Bollywood Gossip : February 2020

Wednesday, 26 February 2020

Movie Review: Thappad

We are in the year 2020 but still, a lot of objectionable trends are sadly quite common. Violence against women, especially, continues despite progress of our country and growth in education and standard of living. Anubhav Sinha, whose 2.0 avatar has given us films on Hindu-Muslim unity [MULK; 2018] and caste discrimination [ARTICLE 15; 2019] now takes up this topic for his latest hard-hitting flick, THAPPAD. The trailer has already intrigued viewers because of its storyline and the association of Taapsee Pannu and Anubhav with this project. So does THAPPAD manage to be as impactful as Anubhav’s last two films? Or does it disappoint? Let’s analyse. <img class="aligncenter size-full wp-image-1078610" src="https://ift.tt/2HY8pAt" alt="" width="720" height="450" /> THAPPAD is the story of a woman fighting a tough battle. Amrita (Taapsee Pannu) is a housewife and is happily married to Vikram (Pavail Gulati) in Delhi. Vikram works in a reputed company and is desperately looking forward to an opportunity which will take him to London for work purposes. Amrita knows how much this means to Vikram. She loves him with all her heart and her entire life revolves around him and in attending to his mother, Sulochana (Tanvi Azmi). Thankfully for Vikram, he’s selected for the London stint. The same night, he throws a party in his house. All is going well until he gets a call from his superior, Thapar. He informs Vikram that he won’t be getting the desired profile that he’s looking for in London and that he’ll have to report to an authority there. This is not something that Vikram was initially assured. He confronts Rajhans, another superior of Vikram and who is present in the party. Things heat up between them and Amrita tries to pacify him. In the process, Vikram slaps Amrita. Her whole world comes crashing down. She tries to move on but is just not able to. Vikram shows regret when he realizes that Amrita has been hurt by his actions. He tries to console her but it doesn’t work for her. Amrita hence shifts to the house of her parents (Kumud Mishra and Ratna Pathak Shah). Vikram stops her and later even comes to take her back. But she doesn’t budge. Vikram then sends a legal notice to her. Swati (Naila Grewal), the girlfriend of Amrita’s brother Karan (Ankur Rathee), suggests that Amrita should show this letter to Nethra (Maya Sarao), a reputed lawyer and Swati’s boss. Nethra suggests that Amrita should solve this issue amicably. Amrita however doesn’t want to and she insists on a divorce. What happens next forms the rest of the film. Anubhav Sushila Sinha and Mrunmayee Lagoo Waikul's story is superb and applause-worthy. In a society where repeated acts of violence committed by husbands on their wives is fairly common, it requires guts to pull off a film where the woman has been hit just once by the husband and yet make it seem convincing. Anubhav Sushila Sinha and Mrunmayee Lagoo Waikul's screenplay (script consultant: Anjum Rajabali) helps a lot in ensuring that the audiences get persuaded to agree with the vision of the team. They very well put out the situation and how patriarchy is deeply ingrained in our psyche, not just in case of men but also women. Anubhav Sushila Sinha and Mrunmayee Lagoo Waikul's dialogues are acidic and sharp and add to the impact. Some of them simplify the proceedings but that goes in favour of the film. There are lot of one-liners that will surely hit viewers and make them reflect on their own wrongdoings. Anubhav Sushila Sinha's direction is superlative. He has not just penned a great script but he has even executed it very well. The world and mood is drastically different when compared to MULK and ARTICLE 15 but he understands it and does justice. Amrita’s predicament is well established and one is bound to get moved by her struggle, especially when even her family members fail to support her. There are also several subplots and most of them are well helmed and add to the principle plot nicely. There are a few scenes where he does a fine job like Shivani (Dia Mirza) hugging Amrita, Sulochana ignoring the slap and insisting that Amrita should attend to the guests, Amrita’s father scolding his son for misbehaving with Swati, Amrita’s mother Sandhya chiding for not getting support to continue her singing career, the confrontation between the lawyers etc. On the flipside, the second half seems dragging. The makers could have done away with the track of Sulochana living separately as it just added to the subplots needlessly. Additionally, they could have fine-tuned the track of the lawyer cheating on her husband. A section of audience might find the entire bit of Vikram not apologizing to Amrita difficult to digest. It’s strange that no one from his circle suggested that he should say sorry. It’s only in the pre-climax that this issue is raised in front of him. Anubhav on Delhi Violence: “We used to be ANIMALS and may be we CONTINUE to be” | Taapsee | Thappad <iframe id="jwiframe" class="playerFrame" src="https://ift.tt/2PwpOEG" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> THAPPAD has an impressive beginning where all the supporting characters are introduced and the commonality is them having an ice-cream. Amrita’s introduction is superbly down. It does give one a déjà vu of Nishikant Kamat’s classic Marathi film DOMBIVALI FAST [2004] but it works very well here to depict what her day looks like. The highpoint is definitely the party sequence and the slap. After this scene, it might feel that the film is stagnating but those scenes are important to explain how Amrita’s life has changed drastically post the slap. The intermission point is great. Post-interval, the interest is maintained but this is where the film drags. One expects dhamaka when the parties come face-to-face but nothing of that sort happens. The confrontation is there and though it is sync with the film’s plot and mood, it might seem mild, especially those expecting some entertainment here. The film ends on a justified note. THAPPAD has several excellent actors but it belongs to Taapsee Pannu without a shred of doubt. She has delivered several memorable performances and this one will surely be one of her most accomplished acts! She gets completely into the skin of character, making viewers forget of her earlier performances. You forget its Taapsee when you see her dutifully performing her housewife duties. Pavail Gulati makes a fantastic debut. He looks dashing and completely suits the part. Kumud Mishra is terrific. Anubhav Sinha always extracts a fine performance from him and THAPPAD is no exception. Ratna Pathak Shah is quite subtle and makes an impact. Same with Tanvi Azmi – her dialogue in the finale sums up the film in a way. Maya Sarao is a powerhouse of talent and is an actor to watch out for. She gets her act totally right, especially her body language. Geetika Vidya (Sunita) gets to play a memorable part and she kills it. Dia Mirza has limited screen time but it works. Gracy Goswami (Sania; Shivani’s daughter) has a fine screen presence and she dances nicely. Naila Grewal, Manav Kaul (Rohit Jaisingh), Ram Kapoor (Advocate Gujral) and Ankur Rathee are fair. Harssh A Singh (Thapar), Santanu Ghatak (Vikram’s colleague Subodh), Rohan Khurana (Nethra's love interest), Sushil Dahiya (Vikram's father), Siddhant Karnick (Vikram's brother), Nidhi Uttam (Vikram's sister-in-law) and the actor playing Rajhans also do a good job. Anurag Dipali Saikia's music doesn’t have much scope. 'Ek Tukda Dhoop' however has a nice, lingering effect. Mangesh Urmila Dhakde's background score is magnificent. The initial sequences have a jazz style music that gives a nice touch. Soumik Sarmila Mukherjee's cinematography is top-class. Vishakha Vidya Kullarwar's costumes are appealing, especially the saree worn by Taapsee in the party. Jyotika Mirpuri Aroura's make-up and hair is appropriate. Nikhil Kshipra Kovale's production design is rich. Yashpa Pushpa Ramchandani's editing could have been a tighter, but overall he has done a commendable job. On the whole, THAPPAD makes a strong statement on patriarchy and violence against women and is laced with a powerful performance by Taapsee Pannu. At the box office, it will be loved and adored by its target audience – the womenfolk.

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Movie Review: Thappad

Sunday, 23 February 2020

Music Review: Shubh Mangal Zyada Saavdhan

EXPECTATIONS As is the current trend with majority of Bollywood flicks, soundtrack of Shubh Mangal Zyada Saavdhan too has released alongside the arrival of the film in theatres. Though an early release of the jukebox can well help gain added popularity in days preceding to the film's release, one wonders if this trend would reverse in time to come. Moreover, yet again there are three recreated songs in this album which has over half a dozen numbers in there. <img class="aligncenter wp-image-1077562 size-full" title="Music Review: Shubh Mangal Zyada Saavdhan" src="https://ift.tt/3c0ynBi" alt="Music Review: Shubh Mangal Zyada Saavdhan" width="720" height="450" /> MUSIC Yo Yo Honey Singh (composer), Kinder Deol (lyricist) and singer J-Star's 'Gabru' from the album International Villager is recreated by, who else but, Tanishk Bagchi as 'Pyaar Tenu Karda Gabru'. A fun track all the way which is already quite popular, especially up North, this one is a celebratory outing with newer lyrics by Vayu. Singer Romy does quite well in rendering this hard-core Punjabi number that is set to be a chartbuster all over again. Tanishk - Vayu come together to create number of songs in Shubh Mangal Zyada Saavdhan and one of their first collaborations is 'Mere Liye Tum Kaafi Ho'. Ayushmann Khurranna brings himself behind the mike for this Vayu written number and his voice actually comes across as quite different in here. A decent track which is easy on ears, it comes across as a situational number at best as it doesn't really have that punch in there to emerge as a chartbuster. Second recreated song in the album is 'Arey Pyaar Kar Le' which is a take-off on Bappi Lahiri and Anjaan's 'Yaar Bina Chain Kaha Re' from Anil Kapoor and Amrita Singh's Saheb. A good recreation by Tanishk Bagchi and Vayu, this one has Bappi Lahiri's voice been retained which actually works tremendously for the song. While Ayushmann Khurranna chips in as well, the real fun is to listen to Bappi Lahiri due to his unique vocals. A good take on 80s nostalgia. It's time for the Kakkar family to come together for 'Ooh La La'. While Tony Kakkar writes and composes this one (along with Tanishk Bagchi), his sisters Sonu Kakkar and Neha Kakkar take centre-stage to let their hair down. A fun number all the way, its promotion surprisingly kick-started quite late in the film's campaign and it could well have been beneficial had this been earlier. Not that the song is a huge chartbuster in the making but still it has the kind of energy in there that would have pepped the film even further. Mika steps in soon after for Tanishk - Vayu created 'Aisi Taisi'. Though the fun element is intact this time around as well, as has been the case with most of the songs heard before, at the end of the day it only fits in the needs of being a situational outing. Same is the case with 'Raakh' which is actually a melancholic outing and arrives out of nowhere. Though Arijit has sung for this Tanishk - Vayu creation, the punch is not really there and you don't quite crave to return and give this one a repeat hearing. There is some fun that comes to the proceedings though Anuradha Paudwal and Mohammad Aziz's ‘Kya Karthe The Saajna’ from Anand-Milind's 'Lal Dupatta Malmal Ka' is sampled for 'Kya Karte Thay' by Tanishk Bagchi and Vayu. Though Zara Khan tries to bring in something quirky to the proceedings, the fun element actually comes in when the original makes an appearance. OVERALL The music of Shubh Mangal Zyada Saavdhan turns out to be decent enough with a couple of songs making an impression, albeit both being recreations. Somehow the new songs that have been created for the film don't quite cover the distance and had there been a chartbuster ortwo there, it would have only helped the soundtrack further. OUR PICK(S) ‘Pyaar Tenu Karda Gabru’, ‘Arey Pyaar Kar Le’, ‘Ooh La La’

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Friday, 21 February 2020

Movie Review: Shubh Mangal Zyada Saavdhan

Over the last three decades, Bollywood has come up with quite a few films on homosexuality like FIRE [1996], MY BROTHER NIKHIL [2005], EK LADKI KO DEKHA TOH AISA LAGA [2019], ALIGARH [2016], MARGARITA WITH A STRAW [2015] etc. Aanand L Rai and T-Series are now all set to bring SHUBH MANGAL ZYADA SAAVDHAN and unlike other gay-themed films, this one is light-hearted and looks quite commercial. Moreover, it stars Ayushmann Khurrana, who has become a brand in himself. So does SHUBH MANGAL ZYADA SAAVDHAN manage to entertain? Will it succeed in becoming the first legitimate LGBT-themed hit film of Bollywood? Or does it fail to succeed? Let’s analyse. <img class="aligncenter size-full wp-image-1077035" src="https://ift.tt/39VKP3p" alt="" width="720" height="450" /> SHUBH MANGAL ZYADA SAAVDHAN is the story of two men in love in Section 377 era. Aman Tripathi (Jitendra Kumar) is the son of Shankar Tripathi (Gajraj Rao) and Sunaina (Neena Gupta), who are based in Allahabad. Aman works in Delhi and unknown to his family, he's a gay and is living in with Kartik (Ayushmann Khurrana). Jitendra's cousin sister Goggle (Maanvi Gagroo) is getting married and Neena calls Aman to come back to attend her marriage. Aman at first refuses but then gives in. Kartik also joins him and they meet the entire Tripathi family in a marriage special train called Vivah Express. In the train, Aman and Kartik kiss when they assume that no one is looking. Sadly for them, Shankar sees them and he gets the shock of his life. He doesn't tell anyone about it out of shame. At Goggle's marriage, Aman, in front of everyone, kisses Kartik, thus astonishing the Tripathi family. Thanks to this development, Goggle's to be husband refuses to get married. In anger, Goggle runs away. Kartik is asked to leave and Shankar's brother and Goggle's father Chaman (Manurishi Chadha) drops him off to Allahabad station. At the railway station, Kartik bumps into Goggle and stops her from ending her life. She tells Kartik that he shouldn't run away and that he should fight for his love. This motivates Kartik and he decides to return to win over not just Jitendra but the entire Tripathi family. What happens next forms the rest of the film. Hitesh Kewalya's story is decent and had the potential to be a game-changer. Hitesh Kewalya's screenplay however is a big culprit. Under the pretext of making situations funny, he resorts to too many difficult-to-digest situations. This was prevalent in SHUBH MANGAL SAAVDHAN as well but there, they kept a nice balance. Here, the balance is just not there. The first half is still decent. But in the second half, it all goes downhill. Hitesh Kewalya's dialogues are witty but some of them are just over the top. It won’t be wrong to say that even the one-liners, which are supposed to be funny, take away the realism from the film. Hitesh Kewalya's direction is weak. The film has lot of subplots but he doesn’t put it together well. A major chunk of the film is about rift within the family and during such times, the principle homosexuality angle takes a backseat. Also, he should have succeeded completely in two aspects – comedy and messaging. Sadly in both these areas, he doesn’t do justice. Even the black cauliflower angle that provided laughs initially proved to be the biggest downer of the film in the climax. It gave a bad déjà vu of the ‘kala bandar’ angle of DELHI-6 [2009]. On the positive side, he handles few scenes with élan and some scenes genuinely raise laughs. SHUBH MANGAL ZYADA SAAVDHAN’s starts off on a funny note and the subplot of black cauliflower appears hilarious. Devika's (Bhumi Pednekar) scene too adds to the fun. The scene where Shankar Tripathi catches the lovers kissing brings the house down. Scenes like Aman kissing Kartik in full public view and Aman talking to his parents about dopamine and other such stuff keep the interest going. Post interval however, the film drops. The scenes are supposed to be funny but don't make you laugh. Also it becomes too preachy and unconvincing. The makers try their best to make things interesting but it doesn't work. Bhumi Pednekar: “My Mother Told Me To Do Shubh Mangal Saavdhan” <iframe id="jwiframe" class="playerFrame" src="https://ift.tt/2T3Ewny" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Ayushmann Khurrana shockingly is not in his usual form. He has always played the victim but here, he plays the instigator and an actor of his calibre should have hit the ball out of park. Shockingly, he goes overboard. The other bigger shocker is that his screen time is very limited. Believe it or not, Gajraj Rao has the maximum screen time followed by Jitendra and then comes Ayushmann! Gajraj Rao however is too good as always and performs as per the script. Jitendra Kumar fits the role to the T and few of his scenes in the first half are great. Neena Gupta is average. Manurishi Chadha and Sujita Rajwar (Champa) do justice to their respective parts. Pankhuri Awasthy (Kusum) is quite funny. Maanvi Gagroo raises few laughs. Neeraj Singh (Keshav) is decent. Bhumi Pednekar is passable while Gopal Dutt (Doctor in the train) is okay. Music is peppy and gels with the film. 'Pyaar Tenu Karda Gabru' is the best followed by 'Arey Pyaar Kar Le', which is played in the end credits. 'Ooh La La' comes at a great point while 'Mere Liye Tum Kaafi Ho' is forgettable. The recreated version of 'Kya Karte The Saajna' sounds great but is not utilised well. Karan Kulkarni's background score adds to the quirkiness of the film. Chirantan Das's cinematography is appropriate. Ravi Srivastava's production design is in sync with the film’s setting. Ankita Jha's costumes are realistic and special mention should go to Ayushmann’s look. Ninad Khanolkar's editing is sans complaints. On the whole, SHUBH MANGAL ZYADA SAAVDHAN is a decent attempt and makes an interesting comment on homophobia which exists in our country. At the box office, it has the chance to work with the urban audiences, especially the youth. However, it will be a challenge to bring in family audiences and the audiences from small towns and cities. The presence of Ayushmann Khurrana may give a boost to its collections.

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Movie Review: Shubh Mangal Zyada Saavdhan

Thursday, 20 February 2020

Movie Review: BHOOT - Part One – The Haunted Ship

The horror genre has taken giant strides in the West and newer concepts have been experimented with to keep the interest going in the genre. Bollywood, however, has lagged behind. Most horror films still follow the template set by the game-changer RAAZ [2002]. But now, Karan Johar’s Dharma Productions is all set to present BHOOT: PART ONE – THE HAUNTED SHIP, and it promises to be a one-of-its-kind horror flick. Moreover, it stars Vicky Kaushal who has become extremely popular following the blockbuster success of his last film, URI: THE SURGICAL STRIKE [2019]. So does BHOOT: PART ONE – THE HAUNTED SHIP manage to scare the daylights of the viewers? Or does it fail to impress? Let’s analyse. <img class="aligncenter size-full wp-image-1076932" src="https://ift.tt/32cvatB" alt="" width="750" height="450" /> BHOOT: PART ONE – THE HAUNTED SHIP is the story of a man facing a scary situation while fighting the horrors of his past. The year is 2012. Prithvi (Vicky Kaushal) is a widower who has lost his wife Sapna (Bhumi Pednekar) and daughter Megha in a freak accident. He is depressed and is avoiding medication. In the midst of all this, an abandoned ship named Sea Bird gets stranded at Mumbai’s Juhu Beach. Prithvi works for a shipping company that is asked to take this ship back to the sea at the earliest. On his first visit to the ship, strange things occur and it makes him feel that the ship is inhabited. However he passes it off as his hallucinations and side effect of his state of mind. The subsequent visits however makes him sure that all this is not a figment of his imagination. During the third visit, he spots a girl at the hull of the ship. He also comes across log books and some video tapes dating back to the year 2001. As he sees the tapes, he realises that the captain’s wife (Meher Vij) and daughter Meera were also present on the ship. Gradually, Prithvi realises that the girl he encountered on the ship is Meera. He goes again to the ship and this time he comes face to face with Meera. But this time, she’s in a ghostly avatar. What happens next forms the rest of the film. Bhanu Pratap Singh's story is decent and could have made for a gripping scarefest. Bhanu Pratap Singh's screenplay however is unimpressive overall. He gets the scare quotient right only in few scenes. Even in the main story, things are barely convincing. Bhanu Pratap Singh's dialogues are passable. Bhanu Pratap Singh's direction is nothing great. He makes good use of his knowledge in creating a scary atmosphere. A few scenes are well executed. But most of the scenes fail to impress. Trouble begins in the first 15 minutes itself when a random couple is shown venturing into the massive ship undetected and playing hide and seek. The ship is ten storeys tall and this information is given by the makers themselves just few minutes before this scene. But no explanation is given how the lovers manage to climb atop the deck which is at such a height. This scene actually gave a clear indication that logic and common sense are not going to be the strong points of this film. And sure enough, the absurdities continue in the second half, especially the climax. Many questions are left unanswered and it is sure to baffle viewers when they come out of theatres. BHOOT: PART ONE – THE HAUNTED SHIP begins on a fair note as Prithvi's past and glimpses of the happenings on the ship in 2001 is depicted. The first half doesn’t have much of a story as such but it keeps you intrigued as the scary atmosphere is well created. A few jump scares also serve the purpose. The interval comes at a great point. Post interval, there’s some movement in the story and you actually get to know where the film is headed. Still, a few unwanted scenes are there, like Prithvi imagining that he’s talking to his dead daughter at the bank of a river. On the positive side, the scene in the church is excellent and one expects the film to go on a high from here. Sadly the climax is riddled with clichés and flawed developments that kill the joy completely. Vicky Kaushal on BHOOT, his direction plans & Box office expectations after URI <iframe id="jwiframe" class="playerFrame" src="https://ift.tt/2PcHG7n" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Talking of performances, Vicky Kaushal is in good form. He looks very dashing and gets his act right, without going overboard in any scene. Bhumi Pednekar is decent in a cameo. Ashutosh Rana (Professor Joshi) is fine and gives one a déjà vu of his earlier performance in RAAZ. His character sadly gets a raw deal in the end. Akash Dhar (Riyaz) plays Prithvi's best friend and has an important role. He is decent but again, he doesn’t have much to do later. Meher Vij has a superb screen presence but her performance suffers on account of bad writing. Sanjay Gurbaxani (Agnihotri) is average. The actor playing Amar looks a bit creepy which works well. The actors playing Meera and Megha do very well. Akhil Sachdeva's music has no scope. 'Channa Ve' is played in the opening credits. Ketan Sodha's background score is horrifying and works. Pushkar Singh's cinematography captures the mood very well. Aditya Kanwar's production design is top-notch. The abandoned ship especially is well designed. Natashcha Charak and Nikita Raheja Mohanty's costumes are realistic. Vikram Dahiya's action is filmy and takes away the authenticity. Redefine's VFX is first rate and adds to the horror factor. Bodhaditya Banerjee's editing is dragging and could have been crisper. Ideally, this film shouldn’t have been more than 90 minutes long. On the whole, BHOOT: PART ONE – THE HAUNTED SHIP suffers from a half-baked plot and a flawed narrative which leaves viewers confused. The end result is completely unconvincing, barring a few scenes that provide some chills. At the box office, it will be rejected by the audience. Disappointing!

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Movie Review: BHOOT - Part One – The Haunted Ship

Saturday, 15 February 2020

Music Review: Street Dancer 3D

EXPECTATIONS With close to a dozen off songs in Street Dancer 3D, one expects an out and out musical in the offering from filmmaker Remo D'Souza. With Varun Dhawan, Shraddha Kapoor, Prabhudeva and Nora Fatehi as the principle cast members, there is a good visual appeal on the cards as well. Multiple composers, lyricists and singers come together to put together the soundtrack. <img class="aligncenter size-full wp-image-1073215" src="https://ift.tt/2USIHVD" alt="Gann Deva Full Song Street Dancer 3D Varun Dhawan, Shraddha Kapoor" width="720" height="405" /> MUSIC A.R. Rahman's chartbuster 'Muqabla', which has regaled audiences for over two decades now, is back in the fold with - who else but Tanishk Bagchi - bringing on the recreation. The essence of the original, especially the passages, is kept intact even as Shabbir Ahmed and Tanishk Bagchi add on to the lyrics that had been originally written by Valee. Yash Narvekar and Parampara Thakur do well to bring on the energy and though the end result is satisfactory, all said and done one would rather go back to the original. Badshah continues to bring on the sound of seduction with 'Garmi' where he plays the triple role of being the composer, lyricist as well as singer. He is joined by Neha Kakkar who is just the right voice for this track that has Nora Fatehi at her sizzling best and Varun Dhawan serenading her. Expect this one to play on in night clubs for quite some time to come. Tanishk Bagchi and Intense join hands for 'Illegal Weapon 2.0' which is yet another recreated version. Written by Priya Saraiya and Garry Sandhu with latter pairing up with Jasmine Sandlas behind the mike, this Punjabi-Western combo number is just the kind that is made for the night clubs. That said, this one had the kind of set up to it which would have been propelled to a higher stage had it been more energetic. Sachin-Jigar have composed as many as five songs in the album and the first one to arrive is 'Dua Karo'. A situational track written by Priya Saraiya with a sad undertone to it, this one is a 'sufi rock' number that is rendered by Arijit Singh. Bohemia chips in as well for an intermittent rap portion, something that makes an impression primarily along with the film's narrative. Guru Randhawa's chartbuster track 'Lagdi Lahore Di' is brought to fore all over again with Sachin-Jigar taking charge and Tulsi Kumar stepping in as a female vocalist. The song has been a huge success across the country, especially up North and its re-entry in Street Dancer 3D brings on an added shelf life. However, just as was the case with 'Illegal Weapon 2.0', this one too could have gained further from enhanced energy. Somehow this one appears to be rather subdued. Shankar-Ehsaan-Loy and Sameer's 'Hindustani' [Dus] is recreated by Harsh Upadhyay and the results aren't really the kind that would have taken the song to the next level. As a matter of fact this one seems like a rather rushed job and even though the voices of Shankar Mahadevan and Udit Narayan are retained, the punch is clearly missing. 'Bezubaan Kab Se', which has a thematic appeal when it comes to the ABCD franchise set by Remo D'Souza, appears in a new version with Siddharth Basrur and Jubin Nautiyal crooning for Sachin-Jigar who compose as well as write this one along with Mayur Puri. While it does play a part in carrying forward the core spirit of 'Bezubaan', somehow it doesn't cover the distance. Next to arrive is Gurinder Seagal sung and composed 'Pind' and somehow this sad song about returning to the motherland only slows down the soundtrack further. Kunaal Vermaa writes this Punjabi-Hindi number which has a very dull feel to it and just doesn't manage to make its presence felt or register any sort of impact whatsoever. It is back to some dance and fun with Neeti Mohan, Dhvani Bhanushali and Millind Gaba coming together for Sachin-Jigar created 'Nachi Nachi'. Though the song has a good hook to it, somehow there hasn't been any promotion whatsoever which means this Millind Gaba and Asli Gold created track would largely go unannounced. This is followed by a devotional track comes next in the form of 'Gann Deva' which is in praise of Lord Ganesha. Written by Bhargav Purohit, composed by Sachin-Jigar and sung by Divya Kumar, this one doesn't make an impact either. Garry Sandhu's 'Sip Sip' finds a recreated version in 'Sip Sip 2.0', courtesy Tanishk Bagchi and Kumaar. Jasmine Sandlas comes behind the mike for this Punjabi-Hindi number which hasn't really been immensely popular at an all-India even as an original. The recreated version is the kind that could have covered some distance but since it hasn't been hammered all along, that won't really turn out to be the case. OVERALL The soundtrack of Street Dancer 3D starts off well but then as it proceeds, the impact starts getting lesser and lesser. The good thing is that this one is a music heavy album as a result of which around four to five songs do ultimately manage to make an impression. OUR PICK(S) ‘Muqabla’, ‘Garmi’, ‘Illegal Weapon 2.0’, ‘Lagdi Lahore Di’

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Music Review: Love Aaj Kal

EXPECTATIONS Back in 2009 when Love Aaj Kal had released, its music had turned out to be a roaring success. Yet again, it's the team of Pritam and Irshad Kamil coming together for Imtiaz Ali and one waits to see that after creating magic for Saif Ali Khan and Deepika Padukone a decade ago, whether they have repeated the same for Kartik Aaryan and Sara Ali Khan as well. <img class="aligncenter size-full wp-image-1074708" src="https://ift.tt/2OXIJYJ" alt="" width="720" height="450" /> MUSIC It is old world charm revisited with 'Shayad' which has Arijit Singh taking center-stage. Just the kind of song that is made for hearts deeply in love, this one is for die hard romantics. Be it the lyrics, music or the manner in which Arijit Singh goes about rendering this one, 'Shayad' is a winner all the way. No wonder, its 'reprise version' comes later in the soundtrack as well with newcomer Madhubanti Bagchi giving Arijit coming. Had this song been promoted more aggressively, it could well have turned out to be a major chartbuster already. Next to arrive is 'Mehrama' and the song just picks up from where 'Shayad' left, hence turning out to be yet another beautiful melody that makes an entry right into your heart. Darshan Raval and Antara Mitra pair up for 'Mehrama' which later also arrives in an 'extended version' and makes you long for the one you love. These two songs, coupled with an additional version each, set the 'sur' of Love Aaj Kal and one expects the romantic mood to continue right through. This is the reason why ‘Raftaar’ rendered rap track 'Parmeshwara' turns out to be nothing but a rude shock. A truly annoying piece which just doesn't manage to register itself and is a misfit both in the soundtrack as well as the film's narrative, it tries to be all cool and smart but fails big time. This one just didn't have a place in the music of Love Aaj Kal. Arijit Singh is back in the fold and he croons two back to back tracks, 'Rahogi Meri' and 'Haan Tum Ho'. Yet again, it's the usual romantic mood that is created in these love songs that are just the kind that one expects in an Imtiaz Ali film. Not that these songs are chartbusters in the making as they aren't really massy in their presentation and outlook. However if you just want to sit back, relax and think about the one whom you love the most, 'Rahogi Meri' and 'Haan Tum Ho' (which has Shipra Rao entering the fray as well) truly end up fitting the bill. Mohit Chauhan had rendered 'Yeh Dooriyaan' in the first Love Aaj Kal and there is a new version of the song that arrives in the latest Love Aaj Kal with the same title. The singer brings all his experience into play with this heartfelt number that is just the kind which is to be heard with quietness and serenity all around. Carrying a good dose of pain with it, this one has the signature theme that went in the background of 'Yeh Dooriyaan', hence bringing on the nostalgia. The tonality of the soundtrack changes though with 'Dhak Dhak' and though this one is at least somewhat better than 'Parmeshwara', yet again it is a misfit into the soundtrack. Trying to infuse 'pahadi' style into the contemporary sound, this Nikhita Gandhi and Akasa rendered track tries to bring in everything from Rumi to internet in one go but doesn't really make you play it in loop all over again. Thankfully, it is back to romantic zone with 'Aur Tanha' which sees KK return after a hiatus. With a guitar in the background, this is yet another song which has a heart in love longing for the one closest to it. A soft rock number that goes well with the film's narrative, this one could well make it as a bonfire affair amongst youth. The soundtrack concludes with a bang though with Arijit Singh and Shashwat Singh coming together for 'Haan Main Galat'. A new age version of 'Twist' that had made huge waves in Love Aaj Kal [2009] more than a decade back, this one actually turns out to be a very good version of the original. Number of times one has complains around recreated versions not really matching up to the original but this one actually succeeds in taking it to the next level. Chartbuster. OVERALL The music of Love Aaj Kal has consistency written all over it, barring a couple of songs which are misfits. There may not be many chartbusters out there but if you are the one who is either truly in love with someone or is nursing a broken heart, Love Aaj Kal does well in rekindling those emotions well enough. OUR PICK(S) ‘Haan Main Galat’, ‘Shayad’, ‘Mehrama’, ‘Yeh Dooriyaan’

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Thursday, 13 February 2020

Movie Review: Love Aaj Kal

11 years ago, Imtiaz Ali, fresh out of the super-success of JAB WE MET [2007], presented his next, LOVE AAJ KAL [2009]. It was a unique film for that time as it focused on not one, but two love stories, set in different eras. Also, lead actor Saif Ali Khan played the lover boy in both the tracks and that also ensured the film stood out. Director Imtiaz Ali now uses this idea once again in a film, which is also titled LOVE AAJ KAL. It features Kartik Aaryan and Sara Ali Khan and their chemistry has already become a talking point. So does LOVE AAJ KAL manage to be as excellent as its predecessor? Or does it fail? Let’s analyse. <img class="aligncenter size-full wp-image-1074192" src="https://ift.tt/2Hk9lih" alt="" width="720" height="450" /> LOVE AAJ KAL is the story that tackles the ever-changing dynamic of being in and finding love. Veer (Kartik Aaryan) and Zoe (Sara Ali Khan) are based in Delhi and they meet one night at a nightclub. Both attempt to get intimate but Veer backs off at the last minute. Veer however realises Zoe is special to him. He finds out that she works from a co-working space. He also lands up there. Zoe is at first irritated with him but she’s interested in him. Meanwhile, Raj (Randeep Hooda), the owner of the co-working space, witnesses their love blossoming in front of his eyes. Zoe shares her views with Raj that she wants to have a casual relationship and doesn’t want to get into a serious relationship so soon. At this, Raj begins to narrate his own story. This is a time when he was Raghu (Kartik Aaryan) and was a school kid in Udaipur. He is crazily in love with Leena (Arushi Sharma). She too falls for him and one day, both get caught. Her family asks her to move to Delhi. Raghu, madly in love, follows her to the capital city. He starts to work as a waiter. Zoe is enchanted to hear about Raj's story. She decides to give love a chance. She gets a job offer from Dubai and she deletes the mail as she doesn’t want to be away from Veer. However, this is when Raj drops the bomb. He reveals to Zoe that Raghu breaks up with Leena as he turns into a playboy. This and her mother’s (Simone Singh) constant reminder that she shouldn’t sacrifice career for love gives her a jolt. What happens next forms the rest of the film. Imtiaz Ali's story is decent. The basic plot makes an interesting comment and if handled well, it could have made for a great romantic film. Imtiaz Ali's screenplay however doesn’t do complete justice. A few scenes are very relatable as it talks about the complexities of today’s times. But on the flipside, it’s also quite unconvincing. Dialogues are a bit philosophical and could have been simpler yet meaningful. Imtiaz Ali's direction is not upto the mark. He gets a few things right. The use of graffiti on the walls and parallels being drawn between the two stories does impress. A few scenes are very well handled and bear his stamp. But there are times when one does wonder where the film is going. Some scenes don’t have the desired impact and even end up being unintentionally funny. He also leaves loose ends and a few subplots don’t get the logical conclusion. Imtiaz also doesn’t focus on backstories of his characters. This was something seen even with Shah Rukh Khan’s character in JAB HARRY MET SEJAL [2017]. In the case of LOVE AAJ KAL, Veer seems socially awkward and one doesn’t understand why that’s so. LOVE AAJ KAL begins on a fine note as the characters of both eras get established. Yes, things do seem a bit off especially some dialogues and Veer's behaviour and his body language. However the 90s track has a charm and keeps the interest going. One of the best scenes here is when Raghu and Leena have a romantic moment in the train. The twist in Raghu's tale comes as a bolt from the blue. This bit particularly works because till now, it looks like a clone of Rishi Kapoor's track from the old LOVE AAJ KAL. As a result, audience won’t see it coming. Trouble however starts from the interval point. Zoe's outburst is weird. Post interval, the film does pick up when Veer comes to pick up Zoe. Also, the culmination of Raghu's story is poignant. However, Zoe’s actions take the film down. The final scene is just okay. ROFL: Kartik v/s Sara – 5 Second Challenge | Memes on Love Aaj Kal | Dating | Imtiaz Ali <iframe id="jwiframe" class="playerFrame" src="https://ift.tt/2OSNgeN" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Talking of performances, both Kartik Aaryan and Sara Ali Khan give their best shot. Kartik gets to do something different and excels. In a few scenes, he ups the humour quotient as well. His intense look is watchable. Sara too follows her director’s instructions to the T and in a few scenes, you do see her brilliance. However, her character is so weird that despite her best efforts, it comes across as a caricature. Randeep Hooda is dependable. But few of his scenes get repetitive after a point. Arushi Sharma is sweet and has a fine screen presence. Simone Singh is fair. Others do well. Pritam Chakraborty's music won’t stand the test of time like the previous LOVE AAJ KAL. 'Haan Main Galat' is catchy but played in the end credits. 'Parmeswara' is wacky but audiences won’t be able to connect. 'Dhak Dhak', 'Aur Tanha' and 'Shayad' are fine. Ishaan Chhabra's background score gels well with the film. Amit Roy's cinematography is quite great in some sequences. But in some close up shots, it is not upto the mark. Suman Roy Mahapatra's production design is quite stylish, especially in present day portions. Aki Narula's costumes are quite appealing, especially the ones worn by Sara and by Kartik in present day track. Aarti Bajaj's editing is sans complaints. On the whole, LOVE AAJ KAL is strictly for the youth and romantic at heart. At the box office, it will start on a positive note on the account of its novel cast and the festive (Valentine’s Day) period. The business will be decent across urban multiplexes while business at single screens may remain average.

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Movie Review: Love Aaj Kal

Thursday, 6 February 2020

Movie Review: Malang

The tiny state of Goa has been a great destination for our filmmakers over the years. Rohit Shetty has shot and based most of his films there. Besides, there have been films where Goa played an indispensable part like HONEYMOON TRAVELS PVT LTD [2007], DIL CHAHTA HAI [2001], KABHI HAAN KABHI NAA [1994], GO GOA GONE [2013], FINDING FANNY [2014] etc. Then there was DUM MAARO DUM [2011] which talked about the dark side and the drug mafia of this beach state. Now Mohit Suri futher explores this idea with loads of madness and romance in his style in his latest flick, MALANG. So does MALANG manage to entertain and appeal to its target youth audience? Or does it fail to impress? Let’s analyse. <img class="aligncenter size-full wp-image-1071329" src="https://ift.tt/31sQDhK" alt="" width="750" height="450" /> MALANG is the story of love and revenge. Two tracks run simultaneously in the film. The flashback track shows Advait (Aditya Roy Kapur), with a disturbing family history, going to Goa for some fun. Here he bumps into Sara (Disha Patani) who has come to Goa from abroad to conquer her fears. Over drugs and running away from the police, they fall for each other. At first they decide to keep their relationship casual but things get serious. In the present day track, five years later, Advait has just got released from the jail. He's now a killing machine with rage in his eyes. As soon as he's out, he calls Inspector Anjaane Agashe (Anil Kapoor) and informs him that he's about to commit a murder. Agashe takes it lightly at first but in no time, Advait kills a person, that too a police inspector named Victor (Vatsal Seth). Few hours later, he kills two more cops – Nitin Salgaonkar (Keith Sequeira) and Deven Jadhav (Prasad Jawade). All three work under Inspector Michael (Kunal Kemmu). He's married to Teresa (Amruta Khanvilkar) and his marriage is on the rocks. He believes in following the law and faces trouble in solving the case with Agashe, who relies on committing encounters on the spot. Both get to work before Advait can kill anyone else. In the course of his investigation, Michael begins to follow Jessie (Elli AvrRam) who he believes is connected with the case. Meanwhile, Agashe comes face to face with Advait. The latter had the opportunity to escape but he doesn't. He wilfully surrenders. What happens next forms the rest of the film. Aseem Arrora's story is decent. But it is a bhel puri of various films like EK VILLAIN [2014], MURDER 2 [2011], MARJAAVAAN [2019], RACE [2008] etc. Aniruddha Guha's screenplay ensures most scenes don’t give a strong déjà vu of any film. There’s a lot happening in the film and the script is written in such a way that it does not bore the audience. Aseem Arrora's dialogues are subtle but sharp and don’t go over the top in most places. Mohit Suri's direction is good. There’s a marked improvement from his previous films. There’s a lot of style in his execution that gives the film a fresh and a nice touch. There are lot of characters and subplots but he joins them seamlessly. Also, often, filmmakers go the psychedelic way while showing the effects of drugs on protagonists. This has become quite clichéd now and surprisingly, Mohit doesn’t go that route at all. A few scenes are very well handled, especially the present-day scenes. But on the flipside, some developments don’t work as intended whether it’s the love story or Michael’s dilemma. Even the backstory of Advait and Sara seems half-baked. MALANG begins on a massy note. The one-take action scene is quite entertaining. The film then goes on a flashback mode showcasing Advait and Sara’s romance. It is interspersed with the present-day thrilling portions. A few portions here stand out like Agashe interrogating the African drug dealer (this is sure to raise tons of laughs), Agashe finding Nitin Salgaonkar and of course the intermission point. Post-interval, the flashback slows down the film a bit as one is more curious to see what happens once Advait is in the clutches of the cops. There’s a solid twist in the tale and though it comes as a shocker, it is also a bit convenient. ROFL – Disha Patani, Aditya Roy Kapur & Kunal Khemu REACT to Funny Comments on Malang Trailer <iframe id="jwiframe" class="playerFrame" src="https://ift.tt/379nZDG" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Speaking of performances, each and every actor does fine. Aditya Roy Kapur is in great form. He looks very convincing as a fearless man with a vengeance who can take on dozens of goons. His acting in some crucial scenes could have been better but he manages. Disha Patani probably gets the most screen time ever. She looks gorgeous and delivers a heartwarming performance. Anil Kapoor provides the humour quotient. But his character is a lot more than just a funny man and the talented actor gets it just right. And he looks dashing! Kunal Kemmu’s character too has a lot of shades and he rocks the show. Elli AvrRam is decent at best. Her dialogue delivery could have been a bit better. Vatsal Seth, Keith Sequeira and Prasad Jawade are okay. Devika Vatsa (Vani Agashe) leaves a huge mark in a cameo. The music of the film weak and a film like this ought to have super-hit music. The title track and 'Hui Malang' are the best of the lot and are well shot. 'Chal Ghar Chalen', 'Bande Elahi', 'Humraah' and 'Phir Na Milen Kabhi' lack repeat value. Raju Singh's background score is dramatic. Vikas Sivaraman's cinematography is stunning and one of the best in recent times. Notice how the first scene (the long one-take shot) is captured and how sufficient care is taken not to show Aditya Roy Kapur’s face until the right time. Even the scenes of Goa and Mauritius are captured with perfection. Vintee Bansal and Sidhant Malhotra's production design is a bit theatrical but works. Ayesha Dasgupta's costumes are super stylish, especially the ones worn by Aditya Roy Kapur, Disha Patani and Anil Kapoor. The manner in which Anil wears his police shirt on a T-shirt and keeps it unbuttoned makes a unique style statement. Aejaz Gulab's action is not too gory and seems realistic. NY VFXwaala's VFX is fine. Devendra Murdeshwar's editing is simplistic. On the whole, MALANG is high on style with good performances and thrilling moments but has an average storyline. At the box office, it only has the advantage of a clear one-week window and will therefore do average business.

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