), Pawan Malhotra (flawless), Vijay Raaz (tremendous), Deepak Dobriyal (genuine), Divya Dutta (admirable) and Cyrus Sahukar (likable) leave a mark.

Prem Chopra is alright. Atul Kulkarni looks like a buffoon. And what is Raghvir Yadav doing in this film? Supriya Pathak, Tanvi Azmi, K.K. Raina, Akhilendra Mishra and Dayashanker Pandey are passable. Amitabh Bachchan's presence in the penultimate minutes fails to evoke any reaction.

On the whole, Delhi 6 has a terribly boring beginning (first hour), an absorbing middle (second half) and a weak end (climax). At the box-office, the business is bound to be divided. The film may record bountiful collections at multiplexes in its opening weekend.

The popular music as also the fact that there's no major opposition will benefit the film in the initial days. But the business at single screens as also the mass belt will be a shocking contrast. However, the cracks will start appearing sooner than expected, even at plexes. Thumbs down!

Source:SantaBanta.Com

Billu Barber

By Taran Adarsh

Rating: ***1/2

Priyadarshan is synonymous with ha-ha-thons, but the talented storyteller has been equally proficient while handling intense dramas like SAZA-E-KALA PANI, GARDISH and VIRASAT. Like VIRASAT and MALAMAAL WEEKLY, Billu, the accomplished director's new outing, is also set in a hamlet.

Although the story has been attempted in Malayalam (KADHA PARAYUMBOL) and Tamil (KUSELAN) earlier, the story actually takes its inspiration from the legendary friendship between Lord Krishna and Sudama. In this case, the story talks of the friendship between a superstar and an ordinary mortal who runs a salon.

Billu is a simple story about simple people, told in the most simplistic manner. There's a generous dose of glamour as well, given the fact that the protagonist's friend happens to be a superstar, but what actually works for the film is the simpleton's story. He wages a daily battle to make ends meet.

Although the film is engaging, Priyadarshan reserves the best for the finale this time, when the superstar reminisces about his childhood friend and the deep bond that they shared. The end is remarkable and is sure to strike a chord with all sections of moviegoers.

Final word? Billu is amongst Priyadarshan's finest works. And also Irrfan and SRK's. This tale of friendship is sure to steal your heart!

Billu tells the story of a simple ordinary man, Bilas Rao Pardesi (Irrfan Khan), living in a small town with his wife Bindiya (Lara Dutta) and two kids. His life undergoes a drastic change as superstar Sahir Khan (Shah Rukh Khan) visits the village for a film shoot. Everything changes. Things go from good to bad to worse to good again.

Ten minutes into the film and you get absorbed into Billu's small world. The salon is in bad shape, the family is facing tough times, the neighbours and acquaintances are fair-weather friends... Billu's life gets grim with each passing day.

The story takes an interesting turn when Billu's life collides with the superstar's. And the assorted characters -- right from an aspiring poet/lyricist (Rajpal Yadav), to a stingy money lender (Om Puri), to the principal of the school (Rasika Joshi) -- everyone wants favours from Billu. These characters only make Billu more interesting.

SRK's track is equally fascinating and only spices up the proceedings. In fact, Priyadarshan has amalgamated the three songs (featuring SRK with Deepika, Priyanka and Kareena) in the narrative smartly. Not once do you feel that you're watching two stories concurrently.

The best part of the enterprise is its climax. The superstar recalls his humble beginning and how his friend stood by him in times of crisis. The writing is brilliant and SRK only takes the scene to greater heights with his terrific portrayal.

Priyadarshan is adept at handling relationships and with Billu, he proves he can handle emotions with as much flourish as comedy.

To tell a simple, uncomplicated story, without the usual frills, is an arduous task indeed and Priyadarshan tackles the material with remarkable ease. The humour here is subtle, not loud, and a constant smile remains on your face all through.

Mushtaq Shiekh and Priyadarshan's screenplay is foolproof. In fact, the writing never loses focus and the highs and the lows in Billu's life are sensitively penned by the duo. Manisha Korde's dialogues are simple, gelling with the mood of the film.

Pritam's music is energetic. The songs, promoted aggressively prior to the release, only get an impetus thanks to the presence of the three actresses.

'Mar Jaani' and 'Love Mera Hit Hit' are, of course, the pick of the lot. V. Manikandan's cinematography is top notch. The locales (Pollachi) are breath-taking.

In the recent years, Irrfan has emerged as a force to reckon with, his performances have appealed to all strata of moviegoers and his work in Billu will only cement his status as a remarkable actor. Shah Rukh Khan needs to be admired for two reasons.

The show belongs to Irrfan, although SRK could've forced himself in every scene.

Also, he has chosen to opt for a film that's not one of those run-of-the-mill types. In terms of performance, SRK shows his true potential towards the finale.

Lara Dutta springs a pleasant surprise. She goes through her part with complete understanding. Om Puri is excellent.

Rasika Joshi is too good. Rajpal Yadav is really funny in the penultimate scene, when he recites a film song of an SRK film. Asrani and Manoj Joshi are passable.

On the whole, Billu is a sweet-n-simple film that lingers in your memory even after the show has concluded.

The final 20 minutes are the highpoint of the enterprise and that elevates the status of the film to great heights. The film has the potential to grow with a strong word of mouth. Recommended... Take your family for this one!

Jugaad

Starring: Manoj Bajpai, Hrishita Bhatt, Vijay Raaz, Govind Namdeo and Sanjay Mishra

Director: Anand Kumar
Rating: ***

The film revolves around the infamous sealing issue that had been a hot issue in India's capital city, Delhi in 2007-08. It tells the story of Sandip Kapur (Manoj Bajpai) who heads an advertising agency.

He is already facing a demanding life when to add more trouble to his life his agency is sealed by the Muncipal Corporation of Delhi (MCD).

Sandip fails to reinstate his company, despite his attempts and efforts. Eventually, he finds himself alone on the road, along with his team.

Now desperately wanting to re-establish his agency, Sandip opts for 'Jugaadbaazi', a technique that people nowadays believe in more than anything else.

What it all leads to and how he succeeds in getting together the property dealers, power brokers, politicians and senior officers involved into it forms the rest of this satirical comedy.

Anand Kumar who made a flop debut with Delhi Heights (2007) makes a solid comeback with an interesting comedy which makes you laugh out loud and yet make you think.

Once again basing his film Delhi just like his debut film, Anand makes a sincere attempt to unfold the real situation that prevailed in Delhi when MCD's sealing drive was underway.

Shot mostly in Delhi and Gurgaon, the film has tried to give a realistic scenario of the sealing drive. Anand also succeeds in showing the true never-say-die attitude of the Delhiites.

The dialogues are extremely funny at places and the narration technique of the maker is good too. What also make the film more fun is the characterizations. The only weak department of the film is the music.

Manoj Bajpai doing a comic role is a revelation. He shows he is as good doing funny roles as he is in intense ones. Hrishita Bhatt playing the female lead doesn't have much to do but she looks pretty nonetheless.

Vijay Raaz brings the hall down with his antics and brings a smile on your face whenever he comes onscreen. Sanjay Mishra is another actor who is simply hilarious in the film.

Jugaad is a harmless entertainer and though it may not be another Khosla Ka Ghosla it is one of those rare good satirical comedies made in Bollywood. Definately a better option than watching those mindless comedies that have been regularly hitting the screens off late.

Source:SantaBanta.com

Dev D

By Taran Adarsh

Rating: *

There's a major difference between K.L. Saigal, Dilip Kumar, Shah Rukh Khan and Abhay Deol's Devdas. The first three films were faithful to Sarat Chandra's legendary novella, while Anurag Kashyap's deviant take on Devdas is contemporary and in the process, differs from the original work.

In Kashyap's Dev D, Dev is into drugs and vodka. Paro sends her nude pic to Dev via email and later, wants Dev to have sex with her in the fields. Chanda, a hooker, indulges in phone sex mainly. Clearly, Kashyap's Dev, Paro and Chanda are audacious and rebellious.

There's no harm if you pick up an enticing story and tell it your way, but Kashyap goes a bit too far, crosses all limits and tends to get abstract once again. And that's the reason for Dev D's downfall.

To Kashyap's credit, a number of individualistic scenes are interestingly handled. Unfortunately, the proceedings gyrate from absorbing to boring to yawn-inducing. The writing (screenplay: Anurag Kashyap, Vikramaditya Motwane) lacks consistency.

So what's the final word? Does Kashyap redeem himself after the boring and listless NO SMOKING? Unfortunately, he doesn't. Watching Dev D is akin to doing atyachaar on oneself!

Son of a rich industrialist, who is sent away to London when he was 12, Dev (Abhay Deol) returns to his hometown and to Paro (Mahi Gill), his childhood sweetheart. Inseparable as they seem, a misunderstanding puts their lives in a tizzy; Paro is married off to someone else and Dev goes into severe depression.

Not one to take on responsibilities for his acts, Dev Digs deep into drugs and alcohol for salvation. He stays away from home, but his finances still come from a doting father.

Lenny (Kalki) likes to live her life on the edge -- a rich student with a penchant for adventure. After a devastating MMS scandal, she's abandoned by her family and is forced into isolation. As a runaway, she finds shelter with Chunni, a pimp. With great determination and inner strength she adopts an alter ego -- Chanda.

As Chanda, she gets to be a high profile escort by night, while Lenny remains a college student by day. At this juncture, Dev enters her life…

Despite the fact that you know the basic plotline of Dev D even before the reels begin to unfold, what you're keen to know is, how has Kashyap executed the subject?

The sequences between Dev and Paro at the start are captivating and the volatile relationship they share makes you realize that Kashyap is on the right track. Note the altercation between Dev and Paro, which prompts Paro to marry Bhuvan, who's much older to her, besides being a father of two.

Post Paro's marriage, Dev D starts going downhill. Lenny/Chanda's MMS scandal is straight out of life and the reasons that make her turn into a hooker are well explained. But the sequences between Dev and Chanda lack fizz.

Equally sad are the scenes between Dev and Chunni. Besides, there's not much movement in the story after a point and the goings-on get boring. The journey to the climax is prolonged and tedious.

Amit Trivedi's music sounds good to the ears. 'Emosanal Attyachaar' is already popular, besides a couple of other songs ('Nayan Tarse' and 'Pardesi'). But there're too many songs in the narrative. Rajeev Ravi's cinematography captures the rustic look of North India well.

Abhay Deol is natural. Mahi is decent, while Kalki shows sparks in a few scenes only. The balance cast, including the actor playing Chunni, are strictly okay.

On the whole, Dev D is NO SMOKING II. Does one elaborate more?

Source:SantaBanta.com

Chal Chala Chal

By Taran Adarsh

Rating: *

This week is special! Three new releases -- Dev D, Mere Khwabon Mein Jo Aaye and Chal Chala Chal -- and all three are vying for 'Worst Film Of The Week' award. The winner is, hold your breath, Chal Chala Chal. It wins hands down!

There's nothing right about this comedy, which turns out to be a tragedy for the hapless viewer. The direction is bad, the script is pathetic, the editor seems to have gone on a vacation, the actors scream their lungs out…

Chal Chala Chal rests on an outdated concept, something that might've worked 35/40 years ago. On second thoughts, Chal Chala Chal is so bad, it would've failed even then.

Deepak (Govinda), a simpleton, has been switching jobs as he does not want to succumb to the corrupt system. Since years, with unwavering efforts, financial hardships and an unshaken faith in the judicial systems, he has been helping his father (Om Puri) in a legal matter.

His father is fighting a court case against the school to get his due provident fund and pension. He later wins the case and the school is ordered to give a part of its property as compensation, if there is no money in its funds. And thus Deepak's life gets an addition: a bus.

Instead of selling it off, acting on his father's advice, he decides to run the bus, while the rest of the family members -- two sisters Chhaya and Arpana (Upasana Singh and Amita Nangia) and the ghar jamai-husbands (Asrani and Manoj Joshi) -- are against it. Their primary interest is in selling off the house.

Sundar (Rajpal Yadav), who is desperately trying for an American Visa, is also an age-old friend. He comes in handy with initial investments and they establish a company, Chal Chala Chal Transport. And so begins the ride of their lives.

You ought to have nerves of steel to bear this film. There's no story in the first place and the screenplay, hence, is non-existent. Worse, the edit is so bad that, for a second, you feel the reels may've got interchanged in the projection room.

Here's a sincere advice to Govinda: Act your age. It's indeed sad to see the actor being reduced to such roles. Rajpal Yadav is wasted as well. And what is Om Puri doing in this film? The remaining actors (Asrani, Manoj Joshi, Razzak Khan, Asif Basra, Murli Sharma, Upasana Singh, Amita Nangia and Reema Sen) are mechanical.

On the whole, Chal Chala Chal is a terrible film in all respects. Move over CC2C, CCC is here.

Source:SantaBanta.com

Victory

Starring: Hurman Baweja, Amrita Rao, Anupam Kher and Gulshan Grover

Director: Ajitpal Mangat
Rating: **

Vijay Shekhawat (Hurman) a Jaisalmer boy after a lot of struggle manages to fulfill his father's (Anupam Kher) dream of making it to the Indian cricket team.

With a great debut he wins not just fans but a lot of endorsement deals and lucrative contracts. Success begins to spoil and distancing him from his lady love (Amrita Rao) back home.

Blinded by success and the taste of the high society life he losses both focus and form. He is then understandably dumped by the selectors. Following which, his father gets a heart attack.

Vijay then decides to mend his mistakes and fight his way back to the team. In final match, despite a severe head injury he manages to get India a near impossible win.

A sports film is always crippled with a same storyline that of a underdog, his rise then fall and subsequent rise back to gain the impossible victory. This film is no different. But one expects atleast some sense of creativity wherein the interest is kept alive throughout.

Twenty minutes into the film and one somehow senses whats in store. So full of cliches and melodrama is the film that sometimes you begin to wonder did the makers intend to take the viewers for a ride.

If the melodrama was intended to bring in that emotional connect with the audience then the writer-director have clearly failed as throughout the film the emotional impact is clearly missing.

Also nowhere does the lead character's passion for the game comes across. Also one fails to understand the need of Hurman's character using swear words for his opponents.

Wear is your sporting spirit dude is what we wish to ask him! His character therefore fails to evoke any sympathy from the audience. The biggest high point of sports films are games shown in the film.

But here they are biggest drawbacks. Not only there are just a very few games but also what are shown are simply thanda! There is total lack of edge of the seat excitement which was very much needed.

Also homework by the makers is clearly lacking if they intended to show the 'real' behind the scenes happenings of the cricket match for example the dressing room interactions etc. Just putting in famous national-international cricketing names don't necessarily give the film authenticity.

One feels really sad for Hurman Baweja whose tremendous hard work is noticeable in every single scene but is mightily let down by a pathetic script and listless direction by debutante Ajitpal Mangat.

Amrita Rao reprises her typical simple small town girl act for the nth time. She looks very pretty though. Anupam Kher after a point of time starts grating on your nerves with his screeching overmelodramatic act. Gulshan Grover is just about okay.

The music doesn't really register any impact as there are no full songs as well. The Balla Utha number mostly keeps playing in the background during the match sequences. But thankfully the songs are less.

The film is a complete let down in many departments and instead of wasting time on this film it is a better option to watch a re-run of any Indian cricket team match on TV or best spend your time watching the current India v/s Sri Lanka one day series.

Luck By Chance

By Taran Adarsh

Cast: Hrithik Roshan, Farhan Akhtar, Rishi Kapoor, Konkona Sen Sharma, Isha Sharwani, Dimple Kapadia, Juhi Chawla, Sanjay Kapoor, Aly Khan

Lyrics: Javed Akhtar

Music: Shankar, Eshaan & Loy

Producers: Ritesh Sidhwani and Farhan Akhtar

Director: Zoya Akhtar

Rating: ****

One has often heard, read and seen the positive and negative aspects of Bollywood. It would be erroneous to state that LUCK BY CHANCE does a pol-khol of the glamorous industry.

Let's put it this way: The film mirrors the behind-the-scenes drama and manoeuvring exactly the way it occurs in showbiz. Watching LUCK BY CHANCE is like experiencing it first-hand.

If you're associated with Bollywood, if you know how the machine works, you'd laud and applaud, laugh and smile, identify and understand and at times, empathize and sympathize with the characters in LUCK BY CHANCE. Zoya Akhtar's take on an industry that attracts millions of hopefuls year after year is bang on target.

Almost three decades ago, Hrishikesh Mukherjee's GUDDI depicted a star-struck teenager's [Jaya Bhaduri] obsession for a top star [Dharmendra].

Along with the core issue, the film highlighted the behind-the-scenes hard work and labour that went into making movie

LUCK BY CHANCE taps almost every important facet of Bollywood and presents assorted characters you've encountered some time in life: An over-ambitious aspirant who knows to make the right moves; an actress trying hard to get that big break, even if she has to compromise; an icon of the 1970s who desperately wants her daughter to be a star; a producer who looks at riding on big names, script be damned; a failed actor now looking at direction to redeem his career.

One of the prime reasons why LUCK BY CHANCE works is because the writing [Zoya Akhtar] is simply wonderful.

Right from the characters, to the individualistic scenes, to the way Zoya puts them in a sequence, LUCK BY CHANCE is easily one of the most cohesive scripts this side of the Atlantic.

The verdict? Leave aside everything and hitch this joyride called LUCK BY CHANCE. It would be sacrilege to miss this one!

Sona [Konkona Sen Sharma] arrives in Mumbai with dreams of becoming a film star. She does whatever it takes, to make it.

Vikram [Farhan Akhtar] has just moved to the city leaving the comforts of his Delhi home. He is used to getting what he wants and is smart enough to know when to demand it and when to manipulate it. Gradually, Sona and Vikram develop a romantic relationship.

Rolly [Rishi Kapoor] is a successful though superstitious producer who only works with the biggest stars.

He is making a potential blockbuster launching Niki [Isha Sharwani], the daughter of 1970s superstar Neena [Dimple Kapadia]. The hero of the film, Zaffar Khan [Hrithik Roshan], is the superstar.

Zaffar decides to opt out of Rolly's film and that creates havoc in Rolly's life. Rolly decides to cast newcomers and finally, Vikram is shortlisted for the main role...

LUCK BY CHANCE picks up characters straight out of life and that's the beauty of this script.

The interesting part is that each of these characters has a story running parallel to the main story. Although the writing is foolproof, this review would be incomplete if one failed to acknowledge a number of scenes that are the hallmark of this enterprise... *Note the sequence when Rishi Kapoor breaking down after Hrithik has walked out of his movie. It moves you!

*On the lighter side, Farhan strikes a conversation with Dimple at a movie premiere and extols lavish praises on her.

* Much later, an angry Dimple instructs Isha to patch up with Farhan, soon after Farhan and Isha's debut film has been declared a success. Watch the moments when Dimple recalls her early years.

The sequence featuring SRK.

If Zoya's writing is superb, her execution of the written material deserves distinction marks. This may be Zoya's directorial debut, but she treats the difficult subject like a veteran.

Javed Akhtar's dialogues are remarkable. Shankar-Ehsaan-Loy's music is a mixed bag; the score could've been better. However, the choreography of the circus song is remarkable. Carlos Catalan's cinematography captures the right moods.

Farhan Akhtar is evolving into one of the most dependable actors of his generation. He's very real, very believable. No wonder, this character stands out. Konkona Sen Sharma is exceptional.

The supremely talented actress delivers a sparkling performance yet again. Rishi Kapoor is incredible. A performance that merits the highest praise. Dimple Kapadia is in terrific form.

It easily ranks amongst her most accomplished works. Juhi Chawla is first-rate. Isha Sharwani does her part well. Sanjay Kapoor springs a surprise. He registers an impact. Aly Khan is perfect.

Hrithik Roshan is truly wonderful. Note the sequence when he strikes a conversation with Karan Johar, only to realize that he himself had paved the way for Farhan in the industry.

Only an accomplished actor could've handled this sequence with aplomb. Amongst the A-listers who make fleeting appearances in the film, the one who registers the maximum impact is Shah Rukh Khan.

On the whole, LUCK BY CHANCE is an outstanding film in all respects.

A magnificent outing from the producers of ROCK ON!!, LUCK BY CHANCE is sure to prove an extremely lucky and rewarding experience at the box-office. Strongly recommended!

Source:SantaBanta.com

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Raaz - The Mystery Continues

By Taran Adarsh

Rating: ***1/2

The team behind Raaz - The Mystery Continues have often clarified that it's not a sequel to RAAZ, one of the most interesting cinematic experiences, besides being the biggest Hit of that year. Yet, you cannot but draw parallels with the first film of the franchise.

Horror as a genre hasn't been tapped to the optimum in India. We've witnessed spooky fares in the past and some of them have succeeded in making you break into a cold sweat (BHOOT stands tall in this list). Last year's PHOONK and 1920 were scary movies as well.

There's tremendous curiosity to watch Raaz - The Mystery Continues, but does it scare the living daylights out of you? Fortunately, yes!

The story (Mohit Suri) is absorbing and Mohit treats the subject like a veteran, as if he knows the genre very well. There're moments that make your heart beat faster, you watch the events with eyes and jaws wide open.

Sure, there're blemishes as well, but they don't overpower the plusses or make you change your opinion about the film. While the beginning and the middle of the film is engrossing, it's the end that could've been better thought of.

Wanna get scared? Wanna get goose pimples? Buy the ticket for Raaz - The Mystery Continues pronto. It lives up to the hype and expectations completely.

A brooding artist Prithvi (Emraan Hashmi) experiences mysterious and distressing visions about Nandita (Kangna Ranaut), a woman he has never met, while he paints on canvas. Intrigued by these visions, Prithvi tracks her down and warns her that these are not merely paintings of her, but accidents that are waiting to happen.

At first, Nandita refuses to believe him and dismisses him as an eccentric stalker. However, the striking resemblance between Prithvi's paintings and the near-death incidents in her life is hard to ignore.

Now, one of Prithvi's paintings has revealed her as dead. The only way she can change her fate is to unravel this mystery with his help, at the risk of alienating herself from her boyfriend, Yash (Adhyayan Suman). But he refuses to believe in Prithvi's premonitions. Will Nandita risk her love and her life to unravel this mystery?

Most of us have heard, witnessed or perhaps had a first-hand experience of supernatural. The present-day generation may, perhaps, term it as wild imagination or hallucination, while the believers may have their point of view. Mohit and screenplay writer Shagufta Rafique's characters in Raaz - The Mystery Continues are believers and non-believers, both.

Mohit smartly builds up the atmosphere. Sample these: Emraan and Kangna's first encounter at a mall and minutes later, inside an elevator; the New Year bash when Kangna is 'attacked' by spirits; Kangna's experience in her bathtub and also when she looks at the mirror; Kangna almost jumping off a cliff; the highpoint sequence, when angry bulls attack Emraan and Kangna. Incredible sequences all! Mohit has handled the most difficult portions with panache.

However, the entire flashback part, towards the pre-climax, is not as convincing. The ending too could've been better in terms of writing, although Mohit has filmed it exceptionally well.

Mohit's choice of the subject as also the actors is right. This is, without doubt, his finest effort to date. Shagufta's screenplay is watertight at most times. Like always, the Bhatts come up with a lilting musical score and at least two songs -- 'Soniyo' (Raju Singh) and 'Maahi' (Sharib-Toshi) -- are first-rate compositions. Ravi Walia's cinematography is up to the mark. The effects are impressive.

On the acting front, both Emraan and Kangna vie for top honours. Emraan is excellent. He conveys a lot through facial expressions and that's the sign of a proficient actor. He's just getting better and better with every film. Kangna is top notch.

After FASHION, this one's another power-packed performance from the actress. Adhyayan Suman is super-confident and registers a strong impact, especially towards the climax. He shows promise. Jackie Shroff is quite okay in a brief role.

On the whole, Raaz - The Mystery Continues is rich in the horror quotient and that is one of its major USPs, besides the highly competent performances by its principal cast and a lilting musical score.

At the box-office, this one will continue the winning streak of Mahesh Bhatt and Mukesh Bhatt's Vishesh Films. The 4-day weekend (Monday, January 26 in a holiday) will only cement its status further. Go for it!

Source:SantaBanta.com

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About Music

Music is an art form whose medium is sound organized in time.Common elements of music are pitch (which governs melody and harmony),rhythm (and its associated concepts tempo,meter, and articulation),dynamics, and the sonic qualities of timber and texture. The word derives from Greekμουσική (mousike), "(art) of the Music. The creation, performance, significance, and even the definition of music vary according to culture and social context. Music ranges from strictly organized compositions (and their recreation in performance), through improvisational music to aleatoric forms. Music can be divided into genres and subgenres, although the dividing lines and relationships between music genres are often subtle, sometimes open to individual interpretation, and occasionally controversial. Within "the art", music may be classified as a performing art, a fine art, and auditory art.

To people in many cultures, music is inextricably intertwined into their way of life.Greek philosophers and ancient Indians defined music as tones ordered horizontally as melodies and vertically as harmonies. Common sayings such as "the harmony of the spheres" and "it is music to my ears" point to the notion that music is often ordered and pleasant to listen to. However, 20th-century composer John Cage thought that any sound can be music, saying, for example, "There is no noise, only sound." According to musicologist Jean-Jacques Nattiez, "the border between music and noise is always culturally defined—which implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus.… By all accounts there is no single and intercultural universal concept defining what music might be, except that it is 'sound through time'."

According to Wikipedia

For Nepali Songs

http://www.cybersansar.com

http://www.kfm961.com

http://www.emazza.com

http://www.nepalisongs.info

http://www.nepalisongs.info

http://www.nepalvista.com

http://www.downloading-music.org

For Hindi Songs

http://songs.pk

http://mp3hungama.com

http://www.funrocker.com

http://www.hindimoviesong.net

http://www.musicmaza.com