Bollywood Gossip : 2019

Monday, 30 December 2019

Music Review - Pati Patni Aur Woh

EXPECTATIONS Of late, music in films starring Kartik Aaryan has invariably turned out to be of chartbuster variety. It was seen earlier this year in Luka Chuppi as well and now 2019 is ending with a bang, what with each of the songs from turning out to be a chartbuster. <img class="aligncenter size-full wp-image-1057787" src="https://ift.tt/36aCmrp" alt="Music Review - Pati Patni Aur Woh" width="750" height="450" /> MUSIC It is time to welcome yet another recreated version, this time that of Tony Kakkar's mega hit number 'Dheeme Dheeme'. The man who has been getting it right for most of the times, Tanishk Bagchi, hits a six yet again with this version which has Tony Kakkar and Neha Kakkar coming together for this rollicking club track. A superb number that has a huge foot tapping appeal and is set to rock the show for many more months to come as well, 'Dheeme Dheeme' has Tony Kakkar, Tanishk Bagchi & Mellow D contributing towards the lyrics as well. A love song comes next in the form of 'Tu Hi Yaar Mera' which has Neha Kakkar being heard in an altogether different avtar from her usual self. Instead of a fun-n-frolic outing, she becomes a part of a love song which has been beautifully composed by Rochak Kohli with Arijit Singh showing once again that he is the numero uno choice when it comes to singing his way right into the heart. Moreover, it is lyrics by Kumaar that make a good impact as well, hence ensuring that 'Tu Hi Yaar Mera' turns out to be a song that would have a good shelf life. As for a love song that has certain depth to it, 'Dilbara' couldn't have come at a better time, what with Sachet-Parampara doing well yet again after their superlative effort in Kabir Singh and then Pal Pal Dil Ke Paas. A Hindi-Punjabi song which has a trademark stamp of the composers-singers, 'Dilbara' is pretty well written by Navi Ferozpurwala who gets the feel of 'dard-e-judaai' right. In fact it is surprising that the song hasn't been hammered to the fullest as this one carries good potential to find popularity amongst those mending a broken heart. Last to arrive is yet another recreated version, 'Ankhiyon Se Goli Mare', which has stayed on to be a chartbuster even after a couple of decades since it was heard first in Dulhe Raja. The tune by Anand-Milind is given a good twist by Tanishk Bagchi who brings on board just the right singers in the form of Mika Singh and Tulsi Kumar to result in a song that sounds fresh till date. While the core peg 'Ankhiyon Se Goli Mare' as well as the 'antara' by Sameer is retained as is, the 'mukhda' goes through a transformation albeit without hurting the originality much. OVERALL The music of Pati Patni Aur Woh is on expected lines as there is no dull moment whatsoever. A couple of recreated dance numbers and then a couple of love songs ensure that this one turns out to be a well-rounded affair. OUR PICK(S) Dheeme Dheeme, Ankhiyon Se Goli Mare, Dilbara

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Music Review - Good Newwz

EXPECTATIONS When a biggie arrives from the house of Karan Johar with a massive starcast led by Akshay Kumar and Kareena Kapoor along with Diljit Dosanjh and Kiara Advani, you don't quite settle for something ordinary. Moreover, with the film also being titled Good Newwz, you expect the same flavor in the soundtrack as well. <img class="aligncenter size-full wp-image-1057786" src="https://ift.tt/36cAP4b" alt="Music Review - Good Newwz" width="750" height="450" /> MUSIC Tanishk Bagchi, who is known more for his recreated versions, hits it out of the park with an original track 'Chandigarh Mein'. A Hindi-Punjabi number that has an eclectic mix of singers in the form of Badshah, Harrdy Sandhu, Lisa Mishra and Asees Kaur, this one has Tanishk and Badshah coming together for the lyrics department as well. A dance number with a mega celebratory feel to it, 'Chandigarh Mein' has a really catchy hook to it which doesn't take time to get on you, so much so that you find yourself humming this one soon enough. Next to arrive is 'Sauda Khara Khara' which has stayed on to be a major chartbuster for many years now. Originally rendered by Sukhbir, this one has Diljit Dosanjh taking over the center-stage this time around, and the actor-singer does a really good job all over again. With Kumaar stepping as the lyricist, this one has Lijo George-Dj Chetas as the composers while Dhvani Bhanushali is also the newest entrant behind the mike. A Punjabi dance number, it is now bound to have an even longer shelf life due to the presence of Diljit and Akshay in the video. The manner in which 'Maana Dil' begins, it reminds one of 'Fakira'. However, the similarity is just for a few seconds as soon enough B Praak makes a solid impression once again with his characteristic voice even as Tanishk Bagchi spins together a soulful tune for this beautifully written sad number by Rashmi Virag. While the 'mukhda' makes a good impression, it's the manner in which the 'antara' portions are put together that take the song, which has Farhad Bhiwandiwala as the additional singer, take it to the next level. Hear this one for sure. It is back to celebrations with RDB's 'Laal Ghaghra' brought to fore once again by Tanishk Bagchi, Manj Musik and Herbie Sahara. A fast paced dance number that sets one feet tapping from the word go, this one is written by Tanishk Bagchi & Herbie Sahara and sung with aplomb by Manj Musik, Herbie Sahara & Neha Kakkar. The song's placement in the film is also apt as it adds on to the fun feel that director Raj Mehta has adopted for the first half of the narrative. With each of the four songs making a really impression, it is indeed 'good news' so far. A song with a core Western touch to it, 'Dil Na Jaaneya' arrives next. Composed by Rochak Kohli and Lauv who also sing this one with Akasa leading the show, this one is a kind of song that one associates with an urban romcom entertainer by Karan Johar. A soft number which is soothing to the ear, it has a mix of Hindi and English lyrics, courtesy Gurpreet Saini, Ari Leff and Michael Pollack. Though one waits to see if the song gains as much as popularity as rest of the massy soundtrack, this one would go down as a classy outing which is also heard in an unplugged version with Arijit Singh leading the show. Dance and celebrations continue with 'Zumba' which is based on Punjabi folk music that is commonly heard in weddings up north. Tanishk Bagchi does well to bring on core Punjabi flavor in this dance number that has a mix of contemporary and traditional lyrics by Vayu with Romy taking center-stage as the singer. This is a song that keeps the narrative of the film exciting. Last to arrive is the peppy theme music of the film, 'Good Newwz Theme', which is just an apt finale for the soundtrack. KSHMR and Tanishk Bagchi are the creators for this fun track. OVERALL The music of Good Newwz is quite good and has already helped the film find ample attention coming its way. With the film doing quite well in theaters already and the music gaining further thumbs-up from the audiences, expect the songs to play on for many more months to come. OUR PICK(S) Chandigarh Mein, Sauda Khara Khara, Laal Ghaghra, Maana Dil

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Music Review: Dabangg 3

EXPECTATIONS There are good expectations from the music of Dabangg 3. After all, the music of both Dabangg and Dabangg 2 had done quite well, and composer duo Sajid-Wajid is expected to score a hat-trick with this one. Danish Sabri is the prime lyricist with others pitching in as well. <img class="aligncenter size-full wp-image-1057746" src="https://ift.tt/2ZHbNrt" alt="" width="750" height="450" /> MUSIC The album kick-starts with the title song 'Hud Hud' which has seen a variation of sorts this time around with Jalees Sherwani coming together with Danish Sabri as the lyricist. Somehow, the punch is missing in this re-dux version. Though the song is in the same zone as the earlier version, something which makes the 'mukhda' interesting, the 'antara' portions don't quite work. Moreover, rendition by Shabab Sabri, Divya Kumar and Sajid doesn't carry much energy either which results in 'Hud Hud' turning out to be rather ordinary. As is the tradition with Dabangg franchise, there is yet another 'naina' song coming in the form of 'Naina Lade'. The song belongs to the kind which was popular around a decade back when Salman Khan had many such chartbusters to his name. Perhaps the makers wanted to retain a similar sound in order to stick to the ethos of Dabangg franchise. However, what one ends up listening to is a rehashed version of sorts that has been written by Danish Sabri and rendered by Javed Ali. There is some excitement that steps into the proceedings with Danish Sabri written 'Yu Karke' that has naughty undertones to it. In the same zone as 'Saree Ke Fall Sa' from Prabhu Dheva's own R... Rajkumar, this one caters to the gentry and is an out and out massy number. Surprisingly, even though Salman Khan has sung this track which boasts of some eye catchy choreography and picturisation as well, the song hasn't been promoted to the fullest. Payal Dev accompanies Salman Khan behind the mike and has her share of fun as well. Badshah joins Danish Sabri as the co-lyricist for 'Munna Badnaam Hua' and in fact also opens the number with his rap portion. Considering the kind of set up that Dabangg has, it seems a bit odd to have Salman Khan lip synching to a rap outing here. One of his favorite singer Kamaal Khan takes the lead along with Mamta Sharma for this fun-n-celebration track that is doesn't really turn out to be another 'Munni' [Dabangg] or 'Fevicol' [Dabangg 2]. Still, it is a better recreated version when compared to 'Hud Hud'. Veteran lyricist Sameer Anjaan along with Sajid write 'Awara' that doesn't really impress even after a couple of listening. Newcomer Muskaan renders this song and one can't really say that she ends up making an instant impression. Moreover, the tune is way too old fashioned here; so much so that another newcomer singer Salman Ali isn't able to salvage the song much. Last to arrive is 'Habibi Ke Nain' which has Jubin Nautiyal taking charge with Shreya Ghoshal soon after. A love song which is on the same lines as 'Awara' or 'Naina Lade', it scores in maintaining consistency but in the process also ends up becoming yet another romantic track that doesn't really have in it to cover much of a distance. Irfan Kamal's lyrics try to be all poetic and soulful but somehow the impact is missing, just as is the case with majority of soundtrack. OVERALL While relatively speaking the music of Dabangg 3 is not a patch on Dabangg or Dabangg 2, even on an absolute scale it doesn't have much in there to go a long way in time to come. OUR PICK(S) ‘Munna Badnaam Hua’, ‘Yu Karke’

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Wednesday, 25 December 2019

Movie Review: Good Newwz

The word ‘sperm’ was considered taboo in Hindi movies until 2012. Then came VICKY DONOR - the story of a sperm donor - and it made the term very common and acceptable. Seven years later - after this path-breaking film - yet another Hindi movie takes to tell a genuinely hatke story - GOOD NEWWZ. <img class="aligncenter wp-image-1056213 size-full" title="Movie Review: Good Newwz" src="https://ift.tt/34VOefB" alt="Movie Review: Good Newwz" width="720" height="450" /> GOOD NEWWZ has generated tremendous excitement thanks to its subject mainly, besides its eye catching star cast. The trailers have also done the trick. The question is, does the film deliver in totality? The plot line *without* revealing the spoilers... GOOD NEWWZ is the story of a goof-up of epic proportions. Varun Batra [Akshay Kumar] works in an automobile showroom in Mumbai. He is married to Deepti aka Deepu [Kareena Kapoor Khan], a journalist, since seven years. They are keen to start a family, but aren’t able to do so. At the insistence of Varun's sister [Anjana Sukhani], both decide to visit a fertility clinic run by a reputed doctor, Dr Joshi [Adil Hussain]. Dr Joshi suggests that they opt for IVF. Varun and Deepu give their go ahead. Honey Batra [Diljit Dosanjh] and Monika [Kiara Advani], a Chandigarh-based couple, also visit Dr Joshi. Their last names leads to a confusion and subsequently, a big goof-up. GOOD NEWWZ has an interesting plot, but most importantly, it boasts of a smart and engaging screenplay. The writers juxtapose drama, emotions, romance and humour seamlessly in the narrative, which makes this one an enjoyable ride from commencement to conclusion. The writers come to the point at the very start of the film, while the goof-up is well integrated in the screenplay. There’s hardly any dull moment, frankly. Sure, the film could’ve done without a song or two, but these are minor glitches in an otherwise watertight script. While the drama keeps you hooked, the dialogue only heighten the impact of several sequences. Team Good Newwz’s Most Entertaining Interview | Crazy Quiz & Rapid Fire | Akshay, Kiara, Kareena <iframe id="jwiframe" class="playerFrame" src="https://ift.tt/2t6EjX9" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Raj Mehta [GOOD NEWWZ marks his directorial debut] is in total command of the situation. This is a damn difficult subject to handle when you are a first-timer, but he deserves brownie points for doing complete justice to the written material. The director handles the second hour most admirably. A number of sequences are maturely handled, especially when Kareena and Kiara bond over paani puri or the sequence in the hospital when Akshay breaks down. GOOD NEWWZ is embellished with sincere and noteworthy performances. Akshay Kumar is in terrific form. His emotional portions in particular are remarkable. It’s a delight to watch Kareena Kapoor Khan after a hiatus. She’s excellent. Also, she looks stunning. Diljit Dosanjh arrives late in the film, but once he does, he takes the film to another level. He’s top notch. Kiara Advani doesn’t have much to do in the first half, but post interval, she makes sure she scores in several sequences. Adil Hussain has his moments. Tisca Chopra is wonderful. Anjana Sukhani and the actor playing her husband are dependable. The soundtrack is in sync with the film. At least two songs stand out - ‘Sauda Khara Khara' and 'Chandigarh’. The DoP captures the mood as well as the emotions well. On the whole, GOOD NEWWZ is a sure-fire hit. Smart writing, fantastic humour and heartfelt emotions are the three pillars of this well-made film. The fourth pillar being the performances of its principal cast. At the boxoffice, 2019 is sure to conclude with a big winner, bringing cheer and joy in this festive season. GOOD NEWWZ will live up to its title and bring good news for its investors.

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Movie Review: Good Newwz

Friday, 20 December 2019

Movie Review: Star Wars - The Rise of Skywalker (English)

The franchise of STAR WARS has always enjoyed a massive cult like following worldwide. STAR WARS: THE PHANTOM MENACE (1999), followed by STAR WARS: ATTACK OF THE CLONES (2002), STAR WARS: REVENGE OF THE SITH (2005), STAR WARS: A NEW HOPE (1977), STAR WARS: THE EMPIRE STRIKES BACK (1980), STAR WARS: RETURN OF THE JEDI (1983), STAR WARS: THE FORCE AWAKENS (2015) and STAR WARS: THE LAST JEDI (2017), with every new film, the expectation from the franchise has increased. The ninth and supposedly the last chapter has arrived and it brings a lot of nostalgia. STAR WARS: THE RISE OF SKYWALKER is destined to have mixed reactions considering the flick is the conclusion to the story that began in the year 1977. While the franchise enjoys a huge following, we analyze whether this conclusion to the 42-year saga is the most satisfying on or a controversial one. <img class="aligncenter wp-image-1054446 size-full" title="Movie Review: Star Wars - The Rise of Skywalker (English)" src="https://ift.tt/34MEt3q" alt="Movie Review: Star Wars - The Rise of Skywalker (English)" width="750" height="450" /> STAR WARS: THE RISE OF SKYWALKER begins with Kylo Ren (Adam Driver), who is now the Supreme Leader of the First Order is in search of the ancient threat called Sith Lord Emperor Palpatine (Ian McDiarmid). On the other side, Resistance leader Poe Dameron (Oscar Isaac), Finn (John Boyega), Chewbacca (Joonas Suotamo) and their droid friends C3-P0 (Anthony Daniels), and BB-8 are on a quest which quickly turns into a stunning action showdown between the heroes and the villains while they jump from one planet to another with light speed skipping technique. Meanwhile, Jedi Rey (Daisy Ridley) is still in dilemma about her story, her parentage as she has a dark vision which showcases her mysterious connection to Kylo Ren. The two Jedi continue to connect with each other in different ways as they Resistance prepare to fight the Emperor Palpatine. Following the orders of Princess Leia (Carrier Fisher) and lessons of Luke Skywalker (Mark Hamill), the space heroes begin their final journey to win the biggest battle. STAR WARS: THE RISE OF SKYWALKER upped their game as the film boasts of mind-blowing and truly astounding cinematography that leaves the audience wanting for more. The visual effects are seamless which create magic on screen. From the beginning itself, the story leaves you hooked as the galactic world of STAR WARS begins with action packed scenes. The battles, the duals, the light speed jumps, everything seems seamless. Though the story is bit slow in some parts with lesser words and more emotions, it picks up in the second half with some interesting and crazy cameos. The stakes are high in this film and major focus is on Rey and Kylo Ren. However, though JJ Abrams does a marvelous job in directing this last film in the franchise, STAR WARS: THE RISE OF SKYWALKER does not come across as something to write home about. In fact, for the most part the film looks like a series of montages that have been developed to fill certain check boxes that appeal to the audience and fan base strung together. Though the chemistry between Kylo Ren and Rey is worth watching, the predictability of the film’s story is a massive dampener. More often than not, the viewer is able to foretell the coming sequences, and if discerning will also more or less be able to gauge what the climax of the film will be. Despite this, STAR WARS: THE RISE OF SKYWALKER does have its high points, but sadly they are few and far between. For a quintessential Star Wars fan who has followed the series, this film would be more of a walk down memory lane. <img class="aligncenter wp-image-1054447 size-full" title="Movie Review: Star Wars - The Rise of Skywalker (English)" src="https://ift.tt/2Sa6i2H" alt="Movie Review: Star Wars - The Rise of Skywalker (English)" width="750" height="450" /> Coming to the performances, every actor shines bright in the film but it is hands down Daisy Ridley’s show. This time around, she has matured while portraying Rey. Two instances stand out and both scenes are shared with Adam Driver. Adam Driver Kylo Ren gets his due in this film with powerful performance as Kylo Ren as he gets the audience emotionally involved in his storyline. Rey and Kylo Ren’s scenes are some of the most engaging scenes in the film with some complex lightsaber battles involved. Late Carrie Fisher (Princess Leia) returns as the makers use the limited footage that was left of her as they pay tribute to the original girl of Star Wars. Her scenes are sensitively projected. Oscar Isaac as Resistance leader Poe Dameron along with John Boyega’s Finn along and BB-8, C-3PO and Chewbecca bring banter, humor and emotions to their scenes. Oscar and John’s bromance has hits hilarious moments as they continue to be the heroes who wear their hearts of their sleeves. Dominic Monaghan, new member of Resistance, hardly has any time to establish his character. Ian McDiarmid as Emperor Palpatine is astounding. Meanwhile, Kelly Marie Tran's character Rose Tico hardly gets any screen time besides a few moments during the final battle. We get introduced to Keri Russell as Zorri Bliss who is decent in her scenes. The certain cameos are nostalgia – filled which makes this end of the sage a memorable one. JJ Abrams direction is crisp and tight as he delivers some of the biggest questions that were left answered during STAR WARS: THE FORCE AWAKENS (2015) and STAR WARS: THE LAST JEDI (2017). JJ Abrams captures the essence of this galactic world as he brings out the best in every character especially Ren and Rey. John Williams background score is incredible. The story by JJ Abramas, Chris Terio, Colin Tervorrow, Derek Connolly is moving. JJ Abrams and Chris Terrior is impressive. On the whole, STAR WARS: THE RISE OF SKYWALKER may not be for everyone but it gives a bittersweet yet endearing ending to saga which is a tribute to the legacy. The die-hard fans might enjoy some of the stunning intergalactic moments.

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Movie Review: Star Wars - The Rise of Skywalker (English)

Movie Review: Dabangg 3

Salman Khan’s career got a new lease of life with WANTED [2009]. But it was DABANGG [2010], that released a year later, which confirmed that he was there to stay on top for a long, long time. Audiences too loved the superstar like anything in his Chulbul Pandey act. DABANGG 2 [2012] also repeated the blockbuster commercial success of the first part, though collections didn’t grow much as response was not unanimously positive. Now seven years later, Salman and producer-brother Arbaaz Khan present DABANGG 3 and release it in the beneficial Christmas week. What’s more, massy director Prabhudheva is helming the flick this time. So does DABANGG 3 emerge as a complete entertainer that will give fans their money’s worth? Or does it fail to entertain? Let’s analyse. <img class="aligncenter size-full wp-image-1054364" src="https://ift.tt/35MSUpu" alt="" width="720" height="450" /> DABANGG 3 is the story of a badass cop. Chulbul Pandey (Salman Khan) is now the SP of a town named Tundla. As soon as he arrives, he nabs a bandman-turned-goon Guddu (Nawab Shah) and reforms him. He then busts a human trafficking racket under Chinti Valia (Dolly Bindra). The kingpin of this business is Bali Singh (Kichcha Sudeepa). As soon as Chulbul finds out about this aspect, he goes into a shock. Some repressed traumatic memories come alive in front of his eyes. The story then goes in a flashback mode. This is a time when Chulbul's name was Dhaakar. He comes across the picture of Khushi (Saiee M Manjrekar). She was selected as the bride for Dhaakar's brother Makkhi (Arbaaz Khan). But Dhaakar falls for her. He meets her and wins her heart with his progressive thoughts and of course, style. At the insistence of Khushi, he changes his name to Chulbul. The alliance was fixed and all was going well. One day Bali Singh bumps into Khushi and he falls for her. But when he learns that Khushi is madly in love with Dhaakar, he gets enraged and kills her in front of Dhaakar. On top of that, Dhaakar is jailed for the murder of Khushi and her parents. In the prison, he comes across a large hearted police officer Satyendra Singh (Sharat Saxena). He helps him get acquitted and also motivates him to join the police force. As soon as he turns cop under the name of Chulbul Pandey, the first thing he does is to throw Bali Singh down a cliff. He is presumed to be dead. Hence, Chulbul is shocked that Bali survived and is now back to challenge him. What happens next forms the rest of the film. Salman Khan's story is weak and beaten to death. He has such great characters at his disposal but he makes good use of them only partially. Salman Khan, Prabhu Deva, Dilip Shukla and Aloke Upadhyaya's screenplay is effective but only in parts. The film keeps one engaged but again, the script suffers because of outdated storyline. What’s praiseworthy is how they have joined the dots. Audiences get to learn a lot about why Chulbul and other characters behave the way they do. Dilip Shukla and Aloke Upadhyaya's dialogues pack a punch in most places. A few jokes however fall flat, especially the toilet humour. Prabhudheva's direction is average and again, the story is to blame. He tries to add something new but doesn’t succeed in all scenes. Also, there are far too many songs that hamper the film’s pace. And shockingly, an important mystery, with regards to Bali Singh, remains unsolved till the very end. It’s bewildering why the makers chose to do that DABANGG 3 starts off on a fine note. The entry scene of Salman Khan as expected is whistle and clap worthy and in many ways, it’s the best part of the film. The manner in which Chulbul frees the trafficked girls and even teaches Chinti Valia a lesson will also be loved. The flashback portion too commences well and is also funny. But the Bali Singh track here looks very clichéd and outdated. Post interval, the film gets a bit better as Chulbul outsmarts Bali Singh. Again, most of the parts are predictable and of convenience. The climax fight will be liked by masses, particular the shirtless sequence bit of Salman Khan. “Salman Khan has always worked VERY HARD, You don’t…”: Arbaaz Khan | Dabangg 3 <iframe id="jwiframe" class="playerFrame" src="https://ift.tt/2rgYykE" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Dabangg 3 belongs to Salman Khan and he’s the one who makes the film watchable. The superstar is enjoying playing this part and it shows. His sense of humour is spot on. Also he looks dashing in the flashback portions. Sonakshi Sinha as expected lends support. She looks energetic in the songs. Newcomer Saiee M Manjrekar seems beautiful and tries her best. But her dialogue delivery is not upto the mark. Kichcha Sudeepa looks evil and menacing. But his track ought to be more terrifying for a better impact. Arbaaz Khan is fine and has a crucial part in the second half. Dolly Bindra is loud but suits her part. Nawab Shah is over the top. Pramod Khanna plays the part essayed by his deceased brother Vinod Khanna in the first two parts and slips into the role effortlessly. Bharat Dabholkar is wasted. Sharat Saxena is decent. Rajesh Sharma (S S Sharma) and Paresh Ganatra (Dabboo) try to be funny but don’t really succeed. Sajid-Wajid's music won’t have a huge shelf life. 'Hud Hud' is the best of the lot followed by 'Munna Badnaam Hua'. 'Naina Lade' is sweet. 'Yu Karke' and 'Habibi Ke Nain' are forced. 'Awara' is not memorable. Sandeep Shirodkar's background score is heroic and exhilarating. Mahesh Limaye's cinematography is spectacular and some scenes are well shot. Anl Arasu's action is a bit gory but works. Wasiq Khan's production design is appealing. Same goes for Ashley Rebello and Alvira Khan Agnihotri's costumes. Ritesh Soni's editing is not smooth, especially in the action scenes. On the whole DABANGG 3 is a predictable revenge saga which capitalises on the star power of Salman Khan. At the box office, it has enough masala for Salman Khan fans which will result in terrific opening weekend [extending into Christmas holidays] post which it might face a slowdown at the multiplexes.

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Movie Review: Dabangg 3

Friday, 13 December 2019

Movie Review: The Body

One of the biggest surprise hits of 2019 was the suspense thriller BADLA, starring Amitabh Bachchan and Taapsee Pannu. It was a remake of the 2017 Spanish film THE INVISIBLE GUEST, directed by Oriol Paulo. Now another film of this master director, THE BODY, has been remade and also carries the same title. So does the Hindi remake of THE BODY manage to grip and shock viewers, just like the original version? Or does it fail to engage? Let’s analyse. <img class="aligncenter wp-image-1051941 size-full" title="Movie Review: The Body" src="https://ift.tt/38xqgKA" alt="Movie Review: The Body" width="720" height="450" /> THE BODY is the story of a corpse that vanishes from a morgue under mysterious circumstances. Ajay Puri (Emraan Hashmi) is married to a rich businesswoman Maya Verma (Sobhita Dhulipalia) and both reside in Port Louis, Mauritius. Ajay has married Maya for her wealth. Moreover he is fed up of the way she ill treats him. Ajay runs her pharmaceutical business and is also a guest professor. During one of the lectures, he gets introduced to a student, Ritu (Vedhika Kumar). Soon they start a romantic relationship. Ajay is aware that if he asks for a divorce from Maya, he’ll be stripped of all wealth. Hence he decides to murder her and devises a great plan. Maya gets anxious while taking flights. The day she is going to be back from a long flight from Los Angeles, Ajay pours small amount of poison in her wine. It produces same kind of symptoms that one gets while suffering a heart attack. The doctors would hence conclude that she suffered the attack due to her anxiety over taking the flight. As per the plan, Maya consumes the poisoned wine and in the evening, she dies. Her body is taken to the morgue for autopsy. Trouble arises when the body disappears from the morgue. The caretaker, Tara Singh, claims that he saw dead Maya herself walking out! SP Jairaj Rawal (Rishi Kapoor) is brought to investigate the case. Jairaj himself is not able to recover from a personal tragedy. What happens next forms the rest of the film. Oriol Paulo's original story has loose ends but could have made for a great suspense thriller. The adapted screenplay is faulty and very weak. The film needed some really nail biting scenes. Instead the writer added clichéd and run of the mill scenes which hamper the impact. Dialogues are also nothing exciting. Jeethu Joseph's direction is quite disappointing. It is shocking that the director who made the original version of DRISHYAM has made this flick. The execution seems amateur and fails to really captivate the audiences. Despite the 103 minutes run-time, the film is riddled with 4 songs further adding to the disappointment. Also the shocking climax instead of impressing viewers will leave them bewildered as the whole idea of the body disappearing from the morgue seems too farfetched and unnecessary for what was the intention. "Akshay Kumar sir is FABULOUS with…": Vedhika on Laxmmi Bomb & Kanchana | Emraan Hashmi | The Body <iframe id="jwiframe" class="playerFrame" src="https://ift.tt/2EpX0rz" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> THE BODY has a non-linear narrative and that keeps the interest going to an extent. However the first 10 minutes prove that the execution is not upto the mark. The film has some interesting moments but are not helmed well. A few sequences that stand out are Ajay being interrogated by Jairaj. The intermission point arrests attention as a horror angle is introduced. Post interval, the film remains dry with only few moments here and there that impress. The finale is unpredictable but not very logical. Emraan Hashmi is fine but could have done better. His best scenes are with Rishi Kapoor and especially when he gets irritated with the investigation. Rishi Kapoor is a bit theatrical which wasn’t the requirement of the character. He gets the sarcasm bit right. Sobhita Dhulipalia emerges as the best performer of the film. Her role is quite badass and he does total justice. Vedhika Kumar looks glamorous and is decent. Rukhsar Ahmed (Dr Tanya) and Anupam Bhattacharya (Pavan) are passable. Songs are a big letdown and are forced. All songs of the film - 'Main Janta Hoon', 'Khuda Hafiz', 'Aaina' and 'Rom Rom' are forgettable. 'Jhalak Dikhla Jaa Reloaded' is missing from the film. Clinton Cerejo's background score fails to make any impact. Satheesh Kurup's cinematography is neat. Prem Navas's production design is rich. Dipika Lal and Anirudh Singh's costumes are glamorous especially the clothes worn by Sobhita Dhulipalia and Vedhika Kumar. Ayoob Khan's editing is nothing special. On the whole, THE BODY is a dry and boring thriller. At the box office, it will turn out to be a flop.

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Movie Review: The Body

Movie Review: Mardaani 2

The Nirbhaya gang rape case of 2012 in Delhi shocked one and all across the country. What added to the astonishment was that one of the violent assaulters was a minor. It generated a debate on whether juveniles can be treated like an adult in cases where the crime committed is exceptional and of an extremely violent nature. Yash Raj Films’ latest offing, MARDAANI 2, also deals with this burning topic and coincidentally, comes around two weeks after a similar violent gang rape committed in Hyderabad sparked nationwide outrage. So does MARDAANI 2 manage to shock as well as thrill the audiences? Or does it fail to keep the viewers engaged? Let’s analyse. <img class="aligncenter wp-image-1051871 size-full" title="Movie Review Mardaani 2" src="https://ift.tt/2YGtuac" alt="Movie Review Mardaani 2" width="720" height="450" /> MARDAANI 2 is the story of a psychotic rapist trying to challenge the police. Shivani Shivaji Roy (Rani Mukerji) is now the SP of Kota, Rajasthan. In this town, a girl named Latika (Tejaswi Singh Ahlawat) attends a fair where she fights with her boyfriend Monty (Pratyaksh Rajbhatt). A mysterious person, Sunny (Vishal Jethwa), witnesses the way Latika blasts Monty. He has an issue with such outspoken women and on an empty stretch, he abducts her. He takes her to an abandoned place where he brutally tortures Latika, rapes and then kills her. Shivani is shocked with the violence but carries out the investigation immediately. At the press conference, she calls the murderer 'dedh shaana'. This hurts Sunny and he decides to teach Shivani a lesson. He sends her flowers with a taunting note. He sneaks into her house and steals her clothes and accessories. He wears her saree to trap a journalist Kamal Parihar (Anurag Sharma) and eliminates him, as part of the contract given to him by a local politician Panditji (Prasanna Ketkar). Sunny then smartly gets employed in the tea stall outside Shivaji’s police station. Hence he gets access to visiting the police station and even eavesdropping what the cops are talking about the case. When a kid, who had seen Sunny, comes forward to identify him, Sunny kidnaps him from the police station toilet and kills him. Shivani hence faces backlash for what is termed as a lapse on her part. She is transferred. But as everyone is busy with Diwali celebrations, the replacement is expected to take charge only 2 days later. Hence Shivani has 48 hours to crack the case and nab Sunny. What happens next forms the rest of the film. Gopi Puthran's story is excellent and serves as a worthy sequel to the first part. It also makes a nice comment on misogyny. Gopi Puthran's screenplay is highly effective and also entertaining. The way he has thought of novel ways to show the villain's sharp mind is seen to be believed. He could have avoided a few cinematic liberties in the second half though. Gopi Puthran's dialogues are acidic and work very well. Rani Mukerji's monologue during her TV interview is applause worthy. Gopi Puthran's direction is terrific, also considering that this is his debut film. He adds the required thrill and entertainment to keep the viewers gripped. Also there are sub plots in the film, of the fellow cops who don’t like taking orders from a female officer and of a politician using Sunny for his gains. All of it is brought together nicely. On the flipside, the film gets a too convenient in the second half. The antagonist is freely roaming in the city although his picture is out everywhere. Moreover the film has a lot of disturbing content. The scene where the forensic doctor (Deepika Amin) is explaining Latika's injuries will make viewers highly uncomfortable. Rani Mukerji: I’d LOVE to work with Salman Khan but… | Hrithik- all-time favourite | Bunty Aur Bubli 2 <iframe id="jwiframe" class="playerFrame" src="https://ift.tt/2PgsSEV" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> MARDAANI 2 is just 105 minutes long and doesn’t waste time. The villain gets introduced in the beginning itself and the way he smartly traps Latika and then violates her shocks you. The astonishment continues as Sunny manages to kill Kamal Parihar as well and passes it off as suicide. The sequence where he abducts the child also keeps the thrill going. Post interval, one expects the film to drag but a surprise awaits here as Shivani finds Sunny minutes after second half commences. And it’s after this scene that the film drops a bit. The cat and mouse chase becomes a bit repetitive. Also after a point it becomes unconvincing the way Sunny is always able to outsmart Shivani and has thought ten steps ahead. The climax however is massy and viewers would surely break into applause. MARDAANI 2 belongs to Rani Mukerji and Vishal Jethwa. Rani yet again delivers a terrific performance as Shivani Shivaji Roy. It’s great to see how she understands her part so well. She is tough but she also has a sensitive side, as seen during her conversation with the forensic doctor and also in the very final scene. But both the characteristics look very organic and nothing seems forced. She also gets the action scenes right. Vishal Jethwa rocks the show and how! He impresses from the first scene itself when he breaks the fourth wall and talks directly to viewers. Surprisingly, he gets more screen time than Rani in the first half! Throughout the film, he gets the menacing bit perfectly. Tejaswi Singh Ahlawat is decent while Deepika Amin is fine in a special appearance. Other actors who do a fine job are Pratyaksh Rajbhatt, Prasanna Ketkar, Shruti Bapna (Bharti), Sumit Nijhawan (Brij Shekhawat), Sunny Hinduja (Viplaw Beniwal) and Richa Meena (Sunanda). Rajesh Sharma (Amit Sharma) is quite good as the reporter and his scene with Rani is one of the highpoints of the film. Mardaani 2 is a songless film. John Stewart Eduri's background music is loud but exhilarating. Jishnu Bhattacharjee's cinematography is quite neat and captures the small town feel to an extent. Sukant Panigrahy's production design is passable. Leepakshi Ellawadi's costumes are realistic. Vikram Dahiya's action is realistic. Shanoo Sharma's casting is spot on. Monisha R Baldawa's editing is uncomplicated. On the whole, MARDAANI 2 is a gripping thriller that boasts of an exciting script and bravura performances by Rani Mukerji and Vishal Jethwa. At the box office however, it will need a strong word of mouth to sustain.

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Movie Review: Mardaani 2

Thursday, 5 December 2019

Movie Review: Panipat

The year 2019 has seen the release of big-budget period action films and all of them have been well received by the audiences, like MANIKARNIKA – THE QUEEN OF JHANSI, KESARI and SYE RAA NARASIMHA REDDY. Now the final 2019 film in this league, PANIPAT, is all set to release, and it promises to be a grand and entertaining affair. So does PANIPAT manage to give the audiences a great time? Or does it fail? Let’s analyse. <img class="aligncenter wp-image-1048659 size-full" title="Movie Review: Panipat" src="https://ift.tt/364vsUb" alt="Movie Review: Panipat" width="720" height="450" /> PANIPAT is the story of one of the most important chapters of history. The year is 1760. The Marathas under Sadashivrao Bhau (Arjun Kapoor) finally annexe the Udgiri Fort in present-day southern Maharashtra and thereby finish the Nizamshahi rule for good. The Marathas have now occupied most of India. Nana Saheb Peshwa (Mohnish Bahl) is very happy with the developments and especially with Sadashiv. Nana Saheb's wife Gopika Bai (Padmini Kolhapure) however feels insecure with her hubby’s fondness for Sadashiv. At her insistence, Sadashiv is given the responsibility of handling the treasury. Sadashiv is shocked at this development as he has always been a warrior. Nevertheless he accepts this change of duty. He also gets to spend time with Parvati Bai (Kriti Sanon), a physician. Both fall in love and get married. Meanwhile, while checking the finances, Sadashiv realises that the kingdoms up North are not paying the dues to the Marathas, as they had promised. A message is then sent to all these kings, including Mughal empeor Alamgir II (S M Zaheer). Najib-Ud-Daula (Mantra) is a part of the Mughal court and he’s asked to leave. He’s so frustrated with the high handedness of the Marathas that he decides to defeat them once and for all. To do so, he knocks on the doors of Ahmed Shah Abdali (Sanjay Dutt), the Afghan ruler of Kandahar. At first, Abdali declines since he realises that Najib-Ud-Daula is seeking his help for his selfish gains. But then he also realises that if he manages to capture a large part of India, it would add to his prowess. Hence he sets off to India. The Marathas find out about Abdali's plans and that he is approaching with 1 lakh soldiers. Sadashiv however feels that despite having lesser number of soldiers, the Marathas can still defeat Abdali. Nana Saheb gives Sadashiv the responsibility of going up North to stop Abdali with 40,000 soldiers. On the way, Sadashiv seeks help from various kingdoms and forges alliances. Most of them agree to be on his side and provide armymen. Shuja-Ud-Daula (Kunal R Kapoor) is the Wazir of Awadh and Sadashiv asks for his help as well. In return, he agrees to make him the Wazir of Delhi once Abdali is defeated. Shuja-Ud-Daula asks for this agreement in writing. The Marathas agree to do so and said that they’ll return in a few days with the written assurance. In the interim, Abdali’s men meet Shuja-Ud-Daula. They too make the same offer that he’ll be made Delhi’s Wazir and what’s more, they get the written agreement with them. Shuja-Ud-Daula hence joins Abdali. This serves a blow for Sadashiv since Shuja-Ud-Daula’s alliance would have helped him immensely. Nevertheless, he agrees to fight, come what may. What happens next forms the rest of the film. Chandrashekhar Dhavalikar, Ranjeet Bahadur, Aditya Rawal and Ashutosh Gowariker's story is close to reality. It is praiseworthy that Gowariker and his team chose this topic as it’s one of the significant battles of Indian history. Also, many viewers would not be aware that the Marathas at one point were so strong in India. Hence, it turns out to be an entertaining as well as enlightening experience for them. Chandrashekhar Dhavalikar, Ranjeet Bahadur, Aditya Rawal and Ashutosh Gowariker's screenplay is fine for most parts but is not consistent. A few scenes don’t pack a punch and hence, bring the impact down. A few scenes however are exceptionally written. Ashok Chakradhar's dialogues are nothing great. Ashutosh Gowariker's direction is neat and uncomplicated for most parts. He’s in form after a long time. He very beautifully presents the Maratha Empire in all its glory. The battle scenes in the second half keep the interest going. Also noteworthy is the scene of the truce between Sadashiv and Abdali. But the politics and the problems faced by Marathas in getting help in battling Abdali ought to have been better explained. Also, the film could have been more commercial and massy as there were several scenes that had that kind of appeal. The length is another issue. At 2.53 hours, the film is quite long, especially in the first half. Another big problem with the film is that the tagline is ‘The Great Betrayal’. This bit comes out in a crucial scene in the climax. But the build up to it is very weak. Hence, audiences don’t really get a shock when the man who does the ‘great betrayal’ shows his true intentions. Hence, the impact gets diluted. “I disagree that Abdali was a VILLAINOUS character…”: Sanjay Dutt | Arjun | Kriti | Ashutosh | Panipat <iframe id="jwiframe" class="playerFrame" src="https://ift.tt/352kxul" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> PANIPAT begins on a fair note with the scene of the Udgiri Fort annexation. The film then falls a bit as the focus shifts to the politics happening within Shaniwar Wada, Pune. Also, the romantic track of Sadashiv-Parvati Bai is decent but nothing extraordinary. The entry of Abdali is quite interesting and it enhances interest. The film dips once again and the interest then only rises during the intermission point. This is an excellent sequence, when Sadashiv and Abdali come face to face and it sets the mood of the second half. The post interval portion starts off well as Sadashiv comes up with a great plan of capturing Delhi’s Red Fort. This sequence is quite significant, also because viewers might not be aware of this chapter of history. Ashutosh Gowariker however reserves the best for the finale. The truce sequence followed by the 30-minute-long climax engrosses viewers. The betrayal bit however could have been better explained. The final scene of Abdali is fine and it is a great way to end the film. Arjun Kapoor gives his hundred per cent. His physique comes in handy for this character and he indeed looks like a ferocious warrior who can induce fear in enemies. In non-action scenes too, he is quite good. But in a few scenes, he’s a bit off. This is especially in the romantic portions. Sanjay Dutt too tries his best to be menacing but succeeds partly. A fine effort, nevertheless! Kriti Sanon is quite confident and gives an impressive performance. She is not there in the film for the heck of it. She has a very important part and her action scene would be loved! Mohnish Bahl is dependable but he’s hardly there in the second half. Sahil Salathia (Shamsher Bahadur; Bajirao and Mastani’s son) leaves a tremendous mark and it’s great to see that he got such an important part. Same goes for Nawab Shah (Ibrahim Khan Gardi). Mantra understands his character and brings the require jealousy and immaturity. Zeenat Aman (Sakina Begum) is excellent in the cameo and her scene with Kriti Sanon is one of the highpoints of the film. The other actors who do a good job are Padmini Kolhapure, Kunal R Kapoor, S M Zaheer, Milind Gunaji (Dattaji Shinde) Abhishek Nigam (Vishwas Rao), Ravindra Mahajani (Malhar Rao Holkar) and Suhasini Mulay (Sadashiv’s grandmother; presumably Radha Bai). Ajay-Atul's music is a big letdown. None of the songs are memorable. 'Mard Maratha' is shot well but the song is very dull. Same goes for 'Mann Mein Shiva'. 'Sapna Hai Sach Hai' lacks soul. Ajay-Atul's background score is way better and exhilarating. Muraleedharan C K's cinematography is spectacular and captures the battle and other scenes effectively. Raju Khan's choreography is worth appreciating in 'Mann Mein Shiva'. Nitin Chandrakant Desai's production design, as expected, is grand and visually stunning. However, some sets seem too similar to that of JODHAA AKBAR [2008] and PREM RATAN DHAN PAYO [2015]. Neeta Lulla's costumes are quite authentic and in sync with the bygone era. Vikram Gaikwad's makeup and hair design is very detailed. Abbas Ali Moghul's action makes for a great watch and is sans gore or too much of bloodshed. VFX is done by Ashutosh Gowariker’s company (AGPPL VFX) and is fine in most scenes. The slow-motion shots in climax fight adds to the impact. Steven Bernard's editing could have been tighter. On the whole, PANIPAT throws light on an important chapter of Indian history with the battle scenes as its USP. At the box office, it will need a strong word of mouth since it faces competition in the form of PATI PATNI AUR WOH.

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Movie Review: Panipat

The year 2019 has seen the release of big-budget period action films and all of them have been well received by the audiences, like MANIKARNIKA – THE QUEEN OF JHANSI, KESARI and SYE RAA NARASIMHA REDDY. Now the final 2019 film in this league, PANIPAT, is all set to release, and it promises to be a grand and entertaining affair. So does PANIPAT manage to give the audiences a great time? Or does it fail? Let’s analyse. <img class="aligncenter wp-image-1048659 size-full" title="Movie Review: Panipat" src="https://ift.tt/364vsUb" alt="Movie Review: Panipat" width="720" height="450" /> PANIPAT is the story of one of the most important chapters of history. The year is 1760. The Marathas under Sadashivrao Bhau (Arjun Kapoor) finally annexe the Udgiri Fort in present-day southern Maharashtra and thereby finish the Nizamshahi rule for good. The Marathas have now occupied most of India. Nana Saheb Peshwa (Mohnish Bahl) is very happy with the developments and especially with Sadashiv. Nana Saheb's wife Gopika Bai (Padmini Kolhapure) however feels insecure with her hubby’s fondness for Sadashiv. At her insistence, Sadashiv is given the responsibility of handling the treasury. Sadashiv is shocked at this development as he has always been a warrior. Nevertheless he accepts this change of duty. He also gets to spend time with Parvati Bai (Kriti Sanon), a physician. Both fall in love and get married. Meanwhile, while checking the finances, Sadashiv realises that the kingdoms up North are not paying the dues to the Marathas, as they had promised. A message is then sent to all these kings, including Mughal empeor Alamgir II (S M Zaheer). Najib-Ud-Daula (Mantra) is a part of the Mughal court and he’s asked to leave. He’s so frustrated with the high handedness of the Marathas that he decides to defeat them once and for all. To do so, he knocks on the doors of Ahmed Shah Abdali (Sanjay Dutt), the Afghan ruler of Kandahar. At first, Abdali declines since he realises that Najib-Ud-Daula is seeking his help for his selfish gains. But then he also realises that if he manages to capture a large part of India, it would add to his prowess. Hence he sets off to India. The Marathas find out about Abdali's plans and that he is approaching with 1 lakh soldiers. Sadashiv however feels that despite having lesser number of soldiers, the Marathas can still defeat Abdali. Nana Saheb gives Sadashiv the responsibility of going up North to stop Abdali with 40,000 soldiers. On the way, Sadashiv seeks help from various kingdoms and forges alliances. Most of them agree to be on his side and provide armymen. Shuja-Ud-Daula (Kunal R Kapoor) is the Wazir of Awadh and Sadashiv asks for his help as well. In return, he agrees to make him the Wazir of Delhi once Abdali is defeated. Shuja-Ud-Daula asks for this agreement in writing. The Marathas agree to do so and said that they’ll return in a few days with the written assurance. In the interim, Abdali’s men meet Shuja-Ud-Daula. They too make the same offer that he’ll be made Delhi’s Wazir and what’s more, they get the written agreement with them. Shuja-Ud-Daula hence joins Abdali. This serves a blow for Sadashiv since Shuja-Ud-Daula’s alliance would have helped him immensely. Nevertheless, he agrees to fight, come what may. What happens next forms the rest of the film. Chandrashekhar Dhavalikar, Ranjeet Bahadur, Aditya Rawal and Ashutosh Gowariker's story is close to reality. It is praiseworthy that Gowariker and his team chose this topic as it’s one of the significant battles of Indian history. Also, many viewers would not be aware that the Marathas at one point were so strong in India. Hence, it turns out to be an entertaining as well as enlightening experience for them. Chandrashekhar Dhavalikar, Ranjeet Bahadur, Aditya Rawal and Ashutosh Gowariker's screenplay is fine for most parts but is not consistent. A few scenes don’t pack a punch and hence, bring the impact down. A few scenes however are exceptionally written. Ashok Chakradhar's dialogues are nothing great. Ashutosh Gowariker's direction is neat and uncomplicated for most parts. He’s in form after a long time. He very beautifully presents the Maratha Empire in all its glory. The battle scenes in the second half keep the interest going. Also noteworthy is the scene of the truce between Sadashiv and Abdali. But the politics and the problems faced by Marathas in getting help in battling Abdali ought to have been better explained. Also, the film could have been more commercial and massy as there were several scenes that had that kind of appeal. The length is another issue. At 2.53 hours, the film is quite long, especially in the first half. Another big problem with the film is that the tagline is ‘The Greatest Betrayal’. This bit comes out in a crucial scene in the climax. But the build up to it is very weak. Hence, audiences don’t really get a shock when the man who does the ‘greatest betrayal’ shows his true intentions. Hence, the impact gets diluted. “I disagree that Abdali was a VILLAINOUS character…”: Sanjay Dutt | Arjun | Kriti | Ashutosh | Panipat <iframe id="jwiframe" class="playerFrame" src="https://ift.tt/352kxul" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> PANIPAT begins on a fair note with the scene of the Udgiri Fort annexation. The film then falls a bit as the focus shifts to the politics happening within Shaniwar Wada, Pune. Also, the romantic track of Sadashiv-Parvati Bai is decent but nothing extraordinary. The entry of Abdali is quite interesting and it enhances interest. The film dips once again and the interest then only rises during the intermission point. This is an excellent sequence, when Sadashiv and Abdali come face to face and it sets the mood of the second half. The post interval portion starts off well as Sadashiv comes up with a great plan of capturing Delhi’s Red Fort. This sequence is quite significant, also because viewers might not be aware of this chapter of history. Ashutosh Gowariker however reserves the best for the finale. The truce sequence followed by the 30-minute-long climax engrosses viewers. The betrayal bit however could have been better explained. The final scene of Abdali is fine and it is a great way to end the film. Arjun Kapoor gives his hundred per cent. His physique comes in handy for this character and he indeed looks like a ferocious warrior who can induce fear in enemies. In non-action scenes too, he is quite good. But in a few scenes, he’s a bit off. This is especially in the romantic portions. Sanjay Dutt too tries his best to be menacing but succeeds partly. A fine effort, nevertheless! Kriti Sanon is quite confident and gives an impressive performance. She is not there in the film for the heck of it. She has a very important part and her action scene would be loved! Mohnish Bahl is dependable but he’s hardly there in the second half. Sahil Salathia (Shamsher Bahadur; Bajirao and Mastani’s son) leaves a tremendous mark and it’s great to see that he got such an important part. Same goes for Nawab Shah (Ibrahim Khan Gardi). Mantra understands his character and brings the require jealousy and immaturity. Zeenat Aman (Sakina Begum) is excellent in the cameo and her scene with Kriti Sanon is one of the highpoints of the film. The other actors who do a good job are Padmini Kolhapure, Kunal R Kapoor, S M Zaheer, Milind Gunaji (Dattaji Shinde) Abhishek Nigam (Vishwas Rao), Ravindra Mahajani (Malhar Rao Holkar) and Suhasini Mulay (Sadashiv’s grandmother; presumably Radha Bai). Ajay-Atul's music is a big letdown. None of the songs are memorable. 'Mard Maratha' is shot well but the song is very dull. Same goes for 'Mann Mein Shiva'. 'Sapna Hai Sach Hai' lacks soul. Ajay-Atul's background score is way better and exhilarating. Muraleedharan C K's cinematography is spectacular and captures the battle and other scenes effectively. Raju Khan's choreography is worth appreciating in 'Mann Mein Shiva'. Nitin Chandrakant Desai's production design, as expected, is grand and visually stunning. However, some sets seem too similar to that of JODHAA AKBAR [2008] and PREM RATAN DHAN PAYO [2015]. Neeta Lulla's costumes are quite authentic and in sync with the bygone era. Vikram Gaikwad's makeup and hair design is very detailed. Abbas Ali Moghul's action makes for a great watch and is sans gore or too much of bloodshed. VFX is done by Ashutosh Gowariker’s company (AGPPL VFX) and is fine in most scenes. The slow-motion shots in climax fight adds to the impact. Steven Bernard's editing could have been tighter. On the whole, PANIPAT throws light on an important chapter of Indian history with the battle scenes as its USP. At the box office, it will need a strong word of mouth since it faces competition in the form of PATI PATNI AUR WOH.

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Wednesday, 4 December 2019

Movie Review: Pati Patni Aur Woh

A sub-genre of Bollywood is that of cheating partners and the comedy that ensures as a result. MASTI [2004], NO ENTRY [2005], GARAM MASALA [2006] etc are some of the successful films dealing with infidelity. But one of the first films that talked about this aspect with a dash of comedy was the 1978 flick PATI PATNI AUR WOH. It was directed by B R Chopra and now his grandson Juno Chopra is all set to present its remake, also titled PATI PATNI AUR WOH, with an exciting cast and scintillating music. So does PATI PATNI AUR WOH manage to entertain and tickle the funny bone of the audience? Or does it disappoint? Let’s analyse. <img class="aligncenter size-full wp-image-1048320" src="https://ift.tt/2PgmWL9" alt="Movie Review Pati Patni Aur Woh" width="750" height="450" /> PATI PATNI AUR WOH is the story of the adventures of a cheating husband. Abhinav aka Chintu Tyagi (Kartik Aaryan) tops in his exams and secures a comfortable job in the PWD department in his hometown Kanpur. His parents (K K Raina and Navni Parihar) compel him to go for arranged marriage. He meets Vedika Tripathi (Bhumi Pednekar) for this reason. Sparks fly and they both get married. They even shift to their own house. Three years pass. A bit of boredom kicks in for Chintu. His parents taunt him for not having a child. Vedika meanwhile wants to shift to Delhi for a better life and she leaves no chance to diss Chintu for being content in his cocoon in Kanpur. In the midst of all this, Chintu one day meets Tapasya Singh (Ananya Panday). She comes through a reference to seek help for setting up a boutique in Kanpur. Chintu is given the opportunity to help her select a good plot. Chintu gets smitten by Tapasya and starts spending time with her. Tapasya finds out about his marital status. Afraid that she might stop meeting him after knowing that he has a wife, Chintu lies to Tapasya that he’s in an unhappy marriage and that his wife is cheating on him. Tapasya feels bad for Chintu and slowly even she starts to like him. All is going well for Chintu until one day Tapasya finds out the truth. What happens next forms the rest of the film. PATI PATNI AUR WOH's basic idea is based on the premise of the original film. Jasmeet K Reen’s adaptation of the script however is not a copy paste job. A lot of modifications are done keeping in mind the changing times and also because audiences have seen many such films. Hence the second half especially provides lot of surprise which is not seen in any other film of this league. Mudassar Aziz's screenplay has a few rough edges here and there but overall it’s very tight, neat and more importantly, entertaining. Mudassar Aziz's dialogues are one of the highpoints. The one liners are so witty and funny that they will surely be greeted with whistles and claps. Mudassar Aziz's direction is excellent and does total justice to the plot in hand. He adds a lot of freshness to the film in so many respects. Firstly, it’s praiseworthy how the names of the towns are mentioned in such a cool way in the beginning. Secondly, the manner in which Kartik and Bhumi's characters address each other with their respective surnames is cute. The fact that Vedika retains her maiden surname gives a hint of the progressive nature of the script in the beginning itself and later on, one gets to see it in all its glory. Also, Chintu is naughty but he’s never vulgar. He never refers to Tapasya in an objectionable manner. The director however slightly slips in handling the climax twist. It’s no doubt unpredictable but seems difficult to digest. PATI PATNI AUR WOH's beginning scene is quite well shot and sets the mood totally. The beginning of the flashback however is when the film drops. The intention is good since the makers are trying to show how Chintu's life has turned monotonous. Individually it works but as a part of the film, it fails to totally entice. The fun begins once Vedika enters the scene and how Chintu goes head over heels over her. What adds to the fun is that the dialogues are hilarious. Also the film has a lot of many other characters and they also contribute to the madness. This is especially in the second half once Vedika finds out the truth and she goes all out to show her anger. These developments ensure that the film doesn’t turn too serious or sad. The makers had promised lot of entertainment and laughter and the film provides that in abundance! Kartik, Ananya & Bhumi’s MADDEST & CRAZIEST rapid fire ever | Pati Patni Aur Woh | Sara | Kiara | Hrithik <iframe id="jwiframe" class="playerFrame" src="https://ift.tt/2LokIbg" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Kartik Aaryan underplays his part in a terrific manner. He completely looks like a small town simpleton and it’s great to see how he infuses humour to the proceedings. His act as the shattered person in pre climax is also something to watch out for. Bhumi Pednekar gets to play a superb character and she shines! She understands her part and brings the required characteristics appropriately. Ananya Panday has a fantastic screen presence and performance wise, she is first rate. She maintains her strong position of herself despite the presence of so many talented actors. Aparshakti Khurana (Fahim Rizvi) is the big surprise of the film and rocks the show. See it to believe it! Shubham Kumar (Rakesh Yadav) is another actor who has a significant role and entertains audiences thoroughly. K K Raina, Navni Parihar, Rajesh Sharma (Vedika's father) and Geeta Agarwal (Vedika’s mother) are decent. However, Neeraj Sood (Brijesh Pandey) is too good. Manurishi Chadha (Inspector Mukhtar Singh) leaves a mark. Sunny Singh (Doga) looks dashing and is very nice in the special appearance. Kriti Sanon (Neha Khanna) adds to the oomph with her appearance in a scene. Songs are fine and don’t act as obstacles. 'Ankhiyon Se Goli Mare' is played during the end credits. 'Dheeme Dheeme' is foot tapping while 'Dilbara' is shot well. John Stewart Eduri's background score is nothing great. But the use of MAIN HOON NA song as background track is a great idea. Chirantan Das's cinematography captures the locales of Kanpur and Lucknow well. The intro scene is spectacular. Tariq Umar Khan's production design is realistic. Niharika Bhasin's costumes are as per the requirement. The ones worn by Ananya are glamorous while those donned by Bhumi suit her character nicely. Ninad Khanolkar's editing is neat. On the whole, PATI PATNI AUR WOH is a fun filled entertainer which is also quite progressive in many ways. At the box office, the strong buzz coupled with Kartik Aaryan's presence will ensure a healthy business at the box office window. Recommended!

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