DHOOM 3 : Movie Review

When the writer of the first two films of a successful franchise takes the director's chair for a third shot at more of the same that is exactly what one gets : more of the same. This time around, the bikes, babes and brawls formula is dished out even more liberally than before. So, for the most part, Dhoom:3  is a high voltage action flick that relies squarely on known methods of genre. Actually, familiarity of this kind isn't such a bad thing since the audience knows what is coming and does not have too many unsettling surprises sprung at them. Writer-Director Vijay Krishna Acharya who scripted earlier Dhoom 1,2 and directed Tashan, has mounted this one a scale that is no less unapologetically lavish. There are beautifully layered frames, shots where lighting creates the afterglow that follows moments of spiritual revelation. Though, that sort of depth is just an illusion and a mirage in this film, like the magician's trick which defines the film's plot. But, there is a secret that this intriguing film springs at us mid-point. Alas, the secret, if one may call it that, only contours the film's most well known fact : this is an Aamir Khan show all the way. And he gets to give his most over-the-top performance - some of which looks like a dig at Shah Rukh Khan's My Name is Khan.

SCRIPT & SCREENPLAY                                              :          Aditya Chopra along with Vijay Krishna Acharya share the credit for being the story & screen-play writers of Dhoom 3. Had they invested as much energy on developing the characters beyond superficial levels and investing  the dramatic situations with more depth than what one encounters in standard revenge dramas and cops-and-robbers capers, the third instalment might have towered above the first two. A lot of time in the first 50 minutes or so is wasted on the protracted 'entry' scenes that are apportioned to the principal members of the cast. There is a tremendous sense of fun and games in the goings-on but there is also a deep sense of tragedy underlining the playfulness. Sombre ramifications accentuate the bevy of bacchanalia. The finely framed out film finally comes to a very sad conclusion where the theme of twin is seen as a mirror image that's wiped out under pressure. The story begins in 1990 in town of Chicago with Iqbal (Jackie Shroff), committing suicide as his Great Indian Circus is closed by bank after he becomes defaulter. His son, magician as well as a circus performer, Sahir (Aamir Khan) grows up with an aim to virtually destroy the bank to the verge of closure. He successfully robs the bank and to nab him our desi cops Jai Dixit (Abhishek Bachchan) & Ali (Uday Chopra) are called from India. The rest you can go and watch in theatres. 

STARCAST                                                                   :     Aamir Khan along with technical brilliance holds the key to the film's efficacy. And how much you like this segment of this Dhoom franchise depends entirely on how well you accept Aamir's over-emphasized performance, ceaseless smirk, constantly arched eyebrows and all. Aamir Khan, needless to say, takes predence over everyone (and everything) else in the film, including occasionally the script. From the word go, he gets to 'perform' an array of gravity-defying acts and motorcycle stunts that are difficult to describe. Abhishek Bachchan as Jai, Aamir's law-enforcing adversary tries to offset Aamir's double edged swat with some staright faced acting and has looked impressive too. But, Alias he doesn't have much scope to perform and the same stands true for Uday Chopra as Ali who had considerable better comic moments in  Dhoom predecessors. Although Katrina Kaif has a minuscule role but she has series of breathtaking dances to perform and looks ravishing while doing them and simply bowls us over. She jumps,glides somersaults and gambols until we flip for her graceful moves. Our, Jackie Dada also manages to impress in his special performance while chanting " Bande hain hum Uske, Humpe Kiska Zor".    

TECHNICAL FINESSE                             :             Undoubtedly, Dhoom 3 can be touted as one of the best ever flicks in terms of technical excellence right from the word go n the first frame of the movie. The music for the flick has been given by Preetam who i feel has done an average job if compared to the other earlier Dhoom offerings. The cinematographer of the the movie is Sudeep Chatterjee who has done an astounding job and definitely deserves all the praise for the same. He definitely knows, recognizes, acknowledges and records beauty in every form, right from the architecture to Katrina Kaif. Two other technical crew who deserve applause is Production Designer Sumit Basu and Art director Adri Siriwatt. Gimmicky props are constantly brought for consideration. Sleek motorcycles that turn into motorboats in green-blue canals, magician's tricks which show up at any given moment, twins who swap roles without warning. The movie has been edited by Ritesh Soni who has really done a great job as despite being overlong (172 minutes) and a tad laden footed at times, Dhoom 3 stays true enough to its avowed intent of being passably engaging.  Director, Vijay Acharya who helms this avatar of Dhoom, furnishes a fabulous style to the proceedings with beautifully lit  frames. The director knows how to juice the characters' emotions without spilling the sentiments all across the frames. 

WOW MOMENTS                                     :        The scene in the beginning of the flick with Jackie playing a magician on the skids, is done up in shades of shimmering discontent suggesting a deep fracture in the plot separating the haves from the have-naughties. The tap dance performed by Aamir Khan with such an ease despite his short stout built is also a highlight of the movie. And, "Malang" song has also turned out to be a real visual treat. 

    

CONCLUSION                                                   :    DHOOM : 3 is an intriguing piece of work....slender  supple     smart    extravagant .....and yet helmed by a central performance that screams for attention. 

ROHIT SHARMA.

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Official Trailer of Imtiaz Ali's upcoming flick " HIGHWAY".

The official promo of Imtiaz Ali's upcoming flick " HIGHWAY " is out and is creating quite a buzz. Watch out ..........http://www.youtube.com/watch?v=o66nNnGZ5Rg 

R....Rajkumar : Movie review

When Prabhu Dheva ventured into directing exaggerated action sagas, one wondered on the dancing demigod's diverse choice of genre. But in his last three bollywood directorial offerings, Prabhu Dheva followed a set trend which was quite similar to evergreen mindless masala genre that is synonymous with names like Manmohan Desai, Subhash Ghai. In fact, Prabhu Dheva tends to direct a film pretty much like he choreographs a song i.e. in a perky way. He packs both i.e. direction as well as choreography, from end to end, with a frenzied hurry of brisk hand and feet movements and a surfeit of high - decibel musical clatter. The astoundingly lithe dance steps that he conjures up tend to flummox the eyes ; the attendant sounds unleash a non-stop assault on the eardrums. The two together ( and singly as well ), have clearly outlived their utility to a certain extent for a certain section of movie watchers. A violent action film that has been designed to bring Shahid Kapoor into the tough guy league, R....Rajkumar is weighed down by just the kind of music and machismo formula that worked for Wanted and Rowdy Rathore. R....Rajkumar pushes every Prabhu Dheva trademark element to the maximum of its hilt but alias, the screenplay falters somewhere down the line and its only some performances especially of  Sonu Sood & Mukul Dev which save the movie.

SCRIPT & SCREENPLAY                                    :                     The weakest point due to which this movie falters the most is its storyline as well as screenplay (( As if the earlier flicks of Prabhu had the best of storyline )). The amazing part is that not one or two..but four people have been credited for their writing efforts for this movie which ( storyline ) you find non-existent while watching the movie. Prabhu Dheva has written the story where as he along with Sunil Aggarwal, Shiraz Ahmed, Ravi.S.Sundaram have been credited for screenplay writing. And, the screenplay, whatever little there is of it, is mangled heap of nonsense with logic and good taste given a wide berth all the through. The film also takes limp shots at raising some laughs by way of the rustic villain's attempts to learn Queen's English and pick up modern ways. Romeo Rajkumar ( Yes, the big secret to "R" was that our hero is a big Romeo who believes either in pyaar pyaar pyaar or maar maar maar.) Now, our male protagonist lands himself in a lawless village governed by two warring parties Parmar ( Ashish Vidyarathi ) and Shivraj ( Sonu Sood ) who are at loggerheads with each other over monoplizing the business of drugs and Rajkumar starts working with Shivraj. While Rajkumar is rugged, passionate and rebellious, he is blessed with a well chiseled body and devilish charm. Rajkumar's life and ambition go haywire when he comes across beautiful Chanda ( Sonakshi Sinha ) and falls heads over heels over her. He leaves no stone unturned to woo Chanda, an educated smart girl who lives her life on her own terms and is quite bindaas. While Rajkumar is raw yet hot, Chanda is gorgeous, strong headed. But in order to make his love flourish, he needs to fight his own employer,Shivraj along with other drug dealers and mafias and gives an open challenge to Shivraj. So, you think its time for claps....hold on guys....this is a Prabhu Dheva movie, hence you will get ample opportunities to clap scene after scene.

STARCAST                                                     :                 Coming to the performances, the whole movie revolves around the male protagonist i.e. Shahid Kapoor who could have really benefited from this role. But,  It's quite a pity to see Shahid Kapoor putting all his efforts into a banal character which doesn't work out as per his persona.. His hardwork can be seen with the tremendous dancing that he does in all the numbers and also manages to put up a commendable performance. Blame is on the script for not doing justice to the actor. Shahid looks like a complete misfit, what with his body type, bashing up countless people to pulp. This genre is just not meant for him. Sonakshi Sinha yet again takes her prop position in the film and fails to please as her character in this flick has not been sketched to perfection. The rest of the ensemble cast including the likes of  Aashish Vidyarthi, Asrani and Srihari, ham to the fullest, guess on the filmmaker's direction. Two actors who stand out and impress with their performances are namely Mukul Dev & Sonu Sood. Sonu Sood gets ample scope to showcase his diverse acting range as his character encompasses both comic as well as villainous traits. Mukul Dev on the other hand makes the most of his character-sketch and actually is credited not only with some of the laugable gags but also with an emotional outburst towards the penultimate part of the movie.

TECHNICAL FINESSE                                    :                  Another highlight of Prabhu Dheva movies has been their peppy music which Prabhu uses brilliantly to choreograph in his immaculate style. And music of R....Rajkumar also falls in the same league and the man who has composed it is Pritam Chakraborty. The background music has been given by Sandeep Chowta which is in tandem with the screenplay and works well. The cinematography has been handled by Mohan Krishna who has captured some brilliant visuals. The movie has been edited by Ballu Saluja who has done a good job and kept the length of the movie to 134 minutes. As a director, Prabhu Dheva has tried his level best to provide some impetus to a banal script and screenplay but this time he has been been able to achieve success to a certain extent only. The movie works in the first half but fizzles out in the later half. R....Rajkumar is incontrovertible proof that Prabhu Dheva has been hit by the law of dimnishing returns and has to think out of the box lest he falls prey to the repetitive genre and looses his credibility.

WOW MOMENTS                                                :     The verbal duel that ensues between Shahid & Mukul Dev in the beginning as to who is the chief confidant or the best man of drug lord (Sonu Sood) is quite witty. The way Shahid looses himself whenever Sonakshi crosses his way looks very very cute and has been shot well.

CONCLUSION                                                      :     R....Rajkumar is a typical Prabhu Dheva Ishtyle movie, fully loaded with over the top action sequences accompanied by loud dialogues and punches. To make R...Rajkumar a typical potboiler, Prabhu has put in mesmerizing dances, power packed stunts but forgot to concentrate on the screenplay. Hence, it might appeal only to a certain section of cine watchers.
ROHIT SHARMA.

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BULLET RAJA : Movie Review

If Ram -Leela gave an impression of Sanjay Leela Bhansali's particular cinematic style, BULLET RAJA carries bold stamp of Tigmanshu Dhulia's vision of real raw cinema at its best. This movie is Tigmanshu's best political thriller till date with everything in perfect Black and White. The tagline of the movie which says that " Aengein to garmee badaeinge " stands true with context to the raw power packed screenplay that Tigmanshu has penned down for this movie. Mind you, this movie is not everyone's cup of tea especially in context to its raw treatment and intertwined screenplay which becomes too complex at times. It takes guts to turn the conventional formulistic cinema about male bonding and revenge into a tightly wound intelligently scripted and judiciously executed drama of political subterfuge in Uttar Pradesh. This is a film about the scummy people who govern our country from the fringes. Politicians and entrepreneurs hobnob with criminals and criminals end up becoming heroes of the masses just because democracy in India gives us little to choose from.

 

 SCRIPT & SCREENPLAY                                  :             The  highlight of this movie is its storyline and screenplay which has been penned by Tigmanshu Dhulia and Amaresh Mishra. Bullett Raja is woven around characters who aren't particular about the company or the morals that they keep. They are the kind of characters who either end up rich or dead. We can only curse them under our breath. And yet the spoken language of the characters remains liberated from overt profanities. The same goes for the characters themselves, so lowly and yet redeemed by unexpected bouts of humour and even compassion. The way Saif's Raja Misra meets Sonakshi's sketchily-written character and the manner in which the script allows him to warm up to her without wasting time is a marvel of scriptural balance. Indeed, Dhulia in his most nakedly commercial outing, catches the routine friends-on-a-rampage plot by its lapels and goes for the kill with splendid skill. This is a fearless film. And then, Dhulia takes his audacity from city to city in Uttar Pradesh. The jagged but constantly coherent plot takes the very conventional characters (good-bad heroes, bad-bad villains, a damsel in distress and lots of decadent politicians) on a bumpy journey across the politics of the cow-belt where there are no sacred cows. Only brazen wolves. Dhulia, in his most mass-oriented cinematic outing to date, brings a lot of Jai-Veeru's Sholay bonding into play. They gamely sink their teeth into the morass of Indian politics, giving a stirring dignity to inherently unsavoury episodes from the murky politics of Uttar Pradesh.

STARCAST                                                   :                               Another, major highlight of the movie is its cast ensemble. Each and every actor, whatsoever character they are playing has done his job commendably and have fit in the mould of their characters to the hilt of perfection and leading from the front are Saif and Jimmy.  Saif Ali Khan's Raja Misra ( no 'h' in the surname, plij ) is a scummy sort of Robin Hood who is a mix of goon and boon, gun and grins doesn't tire of reminding his adversaries of his Brahminical roots. Here's an actor who can bring gravitas to his character without weighing it down in self-importance. Saif has great support from the ever-reliable Jimmy Shergill. Even, Jimmy has portrayed with utmost conviction and has looked totally at ease while performing which speaks volumes about his acting skills. Sonakshi Sinha plays her 'typical' Bollywood heroine role, and does not have much to contribute.    Gulshan Grover and Raj Babbar in negative characters make you nostalgic for their performances in the 90s. Even Chunky Pandey, who plays a negative cameo in the first half is really commendable. Ravi Kishen plays a character with a lot of potential in the movie and could have been utilised better. A special mention should go to Vidyut Jamwal as he delivers a power packed performance and the jaw dropping stunts in his special appearance of say around 45 minutes. In the ensemble cast, the noticeable performers are Vipin Sharma, DeepRaj Rana, Vishwajeet Pradhan, Mahie Gill, Sharat Saxena, and Rajeev Gupta.

TECHNICAL FINESSE                                    :                     The music for this flick has been given by Sajid Wajid  which is fairly average and yes, one track, " Tamanche pe Disco" has has been composed by RDB. But, Sajid-Wajid have provided a good background score with a true Hollywood western style mouth organ playing at the pauses and the intense parts of the movie. The cinematography of the movie is by P.S.Vinod who has captured locales of U.P, Chambal, Mumbai and Kolkatta with fine tuning and aplomb. Another person who deserves due credit is Rahul Srivastava who has edited the movie and controlled the film's reckless momentum and hit the right notes while taking a route that hardly affords safe options. Now, coming to the master craftsman Tigmanshu Dhulia, who has written the story, screenplay, dialogues as well as directed the movie and fared exceptionally on all the fronts. Apart from the screenplay, his dialogues are crisp, brazen and in tandem to the screenplay..sample this..Brahman bukha to sudama, samjha to chanakya , rutha to ravan. Dhulia's skills as a raconteur of remarkable aptitudes is most evident. He merges mythological and historical allusions into current politics and he weds heroism and hooliganism without causing any discernible damage to his work's aesthetics. Dhulia's treatment of violence in the hinterland is sharp and constantly tongue in cheek. Midway through the mayhem he brings in Vidyut Jamwal ( described picturesquely as (Chambal Ka Chowkidar) to bring our scummy hero Raja Misra under control. Tigmanshu has become a director to reckon with and undoubtedly is one of the best when it comes to making raw, unadulterated cinema.  

WOW MOMENTS                                                    :     Watch the camaraderie between Saif & Jimmy as it has to be seen to be believed. After, a lot of time Filmy dosti has come which matches and reminds you of Jai -Veeru of Sholay which one of the characters refers to in the the movie itself.

 CONCLUSION                                                      :      It is a conventional, formulaic cinema made in raw, brazen, unadulterated and tightly wound way which is a treat for genuine movie lovers. It is definitely not the run of the mill kind of cinema and has been intelligently made and presented.

  ROHIT SHARMA.

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RAM LEELA : Movie review

                                              Just when you think you have seen it all, there comes a film that reminds you of how far the cinematic medium has come....And how far it can go in the right hands. And let’s face it. Bhansali is Bhansali. Every image, every frame tells a story. Every shot in this brilliant film has a place in his cosmos. You won’t be left wondering for even a split second why you saw what you just did. Yup, size matters. And in the case of Ram Leela you can say that with a wink. Bhansali’s Romeo and Juliet are unabashedly sexual in the body and verbal language. None of that traditional coyness and hesitation that characterizes traditional courtship when Ram and Leela discuss one another’s vital statistics. He runs a porn video parlour. She comes from a family of gun-wielding criminals helmed by a steely matriarch (Supriya Pathak, brilliant). As far as Ram & Leela are concerned, he comments on her ‘136 inch’ chest, she talks about his, er, trigger. They are in love and they know lust is an integral component of their relationship. No two lovers derived from a classic romance have celebrated their mutual sexual desires so frankly and fearlessly. 

SCRIPT & SCREENPLAY                                           :          Goliyon ki Raasleela Ram-Leela is Bollywood’s third stab at ‘Romeo and Juliet’ in a year and a half. Full marks must be given to its writers that include SLB, Siddharth and Garima who have embellished this tale by blending traditional tale along with modern elements.  It’s violent and vicious Verona all over again; this time around the theatre of action is relocated to a village in the Rann of Kutch. In the bargain, the essential spirit of the Bard is left by the wayside. Bhansali’s Romeo is Ram (Ranveer Singh), a rakish, hunky Lothario who believes that physical love is as essential as acts of violence are avoidable. Needless to say, he falls prey to both. Juliet is Leela (Deepika Padukone), an epitome of feminine grace who thinks nothing of giving free rein to her sexuality. Boy and girl are so smitten by each other that, after the initial moments of tentativeness, they aren’t sure where lust ends and love begins. But once passion blossoms, there is no stopping the duo.But in their path are their respective families. One clan peddles guns, the other spreads terror. Venom flows free, and so does blood. Bullets fly thick and fast and lives are snuffed out with a thought. The young lovers have no choice but to turn their backs on their folks and elope.Amid all the ballyhoo, the village manages to produce a newspaper of its own. It’s called Ranjhar Times. Wonder who has the time! Goliyon ki Raasleela Ram-Leela is neither Romeo and Juliet nor your friendly neighbourhood Ram Lila, where the audience knows exactly what the outcome is going to be. The pacing also dips rather badly in the middle and whenever Ram and Leela are separated, since from a dramatic standpoint their tandem star power is the engine that makes the whole thing run. Those caveats aside, visual splendor and hot-blooded melodrama mostly win out over rickety pacing and scripting.

STARCAST                                                          :        The actors, in keeping with the no-holds-barred ambience that the film exudes, take recourse to grandly expansive gestures to express the minutest of emotions. What makes the ride as enjoyable as it is, are the performances of Ranveer Singh and Deepika Padukone in the leads. Singh prevails over a very odd (even by masala hero standards) mustache to give a deeply affecting and rich performance as Ram, but it's Padukone, as is increasingly the case, who steals the show with pure, deliberate, ferocious star power. The striking thing about her performance as Leela is how tightly coiled and tense it seems; she's ready at a moment's notice to kiss or kill (or both), never passive, never merely a photographic subject.  Padukone, who's very close—if she isn't there already—to becoming the star among stars in her generation. Her every gesture is fascinating.  Apart from the leads, three male performers who stand out are - Sharad Kelkar who has played the part of Leela's brother. Supporting a stubbed beard, he manages to impress even in the short duration of his screen presence. Secondly, Abhimanyu Singh who we saw as Bukka Reddy in Rakht-Charithra has delivered an astounding performance as Ram's elder brother. He looks really mean & menacing and his expressions are really convincing while portraying the character of a Don. Thirdly, Vishnu Devaiah as Leela's greedy cousin who wants to become the leader of clan by hook or crook has given a commendable performance. Similarly,  in females three performers who stand out are : – Supriya Pathak Kapur as Leela’s mother, Richa Chadda as the heroine’s sis-in-law and Barkha Bisht Sengupta as the widow in the enemy camp. Especially impressive is the way Chadda nails the local accent even as it fluctuates wildly all around her. So, all in all, SLB has extracted the best performances from all his actors and it is a treat to watch them portraying their characters onscreen and credit should also be given to the casting directors i.e. Shruti Mahajan & Parag Mehta.   

TECHNICAL FINESSE                                                          :     On technical front, it’s the cinematic equivalent of a well set, festooned moveable tableau where all the ingredients seem to be outshining each other that ultimately its difficult to ascertain whose the best. The music for the flick has been composed by SLB himself, and if not very good still he has done a descent job out of it. Monty Sharma, has given very good background music. I will also like to give due credit to the Production Designer, Wasiq Khan whose art work too unfurls a spiraling tapestry of kaleidoscopic colours that find a place in the hectic frames without jostling or crowding the canvas. S.Ravi Varman's cinematography is plush and passionate and yet the film's visuals never topples over into the kingdom of the garish. And what visuals as he has made the desi Romeo and Juliet's turbulent togetherness an occasion for optical enchantment. Varman, let me state, uses the camera like Ustad Amjad Ali Khan uses the Sarod. It’s an instrument to converse with divinity. Movie has been edited by SLB himself along with Rajesh Pandey who have kept the length of the flick to 154 minutes which i feel could have been restricted or better fine tuned by editing some of the lengthy scenes. Now, coming to the man himself i.e. Sanjay Leela Bhansali who has written, produced, composed music, edited as well as directed this opulent movie. So much has been said about Bhansali’s cinematic sense. But not enough. The way he composes the shots to convey the passionate desperation of lovers who know they’re running out of time is a subject that textbooks can be written about. With a magician’s dexterity Bhansali weaves the characters into frames with seamless splendour magically making space for the passionate and the tender. You could say Bhansali’s cinema is the visual equivalent of Lata Mangeshkar’s singing. And you wouldn’t be wrong.

WOW MOMENTS                                          :          Of the innumerable imperishable images that emerge from Ram Leela’s tumultuous tale, I’d single out two. The first shows Barkha Bisht as Ranveer’s widowed sister-in-law running away from a gang of attackers. As she runs through the rugged hinterland her brass vessel tumbles down-slope with her. The sequence, caught in a desperately dying light, is probably the most vivid image of impending doom I’ve seen in any recent film. The other unforgettable image features Deepika, her hand bloodied after an injury, lying on the wet ground in a streak of blood which reminded me of Aishwarya Rai’s slashed wrist creating a pond of blood with her hand in Bhansali’s Hum...Dil De Chuke Sanam.

CONCLUSION                                                          :      Ram Leela’s visual poetry is so eloquent you wonder at times if the filmmaker is a closet-painter. Really, you’ve never seen anything quite like this before. Exhilarating, tumultuous, passionate, flamboyant, fluent and quite simply fabulous....Sanjay Bhansali’s Gujju take on Romeo & Juliet would have surely made Shakespeare giddy with joy. Brimming with exuberance and energy Ram Leela’s exalted aesthetics and powerhouse narration once again prove Bhansali to be an incomparable storyteller.

ROHIT SHARMA.

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BHAJI IN PROBLEM : Movie Review

" BHAJI IN PROBLEM " was being expected to deliver lot of goodies in form of comic entertainment especially when most of its predecessor Punjabi flicks have failed to make a mark in the recent past. But, alias it also fails to sustain laughter or even your interest throughout the movie. And, it becomes all the more disappointing because of the big names involved with the flick like Gippy Grewal, Smeep Kang, Akshay Kumar and Viacom 18. Keeping in mind, the track record of Smeep Kang, most of the audience was expecting fireworks of laughter which although is present in movie but in patches only.  It is nowhere in league if compared to earlier flicks of Smeep that we have seen. The movie fails to hold your interest throughout and picks up and delivers good comic punches towards the ending of the movie in the last few reels.

SCRIPT & SCREENPLAY                                   :             The story as well as screenplay of the flick has been penned by Smeep Kang who has doled out a comic script but the biggest drawback is that it has uncanny resemblance to the scripts of his previous flicks. Since lot of scenes have been lifted from earlier  flicks so they kind of infuse half hearted laughter. It is the script and screenplay which has let this flick down although some of the dialogues that have been written by Naresh Kathuria & Gurpreet Ghuggi are real funny. The basic plot of the movie revolves around two characters played by Gippy Grewal and Gurpreet Ghuggi. Gippy belongs to a landlord family of a village who is always engaged in fights cause of a rivalry between his father (Avtar Gill)  and another landlord(Rana Jung Bahadur) of the area. Now, to end the enmity between these two clans a cop played by cricketer Harbhajan Singh suggests both the families to become relatives by marrying Gippy to the other landlord's daughter played by Japji Khaira. Gippy doesn't want to marry her so he decides to go to his Mamaji played by Om Puri who is a theatre artiste and lives in a nearby town. His father is totally against this as he is angry with Om Puri as he has married a girl from theatre troupe against their wishes. But, our typical hero is relentless and goes to him. There, he meets and falls in love with leading lady of the movie played by Ragini Khanna. Thereafter, enters Gurpreet Ghuggi who has married twice and the confusion of all kinds begin leading to some hilarious moments.

STARCAST                                                      :                    Coming to the performances, Gippy Grewal who has played the main lead has given an okay kind of performance as per the character he has played. Lately, he has matured as an actor and has given better performances in his last couple of flicks but in this movie he has acted on an average scale. It is two actors who have out shined on the comic front as per their characters  i.e. Gurpreet Ghuggi & B.M.Sharma. Both of them have done descent job as per their characters and have been able to provide lot of guffaws in the movie. Coming to the actresses, Ragini Khanna has made her début in Pollywood through this flick but unfortunately for her there is not much scope in this movie's script itself as she has little screen presence in this movie. Japji Khaira too has limited scenes but has done well in her limited screen presence. In fact, it is Misha Bajwa & Khushboo Grewal who have got more screen presence who have portrayed the character's of Ghuggi's wives. Amongst, other actors Om Puri, Karamjit Anmol, Avtar Gill & Rana Jung Bahadur have been kind of wasted as they haven't been given meaty roles. Oh ! yes, Cricketer Harbhajan Singh has played a cameo as a cop and has not done a bad job out of it keeping in mind that he is not an actor. And, Finally you can see our Khiladi i.e. Akshay Kumar also in this movie playing a spoof on himself by playing the character of his duplicate called Bhakshay Kumar and entertains you in his guest appearance.

TECHNICAL FINESSE                                                       :        The music for this movie has been provided by Jatinder Shah who has given an average score with a couple of songs being chart busters. The cinematographer of the movie is Neelabh Kaul who has done a descent job of it and has captured good locales. The editing work of the movie has been handled by Manish More who has kept the length of the movie to 124 minutes although even that seems a tad bit too long because of some shoddy screenplay. Coming to the direction front, Smeep Kang has disappointed this time as he is capable of making much better cinema which he has already proved in the past by making good comic movies. He, probably got carried away by his past two hit movies and hence penned down a storyline which is quite similar to his past flicks. Although, in late second half once laughter ball sets in, it keeps on rolling and makes you laugh and kind of makes up for earlier dull proceedings to a certain extent but audience definitely expects much more from Smeep Kang  movie.

WOW MOMENTS                                                      :           The scene where Ghuggi & Gippy ask B.M.Sharma to marry his daughter to Karamjit Anmol is a laugh riot. The penultimate scene where Karamjit is getting engaged to B.M.Sharma's daughter is too hilarious. And finally the climax scene of Gippy's marriage where most characters get together will make you roar with laughter.

CONCLUSION                                                            :        Although It is a good comic attempt with laughter punches throughout but still it works in parts as lot of comic punches have been lifted from earlier flicks. If you dont go with much expectations, you will relish this movie and will definitely laugh your heart heart out towards the end of the movie.
 

ROHIT SHARMA.

Follow me on twitter at  https://twitter.com/smgr105

rohitreview@gmail.com

                

KRRISH 3 : Movie Review

All supermen stories, whether desi or firangi, are hair-brained constructs where superheroes are created out of gibberish. And in these comic-book narratives the victory of good over evil is ordained. Yet, because they play on our complexes, superman and superiority, as well our fear of mortality, they work wonderfully for us. The superhero of atrocious superhero filmmaking has struck again, and its not a pretty sight. Take the most superficial components of X-men, Batman, Superman, Spiderman and even Shaktimaan ; mix them together in a typical bollywood screenplay and Krrish 3 is ready for audience to watch. But when mainstream Bollywood retells our favourite stories, they strip them down to the basics. Stories that could have evolved into a more nuanced battle between good and bad, become whittled down versions where black is jet black and white is radiant and glowing. All that our writers and directors do is throw in more and more prejudices to make the bad badder. Here writer-director-producer Rakesh Roshan has made the villain a wheel-chair bound bundle of neurosis and complexes. But political-incorrectness is hardly the issue here, being underwhelmed is. 

SCRIPT & SCREENPLAY                                            :                   The story for this flick has been written by Rakesh Roshan and the credit for the screenplay has been given to Robin Bhatt, Honey Irani, Irfan Kamal, Akash Khurana & Rakesh Roshan also. And the biggest cliche of the movie is its writing and screenplay. So, its a big surprising and amusing factor that five writers have together penned this storyline which is the biggest disappointment of this movie. The screenplay, though involving a range of conceits has its a** covered and movie begins with  — Kaal (Vivek Oberoi) — who lives in a steel capsule atop a snow-clad cliff and slithers about in a wheelchair. In this strange world, Siberian and supernatural, where transparent touch-screens have glowing figures and enlarging circles, he breeds stuff — creatures and deadly viruses, for insaniyat ka khatma. In India, meanwhile, scientist-daddy Rohit (also Hrithik Roshan), who lives with his TV reporter bahu Priya (Priyanka Chopra) and superman son Krrish (Hrithik Roshan), is involved in a home project.  Kaal is a genius scientist who is paralysed neck down except for two fingers. He is in search of a particular bone marrow that will put life into the rest of his body. He creates creatures called Manvars — a bilingual sandhi of man plus var of janvar. Wife Priya announces she’s pregnant, and this is occasion for Hrithik to dance and delight us, even if it’s to a song with strange lyrics. Soon there’s an outbreak of a deadly virus in Namibia, and this brings to us the film’s chief villainess, Kaya (Kangana Ranaut). Made from the blood of Kaal and a chameleon, she has some stunning properties. But Kaal’s next plan, to hit this country, comes to nought when Rohit creates an antidote to the virus all by himself. This alerts Kaal — the antidote can only be made from his DNA — and the story begins to unravel, but only after an exchange programme involving ichcha-dhari girgit Kaya and Priya is activated. You can guess what this means — both for Kaya and Kaal. If you are still interested in remaining storyline than you go and watch the movie in theatres. 

STARCAST                                                 :   Undoubtedly,the movie belongs to talented Hrithik Roshan who doesn't disappoint with his acting,emoting,dancing abilities & has once again delivered a power packed performance. He is present in double role i.e. as Rohit as well as Krrish and manages to convince audience in both the characters. But, i feel pity for him as his efforts and skills might go wasted & not get him the rewards which he deserves as the story & screenplay has let the movie down. Priyanka Chopra slips into the character of Priya effortlessly and to perfection and once again proves why she is known to be one of the best actresses in Bollywood. But it is Kangna Ranaut who has managed to impress the most in the role of chief villainess Kaya who is ichcha-dhari girgit. I would personally rate it as one of the best performances that she has given so far. Vivek Oberoi, as the wheel chair bound genius but mean and menacing scientist, Kaal is also well cast. In the ensemble cast there are Arif Zakaria, Rajpal Yadav, Rakhee Tandon, Mohnish Behl who have given a noticeable performance.       

TECHNICAL FINESSE                                                          :          Now, coming to the music which has been composed by Rajesh Roshan is also very average with most of the songs not being that catchy. The background score by Salim Suleiman is definitely good in tandem with the movie. Undoubtedly, the movie is amazing and excellent as far as the technical aspects are concerned and Roshans have taken a brave step ahead by trying to imbibe mutants of hollywood as Maanwars on Indian celluloid but alias it hasn't clicked that well. Cinematography by S.Tirru is excellent and he has captured some enchanting visuals on-screen. Sabu Cyril also deserves applause for his production design and so do Mike H.G.Bates and Mike Stringer for their contribution in make-up department. The movie editor Chandan Arora has done a fine job but it could have been better, had he restricted duration of some scenes. Rakesh Roshan as a director excelled in both the prequels to this but this time he went overboard by adding too much of technical glitz and super elements. Most of his earlier flicks had a soul along with sentiments attached to them which appealed to major section of audience which is missing from this one. It is not a very bad movie and may be certain section of audience especially kids might like it but this is not that typical Rakesh Roshan kind of a movie. His movies had a typical USP of having emotionally turbulent screenplay which is missing from this flick.  

OVER THE HEAD                                       :               Some of the costumes and sets in this movie are so mind boggling that they remind you of old Ramanand Sagar's serials like Vikram -Baitaal. Buildings crumbling like card-boards and destruction is at par with old Godzilla movies. On top of it, in every other scene you will find a product placement as if its an advertising movie with product categories like pen, juice, ice cream, airline being promoted.  In fact, in one of the scenes when Priyanka and Hrithik walk into the frame from either sides, the camera focuses more on two brand hoardings instead of them. 

CONCLUSION                                                :                   Its an out n out  sci- movie which might appeal to a certain section of audience but it is no-where in league when compared to its prequels. So if you have penchant for those technology ridden fictions featuring super hero versus various caricatures, than you can go and relish it.        
  

ROHIT SHARMA.

Follow me on twitter at  https://twitter.com/smgr105

rohitreview@gmail.com

ISHQ GARRARI : Movie Review

ISHQ GARAARI has added up another feather in the cap of mindless entertaining comic capers being churned out by Punjabi movie industry which has come to be known as Polly wood. No doubt, the movie has its share of laughing moments and couple of good songs but much more was expected from Dheeraj Rattan who has given some real LOL movies in the past which were really hilarious. Laughter in a movie entertains audience only when it comes out naturally and enforced laughter can only work out in patches and that too just once without having any repeat value. It was really disheartening to watch ISHQ GARAARI turn into a whimsical movie, scene after scene.The biggest culprit is its done to death, excessively monotonous n whimsical plot & screenplay which is full of cliches. Hardly 10 minutes into the movie and you start getting a feel as if everyone on screen is either sleep walking or the makers are in a real hurry to finish off the proceedings. Although, it might entertain certain section of audience but it does not stand anywhere close to some real funny Punjabi movies we have seen earlier.

SCRIPT & SCREENPLAY                                         :      ISHQ GARAARI fails to catch hold of your attention for a long time due to several factors but the biggest disappointment has come from Dheeraj Rattan who apart from directing the movie has also written the the story as well as the screenplay. Dheeraj has given some real witty stories and screenplays in the past but this time he has faltered big time. Although, he had woven a good comic story-line which could have been further developed into some real funny situations and lot of witty scenes but Alias it nosedives  !!  After some time screenplay becomes so flimsy that the scenes which could have been  funny & witty, turn into confusing chaos and start boring you. Now, coming to the storyline ....Ishq Garaari's story is mainly based on an aspiring, talented,writer and singer Sherry Played by Sherry Mann who lives in a village and is looking forward to cut his own album and become famous. The movie begins with a scene where his girlfriend who is daughter of a rich transporter ( mind you he owns 10 auto- rickshaws whom they call Bhoond )  lends him some money to go to a town and try his luck in a recording studio. She also has another sister by name of Sweety But their father wants his son-in-law to be not only a rich guy but also who has interest in autos and can look after expanding his business. To add to confusion there is another Sweety ( Mandy Thakkar ) in the script who wants to be a singer and is so obsessed with Singer Ms.Pooja that she thinks Ms. Pooja is along with her wherever she goes. Sweety thinks that to become famous singer she needs to have a good manager who is her fan and can promote her. Now, Facebook comes into picture and she finds two right candidates in Gulzar Chahal who is a electrician and Rannvijay Singh who sells Desi viagra kind of pills. Both of them are not only old school classmates but also fall for Sweety. Some obnoxious events occur and as a result Sherry along with his friend Boondy decide and kidnap Sweety. But here too confusion prevails and they kidnap wrong Sweety (Singer one) and to make things worse Sherry instructs Gulzar & Rannvijay to kidnap the rich Sweety. I think i should end here or else even you guys will go off to sleep. Oh sorry sorry .....i forgot to mention the character played by Vinaypal Buttar who although is a police inspector but has passion of auto-rickshaws.   

STARCAST                                                           :        Apart from Sherry Mann and Mandy Thakkar none of the other characters have been aptly cast as per their characters. Sherry Mann has tried his level best to give expressions while emoting and thankfully his innocent looks have worked well as per his character of humble village commoner. As far as acting skills are concerned, he still needs to work hard. Apart from looking good, Mandy Thakkar has shown  improvement in her acting skills too. Prabhleen Sandhu  ( TV actress of serial Apki Antara ) also manages to impress in her debut performance on big screen. Ms.Pooja who has played kind of a double role also has delivered a passable performance. Rannvijay Singh who is famous for Roadies has been given character of medicine salesman running around on an old Priya scooter which obviously doesn't gel well with his persona and image. Similarly, Gulzar Chahal plays the character of electrician who is found struggling while portraying his character. Balwinder Vicky, Mukesh Vohra have been wasted as they are capable of infusing much more laughter in scenes. Vinaypal Bhuttar as a Cop does not impress and has not given a noteworthy performance.  

TECHNICAL FINESSE                        :                              As per the ongoing trend of having medley of music composers for a single movie, Ishq Garrari has continued the same trend and has credited lot of music directors for this flick which include RDB, Pav Dharia, Nick Dhammi, Badshah and Yo Yo Honey Singh. As far background music is concerned, it has been composed by Salil Amrute and he has done a fine job with it. The movie has been edited by experienced Manish More but even his experience could not save the whimsical ISHQ GARAARI as how many boring scenes could he edit.So i wont like to blame him much as far as editing is concerned. Now, coming to the man behind the venture i.e. Dheeraj Rattan who has written the story, screenplay as well as directed it. Surprisingly,he has come nowhere close to the expectations from him considering the kind of potential he has which he has showcased earlier. And what struck me most was that he had come up with a good idea as far as storyline is concerned but he could not not cultivate it further into a entertaining screenplay. I personally feel that  lack of cultivating good comic situations in the screenplay, and wrong selection of  artistes as per the characterizations are the departments where Dheeraj has faltered leading to the debacle of movie. But I am sure Dheeraj has got the right capabilities and will definitely bounce back with a good entertaining flick for audience to make up for the disappointment caused by this movie. And mind you, i am writing all this because when Dheeraj helms a movie,i expect it to be cracker of a movie with respect to wholesome entertainment.

WOW MOMENTS                                  :     Some of the interactions between Sherry Mann & Mukesh Vohra regarding kidnapping are quite hilarious and laughter invoking.

OVER THE HEAD                                    :    I will not like to ridicule any particular scene as almost all of them were equally bad. But it is repetition of word Bhompu by Balwinder Vicky which starts irritating you like anything. Similarly, Vinaypal Bhuttar with his repetitive words starts to catch hold of your nerves.

CONCLUSION                                           :    Although, the makers have tried to make an entertaining movie but by adding too much of commercial filmy ingredients it looses its way and fails to catch hold your interest in proceedings.

ROHIT SHARMA.

Follow me on twitter at  https://twitter.com/smgr105

rohitreview@gmail.com

BESHARAM : Movie Review

Here’s the deal, ladies. The idea behind Besharam is, presumably, to make you sit through three hours of gibberish (even by the standards of a gibberish-addict like yours truly) for a three-second sighting of half an inch of Ranbir Kapoor’s butt crack. Now whether that’s a fair deal or not depends on how loyal your hormones are to Kapoor’s cuteness (I admit, mine are supremely loyal). Guys, though I can’t even think of any reason for you to go and watch Besharam, I’d say the film may be an uplifting though highly delusional lesson on how morons with the ugliest possible wardrobe can eventually land girls who can pay for an EMI of a Mercedes Benz

Read more at: http://www.firstpost.com/bollywood/movie-review-ranbir-kapoor-looks-like-a-salman-wannabe-in-besharam-1147391.html?utm_source=ref_article

Here’s the deal, ladies. The idea behind Besharam is, presumably, to make you sit through three hours of gibberish (even by the standards of a gibberish-addict like yours truly) for a three-second sighting of half an inch of Ranbir Kapoor’s butt crack. Now whether that’s a fair deal or not depends on how loyal your hormones are to Kapoor’s cuteness (I admit, mine are supremely loyal). Guys, though I can’t even think of any reason for you to go and watch Besharam, I’d say the film may be an uplifting though highly delusional lesson on how morons with the ugliest possible wardrobe can eventually land girls who can pay for an EMI of a Mercedes Benz.

Read more at: http://www.firstpost.com/bollywood/movie-review-ranbir-kapoor-looks-like-a-salman-wannabe-in-besharam-1147391.html?utm_source=ref_artic

Abhinav Kashyap’s second film as director is crude, packed with toilet humour, and has no semblance of a plot. “Besharam” is a case study in lazy filmmaking, one that lowers the bar on good taste just to make money at the Bollywood box office by using the star value of the entire Kapoor clan but it just fails.... badly.

Here's the deal Ladies : The idea behind Besharam is,  presumably, to make you sit through almost three hours of Gibberish for a five second sighting of half an inch of  Ranbir Kapoor's Butt-crack. Now, whether it's a fair deal or not depends on how loyal your hormones are to Kapoor's cuteness.( Like one of my female friend's are supremely loyal to Arjun Rampal ). But for guys, I can't even think of one good reason for you to go and watch Besharam cause the female lead Pallavi is neither titillating nor is her character that she has portrayed. I'd say the film may be an uplifting though highly delusional lesson on how morons with the ugliest possible wardrobe can eventually land girls who can pay for an EMI of a Mercedes Benz while living in first floor of a Mohalla house. This film tries so desperately hard to entertain its audiences that at some point after the interval it stops pretending to be a film altogether. This is when I stopped bothering with jotting down notes of any kind for my review, and there is nothing memorable enough to recall either. This is a film in which the hero is a self-confessed luchcha-lafanga: remember that phrase? The kind of thing that the villain used to do— be an illiterate lout, crack cheap jokes, harass the heroine, and pull at his crotch whenever possible — is now down to our hero.

apoor’s butt crack. Now whether that’s a fair deal or not depends on how loyal your hormones are to Kapoor’s cuteness (I admit, mine are supremely loyal). Guys,

Read more at: http://www.firstpost.com/bollywood/movie-review-ranbir-kapoor-looks-like-a-salman-wannabe-in-besharam-1147391.html?utm_source=ref_article

possible wardrobe can eventually land girls who can pay for an EMI of a Mercedes Benz.

Read more at: http://www.firstpost.com/bollywood/movie-review-ranbir-kapoor-looks-like-a-salman-wannabe-in-besharam-1147391.html?utm_source=ref_artic

possible wardrobe can eventually land girls who can pay for an EMI of a Mercedes Benz.

Read more at: http://www.firstpost.com/bollywood/movie-review-ranbir-kapoor-looks-like-a-salman-wannabe-in-besharam-1147391.html?utm_source=ref_articl

If you’re like me, then you usually don’t mind shelling out 300 hard-earned rupees

Read more at: http://www.firstpost.com/bollywood/movie-review-ranbir-kapoor-looks-like-a-salman-wannabe-in-besharam-1147391.html?utm_source=ref_article

Here’s the deal, ladies. The idea behind Besharam is, presumably, to make you sit through three hours of gibberish (even by the standards of a gibberish-addict like yours truly) for a three-second sighting of half an inch of Ranbir Kapoor’s butt crack. Now whether that’s a fair deal or not depends on how loyal your hormones are to Kapoor’s cuteness (I admit, mine are supremely loyal). Guys, though I can’t even think of any reason for you to go and watch Besharam, I’d say the film may be an uplifting though highly delusional lesson on how morons with the ugliest possible wardrobe can eventually land girls who can pay for an EMI of a Mercedes Benz.

Read more at: http://www.firstpost.com/bollywood/movie-review-ranbir-kapoor-looks-like-a-salman-wannabe-in-besharam-1147391.html?utm_source=ref_a

STORY & SCREENPLAY                       :                Although, the credit for the story writing and screenplay has been given jointly to Abhinav Kashyap & Rajeev Barnwal but you'll keep wondering where is the story-line or what is the story all about. It has no story worth the name, and its oddball characters are facile caricatures that turn more and more bizarre as they hurtle towards a protracted and action-packed climax that turns out to be far and away the most enjoyable part of the film. Most of the comic gags that Besharam conjures up hinge on the film’s pivotal casting coup. You have to go looking for the plot with a microscope.Cynical disregard for basic decency is meant to be cool in this film.In the endeavour to imbue Ranbir's car-thief's character with a sense of mischievous artlessness the narration becomes woefully heavy-handed. The tone adopted is that of a conversation between two reputed stand-up comedians who are out to prove they can convey the seriousness of existence even while maintaining the jokey tone that is expected of them. There are passages of excruciatingly gauche writing where the actors run around in circles trying to be cute replicas of characters from the movies in the 1990s. I'll try my level best to pen down the disjointed storyline which i could make out, so ladies and gentlemen here it goes :     Ranbir Kapoor is Bubly, an orphan who is the Robinhoodesque lovable hero - he steals cars, sells them to chop shops and gives the money to his orphanage. The first 15 minutes is a mindless hotch-potch to establish the main characters, plot and story be damned. Before you know it, Bubly falls head-over-heels in love with some manger of a corporate office Tara Sharma (Pallavi Sharda) whose necklines plunge shamelessly low with each progressing scene! There's a villain too in this gobbledygook - Hawala King Bheem Singh (Jaaved Jaaferi) who is as menacing as a wooden door. And it is for this villain that Bubly unknowingly steals chawl-dwelling Tara's Mercedes, only to help her get it back. Now the film becomes a road trip with song and dance thrown in. The climax is typically '70s and '80s Bollywood - with the hero, heroine and their cronies fighting the villain and his thugs. With the cops sprinkled in to complete the picture.

Read more at: http://indiatoday.intoday.in/story/review-besharam/1/312763.html

STARCAST                                            :                         Ranbir Kapoor is the heart and soul of the film as his Babli is in almost every frame. He hams it up probably for the first time in his career but given the fact that he was required to play a character like this, he does reasonably well even when he is hamming it up. Ranbir tries really hard to be the cute buffoon of a Besharam. And he succeeds to a certain extent. But the plot’s general lethargy lets him down. Ranbir's earnest performance alone can't rescue a film which has a wafer-thin story and where the structure is predictable. Rishi Kapoor is amazing as always. His Haryanvi accent is spot on. Neetu Kapoor is also a laugh riot in some of her scenes with Rishi Kapoor. The Kapoor trio deserved a better film because their talent is wasted in this drab of a film. If not for Ranbir and his real-life parents Rishi Kapoor and Neetu Kapoor who are actors par excellence, Besharam the movie would not have been tolerable.  NRI Pallavi Sharda is a new find – an actor and dancer, but probably not fit for this role. Her chemistry with Ranbeer looked very very ordinary which is visible on-screen as they didn't look that well together. Javed Jaffri is hilarious as the funny baddie as he imbibes shades of comedy and evilness in his performance without ever going overboard. Javed Jaffrey is in his element as the villain who is outsmarted by our besharam kid. Amongst the ensemble artistes, Himani Shivpuri does her job well as the Punjabi mother eager to find a son-in-law. Amitosh Nagpal as the hero’s friend and sidekick shows promise as an actor. Also, you can watch versatile character actor Manoj Bakshi taking care of the infants by carrying them in his lap throughout the movie.

TECHNICAL FINESSE                                     :          It is the technical factor that harms the film further. What makes this film rather cringe worthy is the absolutely obsolete music by Lalit Pandit. Except the title song, the rest ruins the film. While watching the film, a cry of ‘not again’ rose when the second last song made its appearance. The moment the last track (with the end titles) appeared, people left the theatre in relief. The other creative aspects of Besharam can’t redeem it either. The cinematography by Madhu Vannier  wears a strange digitally-enhanced look, as if it had been washed in some kind of mocktail. The editing by Pranav Dhiwar & Pankaj Sharma employs retro-effects jarringly and doesn't save the movie during its runtime of 141 minutes. Abhinav Kashyap sorely disappoints in all aspects of the film he is a part of. He delivers the plot and character details only in broad sweeps, never pausing to let little things like psychological nuances get in the way of his defiantly goofy storytelling style.His script provides no insights into the motives of the hero except for the fact that he grew up in an orphanage and resorts to illegal acts simply in order to fund a bunch of castaways. It seems like Dabangg fame director Abhinav Kashyap has forgotten to add two extremely important ingredients in the film, good script and innovation. Kashyap doesn’t even attempt to inject any creativity into this flimsy plotline, relying on toilet humour and mediocre songs to stretch the running time to two-and-a-half hours.

WOW MOMENTS                                          :       Right from their introductory scene Rishi & Neetu Kapoor entertain you with their confrontations and especially Rishi with his Haryanvi dialect. Also, the scene where Ranbeer proposes Pallavi also raises guffaws. Mind You., for me the only positive aspect of the movie is trio of Kapoors.

CONCLUSION                                         :          The movie is totally inspired from the title. It is what it says it is, Besharam, shameless. There is no script, no plot, no chemistry, no love story, only shamelessness and a lot of it. It insults the viewer’s intelligence and is an example of the Hindi film industry’s reluctance to let go of hackneyed storylines that were all the rage two decades ago. But,yes if you want only entertainment without looking at any other aspect of movie-making, you can give it a shot. For rest, wait for it to come on Satellite channels ( which it will very soon ).....    

ROHIT SHARMA.

Follow me on twitter at  https://twitter.com/smgr105

rohitreview@gmail.com

SHUDDH DESI ROMANCE : Movie Review

 

the love triangle and rom-com a la Bollywood has been redefined: Shuddh Desi Romance is a classic and one of the best dissections of a relationship that has ever come out of the Hindi film industry.

Read more at: http://www.firstpost.com/bollywood/shuddh-desi-romance-review-a-classic-that-redefines-love-triangles-1090173.html?utm_source=ref_article

the love triangle and rom-com a la Bollywood has been redefined: Shuddh Desi Romance is a classic and one of the best dissections of a relationship that has ever come out of the Hindi film industry.

Read more at: http://www.firstpost.com/bollywood/shuddh-desi-romance-review-a-classic-that-redefines-love-triangles-1090173.html?utm_source=ref_article

the love triangle and rom-com a la Bollywood has been redefined: Shuddh Desi Romance is a classic and one of the best dissections of a relationship that has ever come out of the Hindi film industry.

Read more at: http://www.firstpost.com/bollywood/shuddh-desi-romance-review-a-classic-that-redefines-love-triangles-1090173.html?utm_source=ref_article

SHUDDH DESI ROMANCE  is more than a feel-good romance and the makeover it marks for the mush formula extends beyond a cosmetic change. The film is a fascinating sketch tracking the mindset of today's youth. It talks of a generation that understands love, values commitment but is often found struggling in a domain somewhere in between. Shuddh Desi Romance adds a spunky tadka to having cold feet before the wedding. Do you commit or do you not? Hamlet’s dilemma pales in comparison. And that’s exactly what makes SDR a super fun film. In today’s times when the lines between love and lust are blurring rapidly, SDR holds a mirror to the love-stricken, confused souls who want the benefits of being in a relationship without carrying the burden of the responsibilities that inadvertently come along – in a hatke and relentlessly humorous style. The film also reveals the hypocrisy where we love sex but don’t admit that we do. So there, Bollywood breaks the stereotype. It steps out from behind the bloomin' trees in tulip fields and comfortably 'shacks-up' with the times. Here 'smooch-at-first-sight' happens in a bus-full with baaratis. Coffee dates are sipped in bed (Happy Endings? Huh!). Commitment is not the criteria. Marriage is not on the cards. And sexual compatibility is high priority. Yes, welcome to a modern day shuddh romance in desiland. Plenty 'Kiss Kiss, Bang Bang', tucked in with some emotion and drama too.   

Like most normal couples - hence, unlike the relationships we see in Hindi movies - sexual attraction is the key to our protagonists' equation, and the film doesn't make a big deal about it.

Read more at: http://ibnlive.in.com/news/shuddh-desi-romance-review-its-a-nonformulaic-charming-little-film/420141-47-84.html?utm_source=ref_article

Like most normal couples - hence, unlike the relationships we see in Hindi movies - sexual attraction is the key to our protagonists' equation, and the film doesn't make a big deal about it.

Read more at: http://ibnlive.in.com/news/shuddh-desi-romance-review-its-a-nonformulaic-charming-little-film/420141-47-84.html?utm_source=ref_article

the love triangle and rom-com a la Bollywood has been redefined: Shuddh Desi Romance is a classic and one of the best dissections of a relationship that has ever come out of the Hindi film industry.

Read more at: http://www.firstpost.com/bollywood/shuddh-desi-romance-review-a-classic-that-redefines-love-triangles-1090173.html?utm_source=ref_article

Like most normal couples - hence, unlike the relationships we see in Hindi movies - sexual attraction is the key to our protagonists' equation, and the film doesn't make a big deal about it.

Read more at: http://ibnlive.in.com/news/shuddh-desi-romance-review-its-a-nonformulaic-charming-little-film/420141-47-84.html?utm_sou

SCRIPT & SCREENPLAY                     :              The script as as well as screenplay which has been written by Jaideep Sahni, perhaps the best master chef of middle class mores and foibles of northern India, is pure ghee. Cholestrol-inducing calories be damned, Sahni serves out one dishy scene after another which are finger-lickin’ good. Writer Jaideep Sahni offers a perfectly logical explanation for any untimely panic attack, 'Doubt ghadee dekhkar thodina aate hai.' Jaideep gives us a love story that is at once utterly believable and utterly romantic; characters that we fall in love with from the first frame and dialogues that makes us smile even when situation is distinctly unfunny — like a groom abandoning his bride at the mandap. The nicest part of this romcom, which triangulates girl-boy-girl in a manner Bollywood is just waking up to, is that it lets its characters talk. Like, you know, real conversations, where faces are turned to each other, where the baat-cheet between a girl and guy moves from checking-each-other-for-size -banter to will-our-noses-fit-if-we-kiss to can't-keep-our-hands-off-each-other level. Yes, that kind of locked-eyed, quickening breaths, leaping-libidos chat. If you think that the movie is your clichéd romantic love triangle where the protagonists understand the value of true love and the significance of sacrifices and all that jazz, you are highly mistaken! The quirky dialogues, the real characters in real situations battling with dichotomies our youngistan faces when it comes to the matters of heart, make this movie fun to watch. 

                                                                                    Well to take it further, we have Raghu Ram (Sushant Singh Rajput), who is a certified tourist guide cum part time store salesman. Occasionally, he works for Tauji’s (Rishi Kapoor) agency that takes care of wedding preparations and even renders services of (fake) baraatis to any wedding party. On his way to his own wedding, Raghu encounters Gayatri (Parineeti Chopra), who is on board the wedding party as Raghu’s (hired) sister. Her persona immediately attracts the flippant lover Raghu, thereby giving birth to their ‘Shuddh Desi Romance’ with lightening speed. Raghu ditches his beautiful bride, Tara (debutant Vaani Kapoor) and comes to live-in with Gayatri in Jaipur. The neatly done scenes and commendable portrayal of their respective roles by Parineeti and Sushant give depth to the projection of modern day city romances. The lovers’ tiff, lust, love, and confusion on hot topics like marriage and commitment are shown nicely here. Adding more spice to the picture is Tauji’s character that is sensible, funny, mature, and every bit entertaining. But wait. The jilted bride Tara is not out of the picture for good as yet. So watch out for some more drama and of course, romance as the story moves on.

Shuddh Desi Romance appeals not only to college kids or married couples or the ‘arty’ crowd, but to anyone and everyone. It’s competent, challenging, bright, delectably-relatable and heartfelt and hopefully, it signals the beginning of a major shift in the industry and the audiences’ taste in mainstream feel-good Hindi cinema.

Read more at: http://www.firstpost.com/bollywood/shuddh-desi-romance-review-a-classic-that-redefines-love-triangles-1090173.html?utm_source=ref_articl

Shuddh Desi Romance appeals not only to college kids or married couples or the ‘arty’ crowd, but to anyone and everyone. It’s competent, challenging, bright, delectably-relatable and heartfelt and hopefully, it signals the beginning of a major shift in the industry and the audiences’ taste in mainstream feel-good Hindi cinema.

Read more at: http://www.firstpost.com/bollywood/shuddh-desi-romance-review-a-classic-that-redefines-love-triangles-1090173.html?utm_source=ref_artic

STARCAST                                         :              One of the biggest reasons that the movie catches your interest and engages your eyeballs in the proceedings is its apt Star-cast for which credit must be given to its casting director, Shanoo Sharma. As for the performances, Parineeti Chopra has yet again delivered a commendable performance with her inherent effortlessness. Her outwardly liberal, cigarette-smoking and yet normal girl-next-door love-seeking character is the true soul of the film. Chopra shows some mettle as a woman whose spunky exterior hides emotions and is proving to be a dark horse. Sushant Singh Rajput has proved yet again that he has true potential and we would definitely like to see him more often. The dude displays the quirky, the naughty and romantic sides of his character very convincingly. Rajput adopts a woebegone manner, with laboured dialogue delivery and the same grimace for every situation he is in. Until the last scene, Raghu does not know what matters to him. Newbie Vaani Kapoor too has delivered a noteworthy performance. She is really charming and has managed to impress in her first outing as a leading lady. Romantic comedies sometimes compensate for the lack of spirit in the central lovebirds with wacky secondary characters. Rishi Kapoor’s cute and gung-ho father-figure, bullish about propagating the goods of marriage so his business won’t close, is a bright spark and he reminds us once again why he is called the most underrated actor of Indian cinema with his supreme performance. Rajesh Sharma, who appears for a brief period also leaves his mark as Vaani's Tau.

TECHNICAL FINESSE                         :                   The music for this flick has been composed by the talented and in-form duo of music directors Sachin-Jigar who have once again belted a melodious album. Some of the tracks are really catchy and have already become chart-busters. Manu Anand’s cinematography heightens the kitsch of the setting with some neon touches and warm-hued interiors. The production design has detailed authenticity. The run-down, patchily-colored small town Rajasthan kitsch  makes the canvas of the insipid characters seem sprightly. The movie has been edited by Namrata Rao, who has done a descent job in maintaining the tempo of the movie at a constant pace during the run-time of 141 minutes. Although, the movie nosedives a bit in the second half for sometime due to cliches in the script but it picks up the tandem again after a short duration. Maneesh Sharma, has once again proved why he has become a blue eyed director of YRF camp. Although the movie has its share of cliches, but the romantic drama is beautifully layered with various confusions and conflicts the young and restless Gen-next faces (read creates) when it comes to love and commitment. Maneesh has been able to portray reality as it is – however complex it may be – without being judgmental. Neither does it glamorize live-in relationships nor does it look down upon the institution of marriage. Although, movie had much more potential and could have ended differently but still i am happy with Maneesh's vision and way to go, Maneesh.  

WOW MOMENTS                           :                   The movie begins with a bang.....the scene where Sushant meets Parineeta and they proceed for Sushant's marriage in a bus for his marriage is one of its own kinds and sets the tempo of the movie. Apart from that when Sushant goes to Parineeta's house and the how casually they fall for each other is again something which is different from run of the mill bollywood scenes.

CONCLUSION                                  :                
Shuddh Desi Romance is a cinematic delight that’s very difficult to explain and should better be consumed with patience and an open mind. Those who are stuck in the Dilwale Dulhania Le Jayenge kind of idealistic romance or looking for a mushy picture-perfect ending may not quite like this unconventional tale. But for those who are keen to see the evolving face of our very own and highly complex shuddh desi romance – as it is and absolutely unadulterated – cannot afford to miss this one!

ROHIT SHARMA.

Follow me on twitter at  https://twitter.com/smgr105

rohitreview@gmail.com