BollyBad 2011

Celebrating the worst of Bollywood

Mausam; Source: Wikipedia

Like every year, this year too I went into the theatre, weekend after weekend hoping to watch a good, enjoyable, Hindi film… Sadly, 2011 turned out to be amongst the worst years for Bollywood in the recent times. Not that the films didn’t make money, they did and in fact there were a record number of 100-crore earning blockbusters; but quality wise we got mediocrity at best. The high points of my movie watching experience were more to do with the food at the concession stand rather than spectacular cinema! Since I paid a lot to watch crappy cinema, let me get my money’s worth and celebrate the worst of Bollywood in 2011. Please note that I have not considered many films that no one cared to watch (except Anna Vetticad as part of her New Year resolution to watch all Hindi films in 2011) and may have missed out some delightful performances and gems there.

Zayed & Fardeen Honorary Award for Worst Performance (Male)

The nominees are:

• Bobby Deol for his elementary school student like act in Yamla Pagla Deewana
• John Abraham for his negligible acting in a blue negligee in 7 Khoon Maaf
• Hrithik Roshan for his overacting in the otherwise wonderful, Zindagi Na Milegi Dobara (check out the scene where he does a video conference with his Japanese client)
• Prateik in Aarakshan… he forgot that he was in a film and not in a road side nautanki; such indifference!

And the winners are Sanjay Dutt and Ajay Devgn for Rascals… Kaancha Cheena and Bajirao Singham are better roles for them… I don’t understand, why they keep insisting on inflicting comic-pain on us? Tell Me O Kkhuda why?

Rascals; Source: Wikipedia

Mallika & Celina Honorary Award for Worst Performance (Female)

The nominees are:

• Kangana Ranaut for going beyond her ‘You Beshterd’ signature line and giving us ‘Kwahterr Baawttle Vhodkha’ in Tanu Weds Manu
• Asin for Ready… she’s still looking for her comic timing
• Minissha Lamba for Bheja Fry 2; not her fault entirely as each character in this film was super irritating
• Deepika Padukone for Aarakshan; so much Hindi and the role of a girl next door… this was too much to ask for

And the winner is Nargis Fakhri for Rockstar. Her spectacularly poor performance ensured that no one cared for her character in the film. She has the talent to give competition to Kangana, Katrina and Deepika all together in the poor dialogue delivery department.

Nargis Fakhri; Source: nargisfakhri.net

Kunderji’s Tees Maar Khan Award for the Worst Film-maker

The nominees are:

• Samir Karnik for Yamla Pagla Deewana because the audience is not Tinku Jiya
• Madhur Bhandarkar for Dil Toh Baccha Hai Ji because even the child hearted did not like the film
• Nikhil Advani for Patiala House and we are still surprised how he gets his films financed
• Sagar Ballary for his insufferable Bheja Fry 2 because you don’t get lucky twice
• Abhinay Deo for Game because film making is not children’s game
• Anees Bazmee for Ready, a film so bad that the audience gave up and laughed along; he also made something called Thank You but no one watched it, so it’s ok
• Pankaj Kapoor for Mausam, the epic bore story
• Anubhav Sinha for ruining the big budget spectacle, Ra.One

And the award goes to Prakash Jha for Aarakshan, a film with a very interesting ensemble cast but very poor writing and performances. Jha is a film maker who once made hard hitting films that made us think; but Aarakshan was a lazy attempt to make big bucks at the box office by using the Raajneeti template.

Aarakshan; Source: Wikipedia

While these were the big winners, I have chosen some more deserving stars and films that made 2011 a forgettable cinematic year…

Wren & Martin’s Bad Punctuation Award to Gul Panag starrer, Turning 30!!! They thought that each punctuation mark represents a decade! We’d also like to felicitate Shahid Kapoor in this category for abusing exclamation marks, question marks and ellipses on Twitter. He also wins the Bad Spelling Award for misspelling ‘girl gang’ (for those not aware, Mr. Kapoor replaced the second ‘g’ in gang with ‘d’ in one of his tweets).

Mrs. Marino Hair Softener presents Bad Hair Day Award: The award goes to Shah Rukh Khan for his curly hair wig in Ra.One. He also wins the Itch Guard award for touching his (and Arjun Rampal’s) crotch in the film.

Realism in Cinema Award goes to Ragini MMS for showing a Maharashtrian ghost with subtitles on screen.

Khan Ke Aage Jeet Nahi Hai Bravery Award is jointly shared by Hema Malini and Himesh Reshammiya for releasing their films Tell Me O Kkhuda and Damadamm with Shah Rukh Khan’s Ra.One.

Tell Me O kkhuda; Source: Wikipedia

Uday Chopra Award for Never Give Up Spirit goes to Mimoh aka Mahakshay Chakraborty for making a comeback with Haunted 3D after the debacle of Jimmy. I am sure he will have a few more come backs and so will Jackky Bhagnani

Brain Tonic Song of the Year Award: we have a tie here also but the award goes to the same film… Damadamm’s ‘no toucheeing, no keesing’ and ‘I love you like mango’

Damadamm; Source: Wikipedia

Spielberg & Cameron Award for Best (Worst) Use of Technology in Indian Cinema: This year has been excellent in terms of technology for Hindi films… movies released in 3D and millions were spent on sophisticated special effects; but the most innovative and WTF use of technology award goes to the remote controlled killer helicopter in Bodyguard.

Dunno Y… Na Jaane Kyon Honourary Mention for Most Innovative Film Titles:

• Impatient Vivek
• Love U… Mr. Kalakaar!
• Bbuddhah… Hoga Terra Baap
• Mummy Punjabi

Love U Mr Kalakaar; Source: Wikipedia

Kaayam Churan & Hindware Bath Fittings honour Dum Maaro Dum for thoughtful lyrics about bowel movement and an equal society… ‘Oonche se ooncha banda, potty pe baithe nanga’ (even the richest guys sit naked on the potty)

Kiye Karaaye Pe Paani Award for undoing all the good work, goes to the team of Ladies vs Ricky Bahl for ruining the memories of the fantastic, Band Baaja Baaraat. Another recipient of this award is Chitrangada Singh for her performance in Desi Boyz, making us forget Hazaaron Khwaishein Aisi.

Naam Bade Aur Darshan Chhote Award for the most hyped yet disappointing film of the year: Shah Rukh Khan for Ra.One

Lifestyle Achievement Award, urging the recipient to spare the viewers… Govinda for Naughty @ 40

This was my list of the worst of 2011 in Bollywood and hope we have a better 2012…

- Shrey Khetarpal

PS: This article is the author’s expression of the suffering inflicted by poorly made films and filmmakers on paying audience. Should you disagree, please ignore it as a random rant; if you agree, do share your views and spread the word by clicking any of the share buttons below…

Don 2

The King is back… or is he not?

Don 2; Source: Wikipedia

Shah Rukh Khan’s second outing as Don may not be an edge-of-the-seat thriller but it has enough action and style to qualify as an average entertainer. Directed by Farhan Akhtar, Don 2 suffers from the same old Bollywood problem – a weak script (story & screenplay – Ameet Mehta, Ambrish Shah and Akhtar himself). Instead we are offered fancy locales, exciting stunts and oodles of style… oh, and of course, King Khan.

While the first Don (2006) was a remake of Amitabh Bachchan starrer of the same name (1978); it packed a lot more punch and a killer twist in the end as compared to its sequel. The biggest strength of the film is SRK who seems to enjoy playing the bad guy. He is effortlessly cool and sinister in most sequences but has some cringe-worthy moments towards the end where his ‘love-interest’, Roma is involved. Priyanka Chopra reprises the role of Roma, the tough Interpol cop who is still licking her wounds after being fooled by Don in the first film. She has nothing much to do in the film except being called ‘Jungli Billi’ (wild cat) by Don and a little am-a-cop-and-I-can-kick-ass sequence towards the end. Lara Dutta in her brief role steals Ms. Chopra’s thunder in the glamour department and sheer screen presence. Newcomer, Saahil Shroff sadly doesn’t get enough scope and other actors including Om Puri, Boman Irani and Kunal Kapoor are fine in their respective roles.

The film’s other strength is its style quotient for which the Akhtar siblings are well known for. Don 2 is the first Hindi film to be shot in Germany (Berlin) and naturally the locales look refreshing. There are some interesting stunts including SRK’s 300 metre jump from a skyscraper (though it pales in front of Tom Cruise’s Burj Khalifa adventures that we recently witnessed in MI4) and an elaborate car chase sequence where sponsor, Hyundai’s cars prove to be the best. There is an elaborate bank robbery meets 26/11-style hostage crisis sequence that forms the second half of the film. The actors’ styling in the film is quite impressive including Don’s menacing long-haired and un-kept look in the Malaysian jail, followed by well fitted jackets and over coats. Lara looks stunning while Priyanka has some off moments, including one where she chases Don in a slinky designer gown (costume: Jaimal Odedra; hair: Walter Dorairaj, Diane Commisariat). Cinematography by Jason West is also first grade with fantastic aerial shots of Berlin, Thailand and Malaysia.

While the film scores high on style, its slow pace and the length prove detrimental (editing: Anand Sobaya). Despite borrowing heavily from the first film’s soundtrack, music director trio of Shankar, Ehsaan and Loy deliver a below average music score.

Overall, Don 2 disappoints and is certainly not a fitting return for the King. However, it is also not a bad film and is definitely a one-time watch for fans of the franchise and SRK.

My rating: * * * Three on five

- Shrey Khetarpal

Ladies vs Ricky Bahl

This is no Band Baaja Baaraat…

Pic: Yash Raj Films; Source: Wikipedia

From the makers of the super-fun, Band Baaja Baaraat (BBB) comes a not-so-fun film, Ladies Vs. Ricky Bahl (LVRB). The latest Ranveer Singh – Anushka Sharma starrer promised the same energy, attitude and excitement as the last year’s surprise hit, BBB but sadly failed to do so. It is certainly not a bad film but disappoints by being mediocre, coming from the same team that presented a crackling entertainer not so long ago. I hate to compare the two films but that’s how this film was promoted.

Directed by Maneesh Sharma, the film has an interesting first half where the stories of three women getting conned by the same guy are presented (story, Aditya Chopra; screenplay, Devika Bhagat). However, the second half gets predictable as these three hire another girl to con the original conman. While the plot is nothing new, the treatment could have made the film more engaging and fun. Ranveer Singh as Ricky Bahl who appears in the film in many other characters is good and his hard work shows on screen. Anushka (as Ishika Desai) is her usual confident, bubbly self but needs to break out of this mould in her future films as we’ve seen her do the same thing many times now. The supporting characters include three other actresses who have been cast well. Dipannita Sharma as a successful career woman, Raina Parulekar from Mumbai is good and so is Aditi Sharma who plays a soft spoken widow from Lucknow. But the real star of the film is Parineeti Chopra who owns every scene she appears in; she plays Dimple Chaddha, the spoilt daughter of a rich estate agent from Delhi. Habib Faisal (dialogues) has given her the best lines and she says them in an endearingly tacky manner (what we loved about BBB). I can promise you that the internet term for laughing out loud, ‘LOL’ will not remain the same for you once you’ve seen this film.

Another thing that does not work for the film is its music (Salim-Sulaiman). None of the songs are above average and act as good concession stand / loo breaks. Ladies Vs. Ricky Bahl is a half baked attempt at a con film as the love angle ruins it. Bollywood or Yash Raj Films, can we not have a mean con artist film that is funny but without a sappy love story?

My rating: * * ½ two and a half on five

- Shrey Khetarpal

 

The Dirty Picture

Vidya Balan is Silk, and Silk is entertainment

The Dirty Picture; Source: Wikipedia

“Silk is the only hero in this industry”, says a film journalist in The Dirty Picture and after watching the film, I can also say, Vidya Balan is the only hero in the Hindi film industry. Not because she has ‘dared to bare’ but the conviction with which she’s played the character of Silk – a dancing star from the eighties who knows her sexuality is her biggest strength. While most actors claim to prepare for their roles, there is rarely a performance where an actor completely lets go of any inhibitions and becomes the character on screen. This is where Vidya wins; she looks good, she looks fat, she looks ugly, but she looks and behaves like the charater, Silk in the film.

Apart from Vidya, The Dirty Picture works because of its entertainment factor and Rajat Arora’s sassy writing plays a major role. The dialogues are provocative, shocking and dirty, true to the film’s name. Director, Milan Luthria packs a punch in the first half; however the film goes downward like the lead character’s career in the second half. It starts with a village girl, Reshma (Balan) coming to Madras with big dreams. She struggles, sleeps hungry and almost gives up, till someone offers her Rs. 20 to sleep with him. Her life changes, she gets a big break and the attention of the reigning superstar, Suryakant (Naseeruddin Shah). Silk’s journey to the heights of stardom is extremely entertaining and engaging where two other men appear in her life; Ramakant (Tusshar sans Kapoor), an upcoming writer in awe of her persona and Abraham (Emraan Hashmi), a director who hates Silk and what she stands for. The film soars in the first hour and a half but the last hour is poorly executed as suddenly you feel disconnected from Silk while you’re supposed to empathise with her.

Naseeruddin Shah once again delivers a spectacular performance as a manipulative and selfish star, for whom, women are just objects to entertain. He also has the best lines in the film and manages to match up to Vidya’s pizzazz in an elaborate dance number with kitschy costumes, over the top sets and raunchy moves. The song, ‘Ooh La La…’ is the film’s highlight (Vishal Shekhar – music composers); Bappi Lahiri and Shreya Ghoshal capture the mood perfectly with their vocals and lyrics by Rajat Arora. The other song that works is ‘Nakka Mukka’, which is borrowed (legally) from a Tamil film; it has a catchy beat and helps showcase Silk’s ‘bombaat’ attitude at various intervals during the film. The rest of the soundtrack is nothing great. Coming back to the actors, Emraan Hashmi does a fairly decent job and proves that he can be taken seriously as an actor now. Tusshar tries hard but fades in front of Vidya and Naseer’s powerhouse performances.

The film’s costume designer, Niharika Khan deserves a special mention for capturing the tackiness and razzmatazz of that era and the characters. There is a lot of cleavage on show but I guess that’s another reason the makers (producer, Ekta Kapoor) chose Vidya as the leading lady – her traditional and family oriented off-screen image helped keep the focus on the character and not on the sleaze.

The Dirty Picture is a brave film and shows how Indian filmmakers and the censors have grown – a heroine centric film can be commercially successful and Indians can handle bold subject matter. Go watch the film for three things, as clearly articulated by Silk – “entertainment, entertainment and entertainment”.

My rating: * * * ½ three and a half on five

- Shrey Khetarpal

Rockstar

The Magic of Kapoor, Rahman & Chauhan

Ranbir Kapoor; www.rockstarthefilm.com

Imtiaz Ali’s Rockstar features three rockstars – the leading actor, Ranbir Kapoor in his best performance till date; A R Rahman with a brilliant soundtrack and Mohit Chauhan, whose vocals infuse magic in Rahman’s score and Kapoor’s performance. The other thing that works and does not work in equal parts is the film’s screenplay by Ali. The film has a good premise and the first half is engaging; however, the second half drags and you want it to get over quickly.

Writer-director, Imtiaz Ali knows how to handle romance well and like his earlier films (Socha Na Tha, Jab We Met, Love Aaj Kal),

Nargis Fakhri; www.rockstarthefilm.com

Rockstar also features confused lovers who separate and then re-discover love for each other. However, this film is as much about music, as it is a love story. The film’s most memorable and impactful parts are about Ranbir’s musical journey… from a young aspiring singer who is not sure what his music is lacking to the heart-broken, frustrated and bitter rockstar who does not like himself. Coming back to the love story; while there is Ali’s tried & tested formula and Ranbir’s passionate portrayal of someone madly in love; the romance in the film does not work, mainly because of the leading lady, Nargis Fakhri. She looks beautiful but her complete inability to act does not allow you as a viewer to feel for her character. She fails to bring alive the exuberance of a free-spirited college girl as well as the tragedy of a woman in a doomed romance.

Ranbir Kapoor as Janardhan Jakhar, a young Jat boy from Delhi is charming and endearing. His mispronunciation of English words and the Haryanvi accent highlight the character’s innocence and simplicity. As an actor Ranbir soars as he makes an effortless transition from Janardhan to Jordan – a rising musician to a rebellious star. He brings in a lot of passion and sincerity in his performance, which becomes the film’s biggest strength. Special mention for the film’s stylist, Aki Narula who has done a brilliant job in building the character; he presents Janardhan in cheap denims and hand-knit sweaters, and Jordan in a disheveled, eclectic look.

Ranbir, Shammi Kapoor; www.rockstarthefilm.com

The film is full of memorable moments and most of them are linked to its beautiful soundtrack (lyrics: Irshad Kamil). True to the film’s title, A R Rahman uses a lot of guitar in the score but the real magic comes alive with the use of sufi, folk and classical forms. The instrumental, ‘Dichotomy of Fame’ shot with Ranbir on guitar and the late Shammi Kapoor on shehnai is pure cinematic and musical genius (Balesh on shehnai & Kabuli on guitar). ‘Sadda Haq’ by Mohit Chauhan has already reached the levels of a youth anthem; ‘Nadaan Parinde’ with Rahman and Chauhan’s vocals grows on you and so does ‘Katiya Karun’ (Harshdeep Kaur & Sapna Awasthi). However, the big music moment of Rockstar that does not leave your mind long after the film is over, is the sufi track, ‘Kun Faya Kun’ with Rahman, Chauhan and Javed Ali’s voice and a brilliantly shot video at Hazrat Nizamuddin Dargah in Delhi. With nine out of the fourteen tracks featuring his vocals, it is undoubtedly Chauhan’s big album; he brings alive the pain and the agony that matches Kapoor’s sincere performance brilliantly.

While Kapoor, Rahman and Chauhan took the film to the next level; the film’s tedious length, sloppy second half and Ms. Fakhri’s acting pulled it down. Rockstar is a film that could have been great cinema but is still a great piece of art in many departments. It is a film to watch and to watch it in a theatre to experience the music in Dolby digital sound and no less…

My rating for the film: *** ½ Three and a half on five

Ra.One

Pic: Ra.One; Source: Wikipedia

Open letter to Shah Rukh Khan…

Dear Shah Rukh Khan,

Firstly congratulations for the spectacular opening of Ra.One and hope you manage to recover all the money you spent on the film. Not because it is a good film, but because you dared to dream and put your might behind a risky venture. You said it right, if you don’t make mega budget blockbusters in Bollywood, then who will?

Coming to the film, it is a major disappointment but don’t worry the masses in India are used to watching not-so-great or even silly films as long as they have their favourite stars; take the example of the recent Salman starrers, Ready & Bodyguard, and Rajnikanth’s Robot. Also, your film is a lot better than Shirish ‘Fizzle’ Kunder and Farah Khan’s masterpiece, Tees Maar Khan and Bollywood’s last sci-fi outing, Love Story 2050 (how I shudder at the thought of that film!)

You must praise your marketing team that kept the buzz alive around the film for over seven months. They did their job a little too well, as by the end of it, the whole country said, “Please stop, we’ll watch Ra.One”. They deserve a bonus. Others who deserve praise are your special effects team for creating some good sequences; I particularly like the scene where Ra.One regenerates with little Lego like digital cubes (too big to be called pixels). The few action scenes in the film are also nice and I hope the folks at Volkswagen are happy the way their cars were smashed. Kareena Kapoor did her best to look good and sizzle the screen in the Chammak Challo song; I believe that was the brief to her! Her make-up artist went beyond the brief to make her look smashing with blow-dried hair after she is rescued from a train wreck. Your villain, Arjun Rampal deserves a big fat bonus too as he proved to be the best thing about the film. Pity he didn’t get too much screen time.

Now coming to those whose payment you should put on hold. The director, Anubhav Sinha; firstly why did you hire him to lead a 150-crore project? His last film was called Cash, which didn’t earn any cash at the box-office! If it was because he wrote the story, that’s not an acceptable excuse as the story was nothing great with a concept borrowed from Hollywood (yes, we all watched Tron Legacy if not the original Tron). He did even worse with the screenplay where he had three accomplices (Kanika Dhillon, Mushtaq Sheikh & David Benullo); patchy writing peppered with crude jokes and lines that fell flat! You hired an Academy Award winner, Martin Walsh (Chicago) who edited all the wrong things (read action) from the film; part of the blame on the Indian editor, Sanjay Sharma; the film dragged and could’ve been good 20-minutes shorter. If you are thinking of a sequel, please do not work with any of them.

Regarding music, please give a show-cause notice to Vishal-Shekhar as well for doing a half baked job. One hit song does not create a great album but they just managed to save themselves with Chammak Challo, which became a bigger hit because of Akon and Kareena. Raftaarein and Dildara were also good songs but not smash-hits that are expected for a film like this. And what was that Criminal song? Choreographer Ganesh Hegde made it look like a B-grade party number focusing on everyone’s bum! Also, I hope you didn’t pay for any of the special appearances as all of them were disappointing. Priyanka Chopra, Sanjay Dutt and Rajnikanth, all were wasted in their cameos. If you did pay, please deduct from Mr. Sinha’s pay package.

Your charm worked in the film and made it watchable but your decision to wear that horrible wig in the first half is beyond me. I understand that you tried to please everyone with this film but that’s not possible. But keep trying different things, some will work and some won’t but that’s how generations will remember you, apart from the guy who brought romance back to Hindi cinema.

Sincerely,

A fan

My rating for the film: ** ½ Two and a half on five

Soundtrack

 

Nice film, which could have been good…

Soundtrack; Pic courtesy: SAREGAMA

First time director, Neerav Ghosh’s Soundtrack is an interesting film… it’s not technically perfect or impactful cinema that makes you think; it’s simply an interesting story told with above average performances. And these days in Bollywood, that’s good enough considering the trash that makes it to the big screen. I am not saying that we promote mediocrity but it’s good that certain filmmakers are experimenting with different stories, formats and genres. Soundtrack is one such film – it has a fresh story (for Bollywood), inspired by the Canadian film, ‘It’s All Gone Pete Tong’, which apparently is based on a true incident.

Soundtrack is about an emerging musician, DJ Raunak (Rajeev Khandelwal) whose career in Bollywood is just about to take off when he suddenly turns deaf. The first half of the film presents Raunak’s story from the time he arrives in Mumbai till he achieves acceptance and success in the music industry. He is not only passionate about his art but is almost arrogant about his talent. His success is accompanied by a so-called ‘rockstar’ lifestyle defined by drugs, alcohol and sex. The film’s second half focuses on Raunak dealing with his handicap and finding music in his life again.

Armed with a super premise, one would expect the filmmaker to deliver an impactful film that shocks and inspires you. However, the film falters on both aspects. The first half is very long and the party sequences look tacky. Rajeev also looks a little uncomfortable playing an arrogant guy who is almost always stoned or drunk or both. However, in the second half he is very good as a man who has lost what he valued the most in his life – his music. The film’s leading lady, Soha Ali Khan is also introduced in the second half and has an interesting character. I will not reveal her role but she does deliver a good performance. Another notable performance in the film is by Mohan Kapoor, who plays the owner of the club where Raunak plays initially and later his friend cum opportunistic manager.

While the basic plot and lead actors’ performances keep Soundtrack engaging; the writers’ (Neerav Ghosh, Rajiv Gopalakrishnan, Chintan Gandhi) attempt to make it smarter and arty pulls the film down. Scenes involving Raunak’s alter-ego, represented by a Joker are boring and silly. Also, the makers did not care about authenticity at all; many sequences, especially the ones on the beach are shot at an exotic location abroad while the film is set in Mumbai. Cinematography (Anshuman Mahaley) is not impressive and the editing (Sanjey Roderick, Ambar Vyas) leaves a lot to be desired. The biggest factor that does not work in Soundtrack’s favour is its soundtrack; the music (Midival Punditz, Karsh Kale) is average and does not impress while in the film, it’s supposed to be chartbuster material. Having said that, Soundtrack is a nice film and I recommend watching it once.

My rating: * * * Almost three on five

- Shrey Khetarpal

 

Saheb Biwi Aur Gangster

Oh see, they have a script…

Meet Saheb (Jimmy Sheirgill), a royal who has the status but no money; Chhoti Rani (Mahie Gill), his alcoholic and volatile biwi (wife) and Babloo (Randeep Hooda), a local goon (can’t really call him a gangster) who becomes her driver and later, lover. Tigmanshu Dhulia’s ‘Saheb Biwi Aur Gangster’ lives up to the interesting title and keeps you engaged till the last sequence. In a time where film makers struggle to have a basic plot or present downright stupid stuff, Dhulia’s film has an interesting story (written by Dhulia himself and Sanjay Chouhan) and some interesting dialogue (cheesy at times though). Having said that, Saheb Biwi Aur Gangster falls short of being a perfect thriller due to its length.

The film’s strength, as mentioned earlier is its writing; while the story is largely predictable, you enjoy the numerous twists and turns in the screenplay. The other good thing about the film is an interesting cast and all of them justify their roles. Jimmy Sheirgill has great screen presence and his stylist helps him get the perfect royal look and demeanour. He is also an interesting choice to play a raja who has different moral yardsticks for himself and others; you don’t dislike him and yet you do not approve of his actions. Mahie Gill is confident and brings equal amount of madness and vulnerability to the character. And lastly, Randeep Hooda who is the surprise factor in the film; he shows how much he has grown as an actor since his first appearance as an NRI in Monsoon Wedding. He is convincing as a cheeky driver who has other motives on mind. His body language changes basis who he interacts with; he is submissive with Saheb and rogue with Saheb’s Biwi. The supporting cast however disappoints a bit as no one stands out; Deepal Shaw is completely wasted in a character that doesn’t grow.

The film’s music is nothing that you’d remember but the opening track, Jugni (vocals: Babbu Maan; music: Jaidev Kumar) is catchy and has some funny lyrics. The songs, especially the one where Saheb’s mistress is introduced could have been avoided. They do not help the movie but act as speed bumps in the otherwise engaging narrative.  Aseem Mishra’s cinematography is nice and so is the production design; they help set the right mood, which could have been a challenge keeping in mind the setting and the low budget of the film. The editor, Rahul Srivastava could have been a little bit more brutal and kept the film under two-hours to maintain the pace. Overall, Saheb Biwi Aur Gangster is an interesting one time watch if you’re willing to forgive some silly things here and there.

My rating: * * * Three on five

- Shrey Khetarpal

 

Contagion

Don’t talk to anyone… don’t touch anyone…

Contagion; Pic: Warner Bros.

How many times you touch your face in a day? Three to five times every waking minute says Dr. Erin Mears, an epidemic investigating officer in the film, Contagion; which means about 4,800 times in a day.  What surfaces you touch that can give you a deadly virus… peanuts in a pub, door knobs, handshake with a colleague, your own desk at work… there is no way you can avoid touching things or people… what happens when a deadly virus spreads around the world through surface contact (fomite transmission, explained in the film)? Contagion, a riveting new thriller by Steven Soderbergh presents a similar scenario tracing the lives of the affected families, doctors, scientists and investigators as a global pandemic explodes.

The film begins with a dark screen where you hear a woman coughing. You see a business traveller, Beth Emhoff (Gwyneth Paltrow) at an airport bar sniffling and fighting a bad case of flu. ‘Day 2’ flashes on the screen and the camera focuses on the bowl of peanuts lying in front of her. You know it’s not good. Day 3 and she is dead along with the others in London, Japan and Hong Kong. The reason is unknown and the toll rising very fast. Professionals at the Centre for Disease Control (CDC) and the World Health Organisation (WHO) are already having emergency meetings. The film begins at a tense note and stays like that throughout; though serious and scary, the director maintains restraint and avoids sensationalizing the subject. The screenplay moves at a breakneck pace except a few parts in the second half. Contagion scares but presents a very realistic picture of what may happen in a crisis situation of a global pandemic.

The film boasts of an enviable ensemble cast of Academy Award® and Emmy® winners and nominees, but the director ensures that none get precedence over the film’s lead, the deadly virus. Matt Damon plays Mitch Emhoff, a grieving husband who is concerned about his daughter’s safety; Kate Winslet plays Dr. Erin Mears, a scientist for whom duty comes first; Marion Cotillard is WHO’s Dr. Leonora Orantes who is on the job to trace the virus’ origin; Jude Law, a conspiracy theorist and blogger; Laurence Fishburne, Dr. Ellis Cheever, head of CDC who finds himself in moral dilemma; and Jennifer Ehle is Dr. Ally Hextall who is working round the clock to develop a vaccine to fight the virus. There are many plots in this global drama that Soderbergh brings together perfectly without giving too much importance to a particular star or character. Look out for the scene where two scientists in isolation suits discuss their weekend while investigating a deadly virus strain. Also, the scene where Mitch checks his wife’s pictures of her fateful trip to Hong Kong, months after her death.

Contagion’s success lies in creating fear in the minds of the audience without making it appear over the top like other disaster flicks. Scott Z Burns’ screenplay is taut and editing superb (Stephen Mirrione), which along with the gripping background score (Cliff Martinez) makes it a must watch thriller.

My rating: *** ½ Three and a half on five

Mere Brother Ki Dulhan

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MBKD; Pic: Yash Raj Films

Let me begin by confessing that I have been a big fan of Yash Raj brand of cinema with beautiful people dressed in designer wear, great locales, melodious music, large family celebrations and of course a love story somewhere in all this. Having said that, I also applaud the innovative ideas and fresh concepts they’ve been presenting on-screen over the last decade. However, their latest offering Mere Brother Ki Dulhan doesn’t live up to the high standards of Yash Raj romances, nor it stands out based on an innovative concept.

The film’s title gives away the basic plot, the leading man falls in love with his brother’s bride-to-be; which is something we have seen earlier in Sorry Bhai (2008) and The Family Stone (2005). Of course, all three films are different in their treatment and Mere Brother Ki Dulhan (MBKD) appeared to be a light entertainer; it is light, yes; but entertainer? No.

MBKD is a story about two brothers, Luv (Ali Zafar of Tere Bin Laden fame) who is based in London and Kush (Imran Khan), an Indian film maker. The two brothers love and understand each other so much that the elder one, Luv asks the younger one to find him an Indian bride. Here we are treated to Tanu Weds Manu style scenes where Kush and family go from town to town meeting weird girls and their families over samosas and jalebis. Finally he’s able to find a suitable match for his brother, the beautiful and rebellious, Dimple (Katrina Kaif). Luv and Dimple approve the alliance after a short video chat and the two families move into a guest house in Delhi to simultaneously plan and celebrate the wedding. Kush and Dimple immerse themselves into the wedding preparations and having loads of fun before Luv arrives. You can easily guess what happens next so I will stop here with the plot.

The problem with the film is not only the predictable story (writer, director: Ali Abbas Zafar; not the actor) but lack of any excitement and fun. The crackling chemistry we saw between the lead pair in Yash Raj’s last shaadi style film, Band Baaja Baaraat is completely missing in this one. There are good looking actors in the film but they don’t light up the screen together; plus they all appear to be trying too hard to be funny. Even the songs that usually set the tone for a wedding themed film are completely flat and boring (music: Sohail Sen).

Watch it if you are a Katrina fan as she gets maximum scope in the film; though I’d recommend watching Band Baaja Baaraat again on DVD.

My rating: ** Two on five