AMPHA's Act

Spoof-e-Bollywood

2007-11-17T21:47:00.001-08:00

For me this is an alternative form of entertainment: Spoofing. While this has been common in Hollywood movies its not that much seen back home. But with Main Hoon Na and Om Shanti Om, Farah Khan has become the master spoofer. In OSO she takes on 70s/2000s Bollywood, Tollywood to the hilt. Result is a deliberate bhel of cliches spanning decades. And as tasty too: Great performances (with amazing casting), good music, good screenplay and great special effects! Slurp! The end credit style (or opening credits?) has become a trademark. Finally Farah making an entry into an already-over event shows the magic of laughing at yourself.

Too bad many people didn't get the point of the movie style and came out disappointed. Too bad really!

DH S3 Ep7

2007-10-13T06:20:00.001-07:00

This is not a spolier.

After watching the 7th episode ("Bang") of the 3rd season of Desperate Housewives, I thought its makers are giving the makers of LOST stiff competition in terms of editing !! Shocking things happen at unexpected pace and in a bizzare sequence!

P.S.: Can the present Hindi & Marathi sitcom makers please wake up and watch this stuff? This is whats called intelligent drama. Please quit wasting time making brainless stuff guys!

Green Chili Vodka

2007-10-02T00:16:00.001-07:00

"Ek teekhi teekhi si uff karrari si ladki...
V..v..vodka ke shot mein ek chhoti si mirchi harii... "

Those are some imaginative lines from a song from 'Laaga Chunari Mein Daag', penned by Swanand Kirkire..
One more refreshing sign for the future of Bollywood lyrics..

OSO & VS

2007-09-24T05:46:00.001-07:00

When A. R. Rahman had a fallout with Farah Khan over personal music rights for Om Shanti Om, I thought Farah lost out on a colossal opportunity of working with Emperor. I thought it would turn out to be something like what Ram Gopal Varma has had to contend with after he parted ways with Sandeep Chowta after Satya & Company (in other words Amar Mohile's cacophony). But I was sadly mistaken. Vishal - Shekhar who then donned the reins as music composers for OSO have burst onto the premier league of Hindi music with this score. An original score which Farah can boast about. Melodious & contemporary music. 5 stars!

Talent? Show?

2007-08-04T23:24:00.001-07:00

The queen recently expressed her disapproval of the 'music talent shows' rampant on TV today, saying they are nothing but a tool to achieve quick fame and recognition (for the singers or the judges?). I completely agree. No doubt the candidate singers are good but what happens to them after the show is over? e.g. Where (or Who) is Abhijeet Sawant today? Lata Mangeshkar says that instead of crooning yesteryear songs sung by her, Rafi and Kishore, upcoming singers should be working and showcasing original work. That indeed will identify real talent! Today's 'talent hunt' shows are nothing but typical orchestra shows.

Tyrewala Rocks!

2007-06-12T06:41:00.001-07:00

Sarkar 2 is scripted by Abbas Tyerwala! RGV-Tyerwala is a fresh and unbeatable combo according to me. Abbas Tyrewala has already proved his multi-talented repertoire by writing scripts, dialogues and lyrics! Sarkar 2 supposedly has a heavy role for Aishwarya Rai. I think it should be the first film to star a father/son/daughter-in-law combo! My await-quotient has just quadrupled!

Happy Hindi Music!

2007-04-12T07:57:00.001-07:00

I've already done 2-3 posts on Pritam Chakraborthy the new whiz-kid for Bollywood music. 2 young-guns now join him. Vishal & Shekhar. Vishal & Shekhar are the next Shankar - Ehsaan - Loy for Hindi movie music. With sporadic hits in the past this duo was never "there". But now with Honeymoon Travels Pvt Ltd & Ta Ra Rum Pum they have! What a treat! Having similar background in AD music like Ehsaan Loy these guys are strong on mixing. Salim Suleiman are there to help in mixing anytime! (like in case of Salaam Namaste where VS scored and SS mixed). With ARR & SEL coming up with regular chart busters the melody days are back!

Rozana Jeeye...

2007-02-09T22:03:00.001-08:00

Bachchan sings. (Watch music video) Sings after a long time. And what composer RGV finds for the song: Vishal Bharadwaj. I've always maintained that Bharadwaj is a cowboy among his composer contemporaries. His compositions give a kick like none other. I like ARR and SEL but Vishal Bharadwaj's music has that uncanny oomph everytime. "Rozana" is an amazing song from Nishabd.

Go Guru

2007-02-04T07:18:00.001-08:00

There are some movies which prove that serious filmmakers (not necessarily filmmakers making grim movies) are the hope for the future. Most certainly for Bollywood. And that's what Mani Ratnam proves to you time after time with each of his directorial ventures. Guru is the latest in that series. I was completely stumped, I mean completely bowled over, after seeing what Ratnam has done in Guru. A not-so-frequently-told-story presented in typical Mani Ratham-ish style: with a totally unexpected and unpredictable screenplay.

My belief that there is nothing such as an actor more than a director's actor was corroborated by AB Jr's performance in this movie. The villager-grows-to-visionary Guru is a mammoth performance for AB Jr's acting resume (after the limp cop act in Dhoom 2) and only the second one after Sarkar. No wonder AB Sr is proud of it. Hats off (for the umpteenth time) to Mani for making this kind of cinema. I thought Ram Gopal Varma was joking when he highlighted the acting prowess of AB Jr before Sarkar was released. Now I know he wasn't joking.

Guru Gulzar

2006-12-27T02:34:00.001-08:00

Jaage hain dayr takk hume kuch dayr sonay do...
Thodi si raat aur hai subah to honay do...
Aadhe adhuray khwaab jo pooray na ho sakay...
Ek baar phir say neend mein woh khwaab bonay do...

These are Gulzar's lines for song "Jaage Hai" from Mani Ratnam's Guru. Music by A.R. Rahman. Thats what Gulzar is all about !! Timeless !!

I'm now appending to this post since I've come across a good interview of Gulzar conducted by Sunidhi Chauhan on Radio. Gulzar is one veteran who does not speak bad about the new generation. Every generation finds the newer generation odd and obnoxious but not him. Gulzar mentions how he has adopted the Hindi-English language of this generation into his songs. "Personal se sawal karti hain.." "Jeena easy nahi" "Mom maani nahi, Dad naraaz tha"

Repetitive good or Original bad?

2006-12-17T03:36:00.000-08:00

This is an interesting point of view. For a change the writer has researched a bit (musically) before writing the article. Although S-E-L have been delivering one good album after another, this year they haven't been THE S-E-L that we know of. Even though their albums are multiple cuts above the usual ordinary stuff coming out as "music" nowadays they still can do better. I personally don't care if good music directors like S-E-L or Rahman or Salim Suleiman are repetitive in their music. As long as the song I'm hearing is good its fine. A repetitive good song is anytime better than a bad song, isn't it?

Go Go Govinda !!

2006-11-27T00:46:00.000-08:00

Govinda will be seen soon in not one but two big movies namely Bhagam Bhaag in December and Salaam E Ishq in January !! Happy days are here again. Govinda sadly has had to take a big break. He will also star with Salman in the David Dhawan movie Partner. But that still has time.

(Image used from Indiafm.com Click to see original location)

Right now I'd be gearing up for Bhagam Bhaag! His face expressions in the song promo "Signal" (photo above) from BB is a sure hint of whats to come !!

Moral of the story !!

2006-11-04T21:01:00.000-08:00

Now after its official that DON is a hit, read this full interview of DON director Farhan Akthar.

An excerpt,

What's the worst comment you've heard?
I genuinely don't hold anything against anyone. If someone has not liked it, so be it. They are entitled to their opinion. But one reviewer wrote, no one should watch this film. Look, a critic's opinion is personal, you cannot generalise and ask people not to judge the product for themselves. That I felt was unfair.

Moral of the story: Go and see a film yourself and judge it for yourself. Don't believe what you read on review columns on websites and newspapers. They are all personal opinions and mostly prejudiced. (Read my reviews though since I write reviews only for good films ;) )

Jaan E Effects !!

2006-10-28T03:58:00.000-07:00

Jaan E Mann is a very very strange movie. I must admit I was totally taken by surprise. I won't recommend you to go and see it if you're looking for some new & entertaining story etc. BUT if you can accept a few cliches for some AMAZING special effects then JEM is the movie for you! Shirish Kunder has left no stone unturned in infusing innovation (hopefully not too much to Sajid Nadiadwala's irritation!) in his story telling format !! Too good !! Song picturizations are awesome and so are the flashback sequences !! Topped by some wonderful acting by Akshay Kumar. With a right story in hand Kunder is going to be solid competition to his contemporaries!

DON Ending

2006-10-20T23:32:00.000-07:00

Watch Farhan Akthar's DON just for its ending! Superb ending! A literal slap in the face of those comparing the movie with the original. You may like it or not, find AB's Don better than SRK's Don in some aspects, but you have to give it to Farhan Akhtar for this Don's ending! Hats off !!

Hint for guessing the ending: "Don ko pakadna mushkil hi nahin, ........ hai"

I loved the whole movie by the way (since I was not comparing it with the original)

His Music Rights

2006-10-13T04:35:00.000-07:00

That A. R. Rahman is very much advanced on the muscial front is now a cliche'. But here is glimpse of his 'advanced' vision as far as music production and rights goes. While music companies are going into the futile anti-piracy mode, Rahman thinks about the inevitable and wants changes accordingly. In the age of mp3s and iPods such matters demand a new perspective. Music ownership needs to be redefined.

Kudos to Rahman. As he says in the above linked article, his proposed change is being opposed (no surprise!). That means losing out on some good projects for him and also time gained to work on his own private album. Disciples like me rejoice!

Zindagi Rocks? Nope..

2006-10-06T23:42:00.000-07:00

Yesterday I was glad I saw Rajeev Masand's Now Showing on CNN-IBN. He epitomizes my feelings for bad (nah worse) movies. His royal thrashing for Zindagi Rocks was a relief. People like Tanuja Chandra - the writer/director of Zindagi Rocks - need to wake up and realize that movie making is as much about money as it is about meaningful content. With whatever-that-was Zindagi Rocks everyone loses!

Masand's 0/5 stars rating for Zindagi Rocks was an overstatement since star ratings should apply only for meaningful movies. I am now eagerly awaiting Khalid Mohamed's thrashing of the same in Sunday's DNA.

Call me sadistic or whatever but bad-movie reviews are my biggest entertainment!

DON Redux

2006-09-30T03:15:00.000-07:00

Ponder over DON's title-song intros from the two versions-

Amitabh Bachchan Version
Arre deewano muzhe pehchano, kahan se aaya main hoon kaun?
Arre deewano muzhe pehchano, kahan se aaya main hoon kaun?
Main hoon kaun? Main hoon kaun?
Main hoon main hoon main hoon DON !!

Shah Rukh Khan Version
Duniya mein logon ne dil apne phir thaame!
Aaya hoon lekar main phir kitne hungame!
Jara dekho kaun aa gaya hai! Zamane pe jo chha gaya hai!
Jami kispe hai sab nighahein? Khuli kiski khatir hain bahein?
Aisa dildaar aaya hai koun?
Muzhko pehchanlo main hoon DON !!

Javed Akhtar oozes class yet again by writing content-specific lyrics for the redux!

Hrishikesh Mukherjee won't be missed anymore...

2006-09-07T22:39:00.000-07:00

... because Rajkumar Hirani has arrived! Lage Raho Munnabhai is straight out of the Hrishikesh Mukherjee school of film-making where the common man's common problems are tackled on screen and answers are sought. Where even big characters are mere messengers of big ideas. Munnabhai & Circuit may well be turn out to be the next superheroes along with Krrish. While Krrish will entertain kids, Munnabhai & Circuit will entertain one and all. Kudos to Vidhu Vinod Chopra for bringing Rajkumar Hirani to Bollywood. Now that Hirani has been fully blooded we can expect many masterpieces like the two Munnabhai movies in the days to come. (Hopefully many of those will involve these golden hearted goons again as well !!)

SS's DOR - Royal

2006-09-05T07:56:00.000-07:00

Dor is an immensely satisfying album. Salim Suleiman have shown their talent in this rustic style soundtrack with their trademark suave mixing. Nagesh Kukunoor is making one intelligent movie after another and to add to that hes started repeating SS quite regularly now. That can only mean good news. His last Iqbal had just 1 track by SS but here its a full fledged score.

Creative and innovative people tend to come together to create magic. That's the only explanation I have for Shafqat Amanat Ali's rendition of "Yeh Honsla" - the title track of Dor. SS give a traditional Rajasthani background to this track but its Ali's voice that takes this song to somewhere else. Far higher. After "Mitwa" this is his consecutive sixer.

Lyricists for the future

2006-08-29T23:09:00.000-07:00

I have always written about new and promising music-directors and singers but never about lyricists. Partly because apart from the veteran beacons of creativity, intelligence and innovation - Javed Akhtar and Gulzar there was no one else in sight. But now the situation has changed. Hope has prevailed. I'll be profiling three promising lyricists as I gather enough information and supporting articles about them.

Introducing with aplomb! : Prasoon Joshi (Hum Tum, Fanaa, Rang De Basanti) , Swanand Kirkire (Parineeta, Hazaron Khwaishein Aisi, Lage Raho Munnabhai) & Jaideep Sahni (Company, Salaam Namaste).

The Bachchan Interview

2006-08-27T22:36:00.000-07:00

Read this nice interview of Amitabh Bachchan. An excerpt:

"..The detailing is flawless. The screen-play and dialogue have panache and finesse. The performances from all his artists are without error and the way Karan has put all this together is a marvel..."

You must have realized what AB is talking about. If you are so cinematically-challenged as to not understand the context then I'll tell you :) Its about the nice film everyone is taking personally these days - KANK!

Jagade Jagade Ja

2006-08-22T05:35:00.000-07:00

Remember Shiva? Ram Gopal Varma's arrival on the Bollywood scene which was then infested with rotten stuff. Shiva was a breath of fresh air! Well RGV is now remaking it and has roped in the music director of the former version Illayaraja to do the music of the new one. The famous song "Jagade Jagade, Jagade Jagade Jaa" from the former (Raj Zutshi, Amla etc dancing in the college corridors) is being kept in the new one albeit with different lyrics and setting.

Illayraja gives the album is tradermark stamp with complicated tunes extracting the most out of Shreya Ghosal, Roop Kumar Rathod, Sadhana Sargam et al along with some good music mixing. Nice to see him back!

KUDOS to Karan

2006-08-16T06:16:00.000-07:00

Kabhi Alvida Na Kehna finally released and I saw it within the first 7 days! I can't recall the last movie I have seen that quickly. And considering my current schedule I don't recall the last movie I've seen at first thoughts! Of course, I have had luck trusting my instinct avoidng some big banner films (Fanaa) for unimpressive direction and I've been right. Krrish is still left to be seen though. Anyway this post is for KANK and KANK only. For me KANK is an absolute classic - an impressive take on the cliched topic of infidelity in marriage. Karan Johar has proved again what a master writer he is - in developing his characters, his situations and the overall story. KANK provides wholesome entertainment with some amazingly developed unusual (Amitabh Bachchan) and stero-type breaking roles (Shah Rukh Khan). Along with the serious theme the film has, dollops of finely written comedy also make their presence felt in the first half.

In all the marriage infidelity movies (MIMs) seen till date, KANK goes way past most of them in terms of maturity in handling the subject. By maturity I mean this: Most of earlier MIMs have happy marriages followed by entry of the outsider ( "woh" ) creating the infidelity followed by utterly predictable/illogical scenes. Not here though. Here the infidelity develops out of non-working marriages. Those involved in dying relationships try their best to infuse life in them. Elders try in their own ways to save the relationships. So someone doesn't just stand up and walk out of some marriage for no reason and others don't just keep on watching or sympathising! Yes infidelity happens nonetheless but innovative and out-of-the-box solutions are sought. People move on and don't keep making matters worse for themselves and others.

Hypocrites are reacting over the "inappropriate" happenings in the movie terming them as "bold". That real life happenings are much more complicated that what is shown in the movie is conveniently ignored. That is the tendency though! Like every man will consider it his dream to be in Amitabh Bachchan's shoes living the life he lives in KANK but still it will be "inappropriate". Anyway, let all such people go home and do some healthy introspection.

Karan Johar receives 10/10 from me for putting so much effort and money into making such a big movie. That it also has great songs has been discussed in detail here. I hope and pray that the film does good business so that KJ recovers all his money and can make even better movies. If the skyrocketing opening collections are anything to to by, KANK is on its way to achieve a mega hit status.

(Here is Khalid Mohamed's review for KANK)

Lage Raho MOITRA Bhai

2006-07-27T02:06:00.000-07:00

Shantanu Moitra has scored excellent music for Lage Raho Munna Bhai. Along with his regular lyricist Swanand Kirkire the album boasts of some really catchy situational and melodious tracks. Shantanu is now a regular with the Vidhu Vinod Chopra camp which one of the few banners in Bollywood making a real effort at making sensible movies. And rightly so! Sensible movies and good music make an unbeatable combo! Lage Raho Moitra Bhai !!

Vishal's Magic

2006-07-07T05:43:00.000-07:00

Vishal Bharadwaj is a like a magician when it comes to composing songs. He keeps low profile mostly, catches hold of the great Gulzar every time to write his songs and composes simple tunes. He then mixes them in contemporary style making songs which click instantly. No other music director's songs click with me as quickly as Vishal's. His latest offing 'Omkara' is an example of this skill. Its an amazing album having the quintessential Vishal stamp over it.

("Beedi" is "Goli Mar Bheje Mein" - Part 2. Not to be missed at any cost)

SEL Deliver Yet Again!

2006-06-17T01:31:00.000-07:00

After a big hiatus Shankar Ehsaan Loy come up with another trump card with the score of Karan Johar's Kabhi Alvida Naa Kehna. For those who crave for quality music this album is a boon. (Not to mention it is a welcome relief from Himesh Reshammiya's nasal cacophonics* which are all over around us these days). Of course a 70+ crore film like KANK does deserve such good music! Here is my track-by-track review of the album.

Kabhi Alvida Na Kehna

Beginning with a lilting piano piece the title track gains mass in the quintessential SEL way as it proceeds. Thank God Sonu Nigam happened to Indian music. After Udit Narayan the coffers were seeming totally dry. But not with Sonu. He delivers yet again for Karan Johar after the title song in Kal Ho Na Ho. This 8+ minutes track also bears the Karan Johar stamp. The orchestrations remind you of Kuch Kuch Hota Hai. Alka Yagnik shares the duet with Sonu. Piano, Dholak, Ghatam, Flute (Naveen!) & Strings figure prominently.

Mitwa

This is a true breath of fresh air. Guitars open this track with some female English chorus. Fuzon lead singer Shafqat Amanat Ali infuses life almost instantly into it. Ali appears very comfortable even at the high pitches. A very Indian instrumentation using tabla and dholak with slices of bass guitars form the background. SEL are one of the few music directors who can deliver original melody consistently. This track proves it. Shankar Mahadevan delivers some alaaps for background. The Sarod appears two minutes into the track and continues to be one fresh sounding instrument.

Where's The Party Tonight

Radio edit voices being this track with some electronic instrumentation. Clinton Cerejo orchestrated English chorus follows. 'Its a Time To Disco' singers Shaan and Vasundhara Das handle affairs here too. It feels as if they are doing a Part 2. And they deliver once again! Make no mistake: Where's The Party Tonight is totally different from Its The Time To Disco. This track has the 70-80s English pop feel to it. Shankar Mahadevan alaaps for this one too. SEL fuse a lot of Rajasthani folk with disco here. Wow.

Tumhi Dekho Naa

A haunting piano piece and choirs open this song. A slightly altered title theme is applied to this track. Its uncannily similar. Sonu Nigam and Alka Yagnik again at the helm of affairs. Flutes and guitars accompany dholaks for instrumentation along with the omnipresent piano. Caralisa's vocals appear in between though she is not credited for this track.

Mitwa Revisited

This is a remixed version of Mitwa. Indrajit Sharma joins SEL for the mix. A dance feel is added to the original. Westernized instrumentation replaces the Indian one from the original. Ali's voice is crucial to the success of the track nonetheless. This one is made for the dance floors. The DJs job is reduced a lot actually. Revisited Alright!

Rock n Roll Soniye

Shaan starts this neo-Punjabi track with some English vocals and Shankar Mahadevan joins in. Acoustic Guitars are all over. A piano piece with a "Mera Naam Chin Chin Choo" kind of a feel comes in midway. Some famous lines from old Punjabi numbers are used for the track. Mahalaxmi Iyer forms the female part but comes in near the last minute of the track. During the last minute a lot of high gear shifts happen with alternating Punjabi and English choirs.

Farewell Trance

DJ Shane does the final track of the album. As the name says its the KANK theme in a Trance flavour. Its amazing how a melodious tune survives no matter what instrumentation or mixing its enclosed in. Flutes and piano handle the core theme for most duration. Caralisa's English vocals start 2/3rds into the track followed by Shweta Pandit's alaaps.

All in all this album proves what talented people are capable of. The unusal trio of music directors (solos and duos are aplenty in history of Bollywood) Shankar Ehsaan Loy serve an absolute smashit album with Kabhi Alvida Na Kehna. 9 out of 10 points from me for KANK.

* Himesh Reshammiya is not necessarily a bad composer. Rather he is a very nice composer. But once he begins singing all hell breaks loose (His nose remains intact though!). Some of his numbers sung by Udit Narayan and Sonu Nigam are really good.

L O S T

2006-05-15T10:39:00.000-07:00

What a smashing series! WOW !!

In today's TV world of filthy Marathi and Hindi soaps, there is at least something like this that'll make you want to stay up till 11:00 pm on a Sunday! By far the most thrilling TV series I've seen. Even X Files has lower spook quotient! LOST has managed to raise the hair on my back quite a few times and that's a sure compliment for the makers! (I haven't got the slightest scare watching "horror" films like Omen, Evil Dead, Exorcist etc) Kudos to the makers of Lost! I guess LOST must be in its second season in the US while its just begun a few weeks back in India. For those who've not started watching it, its not too late.. or is it?

Fed Up

2006-05-13T23:08:00.000-07:00

Another Bollywood movie of this genre on its way to flopdom. I mean after everyone has tried so hard that it makes its way there this should not be a surprise. Tom Dick & Harry joins the list of worthless, abysmal and waste-of-money films and whats more it takes on disabled people as its protagonists. Read his fitting trashing (below review of Tathastu) of the movie by Khalid Mohamed. May Dipak Tijori get some sense after his producers' coffers bear this dent. I am absolutely fed up of this crap.

Updates!

2006-05-12T22:05:00.000-07:00

Karan Johar throws light on the status of KANK (Kabhi Alvida Na Kehna) and also about RGV's comment that he is awaiting KANK since he has always liked horror films!

Javed Akhtar's interview including his views about RGV's plans to remake Sholay and comments on beta Farhan's DON.

Seems everyone has RGV on their menu or vice versa?!

I'm For The Hippo

2006-05-09T08:47:00.000-07:00

This is a earnest request to all those who are reading this post AND all those who know some place where I can buy an "I'm for the Hippopotamus" movie DVD (English). Hope I didn't reduce the sample population with my AND condition!! ;) This movie is a laugh-riot starring Terence Hill and Bud Spencer. T&B have a lot of movies together like Trinity is my name, My Name is Trinity etc but "I'm for the Hippo" is my favourite.

I searched everywhere but found only non-English DVDs of the movie. That's why this! For those who have no clue who these two actors are here is a good website which gives good information. (Beware the web page has a irritating/holographic background!) The image here on this post is linked to some German website. I can't understand why 2 English speaking actors in an English movie are nowhere to be found! And everywhere to be found in non English domains!!

DON Update

2006-05-07T00:09:00.000-07:00

FA's DON - Progress Status

This article gives a good progress status of Farhan Akhtar's DON. DON is slated for a Diwali 2006 release.

Pritam Perfect

2006-05-04T23:47:00.000-07:00

I was a bit skeptical about music director Pritam's music repertoire and talent. I thought he was another Anand Raaj Anand or Adesh Shrivastava in the making. Just hanging in there but actually nowhere. But no. Pritam has proved that he has it in him what it takes to be among the big guns. His earlier films used to have one or two good songs but now he is churning them out regularly. Gangster marks his arrival actually. All songs in the film have the new mark on them- the Pritam mark I may say. "Tu Hi Meri Shab Hai" and "Ya Ali" are undoubted chartbusters. Yes they also have a great musical value which may not necessarily be an attribute of today's chartbusters!

His forthcoming Ankahee is also a musical treat. With Ankhaee, I think he must be the first music director to include three versions of a single song in the album. Not for 1 but 2 songs. And using different singers for each version. Singers of the likes of Sonu Nigam, KK, Shreya Ghosal, Kunal Ganjawala and Shaan! Sadly the film is about the done-to-death plot of an obsessed lover in a love triangle. That the movie will be flop is anyone's guess. Its a pity that music directors have to give their best to such films. But I guess its a part of every music director's career, especially promising ones who still don't have sound footing in the industry. SEL's Dil Jo Bhi Kahey would be in the same good-music-for-bad-films category. Also ARR's Mangal Pandey and Salim-Sulieman's Neal-n-Nikkil. I can quote many more. I only wish talented music directors don't have to sacrifice their good music for such films. Let they find firm ground in the industry sooner and make calculated choices of films for their hard work.

Vishal makes Othello

2006-04-25T06:47:00.000-07:00

That's why I think we need directors like Vishal Bharadwaj in plenty. Such imaginative thinking! I read yesterday that Vishal was toying between three titles for his forthcoming adaptation of Shakespeare's Othello viz Isssak, Omkara and O Saathi Re.

He was to finalize something by May before releasing his film. But to make a 'first look' poster will all three ideas. That too each reflecting the mood of the title! That is really inventive. Further he says "Whats in a name?" Another piece of inventive imagination. Use a part of an excerpt from Shakespeare's Romeo and Juliet - "What's in a name? That which we call a rose / By any other name would smell as sweet" Kudos!!

(If Vishal were to take my opinion, Isssak beats all names by miles!)

ReDON

2006-04-20T07:27:00.000-07:00

CAST
Shah Rukh Khan :: Amitabh Bachchan
Priyanka Chopra :: Zeenat Aman
Arjun Rampal :: Pran
Kareena Kapoor :: Helen
Boman Irani :: Shivpuri
Isha Koppikar :: New Character

MUSIC
Shankar - Ehsaan - Loy

LYRICS
Javed Akhtar

DIRECTOR
Farhan Akhtar

(Poster from IndiaFM)

The Return of Chowta

2006-04-20T01:52:00.000-07:00

Sandeep Chowta is back after a long hiatus with his new singles' album "Mallika I Hate You" Here he teams up with his regular Sonu Kakkar (whos getting mildly more cacophonic by the day I must admit) for 2-3 versions of the single Mallika I Hate You, viz. regular, desi-mix, club-mix, lounge-mix and the 'tring'. The best track is the Jay Oliver programmed version of lounge mix which features Sonu Nigam's sister Nikita. The album has three songs from Chowta's earlier albums, viz Babuji and Dum from Dum and Akkad Bakkad from Super. If my wish would be granted, Chowta should be doing the music of the SRK produced movie directed by RGV starring SRK and Kareena Kapoor. I hope that happens! Previously, Chowta has produced a good background score for SRK's Asoka.

The Rainmaker

2006-04-15T22:53:00.000-07:00

Yesterday I watched "The Rainmaker" for, I don't know, the tenth time or so!

A million thanks to John Grisham for writing this amazing story. A billion thanks to Francis Ford Coppolla for writing its screenplay and directing its movie!

A story of a court case pertaining to a low-income family mother from Memphis, Tennessee versus a giant insurance company - Great Benefits - over the denial of a legitimate claim for her son's treatment of leukaemia.

No matter how many times you watch it, the gripping story indulges you like nothing else every time. Matt Damon as the novice lawyer Rudy Baylor, Jon Voight as the shrewd Leo Drummond along with Danny DeVito, Claire Danes and Danny Glover just light up the screen for what is an amazingly conceived and shot court room drama.

Boombai Nagariya...

2006-04-04T07:22:00.000-07:00

An amazing song composed by Vishal-Shekhar and sung by Bappi Lahiri for the movie Taxi No 9211. This may be the first song Bappy is singing for some other music directors. Not to mention, after a long time, Bappi has done something worthwhile. Thats a welcome relief from his usual copied tunes and mediocre music. Following are the lyrics of Boombai Nagariya written by Vishal Dadlani. Blue text is sung by Bappi, Red text are dialogues by Nana Patekar and Green text are dialogues by John Abraham.

Lakh lakh roz aake bass jaate hain..
Iss sheher se dil lagaa ke fass jaate hain..
Hey Hey lakh lakh roz aake bass jaate hain..
Iss sheher se dil lagaa ke fass jaate hain..
Sonne ki raahon mein soney ko jagah nahin..

(Saala idhar to footpath bhi houseful hai..)

Shola hai ya hai bijuriya, dil ki bajariyaa
Boombai Nagariya...
Shola hai ya hai bijuriya, dil ki bajariyaa
Boombai Nagariya...

(Yeh Bombay hai, yahan time ka matlab hai paisa, samjhe?)
(Muzhe tees minute ki journey teen minute mein poori karni hai..)

(Saal khud mar raha hai to mar na..
(Doosre ki kaiko waat lagataa hai.. taahai.. taahai.. taahaii..)

(Paisa.. Waat lagata hai..)
(Paisa.. Waat lagata hai..)
(Paisa.. Waat lagata hai..)
(Thokk doon kya?)

Utarr jaye raggon mein jo to yeh nasha hai..
Iski aadat jo pad gayee, to yeh saza hai..
Utarr jaye raggon mein jo to yeh nasha hai..
Iski aadat jo pad gayee to yeh saza hai..
Aise bhar de, ke khali kar de..
Saare pal yeh aisi jagah hai..

(Hum dono dhakkanon ko aaj ke din hi paida hona tha..)

(Nau Do Gyaraah)
(Nau Do Gyaraah)
(Nau Do Gyaraah)

Lakh lakh roz aake bass jaate hain..
Iss sheher se dil lagaa ke fass jaate hain..
Arre sonne ki raahon mein soney ko jagah nahin..

Shola hai ya hai bijuriya, dil ki bajariya
Boombai Nagariya...
Shola hai ya hai bijuriya, dil ki bajariya
Boombai Nagariya...
Shola hai ya hai bijuriya, dil ki bajariya
Boombai Nagariya...
Shola hai ya hai bijuriya, dil ki bajariya
Boombai Nagariya...

Innocuous is harmful

2006-03-25T05:12:00.000-08:00

Homi Adajania deserves a pat on his back for making Being Cyrus. His film has been a breath of fresh air. Before this the pollution was rampant with crap like Malamaal Weekly, Souten and other etcetras and will stay fresh even as more crap comes along! Homi has made a film which makes you think rather than concentrate on neglecting foolishness and illogical crap one usually is subjected to with the current breed of films. After Rang De Basanti, this is a film which will want any movie lover to go to the theatre to have a good time. Being Cyrus is a delicately weaved and efficiently made film. It deceives the viewer into getting relaxed into an atmosphere which then betrays all expectations! The surprise element is back in films. Though the film is in English it should not hinder anyone from understanding it or enjoying it. A must watch!!

Lots of Updates

2006-03-14T01:25:00.000-08:00

Its been a while since I wrote. Now I'm going to make up for it. Lots of updates.

As Farhan Akhtar's DON is moving by leaps and bounds, new updates are pouring in everyday. A titbit about Udit Narayan singing for Khaike Paan Banaras is the latest one. Purportedly Udit's gain is Sonu's loss. But hey Udit is senior and North Indian, so its fair and fine! Also SRK is supposed to hum a few lines on one the song. That will be his next after Josh.

Farhan Akhtar and Ritesh Sidhwani are also going ahead with (Farhan assistant) Reema Kagdi's directorial venture Honeymoon Travels Pvt. Ltd. starring a good ensemble. Incidently Nikhil Advani's first non-Dharma venture Salaam-e-Ishq is speculated to have some similarities with Kagdi's project.

Feroz Khan is planning a remake of his very own yestyear hit Qurbaani.

Mani Ratnam is doing Guru with Abhishek, Aishwarya and believe it or not Mallika Sherawat! Like with all Ratnam films, A R Rahman and Gulzar doing Guru's music. Also Vivek Oberoi has quit from Guru. No points for guessing why! ;)

The Grand Terminal

2005-10-31T06:11:00.000-08:00

Today I did what I had left undone in the US. Bought myself a DVD of Steven Spielberg's 'The Terminal'. This adds to my collection of Spielberg's movies, which is now halfway there. Hats off to Spielberg on conceiving and implementing The Terminal. The whole movie happens at the the JFK transit lounge. In inimitable Spielberg style, its a sweet story of an innocuous Krakozian, Vicktor Navorsky, who falls through a 'crack' in the political system to get 'trapped' at the airport. There he finds his way to touch lives of those earning a living on/at the airport in the most amazing ways. The reason of Navorsky's visit to the USA is revealed midway and boasts of imaginative thinking. Excellently shot and written for screen and bolstered by life-like performances by Tom Hanks, Catherine Zeta Jones and the ensemble, this film is a landmark in the art of filmmaking.

Remixing Movies

2005-08-06T23:28:00.000-07:00

A new phase in the Hindi movie scene is arising! The phase of Movie remixes or remakes, whatever you want to call it. Its the best thing that could happen to the industry at the moment. Business wise at least its a good proposition, since the crowds will throng the theatres at least once to see what has being served for their already tasted menu. Creatively it is good because stalwart directors will handle the reigns of remaking classics. Casting coups will happen. The excitement will double.

Farhan Akhtar has already roped in SRK (AB), Priyanka Chopra (ZA), Arjun Rampal (Pran) & Kareena Kapoor (Helen) with Isha Koppikar for his DON. While David Dhawan is contemplating his Amar Akbar Anthony, Ram Gopal Varma has taken on the onus of Sholay. The best casting coup yet is Amitabh Bachchan, the original Jai, playing the 'hero' of RGV's Sholay, the menacing Gabbar Singh. Varma says that only AB can deliver the punch oneliners that made Gabbar famous in this recreated version. I totally agree. Ram Gopal Varma has also taken on a version of Don titled King. Contrary to Akhtar's Don which will be an
exact remake, RGV's King will only be an inspiration. While some other projects are in the pipeline the above ones are the most exciting and concrete.

Good times are approaching!

Ramu Sarkar

2005-07-08T05:00:00.000-07:00

Ramu you are divine. You tread your own charted path and that's the best thing about you. You don't listen to rule makers. You listen only to yourself and your audience. I gratefully accept anything that you give me! You gave me Satya, Company and now Sarkar. I wholeheartedly endorse you. Go ahead with all your whims and fancies. They will most certainly bail Bollywood out of the worthless shit it is in these times. You want to remake Sholay? do it! You have earned the stature. I wish you all the best for 'Ram Gopal Varma ka Sholay' If self-declared moral police don't let you make it, I am with you in whatever you undertake next. You have at least one definitive spectator in me. I am watching Sarkar again today. I don't know how many times more! Kudos to you!

Come on! Indipop :(

2005-07-06T06:20:00.000-07:00

The Indian pop music scene is at an abysmal low right now. Its like the phase Hindi movies went through during the late 80s. On any given channel, apart from some good Hindi movie songs, you get to see only cheap remixes. Cheap means literally cheap. Cheap quality, cheap singing, cheap models and so obviously selling for a cheap price. The music quality is survived only by some good movie songs like those by Rahman, SEL etc. I remember around 5-6 years back when the Indipop scene was blazing hot with stars like KK, Shaan, groups like Euphoria, Silk Route, Colonial Cousins etc who had melodious and chirpy songs flowing. Even quality remixes from Instant Karma (SEL), Bally Sagoo, Leslie Lewis were happening. But those days are gone - for now at least - and a serious dearth of quality pop music is genuinely felt. Hopefully like the Hindi movie scene was revived by good film makers and is now going really well, something good will happen for Indipop too. Keeping fingers Xssed.

Sarkar 4.5/5

2005-06-30T13:29:00.000-07:00

"Subhash Nagre ek aadmi hai. Sarkar ek soch hai"

The only emotion that lingers in your mind after you come out of the theatre (for full impact a theatre is a must) watching Ram Gopal Varma's 'Sarkar' is immense satisfaction along with a rise smile on your lips. A genuine tribute is offered to Coppola's Godfather through RGV's Sarkar. So what is different in this RGV film from his previous ones? - of course apart from this being a Godfather version. This film further uplifts the technical front in Hindi movies by a scale. Camerawork, background score, dialogues, screenplay, acting and casting all are touched and improved. This film shows how an intelligent thought process can shape a film's story inspite of it being a version of one of the most known and revered films in the world. How an interesting (and already known) plot can be made even more interesting!

RGV and Amitabh Bachchan form a formidable team. A team to watch out for in future. The very way directors like Yash Chopra or Ramesh Sippy handled the young Amitabh perfectly, for the first time, it seems that a director has handled the old Amitabh likewise by keeping the "anger" content in this angry old man present but subdued and dormant. The screen presence AB Sr already generates makes itself genuinely felt in this tower called Sarkar. For Al Pacino Abhishek it is a different path tread. And with top notch results! It again shows how an actor becomes a directors actor and shows the world what he has in him and that which never came out before. Or rather nobody could get it out of AB Jr before! AB Jr gives a knockout performance abundant with emotions - the right ones at the perfect time. Due credit to RGV for that. The support provided by the regular character actors from the RGV factory - the Jagga, the Guru Narayan of Satya, the Corporator Velankar of Ab Tak Chhappan in their respective roles are amazing. The reel Rashid is a revelation. Kudos to RGV for unearthing this talent. With minimal dialogues Rashid speaks through his eyes and eyes only. The background score by Bipin-Tutul and Amar Mohile - especially the "Govinda" track - is another absolute character in the film, one who props up only to culminate in the scenes. Family members in Supriya Pathak, Rukhsar and Tanisha are good. Katrina Kaif looks good too. The screenplay and dialogues are so taut that many scenes create a permanent impression. The violence has been innovatively portrayed with murders in temples, murders by family members et al.

Sticking loyally to the overall Godfather theme, RGV has made intelligent modifications to suit the Indian familial and system settings. Meticulous attention has been paid to the look and feel of the characters in the film with subtle modifications as the story progresses. This film has the 'righteous' feel to it without being sanctimonious

Yet another feather in RGV's cap. Another leap for progressive Hindi cinema.

Bunty Aur Babli - Music Review

2005-04-19T13:18:00.000-07:00

I have been awaiting this album for too long, so I can't resist myself from writing my my music review after the immense satisfaction I've received after hearing it. The wait has been worthwhile. SEL have developed a gifted ability to come up with songs that titillate something deep in you every time you hear them. I must say that even with music maestros like A R Rahman or Anu Malik the songs take time to have an effect on you and that sometimes goes to their disadvantage since people shun them if they don't like it on the first hearing. SEL (and also Sandeep Chowta) create songs that mostly appeal in one way or the other (the tune, the voices, the mixing etc) on their first hearing. You don't have to wait for THE song of their album once you begin hearing them one after the other. Every song is unique and its own way THE song of their album.

Bunty Aur Babli

Bunty Aur Babli has 6 tracks in total, all unique and refreshing. Gulzar handles the lyrics for SEL (a deserved break for Javed Akhtar!) this time around. With Gulzar you can't expect the ordinary. He is like the baadshah of lyrics. Javed Akhtar writes beautifully, but Gulzar writes innovatively. In this album he doesn't refrain from free use of English words in his songs. It gives the songs a unusual contemporary feel!

You know that right from the first track of the album which is "Dhadak Dhadak". It is another train number from Gulzar (after the immensely popular "Chaiyyan Chaiyya"). Udit Narayan and Sunidhi Chauhan along with Nihira Joshi (hidden among voices) form the singers. Gulzar takes us on a train ride passing through the sky, through the clouds and around the moon. It talks about two aspirant fish, Bunty and Babli, from a small pond who want to make out into the big ocean. Along with such clever metaphors, the music of the song is what really catches you. It starts with a two liner from AB Sr and then begins smoothly. After the first few lines by Udit Narayan it gets into the SEL groove and then you're hooked thereafter. An immensely enjoyable song to start the album.

"Chup Chup Ke" is the next song rendered by Sonu Nigam and Mahalaxmi Iyer. SEL, as usual, bring the best out of Sonu Nigam in this song. His vocal interludes remind you of Mohammad Rafi. Witness vintage Sonu Nigam in this song. Mahalaxmi Iyer supports Nigam well. This song proceeds like a ghat. The melody and rhythm start slowly, attain a fervour, again get slower and proceed likewise. When you hear the beginning lines of this song, you cannot imagine where it finally reaches. You can't predict whats coming, just like a ghat! But similar to the view from a ghat that is scenic all along, so is the melody in this song! An innovative use of programmed Sitar is observed in this song all along.

"Nach Baliye" begins with a distorted voice announcing the change in the platform assignment of a train! and then proceeds to a rock 'n' roll, punjabi, techno mix of a dance number. Shankar Mahadevan and Soumya Rao handle the singing reigns of this track. "Balle Balle on a Sunday Sunday" forms the techno chant in the track. Not a really innovative track in terms of composition, but passes on all counts with the crucial elements of a dance number. Brief Caribbean interludes makes it unique again.

The title track "Bunty Aur Babli" follows and is sung by Sukhwinder Singh, appearing after a long break, Jaspinder Narula, Shankar Mahadevan & Siddharth Mahadevan (hidden among the other voices). Gulzar gets into his groove describing the characteristics of Bunty and Babli. An enjoyable song with the return of the zesty Sukhwinder Singh.

What follows next is the changing face of Hindi movie music. Its the rap version of the title song called "B n B". Written and rapped by Blazee, ARRs favourite rapper, this number is extremely catchy. It hints at possible story plots in its rap lines. While the rap version of the Yash Raj film's earlier Hum Tum was a bit too ostentatious, this one is milder and therefore thoroughly enjoyable. Blazee has a amazing control over words and creates an effective rap. While Javed Akhtar had ventured into Hindi rap writing for Kyun! Ho Gaya Na, this rap is in English and keeps Gulzar away from his pen for a while.

The album concludes with "Kajrare", a innovatively composed mujra-cum-qawwali number sung by Alisha Chinai, Shankar Mahadevan and Javed Ali. This number keeps the rural feel intact with its typical chorus and whistles! Alisha shows why she is a force to reckon with even after so many ears after her heyday. Gulzar flourishes with his lyrics here as well.

kajrare kajrare tere kaare kaare naina
tera naina tera naina tere naina judwaa naina

surme se likkhe tere vaade,
aankho ki jabaani aate hain, hai,
mere rumallon pe lab tere,
baandh ke nishani jaate hain..

aankhein bhi kamaal karti hain,
'personal' se sawaal karti hain,
palkonn ko uthaate bhi nahin,
parde ka khayaal karti hain

kajrare kajrare tere kaare kaare naina
tera naina tera naina tere naina judwaa naina

Apart from Alisha, Javed Ali stands out as accompaniment to her along with Shankar Mahadevan. His voice is the freshest thing to happen to Hindi movie music. After his successful stint with Sandesh Shandilya on Chameli, he effectively sings here for the first time for SEL. Hopefully he gets a lot of songs here on with the talented trio. This number is one of the new genres of techno qawwalis like Anu Malik's "Tumse Milke Dil Ka" from 'Main Hoon Na' and A R Rahman's "Noor Un Ala Noor" from 'Meenaxi'

All in all a great album after a long break from Shankar Ehsaan Loy and more so from Gulzar. Hardcore Bollywood music fans cannot miss this one!

(I will be adding unique lines of each song in this review after I hear them well enough. Keep watching this space!)

And just after Tauba Tauba...

2005-03-29T17:46:00.000-08:00

And just after they sing "Tauba Tauba" the music fusion tells you how Salim Suleiman (SS) will revolutionize music mixing in the years to come. The tradition of advanced sound fusion/engineering owned by A.R. Rahman, ably maintained by the likes of Shankar Ehsaan Loy and Sandeep Chowta will be carried forward successfully by SS. In the 1.5 seconds just after the title words "Tauba Tauba" appear an innovative fusion of traditional Marathi Tamasha and Bhangra beats. "Tauba Tauba... (here) ...Ishq Main Kariyan" That is innovative music mixing. Hats off to SS.

Kaal has 2 basic songs: "Kaal Dhamaal" and "Tauba Tauba" which introduce the listener to a completely different style of music mixing and melody. Another just-about-ok number by Anand Raaj Anand, interesting remix versions of "Kaal Dhamaal", a peppy number by Kailash Kher (watch out for his forthcoming ghazals with Rahman in 'The Rising') and a raunchy remix of some previous Dharma production songs make up the music album for the song less thriller Kaal. Talented people like SS reaching good production houses like Dharma and The Factory (RGV) is bliss for cinema.

Awaiting Earnestly

2005-03-24T18:12:00.000-08:00

2005 promises some quality stuff for hungry fans of Bollywood. In a few months from now RGV's Factory will start shelling out one movie after other. "D", "My Wife's Murder", "Boo - Darna Zaroori Hai" and last but not the least RGVs own directorial magnum opus "Sarkar" are in the pipeline. Thats a mouthful!. Other than that will be Aamir Khan's "The Rising/Mangal Pandey" after almost 3 years and next after Lagaan. Shaad Ali's "Bunty Aur Babli" and Shyam Benegal's "Bose - The Forgotten Hero" are worthwhile prospects. ARR scores for "Bose" and "The Rising", SEL for "Bunty Aur Babli" while Salim Suleiman will handle most of RGVs background scores since his films mostly would be songless. Bollywood churns out crap after crap every year but handful of movies like the above ones make it what it is, maintain it and nourish it.

The Actor Who Can't Go Wrong

2005-02-22T10:01:00.000-08:00

Denzel Washington. Every actor in his movie career does films that pose questions to the viewer on the basic necessity of doing that film. Frivolous ideas, faulty execution, bad performances or any other reason can be the culprit. But one actor in Hollywood who stands out from this is Denzel Washigton. An actor par excellence, Denzel has not done one single film which does not have some unique flavour to his role. From the righteous nuclear submarine subordinate officer in Crimson Tide to the frustrated/upset father in John Q, DW has given one astonishing performance after the other. Be it sensitive emotions or fiery outbursts, Denzel has done it all and so effectively I must add. He won the Best Actor Oscar for Training Day but has a lot of winner performances in his kitty even before that. Kudos to this great performer and may he do many more astonishing roles in many more great movies. Wondering why not Spielberg and Washington team up? Now thats a swashbuckling thought!

Oscar or Not

2005-02-03T09:01:00.000-08:00

Indian movies have been knocking on the Oscar door consistently for the last 3 years. Only one of the movie has gone in the final five. That one with the villagers standing tall against their self-proclaimed masters and overwhelming them in a game ;) That sort of created a void that happens when you're so near and yet so far from winning the statue. It has now translated into a sort of a fascination (not fanatic yet) for the Oscars. It has generated a divided opinion with the advocation for an Oscar winning movie on one end and the undue importance being given to a "foreign" award with "foreign" parameters and its inapplicability to Indian cinema on the other. While I partly support both, I am a tad more on the 'win-the-Oscar' level movie side. The reason is plain. Irrespective of whether your movie reaches the final nominations or not and likewise win the Oscar or not, if its worth sending to the Oscars you have a technically correct and entertaining movie. It will separate your movie from the usual gutter served out majority of the time. Your team behind the movie will feel proud to do better work consistently. That is only great news for quality-entertainment-hungry viewers like me. But thats it. No more importance for the Oscars. Don't compare Hollywood movies with Bollywood and their 'level' for competing at the Oscars. Its like comparing a donut with a jilbi. Both round, sweet and taste better when hot but one is Hollywood and one is Bollywood. Completely disparate but equally enjoyable!

Mediocrity and Class

2005-01-31T11:10:00.000-08:00

While Bollywood continues to entertain quality-stuff-hungry individuals like me, it disgusts more often than not. There is disappointment that eventually turns to disgust when talented and once-successful film makers shell out cheap products. While directors like Ram Gopal Varma, Sanjay Leela Bhansali, Farhan Akhtar and Ashutosh Gowariker are propelling the industry into a new world of technically brilliant, advanced and meaninful yet entertaining cinema people like Subhash Ghai, David Dhawan, Rajiv Rai and Abbas-Mustan who were once right up there, are giving cinema a bad name. While some of their works have been commercially decent, the quality has dropped to abysmal levels. Mujhse Shaadi Karogi (commercially hit), Aitraaz (commerically average), Asambhav (flop) and Kisna (flop) are prime examples of the dropping quality of their vision. While Subhash Ghai is most probably down and out, the rest of the three should hopefully pickup their reins of quality for the betterment of cinema.

Kisna Music

2004-12-23T05:35:00.000-08:00

"Kisna - The Warrior Poet" is Subhash Ghai's forthcoming ambitious venture and spearheading the music chariot for the former showman are Ismail Darbar and A. R. Rahman. When any composer shares credits with A. R. Rahman the winner usually stands out even before the release of the album. Not in this case. When a rising composer competes ably with the emperor of music, the result is a bonanza for music fans. Kisna is such a bonanza. Rahman's authority is proved with the heart of Kisna- its themes, and two tracks. One of them, unprecedented in English. Ismail Darbar rises in the rest of the album with his trademark melodies and musical/choral arrangements. Javed Akhtar pens the lyrics and as with some of his films lately is awe-inspiring. The variety and richness of his words are inspirational. The album boasts of all types of songs existing in the Indian music repertoire viz. mujra, antakshari, classical, conventional and Akhtar commands his expertise over all.

The album starts off with the (short version) Kisna theme which is a new composition by Rahman. Flute and piano form bulk of this melodious track.

"Hum Hai Iss Pal Yahan" is a derivative of the Kisna theme. Sung by Udit Narayan and Madhushree, this is a lilting melody hinting at some recent Rahamasque music mixing. Udit Narayan shows why he is rock steady after more than a decade old career with his subtle voice variations. Madhushree brings freshness into the song. It has unique music pieces between the singer stanzas. Rahman uses a "whiplash-clap" percussion for the first time along with bird-chirps. Overall a first rate track.

"Woh Kisna Hai" is Ismail Darbar's first track for Kisna. It sets up the mood of what Kisna is all about. Describing Lord Krishna and Radha this track is composed with the typical Subhash Ghai movie music stamp. It is a foot tapping track and an instant hummer. Sukhwinder Singh sings this track with vigour. Choral arrangements through the voices of Ayesha Darbar and S. Shailaja are very effective. Watch out for Ismail Darbar!

"Tu Itni Pagli Kyon Hai" is a romantic duet by Udit Narayan and Alka Yagnik. On first hearing this track seems to offer nothing but by the end of it don't be surprised if you find yourself humming it. A lyrically unusual (unique) song.

"Aham Brahmasmi" is a spiritual song from Javed Akhtar. It talks about the choice of avoiding visiting temples for worship considering all gods inside oneself. Again a typical Subhash Ghai movie track musically. Sukhwinder Singh and Alka Yagnik accompanied by the effective chorus form the playback.

"Chilman Uthegi Nahin" is one of the best songs composed by Ismail Darbar in recent times. This song proves why Ismail Darbar is able competition for Rahman. Starting with a two liner by Sushmita Sen, this track is a conventional Ismail Darbar classical mujra composition. Hariharan, Alka Yagnik and the chorus of Ayesha & Ismail Darbar, S. Shailaja, Kailash Kher and Rakesh Pandit enhance this track. Grand orchestration, melody and tremendous lyrics make this track worth hearing again and again. This is a track which will stay with you after you've heard all the songs.

"Kahi Ujadi Mori Neend", sung by Ustad Rashid Khan is another masterpiece from Darbar. Classical vocals assisted by a choir-like chorus with chants of "Kisna" make this track an extremely worthwhile hearing experience. It is a Western & Indian classical fusion.

"My Wish Comes True" is Rahman's second and final track. Sung by Sunita Sarathy, the Sandeep Chowta find from "Bollywood Hollywood", it has English lyrics by Blazee. The tune is derived from the Kisna theme and extracts the most out of the singer through Rahman's usual high pitch tones. The choir extravaganza at the end of the song is its best feature. Rahman uses this a long time after Thiruda Thiruda (Chor Chor in Hindi). Similar to Taal, Ghai makes Rahman compose extended interludes.

This ends the first CD of the album. The second one begins with "Wohi Din Aa Gaya" a song sung by the bride describing her marriage day. Alka Yagnik does the honours backed by a predominantly male chorus. Another foot tapping number from Darbar.

"Ga Tu Aisi Dhun Mein" is an antakshari between the boys and girls of the Kisna age. Kailash Kher, M. Salaamat, Ayesha Darbar, S. Shailaja and Ismail Darbar play this antakshari at playback. Interesting lyrics by Javed Akhtar start at a conventional antakshari song but fuse the subject in the later stanzas. Truly talented writing is witnessed.

"Mantras I" and "Mantras II" are vedic chants rendered super-effectively by Vijay Prakash. A good drum/dholak beat is maintained throughout which makes them sound sensational. Inclusion of such elements makes this Subhash Ghai album unique.

"Tore Bin More Chain Nahi" is a purely classical song from Ustad Rashid Khan. This will cater to the niche appreciators of Indian Classical music. With the least background music, this song concentrates more on the lyrics and voice of the singer.

Three versions of the Kisna Theme end the album. "Kisna Theme (Flute)" has the flute rendition by Naveen, "Kisna Theme II" is a longer version of the theme involving a jugalbandi between the flute and the piano, the main instruments of this theme. This is the best version among the four. "Kisna Theme (Chorus)" is a choral version of the theme with the innovative "whiplash" percussion by Rahman.

Overall, the music of Kisna is first-rate and refreshing. A treat for the music-hungry fans of Rahman, Darbar and Ghai. A good album to end 2004.

Satya (Bombay Talkies Review)

2004-11-18T11:18:00.000-08:00

This is one the of best reviews written for one of the best films made! Read on...

--

Satya
Reviewed by – Khalid Mohamed

Cast: Urmila Matondkar, Manoj Vajpayee, Chakravarthy
Director: Ram Gopal Varma
Rating: ****

REJOICE. India's answer to Quentin Tarantino is here. Indeed, someone has finally had the guts to go ahead and make a movie about and for our times. No diabetic sweetness, no pretentious pontificating, no foolish fantasy out here. Believe it or not, Ramgopal Varma belts it out straight, like a prize-boxer delivering a knockout punch. Clearly, the dumb-cluck Daud can be forgotten and forgiven. A fact-based report of a city under siege, Satya is alive and kicking. It broils, snaps and explodes with energy. The events (obviously condensed from the recent gang wars and bestial carnage on the streets of Mumbai) whizz past at a murderous clip, hurtling the viewer along almost demonically.

The back alleys, sleazy dens, pubs and chawls of the metropolis seethe with conflict. Killers crawl through the urbanscape like scorpions on a stove. When a gun battle erupts, it seems a logical climax for the crazy, tense, superheated atmosphere: desperate characters floating along on a sea of booze, sex and paranoia, watching a city collapse around them. The shocking daylight slaying of Gulshan Kumar, incessant gang reprisals, double-edged police 'encounters' and extortion threats have been deftly adapted into a searing, slice-of-life script by Saurabh Shukla and Anurag Kashyap. Throughout the lingo is correctly coarse and colloquial.

Mercifully, as in the case of Bandit Queen, the censors haven't tinkered with the authentic dialogue. From the minute Satya (Chakravarthy), a man with no surname, arrives at VT railway station, we know he's no pancake hero. An agnostic with no roots and family ties, he drifts into a hell of no return. Aligning himself with a caboodle of snarling, smiling, sweaty hoods, led by the cocky Bhiku Mhatre (Manoj Bajpai), the stranger finds a matchbox-sized room to live and brood in. That Satya is still capable of human emotion is underscored by his shy romance with Vidya (Urmila Matondkar), the innocent girl-next-door.

"Jo bhi item hai, bahut bhaari hai baap," his cohorts cackle. But can love thrive in the time of relentless violence? The story moves between incidents which are simultaneously sordid and serene, this contradiction in terms building up to a finale that's as volatile as it is heart-tugging. Without revealing the end, suffice it to say, it's a zinger. The dramaturgy goes rancid briefly when Varma lets clouds of sentimentality deodorise the bracing cynicism and viciousness. It's as if the director felt he had to pay for his audacity: sing a few hymns about family values (Vidya's wheelchair-bound father is a cliched caricature) and hover needlessly over the breakfast table of the yoghurt-serving police commissioner. Also that first meeting between Satya and Vidya, in darkness because of a light-fuse, is a brazen lift from Satyajit Ray's Pratidwandi. Such grouses aside, there's plenty of food for thought.

Scenes like Bhiku Mhatre babbling after the extermination of one his gangboys, digs at American blockbusters a la Jurassic Park, Bhiku's near-soliloquy at the beachside and Vidya's police inquisition are just some of the passages that stay in the memory. Also of note is the police side of the story, with the commissioner (a fine cameo by Paresh Rawal) asserting loud and clear that the lawkeepers are caught in a Catch-22 situation: they're damned if they clean up the city, and they're damned if they don't. However, the film's trump card is its compassionate treatment of every character, great or small. The red-eyed, unkempt henchguys with their whiplash irreverence are exactly like the lumpen louts loitering around lethal lanes. Excellently photographed by Gerard Hooper and Mazhar Kamran, the Ganpati immersion shots and the overall lighting schemes are visually imaginative.

Lyrics by Gulzar (Baadalon se kaat kaat ke) and the evocative background score by Sandeep Chowtha are the other assets. Of the cast, co-writer Saurabh Shukla doubling up as the gang's anchorperson is marvellously subtle, sportingly allowing others to steal the show. Ditto Chakravarthy, who's gentleness personified, his anger simmering under the surface. Urmila Matondkar is first-rate, essaying even the most complex scenes with effortless grace and intelligence. And Manoj Bajpai, as the mercurial Mhatre, is brilliant. If we thought he was good in a minor role in Tamanna, here he attacks his meaty part in the manner of a hungry tiger. All said and savoured, Satya is a gritty, hellishly exciting film which stings and screams. No one will go away from it unprovoked or unmoved.

Swades Music

2004-10-14T13:31:00.000-07:00

Swades is a treat by the same team from Lagaan- A. R. Rahman and Javed Akhtar. While Lagaan had a predominantly rural feel, Swades is mixed bag full of goodies. Intelligent lyrics are united with supreme compositions in this Swades. Javed Akhtar continues his poetic stint (carrying along from a host of other movies with SEL and Anu Malik) of simple yet thought-provoking lyrics. A. R. Rahman continues his revolution in sound with compositions enriched from his sound library. The album boasts of seven songs and two instrumentals. Lyrically all songs are masterpieces. Javed Akhtar has yet again proved his resoucefulness when it comes to poetry. Metaphorical usage for conveying simple ideas is his usual trait and is expounded in this work too.

"Yeh Tara Woh Tara" is the opening track with Udit Narayan and two kids. They seem to be having a ball singing to best lyrical in the album. A track inspiring unity, it is a derivative of "Mitwa" from Lagaan. While "Mitwaa" inspired the villagers for the cricket match, Yeh Tara Woh Tara brings out the simple truths and benefits of unity for the general community. Udit Narayan should be applauded for maintaining the freshness in his voice and seems as if the previous song he sung was Papa Kehte Hain from QSQT. The kids keep up ably with some trouble in Rahman's usual high pitch vocals.

"Saavariya" is a female solo love song sung by Alka Yagnik. Reminiscient of a track from Rahman's earlier work 'Zubeidaa' this has some unique music arrangements that makes it a worthwhile hear. Hints of a classical base this track has Alka Yagnik roaming in very high pitches and doing full justice to it.

"Yuh Hi Chala Chal" sets up the party mood after two melodious numbers. Sung primarily by Udit Narayan and ably supported by Kailash Kher. Hariharan's voice is used as another musical instrument in the orchestra. He figures at the beginning and the end of the song singing along with Udit most of the time. Kailash Kher adds the classical touch in his brief interludes which are mostly repetitions of Udit's lines.

"Ahista Ahista" is a lullaby sung by Udit Narayan and accompanied in the latter part by Sadhana Sargam. Sadhana Sargam is getting all credit she rightly deserves in the latter part of her career. She has become a regular with Rahman and that is a relief. A sweet tuned song, this comes as a restful piece after the previous racy track.

"Yeh Jo Des Hai Tera" is my pick of the album. A soft and slow number sung by A. R. Rahman himself, this track penetrates you deeper with each hearing. The amazing use of shehnai in this song is the reason. Shehnais are heard in almost every marriage but when Rahman handles a musical instrument, it just changes its purpose. The tune is soulful and so are the lyrics cajoling the individual to return to his motherland. Programmed tabla and guitar along with the two track shehnai are the heroes of this song.

"Pal Pal Hai Bhari" is a bhajan in praise of Lord Rama and would appear in the film, it seems, as a part of a play on an episode from Ramayana. Madhushree, the latest Rahman find, performs along with prose by Ashutosh Gowariker himself and male vocals by Vijayprakash. Vijayprakash is a singer with a deep and amazingly controlled voice. He seems to be well versed with Sanskrit pronounciations as is evident from his singing. This track reminds one of "Radha Kaise Na Jale" from Lagaan. Conventional bhajan instruments like the tabla, sitar get the notable and unique Rahman touch again.

"Dekho Naa" is a love duet between Alka Yagnik and Udit Narayan. This song apart from its instrumentation has a unique (read complex) mixing toward the end of it. I keenly tend to hear such pieces especially with Rahman's music and they are a treat and they are plenty! Rahman blows you out with these pieces every now and then.

"Pal Pal Hai Bhari (Flute Instrumental)" is a reduced duration, Flute instrumental of the bhajan.

"Yeh Jo Des Hai Tera (Shehnai Instrumental)," the "Swades Theme" of sorts is as soothing as its original vocal. The programmed tabla and guitar sequences start from the beginning of the track itself as opposed to the vocal where they appear at the end. The best time to hear this track is when you are well conversed with the tune of the original song. Then the song growth is complete. The sound of shehnai in this track has almost become primordial for me.

In all, Rahman and Akhtar present Swades in a very different yet enjoyable mould that should not be missed at any cost.

Lakshya

2004-09-13T13:46:00.000-07:00

Lakshya in one line is the bright future of Hindi Cinema. Lakshya (Aim) is Javed Akhtar's story/screenplay after a wide gap of fourteen years and Farhan Akhtar's second directorial venture after the immensely enjoyable (and successful) Dil Chahta Hai. Both father and son tread on a path untread before in their respective vast and fledgling careers. While there have been war films made in Hindi cinema in the past, most of them are hampered due a storyline ruptured by the 'required' elements of commercialism and lack of technical expertise which is a must to make any war work look authentic. Lakshya scores heavily in these fronts. Scripts involving real life incidents always have mass appeal and more so with those related to wars. But avoiding being jingoistic and putting war in correct perspective is a mammoth task, especially when the war involves India and Pakistan. Further putting war as the backdrop and developing the protagonists' life sketch along the way is another ardent task. These hindrances do not apply to Javed Akhtar though!

Lakshya is a story of transformation of a happy-go-lucky college brat, Karan Shergil played by Hritik Roshan, into a responsible army officer. How people and incidents in his life direct him towards the formation and completion of his goal forms the crux of the story. A hapless decision-maker, Karan keeps his decisions bouncing and rebounding all the time. Born to an affluent family consisting of his parents and US exported elder brother, the aim in life hasn't dawned yet on Karan. Aspiring journalist girlfriend Romila Dutta a.k.a Romi played by Priety Zinta loves him for his innocence and straightforwardness but always wants her man to stand his own. Daughter of a liberal mother, Romi herself is forthright and knows fairly well what she wants out of her career and life. Like the typical youth of the "chalta hai" generation, Karan explores careers the way a kid would explore icecream flavours. "Main Army mein akela kya karoonga?" (What would I do alone in the Army?) is Karan's retort when the friend who influences his decision to join the Army, backs out in favour of his own plan for a foreign MBA. After his parents challenge his decision to join the Army without their consent, a voice first appears inside Karan which needs hearing and approval. With Romi's support, Karan stays put with his decision and joins the Army. Karan's father is confident that is son would back out. His prophesy becomes a fact. Unable to bear the rigour and discipline of the Army training, Karan Shergil returns. He is still comfortable with his decision and gets further assurance and solace when his father asks him to assist the family business. Romi, on the contrary cannot accept a meek give up from her boyfriend for a task, which he had consciously chosen, and decides to end the relationship. This is when Karan's eyes open up and he comes out of the dreamy moonlight he is basking in. Devastated, he rejoins the army, accepts punishment for his contempt, undergoes training and completes graduation. After deployment in Kargil, Karan meets Romi who is now a successful TV journalist covering the war. But armyman Karan is a loverboy no more. Though he still wants Romi back, he shows the poise and stature to deny Romi the liberty to take him for granted. During the war, Karan becomes a part of two missions that finally recover the annexed Indian army posts from the terrorists and Pakistani soldiers. He has found his Lakshya in winning the conquest, Karan tells Romila.

This tale of change, technically, is an effective screenplay depicting the change in Karan and war 'ethics' added with brilliant war choreography form the able supports of the film. Sequences between Karan and Romi as well as their friends and parents have been uniquely etched and directed. Lillette Dubey as Romi's mother looks effective. Boman Irani's displays an initial strict and serious and a final 'proud-to-be-a-father-of-an-armyman' demeanor with aplomb. The casting of Karan's friends is as realistic as it can get at any given college canteen in Delhi. The army ensemble led by Amitabh Bachchan along with Sushant Singh, Om Puri and others depict the Army officer personalities well. Other departments that need a mention include cinematography by Christopher Popp, lyrics (again) by Javed Akthar and music by Shankar-Ehsaan-Loy. The locales in Ladakh are a natural treat and so is their version on film. Christoper Popp goes great lenghts in making the war scenes look genuine. Effective pyrotechnics makes the shelling/firing seem real. The sets created to simulate the final rock climb are as authentic as they can get. Lakshya scores heavily on the technical front than any contemporary Hindi film. The songs are as unique as they were in DCH. SEL show their trademark melody iced with lemony music mixing. "Main Aisa Kyon Hoon" is rewarded with choreography by Prabhu Deva that is ably performed by Hrithik Roshan. What better dancer would respond to Prabhu Deva but Hritik? "Kandhon Se Milte Hai" is a markedly different war song and encompasses a host of male singers only to raise the song quality. Conversational songs breathe a new life with Javed Akhtar's pen! "Agar Main Kahoon.." is in the same mould and as good as "Jaane Kyon.." from DCH. The background score is also inspiring with use of modern instrumentation, especially electric guitars. Sync-sound, a recent boon to movie sound is effectively felt in some scenes especially the one with the Army officer confronting Zinta regarding the "necessity of war". Hritik Roshan plays the confused young man as well as the hardened armyman sincerely. Priety Zinta's character inspired from the real life journalist Barkha Dutt is also developed and performed well. The successful rapport between Priety Zinta and Farhan Akthar continues in their second film as well. As with DCH, both Roshan and Zinta get two different hairdos in the film, a soon becoming must for Farhan Akthar movies. Direction wise, Farhan Akhtar handles a totally different and challenging script than his previous film ably. His unique style of direction seems to be evolving with each passing film. One can only expect better and more technically advanced films from this able filmmaker in the future. Javed Akhtar stamps his authority all over the film. Witty dialogues and a fitting screenplay are his trump cards.

In all, Lakshya is a treat for those who like 'different' films. Contemporary minus cliches, the movie 'feels' better in and with each scene. Good story, good performances, good music, good cinematography, good choreography and good direction all are all motivations to not miss this one! Modifying one of its title song lines would sum it up, "Lakshya to.. kisi haal mein 'dekhna' hai" (You have to see Lakshya at any cost!)

Main Hoon Na

2004-07-14T16:49:00.000-07:00

Rejoice! Director Farah Khan stamps her arrival. Bollywood has yet another star director for the future. Farah Khan’s debut work ’’Main Hoon Na’’ shows the true essence of ’’conventional’’ Bollywood. The impression a person, alien to the world of songs ’n’ fights ’n’ melodrama, has of Bollywood is corroborated with this venture. Wholesome entertainment of the late 70s-early 80s cinema augmented by the late 90s glossy cinema equal ’’Main Hoon Na’’ Farah Khan successfully blends many discrete ingredients together into a hearty meal. The optimistic Indo-Pak friendship, typical Bollywood lost ’n’ found garnished by good songs and comedy make the dish which is ’’Main Hoon Na’’

Shah Rukh Khan plays an army major (thank god not the usual college lover boy at last!) who along with his father Nasseruddin Shah, an army guy too is working on a friendship enterprise with Pakistan. Things go awry when court martial ex-army soldier Suneil Shetty makes his intentions clear. Cut to track two - SRK has an estranged step mother and brother. A reunion with them is the top item on his fathers agenda. Zayed Khan plays the step brother, a happy go lucky - live life to the fullest - kind of a college lover boy. Amrita Rao plays an army generals daughter and Zayed’s love interest. Sushmita Sen is the sweet dream-come-true teacher for any male student. Comic characters in the shape of Bindu, Satish Shah and Boman Irani have their own unique abnormalities and add the comic flavour to this cocktail. How SRK plans to satisfy his fathers wishes of friendship with Pakistan and the union with his step family while countering Suneil Shetty’s profane plans forms the essence of MHN.

Performance wise everyone performs within themselves. Shah Rukh Khan gives an admirably different performance this time around, bereft of his usual mushy-mushy emotional rants. Seeing him speak something about his country and its relations with Pakistan is a welcome relief than his usual love issues with multiple heroines. Zayed Khan is a star of the future. His diction shows promise. Though his body coordination with dialogues is not still upto the mark, it will only improve. Amrita Rao looks innocently cute and plays her part with conviction. She is certainly a breath of fresh air. Sushmita Sen looks smashing in her Manish Malhotra saris and carries herself off elegantly. Suneil Shetty gives a knockout performance as the bad guy. His dialogues and diction convey his cruel intentions aptly. Comedians Satish Shah, Boman Irani and Bindu are perfect in their interesting characters and make the viewer laugh almost everytime they appear on screen. Kiron Kher performs well as the step mother.

Farah Khan shows why she is a future force to reckon with. With her story and direction along with some part of the screenplay, she convinces the viewer how entertaining hardcore Bollywood can be. The one-take opening song, the overall choreography and loads of funny incidents are the feathers in this directors hat. Some ’’Matrix’’ like special effects make the proceedings interesting. These effects have been used in the usual action scenes and also in one comedy scene involving Satish Shah. That is some innovative use of technology! Anu Malik and Javed Akhtar once again render melodious and foot tapping music. The fact that Farah and Anu had been working on the music for more than a year is showing clearly. Anu’s music arranger and friend Ranjit Barot gives a blowing background score. Ranjit has been in the background (general sense) for a long time and its high time he gets attention. With Anu only the sky is a limit for him. Farah seems to have given a lot of thought in picturizing the songs especially the end titles song where the entire crew of actors and technicians flaunt their name placards while they dance their hearts out.

MHN succeeds in bringing a smile to the viewers face after he has had an liberal helping of this spicy and juicy Bollywood dish. For the hardcore Bollywood fan this close to three hours treat should not be missed at any cost!

Murder

2004-07-14T16:47:00.000-07:00

Another Mahesh Bhatt movie trying to look Hollywood. Anurag Bose is the new whizkid from the Bhatt team and rightly so. The direction stands out in the general look as well as the going ons. But alas, as the golden bollywood dictum or in general any successful movie dictum no script no no no...nothing. Although the titles say the story is also by Anurag Bose you’d wish. Excerpts from the hollywood blockbuster ’’Unfaithful’’ and direct lift offs from the same screenplay abound in Murder. Right from the starting scene where the wife meets the other man (in rain as compared to the storm in the english version) to the seduction scenes with focus on the wife’s tummy the screenplay relies too much on the already made version.

Cast wise Mallika Sherawat gets ample scope to bolster her self declared status of the latest bollywood sex symbol (CNN rated her as India’s Youth icon.. oh. commmoonn....) but she needs more on acting and makeup front. Ashmit Patel shows some stature in his serious character. Mahesh Bhatt nephew Hashmi looks like the Bollywood version of Colin Farell though not remotely close on the performance. With a few movies and some grooming this one has potential nonetheless.. Patel shows a better body cut than Hashmi and both flaunt their skin with able competition from Sherawat! Raj Zutshi is passable but his comic attire as a sardarji (?) police is appalling.

The story looks gripping at parts especially the end scenes where the twist in the tale is revealed but overall is a forgetful affair. Unexplainable situations abound e.g. Ashmit Patel dragging something (I won’t reveal what) on a busy road and nobody even staring at him or informing the police etc.

The songs are good and Anu Malik looks in form. Some songs are like the screenplay - ’’inspired’’ but melodious to the ear nonetheless. The music is well blended with the story but it would had been justice to the film if the music was restricted to the music album itself. Overall, the movie has its moments, but you would do yourself no harm by not seeing this one!

Ab Tak Chhappan

2004-07-14T13:01:00.000-07:00

If Satya was the Bollywood’s answer to the Quentin
Tarantino kind of Cinema, Ab Tak Chhappan only
enhances the answer. While Ram Gopal Varma’s classics
Satya and Company glamorized the underworld, ATC
upholds the crime controllers of Mumbai, especially
the controversial Encounter Cops. Shimit Amin, the
editor of RGV’s Bhoot, is a welcome extension of the
RGV style direction. RGV’s mantra of not letting good
ideas go waste due to the limited time he has with
him, by handing over the reigns to capable young men
(there have been no women yet, but who knows.. keep
watching...) is turning out very well for Bollywood
and the select audience his kind of movies has made.
ATC fares well among a wider audience nonetheless,
especially the ardent followers of Nana Patekar.

Slick editing (a usual with the newer RGV movies),
hitting dialogues, unusual camera moves, taut
screenplay with incidents coming out of nowhere to the
viewers surprise abound in ATC and make it a
thoroughly enjoyable affair. The life and workings of
the (in)famous encounter cops are depicted in
immaculate style. The involvement of the politicians
in the affair, the rapport of junior-senior police
officers has been depicted genuinely. The proceedings
completely lack glamour and all the incidents look
real. The no-nonsense attitude shown by the police
(and gangsters) makes the plot interesting. Things
move at even pace throughout the movie throwing light
on various aspects of an encounter cop’s personal and
professional life. The story digresses a bit after the
interval and starts lacking the logic maintained till
this point but makes sense again near the end. A lot
of reviews have said that the end looks nonsense but I
beg to differ. Although there are some flaws in the
screenplay which don’t justify the end with respect to
the events that lead upto it, its still a innovative
plot. It takes the viewer by surprise.

Performance wise the entire ensemble is awesome (as
with most RGV movies). Nana Patekar is in complete
control of his character and makes an impression that
he almost lives it everyday. His cohorts in Kunal
Vijaykar and Yashpal Sharma are also excellent. While
Vijaykar depicts the more easy going kind of a
policeman, Sharma plays a jealous junior solely
interested in making more ’’encounters’’ and increase
the numbers in his scrap book. Nakul Vaid plays the
novice in the team with conviction. His expressions
show the inexperience of a newcomer and his diction
and actions hint his willingness to learn. Revathi as
Nana’s wife plays her small part as normal as a
housewife. Hrishita Bhatt does not get much scope but
overacts at times. Prasad Purandare as the underworld
down is a revelation. His chin beard and the general
getup augmented by his facial expressions make his
character look as real as Nana’s. Mohan Agashe plays
his role with integrity as does Jeeva as the corrupt
commissioner of police. The background score from
Salim-Suleiman is worth mentioning. RGV is the best
thing that has happened to this talented music duo.
The sky is the limit for them with RGV.

Things look bright for Bollywood with RGV’s
non-escapist cinema. The talent that he has and
produces through others augurs well for the hindi
movie future. Don’t miss out on Ab Tak Chhappan. It
would be an insult to Ram Gopal Varma.