Happy Bhag Jayegi

Happy Bhag Jayegi (3/5) - "The film runs on Actor-Factor"
Running Time - 126 min
Happy Bhag Jayegi falls under the most popular and the most populated category of Hindi cinema - Rom-Com which is helmed by a director whose name has been attached with disasters like Dulha Mil Gaya, Showbiz & Zindaggi Rocks - Mudassar Aziz. Going by this, one would shy away from spending money on such a film until it boasts about its lead actors being Jimmy Shergill, Abhay Deol, Ali Fazal and Diana Penty (doubtful) and a theme which looks not fresh but interesting.
Happy (Penty) is as the name suggests a Happy-GO-UNlucky girl who messes up everything when trying to elope with her boyfriend from her own wedding in Amritsar but lands up in Lahore affecting the lives of a bunch of people somehow connected to her. The mere premise of this Indo-Pak Anand Rai-meets-Priyadarshan comic chronicle is interesting which draws you to the theatre. And did you get what you asked for?
HBJ is a decent attempt on how a Rom-Com should look like and promises to deliver to some extent what you desired but it falls flat on the writing part. The screenplay is not at all boring (for other reasons) but there are some points in the film where you feel there is a hodgepodge of emotions just to balance the original theme and there is nothing fresh to offer. The reason why this film still works is the "actor-factor". To start with, it feels like the casting of this film was not done based on the actors' ability but just on the basis of the similar looking characters they have played in the past. Jimmy Shergill (from Tanu Weds Manu), Abhay Deol (from ZNMD) and Ali Fazal (from every other film - the Musician guy) play same old characters but again, they did not take you for granted. Diana Penty is in one way superbly confident after what we saw in Cocktail but in the other way she overdo the character which is a mixture of Rani-Tanu-Geet (you know them, right?) at many points in the film. Pakistani actors Momal Sheikh and Javed Sheikh are natural as always. But, above all, there is a character of ASP Usman Afridi played by none other than the immensely talented Piyush Mishra who is undoubtedly the surprise package of the film. What Deepak Dobriyal was for Tanu Weds Manu Returns is Piyush Mishra for this film, enough said. Mishra, with his impeccable comic timing and inimitable dialogue delivery is the only factor you'd want to watch the film forward for.
The film is produced by Anand L Rai and there is a lot of him which can be felt while watching the film but this time Mudassar Aziz has succeeded in doing what he is expected of. Happy Bhag Jayegi is not a film which you'll remember for years but it surely is a paisa-vasool entertainer where you go, grab a seat and enjoy, that too without leaving your brains at home (unlike many)!
WATCHABLE!

M S Dhoni

M.S. Dhoni: The Untold Story (4/5) - "Sushant - Dhaaga Khol Diye Ekdum!"
Running Time - 190 minutes
The fact that a biopic is being made on the life of 'Captain Cool', 'Mahi' or whatever name we give to undoubtedly the most successful Indian Cricket Team Captain ever, created a sense of excitement. But then the trailer arrived and we got to know the title "MS Dhoni: The Untold Story" we didn't know at that point of time how aptly justified the title is. We have watched a lot of biopics in recent times, one of which was on another controversial Indian Captain, titled 'Azhar' and we were so furious that I, for one, lost all hopes in the biopics made in India. And then I watched MSD. The film helmed by ace director Neeraj Pandey (Story-Screenplay-Dialogue-Direction) is expressive, entertaining and above all a deeply inspiring rags-to-riches tale. Pandey, brilliantly tries to embroider and excels in depiction of the worth-telling years of Dhoni's struggle story from being a Ticket Collector at Kharagpur station to becoming the most successful Indian cricket captain. This film would have been just another biopic if it does not boast about its leading actor Sushant Singh Rajput proving his mettle time and again and this time he pushes all the boundaries and plays MS Dhoni like he's always been him; a performance so real and impeccable that you equally appreciate the actor and the character. Anupam Kher, Rajesh Sharma and Kumud Mishra gives out superb support to the film just like Dhoni's friends and family would have given him in all these years. Newbies Disha Patani and Kiara Advani are well-cast and plays their part well. While making a film on the life of such a person, time plays your biggest enemy and the film which is a 3-hours long affair is extremely entertaining no matter if you're a cricket (or Dhoni) fan or not. Apart from the length, the music and songs are dull, the dialogues could have been more sharp than some cliched ones. The cricket fans must have expected some Dressing Room Strategies by the captain or his unconventional ways to tackle the team, which is a bit disappointing. Nevertheless, there is a scene in the film when Dhoni sits on a lonely platform deciding what to do with his life and suddenly a train arrives on the platform and a door just in front of Dhoni flies open and he jumps in. Its such a remarkable and inspiring scene; when in doubt just listen to your heart and 'Take that Journey'! Go for it!

What I learnt after watching Krrish 3:

By the time this piece comes out, Krrish 3 would have been in all likelihood declared a blockbuster. Powered by the pockets of annoying Indian kids, the lack of other releases during Diwali and Taran Adarsh’s wet dreams; the raincoat wearing Indian superhero taught me many life lessons that I feel the need to share. If you haven’t seen the film, do not read on as this contains massive spoilers.
Hrithik Roshan finds it perfectly acceptable to hold children close to him and whisper “There is a Krrish inside you”. I presume this dialogue originated on the set of Kites with Barbara Mori.
Krrish is so insecure of his branding that after saving a child he gives him a Krrish bracelet. It’s so sad other superheroes in the world don’t use their powers to sell merchandise. I for one can’t wait to see Superman give children little red chaddis to wear over their pants after saving them.
It is impossible for Krrish to keep his head still when he is angry. His head automatically starts shaking as if he has Parkinson’s disease.
Raghupati Raghav Raja Ram is actually a Mexican tune with the words Ola Amigo in its original lyrics and used to breakdance to on happy family occasions.
Vivek is such a genius scientist that he likes mixing people’s DNA to see what results just for fun. He uses highly technical terms like “hum isko uske saath fuse karke dekhenge” as if he’s mixing Coke and ice cream to make a Coke Float.
Vivek chooses India over China to test his deadly virus because Indians believe in God and are easier to crack. That tells us that communism is the best type of government there is and that if the movie were to be set in West Bengal no one would ever get hurt.
Putting Vivek Oberoi in a wheelchair is the best thing a director can do because that’s the only way you can empathise with him as an actor. A voice in the theatre went “Salman ne itna maara abhi tak nahi utha”. Kaal is also extremely rich, owns a castle and has only two fingers that work, making him a direct descendant of Ponty Chadha. I only wish the Roshan’s gave him a better costume instead of making him look like Shehanshah had sex with the Tin Man from Wizard of Oz.
Vivek manages to destroy Antilla with his superpowers which is the best thing Vivek can ever do for the city of Mumbai.
People would stop fighting over the Sardar Patel statue if only someone would make a Krrish statue in the city of Mumbai.
Rajesh Roshan has the distinction of being the first composer in the world whose music sounds better the cheaper your headphones.
Krrish is saved in the end thanks to a device given to him by his father, an excellent metaphor for his real-life acting career.

Dhobi Ghat (Mumbai Daires)

Dhobi Ghat is the story of 4 characters: Arun, the famous lonely painter (Aamir), Munna, the dhobi who wants to be a star (Prateik), Shai, the banker on a sabbatical in India (Monica) and Yasmin, the recently married Muslim girl who records her life in Mumbai for her brother back home (Kriti). They say that Mumbai is the fifth character in the movie, and if so, I found it to be a silent character, an immovable witness to the harmony and turmoil in which the characters function simultaneously. Much like the aunty in Arun's neighbouring apartment: always there, always seeing everything, but always silent. Not sure if that was a parallel that Kiran had in mind, but it seemed relevant to me.


The movie is a piece of their lives, and the narrative juggles a recent past and the present time beautifully. Among the daily routine of the characters, which is really what the story is about, we see a love story unfolding and it's not a love triangle but a love square. With a missing fourth connecting line. I swear I'm not trying to sound cryptic, but it's so charming to watch this play out that I don't want to spoil it for anyone.

So maybe I won't tell the story after all...

But I will highlight the three superstars of this movie, and neither of their names start with two Aa's.


First of all KIRAN RAO.


Tiny little thing, with such a big heart! And this picture captures everything that is adorable about her! But I won't ramble about that now. I had no doubt that she would make a good movie, I knew it would be a well thought out story. What I didn't know was that she would wow me with the little touches like a bunch of fake grapes hanging from the rear view mirror in a car during the monsoon, which is the opening shot of the film. Or the chance encounter between Shai and Arun in the street when Shai is on her way to literally stalk Arun in his apartment which is so subtle and funny in so many ways. Or the painting that Arun makes towards the end of the film (who made that? I want it!). Or the old neighbour sitting in her chair with a vacant look - the most powerful image in the whole movie in my opinion. Or Munna leaning over Shai when she's asleep. Or the women on the train that Yasmin is filming. I could go on... but then I'd just be telling the whole movie. Suffice to say that every single shot in this movie tells a story, every image counts, and that is no small feat for a first time director.

When I heard that Dhobi Ghat was being filmed guerrilla style, with handheld cameras and moving shots, I was a bit terrified, because there's a right way to do this, but mostly I've seen it done the wrong way. Kiran, thankfully, got it right and I cannot praise her enough for this!

Secondly PRATEIK (BABBAR).

At the end of the screening when Aamir gave the mic to each of the actors to say a few words, before Prateik even touched the mic he got a long, loud, standing ovation from the audience. He was so shocked and overwhelmed that he literally was speechless. He tried to mumble a thank you to Kiran and I bet he would have had some very heartfelt words to say, but he was so choked up that he didn't manage to put two words together. It was beyond charming!!

Well, he stole the show, it's no secret. He had the audience's emotions in the palm of his hand: when he wanted us to laugh at his shyness, we did; when he wanted us to bite our fingers for his next move, we did; when he wanted us to be in love with him, we were; when he wanted us to pine with him, we did. An outstanding performance if I've ever seen one! Between Kiran's deeply intelligent script and Prateik's immensely intuitive acting, there was not much room for it to get better.

And still it did, because then there's...


THE STORY WITH THE VIEW-POINT OF RUBAID.

It's been said enough times by now that this is not a Bollywood story. But I don't think that stops it from being an Indian story, and if Bollywood continues to do stories like this, then I am on board with this new wave of what Cameron Bailey reluctantly jokingly calls "hindie movies". In a way I can't help but compare Dhobi Ghat to Slumdog Millionaire because they both show various aspects of poverty in Mumbai. But Dhobi Ghat succeeds for me where Slumdog somewhat failed because it shows me the little things that make one happy despite the poverty, unlike Slumdog which was always focused on wanting more. Munna has his own world with its ups and downs, with things that make him sad and things that make him smile, but his life does not revolve around poverty, his life revolves around his feelings, as it should.

And I know I tend to talk more about Munna than about everyone else because he was the star of the show for me, followed closely by Yasmin's story, but make no mistake, this movie is about all four of them in equal measure. More importantly, this is a story about people. It's not about lessons learned or growing up, it's not about relationships created or maintained, it's not about finding yourself, it's not about careers or hobbies. It's just a series of snapshots of 4 people... living. And while that can sound boring, it's really not, because the film is so well crafted that much like in real life when someone is telling a good story, you keep asking: "and then what?"

And lastly AAMIR KHAN.

Without presuming to know what's really in this man's head, I will say that I think I know why Aamir so badly wanted to be in this movie instead of letting Kiran pick another fresh face. In a world where Om Shanti Om, Ghajini and 3 Idiots are blockbusters, a soulful movie like Kiran's would have probably gone unnoticed had it not been for the presence of her superstar husband. Sad, but true... At the same time, I appreciated that Aamir played the part in such a subtle way that, much like in Taare Zameen Par, Aamir The Actor was rightfully overshadowed by his costar and by the director. I know he could have made this his movie, but there's a reason why he didn't, there's a reason why he played the part that many other actors could have played without making it an Aamir exclusive role, and I like to think that generosity and love are that reason.

The students of mass communication must watch this movie as a project and in last you are finding the use of each in the movie why they are in the movie from starting till the last seen..

Rubaid's star: 2star out of five.

Guzaarish - A Must See

There is definitely something in the film which features Hrithik Roshan and Aishwarya Rai together in the same frame once again after Jodhaa Akbar and Dhoom 2. Directed by the prolific Sanjay Leela Bhansali, Guzaarish is a tale of sadness and helplessness which coats the entire film. The story is of a man who has lost the power to walk and has decided to give up and die voluntarily after fourteen years of being helplessly tied to a wheelchair.


Enter the beautiful nurse, who does not look like any other nurse you have ever seen on films. This is a sexy, passionate and vibrant woman who teaches him to live and love. The story might sound extremely familiar, but there is something to be said about the way Bhansali directs the film. The sets are gloomy and set with a primal sense of sorrow and pain, but in there lie Bhansali?s ability to create a surreal, separate world, that remains just elusive of reality and is set in a parallel dimension where you are transported to the vision of the director. Guzaarish is sensitive and beautiful, and passionate to the core and Hrithik takes it there with Ash's help. If you are going to see Hrithik work his magic in all senses, go see this movie.

Aakrosh Review - Priyadarshan at his Best

Aakrosh Review - Priyadarshan at his Best


The film might not have got that amount of hype or publicity, but Priyadarshan has made a skillful movie which is completely away from his regular slapstick fare like Khatta Meetha and Hera Pheri. This is Priyadarshan at his strongest and best with the right amount of anger and arrogance mixed with a hint of compassion.


The story is simple, with tiny shades of Mississippi Burning in it, but the director has a way of telling the story that is unique and different from the rest. And through this the two protagonists, Akshaye Khanna and Ajay Devgn, makes the most of their characters. Akshaye as the young idealist is perfect, while Ajay is in his cynical and simplified best. A man who does not like complications and cares not for the rich society, he steals the show. But the one man who should be mentioned for being at his consistent best is Paresh Rawal. Bipasha Basu is sort of superfluous, but looks good. The editing and technicality is well-chalked out too and keeps a steady pace throughout.


Watch this film for a good hint of gripping drama. Of course, there are moments of slight disparity but they soon wash out in front of brilliant filmmaking.

Rating***

Knock out

What is it with our filmmakers making frame-by-frame remakes of Hollywood films? It isn't as though we lack ideas or even talent. Knock Out is basically a copy of Phone Booth and there is no two way about it. Not really sure what Mani Shankar, director to the film was thinking, but he has basically made a film that didn't do too well in the west but is totally inapplicable to 2010; a day and age where modern technology runs the world and PCO's are a thing of the past. Anyhow, somehow he managed to bag Sanjay Dutt, Irrfan Khan and Kangna Ranaut to be a part of the film and before you knew it, Knock Out was out and about ready to create mayhem.

An unknown man (Irrfan Khan) finds himself in complete shambles when he is asked to enter a phone booth but not pick up any phones. For some odd reason he agrees. The phone then rings and he finds himself picking up the phone and has basically been taken hostage by a banker (Sanjay Dutt). The media and police get involved in this whirlwind and then begins the film. Or something along those lines at least.

Knock Out is so half-baked, that it is virtually impossible to understand or even write the plot. As a director Mani Shankar has totally lost the plot. Granted it is a copy but in all honesty, it needed to have more than Phone Booth had in order for it to have any impact. And because of this, it falls flat. The characters in the film themselves look confused and lost. It seems like they themselves are unsure as to why a film is being based on a PCO phone when everyone has mobile phones in this day and age. A film that is deemed a thriller all of a sudden becomes patriotic and filled with national pride which is even more confusing. Not only are you left wondering what on earth is happening but feel the need to walk out.

Sanjay Dutt is the only reason to watch Knock Out. His performance is worth it because he is the only actor that doesn't ham or fake his role. In fact, he depicts the most real character in a film. Irrfan Khan disappoints in Knock Out. He hams, screams, shouts, hollers and over acts like no other. Kangna Ranaut is a waste of time in this film. Her role is hardly understood within the film let alone applicable to Knock Out. And lastly, we see Apoorva Lakhia debuts in a film and makes no mark.

Yes, you are knocked out with Knock Out; knocked out of your sense and logic. It screams useless and basically, KO can go down as one of 2010's dumbest films.

Rating: *