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Starring: Akshay Kumar ... Inspector Vijay Kumar Nandini ... Ritu Prithvi ... Ajay Kanchan ... Nisha Tiwari Manjeet Kullar ... Mrs. Jyoti Ashwini Kumar Pankaj Dheer ... Hariya Ajinkya Deo ... Captain Sood Bhushan Tiwari Mukesh Khanna ... ACP Ashwini Kumar Kiran Kumar ... K.K. Kekva Sudhir Pandey ... Commissioner J.K. Srivastav Anil Nagrath ... Home Minister Purshotam Sinha Bob Christo Surendra Pal Singh ... Data
Director: Raj N. Sippy
Friday, February 27, 2009
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Starring: Govinda ... Tony Aishwarya Rai ... Sonia Jackie Shroff ... Prem Namrata Shirodkar ... Nina Saeed Jaffrey ... Sonia's father Maya Alagh Kiran Sanjay Mishra Dinyar Tirandaz
Director: Deepak Sareen
Starring: Govinda ... Tony Aishwarya Rai ... Sonia Jackie Shroff ... Prem Namrata Shirodkar ... Nina Saeed Jaffrey ... Sonia's father Maya Alagh Kiran Sanjay Mishra Dinyar Tirandaz
Director: Deepak Sareen
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Starring: Shreya Sharma ... Biniya Pankaj Kapur ... Nandakishore 'Nandu' Khatri Dolly Ahluwalia ... Lillavati Manek Bedi ... Arjun Deepak Dobriyal ... Robot Owner Piu Dutt ... Binya's mother Branjit Singh Kanha ... Arjun Rahul Kumar ... Tikku Rajesh Sharma ... Daroga Kumar Thakur ... Chander Kamal Tiwari
Director: Vishal Bharadwaj
Starring: Shreya Sharma ... Biniya Pankaj Kapur ... Nandakishore 'Nandu' Khatri Dolly Ahluwalia ... Lillavati Manek Bedi ... Arjun Deepak Dobriyal ... Robot Owner Piu Dutt ... Binya's mother Branjit Singh Kanha ... Arjun Rahul Kumar ... Tikku Rajesh Sharma ... Daroga Kumar Thakur ... Chander Kamal Tiwari
Director: Vishal Bharadwaj
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Starring: Feroz Khan ... Rakesh Parveen Babi ... Durga Prem Chopra ... Poppy Singh Farida Jalal ... Bela Imtiaz Khan ... Bahadur (as Imtiaz) Helen ... Chameli Durga Khote ... Mrs. Ranjeet Singh Keshto Mukherjee ... Drunkard (as Keshto Mukherji) Bipin Gupta ... Ranjeet Singh Polson Abhijeet (as Abhijit) Shyam Gurinder Mamaji Agha
Director: Ravikant Nagaich
Starring: Feroz Khan ... Rakesh Parveen Babi ... Durga Prem Chopra ... Poppy Singh Farida Jalal ... Bela Imtiaz Khan ... Bahadur (as Imtiaz) Helen ... Chameli Durga Khote ... Mrs. Ranjeet Singh Keshto Mukherjee ... Drunkard (as Keshto Mukherji) Bipin Gupta ... Ranjeet Singh Polson Abhijeet (as Abhijit) Shyam Gurinder Mamaji Agha
Director: Ravikant Nagaich
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Starring: Shabana Azmi ... Geeta Malhotra Farooq Shaikh ... Bhupinder Singh (Bhupi) (as Farouque Shaikh) Swaroop Sampat ... Suman Naseeruddin Shah ... Micky Rohini Hattangadi ... Sharda Malhotra Madan Puri ... Mr. Kapoor (Father of 12 kids) Kiran Vairale ... Majli Kapoor Shaukat Azmi (as Shaukat Kaifi) Sulabha Deshpande ... Shanti B.L. Chopra Paresh Rawal ... Prosecuting Attorney Master Imran Yunus Parvez ... Head of adoption agency Vinod Sharma Javed Khan ... Bus Conductor
Director: Vijay Talwar
Starring: Shabana Azmi ... Geeta Malhotra Farooq Shaikh ... Bhupinder Singh (Bhupi) (as Farouque Shaikh) Swaroop Sampat ... Suman Naseeruddin Shah ... Micky Rohini Hattangadi ... Sharda Malhotra Madan Puri ... Mr. Kapoor (Father of 12 kids) Kiran Vairale ... Majli Kapoor Shaukat Azmi (as Shaukat Kaifi) Sulabha Deshpande ... Shanti B.L. Chopra Paresh Rawal ... Prosecuting Attorney Master Imran Yunus Parvez ... Head of adoption agency Vinod Sharma Javed Khan ... Bus Conductor
Director: Vijay Talwar
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Starring: Dharmendra ... Vijay Jeetendra ... Ajay Anita Raj ... Police Inspector Sheela (as Anita Raaj) Bhanupriya ... Rani (as Bhanu Priya) Prem Chopra ... Dhani Lal Anupam Kher ... Sohan Lal Kader Khan ... Police Inspector Imaandaar Shakti Kapoor ... Dinesh Lal Shreeram Lagoo ... Jagannath (as Dr. Shri Ram Lagoo) Om Shivpuri ... Police Commisioner Ranjeet Avinash Wadhavan ... Manohar (as Rakesh Wadhwan) Tiku Talsania ... Narayan Singh (as Tinku Talsania) Mac Mohan ... Soloman (as Mc. Mohan) Ashok Saxena Tyagraj (as Thyagaraj) Director: Rama Rao Tatineni
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Starring: Kajol ... Priya M. Chopra Sushant Ray ... Inspector Karan (as Siddharth) Shilpa Shetty ... Seema M. Chopra Dalip Tahil ... Madan Chopra Johnny Lever ... Babulal - Head Servant Rakhee Gulzar ... Shobha V. Sharma Anant Mahadevan ... Vishwanath Sharma (Ajay's father) Krish Mallik ... Ravi Shukla (as Krish Malik) Dinesh Hingoo ... Seth Bajodia Adi Irani ... Vicky Malhotra Resham Tipnis ... Anjali Sinha Amrit Patel ... Chopra's Chauffeur (as Amrut Patel) Sumeet Pathak ... Young Ajay (as Master Sumeet) Shahrukh Khan ... Ajay Sharma / Vicky Malhotra Manmauji ... Taalia
Directors: Abbas Alibhai Burmawalla Mastan Alibhai Burmawalla
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Starring: Linus Roache ... Henry Moores Rahul Bose ... T. K. Neelan Nandita Das ... Sajani Jennifer Ehle ... Laura Moores Leopold Benedict ... Peter Indrajith ... Manas Lal ... Rajat John Standing ... Charles Humphries Thilakan ... T.K.'s Father Ejji K. Umamahesh ... Inspector Sampath
Director: Santosh Sivan
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Starring: Jay Mehta ... Pritam Revathy ... Nandini Annu Kapoor ... Jaggan Jagdeep ... Badriprasad Chaurasia Amrish Puri ... Former Justice Gopichand Verma Anil Dhawan ... Gopal Srivastava Mahesh Anand ... K.C. (Verma's son-in-law) Arif Khan ... Verma's son Anju Mahendru ... Mayadevi (Verma's sister) Asha Sharma ... Mrs. Gopichand Verma Uma Kamesh Nilima Deshpande Saba Darshan Bagga (as Darsan Bagga)
Director: Priyadarshan
Starring: Jay Mehta ... Pritam Revathy ... Nandini Annu Kapoor ... Jaggan Jagdeep ... Badriprasad Chaurasia Amrish Puri ... Former Justice Gopichand Verma Anil Dhawan ... Gopal Srivastava Mahesh Anand ... K.C. (Verma's son-in-law) Arif Khan ... Verma's son Anju Mahendru ... Mayadevi (Verma's sister) Asha Sharma ... Mrs. Gopichand Verma Uma Kamesh Nilima Deshpande Saba Darshan Bagga (as Darsan Bagga)
Director: Priyadarshan
Thursday, February 26, 2009
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Starring: Jeetendra ... Dr. Anand Hema Malini ... Ramkali Amjad Khan ... Thakur Shamsher Singh Shreeram Lagoo ... Dr. Pradhan (as Dr. Sriram Lagu) Om Shivpuri ... Sardar Santhalu Sujit Kumar ... Legal Advisor Jackson (as Sujeet Kumar) Sheetal ... Lalita Keshto Mukherjee ... Mukherjee Arvind Trivedi Birbal ... Khushiram Ram P. Sethi ... Nawab Mirza Bahadur Dauliya (as Ram Sethi) Jankidas ... Thakur's Munim Mac Mohan ... Kaalia Paro Shammi ... Teacher
Director: Prem Sagar
Starring: Jeetendra ... Dr. Anand Hema Malini ... Ramkali Amjad Khan ... Thakur Shamsher Singh Shreeram Lagoo ... Dr. Pradhan (as Dr. Sriram Lagu) Om Shivpuri ... Sardar Santhalu Sujit Kumar ... Legal Advisor Jackson (as Sujeet Kumar) Sheetal ... Lalita Keshto Mukherjee ... Mukherjee Arvind Trivedi Birbal ... Khushiram Ram P. Sethi ... Nawab Mirza Bahadur Dauliya (as Ram Sethi) Jankidas ... Thakur's Munim Mac Mohan ... Kaalia Paro Shammi ... Teacher
Director: Prem Sagar
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Starring: Shabana Azmi ... Krishna Mithun Chakraborty ... Prakash (as Mithun Chakraborty) Poonam Dhillon ... Ganga Shakti Kapoor ... Kuldip Kanwaljit Singh ... Dinesh (as Kanwaljit) Pallavi Joshi ... Kaveri Jagdeep ... Shanti Dhooth Deven Verma ... Krishna's to-be groom (as Deven Varma) Nadira ... Ranimaa Sudhir ... Abdul Satyendra Kapoor ... Mahindranath (as Satyen Kappoo) Ashalata ... Savitri Manmauji ... Bald servant Huma Khan ... Dancer / Singer Kirti Kumar ... Plunderman
Director: Ranjan Bose
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Starring: Chiranjeevi ... Raja Meenakshi Sheshadri ... Shalu Sharma (as Meenakshi Seshadri) Raj Babbar ... Ravi Dalip Tahil ... SP Saxena (as Dalip Tahhil) Sharat Saxena ... Nagpal Parikshat Sahni ... Amar Geetha Satish Shah ... Police Inspector Rakesh Bedi ... Govind Ahuja (Guddu) Dina Pathak ... Grandmother Dan Dhanoa Tinnu Anand ... Home Minister (as Tinu Anand) Kunika Shashi Kiran Babbanlal Yadav (as Babban)
Director: Ravi Raja Pinisetty
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Starring: Sunny Deol ... Arjun Rana Sunil Shetty ... Sanju Sohail Khan ... Karan Rana John Abraham ... Saahil Apoorva Agnihotri ... Ronnie Nauheed Cyrusi ... Bindiya Vrajesh Hirjee ... Brij Rajendranath Zutshi Hemant Birje ... Anees Avtar Gill ... Karim Razak Khan ... Javed Vishwajeet Pradhan ... Police Inspector Suresh Chatwal
Director: Ahmed Khan
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Starring: Rekha ... Bhavani K. Dutt Mithun Chakraborty ... Inspector Ashutosh Das Anupam Kher ... Purshottam Raza Murad ... Sr. Inspector Zoravar Singh Anjana Mumtaz ... Jayanti Karamveer Dutt Abhinav Chaturvedi ... Gopal K. Dutt Shilpa Shirodkar ... Gopi Rajnikanth ... Abdul Sattar Padma Khanna ... Janki Sudhir Pandey ... Phatte Dada Vinod Nagpal ... Ronaklal Girja Shankar ... Charandas (as Girija Shanker) Vikas Anand ... Purshottam's Lawyer Bharati Achrekar ... Madhavi (as Bharati Acharekar) Ajay Wadhavkar ... Havaldar Victory Ganesh (as Ajay Vadhwakar)
Director: Ramesh Sippy
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Starring: Tom Alter ... British Intelligence Sadashiv Amrapurkar ... Deshbandhu Amitabh Bachchan ... Insp. Amar Pal Singh Rakesh Bedi ... Dead Body (Driver) Nutan Behl ... Shanti Devi Prem Chopra ... Police Inspector Lotaram Sunny Deol ... Karim Lala Shafi Inamdar ... Police Commisioner Shafi Aruna Irani ... Courtsean who abducted Shalu Jayapradha ... Champabai Pallavi Joshi ... Munni Goga Kapoor ... Goga Satyendra Kapoor ... Editor Tripati Mukesh Khanna ... Narrator (voice) Anupam Kher ... Brijbhan Vinod Mehra ... Nandu - The Peon Anjana Mumtaz ... Salma's mother Alok Nath ... Hardayal Chunky Pandey ... Hariharan Aftab Shivdasani ... Young Amar Gurbachchan Singh ... Doot - Brijbhan's man Pradeep Singh Rawat ... Brijbhan's man Sonam ... Radha (Hariharan's girlfriend) Raveena Tandon ... Salma Ajit Vachani ... General
Director: Tony Juneja
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Starring: Raj Babbar ... Ramesh Saxena Rati Agnihotri ... Shobha Roy Aruna Irani ... Bahji Deven Verma ... Sapan Kumar Shubha Khote ... Mrs. Robert Madan Puri ... Colonel Khurana Utpal Dutt ... Justice M.K. Roy Agha ... Robert Dalip Tahil ... Dhanraj Singh Dinesh Thakur ... Mr. Singh Amarjeet (as late Amarjeet) Aradhana ... Aradhana Bhola Master Bobby ... Babu - Bahji's son Brahmachari ... Police Inspector Sudha Chopra ... Mrs. Khurana - Colonel's wife Dinesh Hingoo ... Doctor Malik Ramesh Khanna Amarnath Mukherjee ... Editor of the newspaper - Shobha's cousin Paresh Nanda Nawab Ranveer Raj Akbar Rashid Shaikh Prince Shakeel Vijay Sharma ... Najir Ahmed - Bahji's husband Chand Usmani ... Mrs. Roy - Shobha's mom
Director: Subodh Mukherji
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Starring: Mithun Chakraborty...... Raja Bhaiya Madhuri Dixit...... Laxmi Rao Vinod Mehra...... Proffesor/Saab Deven Verma...... The oilman Satish Kaushik...... Charan (Raja's man) Aruna Irani...... The lady who bullied the oilman into stealing Ranjeet...... Kallu Dada Neelu Phule...... Mohan Rao (Laxmi's grandfather) (as Neelu Phule) Kamal Deep...... (as Kamal Deep) Darshan Manmouji Jamuna...... (as Jamuna Dass) Subhash Sayeeda Khan Baby Farida...... (as Farida) Jahangir Renu Joshi
Director: Bapu
Wednesday, February 25, 2009
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Starring:
Aamir Khan ... Sanjaylal SharmaAyesha Jhulka ... AnjaliDeepak Tijori ... Shekhar Malhotra (as Depak Tijori)Pooja Bedi ... DevikaKulbhushan Kharbanda ... Ramlal SharmaMamik ... Ratanlal SharmaKiran Zaveri ... KalpanaAhmed Khan ... Girdhari - Anjali's FatherRavindra Kapoor ... Shakur (as Ravinder Kapoor)Deb Mukherjee ... Rajput's Coach (as Debu Mukerjee)Aditya Lakhia ... MaksoodDeven Bhojani Miki Khan Prakash Suraj Thapar (as Suraj Thappar)
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Mansoor Khan
Starring:
Aamir Khan ... Sanjaylal SharmaAyesha Jhulka ... AnjaliDeepak Tijori ... Shekhar Malhotra (as Depak Tijori)Pooja Bedi ... DevikaKulbhushan Kharbanda ... Ramlal SharmaMamik ... Ratanlal SharmaKiran Zaveri ... KalpanaAhmed Khan ... Girdhari - Anjali's FatherRavindra Kapoor ... Shakur (as Ravinder Kapoor)Deb Mukherjee ... Rajput's Coach (as Debu Mukerjee)Aditya Lakhia ... MaksoodDeven Bhojani Miki Khan Prakash Suraj Thapar (as Suraj Thappar)
Director:
Mansoor Khan
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K. Subhash
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Akshay Kumar ... AmjadAjay Devgan ... Inspector Ajit RathodTusshar Kapoor ... AvinashEsha Deol ... HeenaLara Dutta ... MeghnaLaila ... InduKoena Mitra ... Sonali RathodArchana Puran Singh ... RajjoSharat Saxena ... Heena's fatherLaxmikant Berde ... Laxman (as Late Laxmikant Berde)Vivek Vaswani ... AgarwalG. Asrani ... Film directorHimani Shivpuri ... Indu's momDeepak Pandit Kunal Giri
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K. Subhash
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Starring:
Aamir Khan ... Siddharth MaratheRani Mukherjee ... AlishaRajit Kapoor ... Jai, Siddhartha's brotherMita Vasisht ... Siddharth's lawyer (as Meeta Vashishta)Deepak Tijori ... CharlieAkshay Anand ... Jai MaratheBobby Sainy Sharat Saxena ... Ronak Singh (Ronnie)Dalip Tahil ... Mr. MaratheRaju Kher Madhu Malhotra Ashwin Kaushal Ashutosh Rana ... Agrawal, ShyamsundarAnil Rajput Javed Rizvi Jarehavi (as Javed Rizvi)
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Aamir Khan ... Siddharth MaratheRani Mukherjee ... AlishaRajit Kapoor ... Jai, Siddhartha's brotherMita Vasisht ... Siddharth's lawyer (as Meeta Vashishta)Deepak Tijori ... CharlieAkshay Anand ... Jai MaratheBobby Sainy Sharat Saxena ... Ronak Singh (Ronnie)Dalip Tahil ... Mr. MaratheRaju Kher Madhu Malhotra Ashwin Kaushal Ashutosh Rana ... Agrawal, ShyamsundarAnil Rajput Javed Rizvi Jarehavi (as Javed Rizvi)
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Aishwarya Rai ... Ameeran / Umrao JaanShabana Azmi ... Khanum JaanSunil Shetty ... Nawab Faiz Ali (as Suneil Shetty)Abhishek Bachchan ... Nawab Sultan KhanDivya Dutta ... BismillahHimani Shivpuri ... Bua HussainiPuru Rajkumar ... Gauhar MirzaKulbhushan Kharbanda ... Maulvi SahabMaya Alagh ... Umrao's MotherAyesha Jhulka ... KhurshidJaved Khan ... Peer BakshBansree Madan ... Young AmiranSakshi Madhwani ... Young AmeeranVishwajeet Pradhan ... Dilawer KhanParikshat Sahni ... Umrao's FatherBikram Saluja ... Ashraf
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Ishrat Ali ... ShahAbhay Bhargav ... Owner of Pizza ShopSnehal Dabi ... Goga / NarratorDivya Dutta ... ChameliGulshan Grover ... Isha's fatherZakir Hussain ... AbbasSmita Jaykar ... Mrs. ShahJeeva ... Sharat ShettyRavi Kale ... GanapathGoga Kapoor ... Real Estate AgentTashu Kaushik ... SheebaManisha Koirala ... JulieSrinivasa Rao Kota ... Veterenary Doctor UmapathiRaju Mavani ... Mushtaq BhaiPramod Muthu ... Dinesh / SecretaryChunky Pandey ... RaghuNitin Raikwar ... Madhusaddan / Pizza BoyPadma Rani ... GrannyJaved Rizvi ... AravindIsha Sharvani ... IshaAftab Shivdasani ... AjayAnupam Shyam ... Police InspectorVijay Singh ... PonkeyAditya Srivastava ... Inspector in dream sequence
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Ishrat Ali ... ShahAbhay Bhargav ... Owner of Pizza ShopSnehal Dabi ... Goga / NarratorDivya Dutta ... ChameliGulshan Grover ... Isha's fatherZakir Hussain ... AbbasSmita Jaykar ... Mrs. ShahJeeva ... Sharat ShettyRavi Kale ... GanapathGoga Kapoor ... Real Estate AgentTashu Kaushik ... SheebaManisha Koirala ... JulieSrinivasa Rao Kota ... Veterenary Doctor UmapathiRaju Mavani ... Mushtaq BhaiPramod Muthu ... Dinesh / SecretaryChunky Pandey ... RaghuNitin Raikwar ... Madhusaddan / Pizza BoyPadma Rani ... GrannyJaved Rizvi ... AravindIsha Sharvani ... IshaAftab Shivdasani ... AjayAnupam Shyam ... Police InspectorVijay Singh ... PonkeyAditya Srivastava ... Inspector in dream sequence
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Synopsis: Vicious beauties, posing as exotic dancers, are targeting a group of scientists who have convened in Dallas with the purpose of designing and activating a weapons to stop the flow of nuclear arms... Vicious beauties, posing as exotic dancers, are targeting a group of scientists who have convened in Dallas with the purpose of designing and activating a weapons to stop the flow of nuclear arms out of the United States. When, one by one, these scientists turn up dead, a crack team of agents is dispensed to stop the temptresses. But this femme army is a lethal force, and in addition to stealing top secret microchips, they kidnap one of the government's female operatives. Now the agents have to destroy the terrorists and rescue one of their own! [Less]
Starring: Julie Strain, Bruce Penhall, Mark Barriere, Samantha Phillips
Starring: Julie Strain, Bruce Penhall, Mark Barriere, Samantha Phillips, Julie K. Smith,
Starring: Julie Strain, Bruce Penhall, Mark Barriere, Samantha Phillips, Julie K. Smith,
Rodrigo Obregon, Wendy Hamilton
Director: Drew Sidaris
Director: Drew Sidaris
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Synopsis: When a group of city kids happen across a treasure chest full of gold coins, the short, green guy shows up once again to reclaim what is rightfully his--but not before dispatching with a few of the... When a group of city kids happen across a treasure chest full of gold coins, the short, green guy shows up once again to reclaim what is rightfully his--but not before dispatching with a few of the youths in creative ways and busting out a few rhymes. click here to watch movie online..
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Sunday, February 22, 2009
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Director: Anil SeniorCast: Soha Ali Khan, Irrfan Khan, Konkona Sen Sharma, Rahul Bose
Dil Kabaddi takes a look at the urban relationships in the most casual manner and more or less represents the present-day youth couples prone to instability in marital life. Samit (Irrfan Khan) and Mita (Soha Ali Khan), married for a couple of years, are mutually hitting towards separation. Desperate for some sexual gratification, Samit shifts with his yoga instructor Kaya (Payal Rohatgi) and his experimentation includes everything from wearing sports bra to g-strings. Rishi (Rahul Bose) and Simi (Konkona Sen Sharma) are a contented couple but still each one is lured to look outside their relationship. Rishi is infatuated with his student Raga (Saba Azad). Simi introduces Mita to a common friend Veer (Rahul Khanna) but subsequently herself falls for him. As each person exhibits the inherent tendency to go beyond their permissible relationship zone, things get intricate and intertwined.
The adulterous acts are redolent of Anurag Basu's Life in a Metro though the treatment over here is more humorous and light-hearted. Rahul Bose' close encounter with his student is evocative (though not inspired) of the Shilpa Shetty - Shiny Ahuja intimacy from the original. However, thematically the film is more reminiscent of the less-known offbeat film Kabhi Socha Bhi Na Tha that released earlier this year. Even the talking-to-camera approach of storytelling is common to both. Director Anil Senior sketches the central characters very convincingly and rather plays with their psyche to spice up the screenplay. The treacherous temptation on each ones mind is credibly conveyed. It's amusing how Simi tries to draw parallels and find flaws in her own marriage on learning about the Samit-Mita split.
The comic timing of the script is impeccable. Some adult humour is smartly incorporated without making it sound vulgar. The scene where Irrfan Khan goes bra-shopping is hilarious and the 'Sweety Bopara' gag is too funny. The peppy background score adds to the amusement. The narration branches into frequent flashbacks in different time zones. Sadly the graph falls down considerably in the second half. The story somehow strays to subplots, beats around the bush, becomes repetitive and even drags at instances. Payal Rohatgi's deafening act after the party scene is utterly irritating and absolutely avoidable. Moreover the director attempts to be deliberately different in the climax by trying to unite the less compatible couple and separating the more stable pair. This synthetic variation acts more as disbelief than surprise.
Other than the witty writing, the humour in the film should be credited to the efficient performances of the cast. Konkona Sen Sharma capably highlights the traits of her typical female character who carries mental baggage, constantly compares life with other couples, is easily provoked and is on a constant bickering mode. Soha Ali Khan is one grossly underrated actress and its high time she got due recognition for her confident act. Irrfan Khan continues to portray his character with an informal approach and casual comic timing. Rahul Bose is in elements after a long time and is especially expressive with his reactions to the silly situation he lands into. Saba Azad appears calm and confident. Payal Rohatgi should quit acting.
Dil Kabaddi takes a sporty look at the game of hearts. Watch it for some 'hearty' laughs.
The adulterous acts are redolent of Anurag Basu's Life in a Metro though the treatment over here is more humorous and light-hearted. Rahul Bose' close encounter with his student is evocative (though not inspired) of the Shilpa Shetty - Shiny Ahuja intimacy from the original. However, thematically the film is more reminiscent of the less-known offbeat film Kabhi Socha Bhi Na Tha that released earlier this year. Even the talking-to-camera approach of storytelling is common to both. Director Anil Senior sketches the central characters very convincingly and rather plays with their psyche to spice up the screenplay. The treacherous temptation on each ones mind is credibly conveyed. It's amusing how Simi tries to draw parallels and find flaws in her own marriage on learning about the Samit-Mita split.
The comic timing of the script is impeccable. Some adult humour is smartly incorporated without making it sound vulgar. The scene where Irrfan Khan goes bra-shopping is hilarious and the 'Sweety Bopara' gag is too funny. The peppy background score adds to the amusement. The narration branches into frequent flashbacks in different time zones. Sadly the graph falls down considerably in the second half. The story somehow strays to subplots, beats around the bush, becomes repetitive and even drags at instances. Payal Rohatgi's deafening act after the party scene is utterly irritating and absolutely avoidable. Moreover the director attempts to be deliberately different in the climax by trying to unite the less compatible couple and separating the more stable pair. This synthetic variation acts more as disbelief than surprise.
Other than the witty writing, the humour in the film should be credited to the efficient performances of the cast. Konkona Sen Sharma capably highlights the traits of her typical female character who carries mental baggage, constantly compares life with other couples, is easily provoked and is on a constant bickering mode. Soha Ali Khan is one grossly underrated actress and its high time she got due recognition for her confident act. Irrfan Khan continues to portray his character with an informal approach and casual comic timing. Rahul Bose is in elements after a long time and is especially expressive with his reactions to the silly situation he lands into. Saba Azad appears calm and confident. Payal Rohatgi should quit acting.
Dil Kabaddi takes a sporty look at the game of hearts. Watch it for some 'hearty' laughs.
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Oh My God
Director: Sourabh SrivastavaCast: Vinay Pathak, Saurabh Shukla, Divya Dutta
Oh My God: Movie Review
Director: Sourabh SrivastavaCast: Vinay Pathak, Saurabh Shukla, Divya Dutta
Having a BEST bus or a rickshaw picture pasted on the movie poster (despite having no relevance to the plot) shouldn't really give it the guise of a good offbeat film on a common man's life. Films like Hulla have attempted similar deceiving deeds in the recent past and disappointed miserably. Vinay Pathak attempts to repeat his common man act in the role of Rajendra Dubey but this time not to the desired effect. Dubey is a middle-class man who aspires to be Ambani through his multi-level marketing schemes which nobody is interested in. He still remains optimistic that his scheme of things would make him a millionaire soon and keeps distributing his proposal pamphlets across the city. Dubey keeps praying to God to be there for him, though he never asks for monetary help since he is confident of making it big on his own. Nevertheless God (Saurabh Shukla) comes down to earth and insists on offering him financial aid through his different avatars. Did you ask why? God only knows!
God stumbles upon Dubey in the getup of a lottery-ticket vendor, gambler, investor, policeman, et al and bestows him with big money each time, but Dubey fails to recognize the opportunities. It's a case of god proposes man disposes. Finally a frustrated God imposes crores of cash on Dubey which he is unable to evade. And this wealth makes him paranoid to the extent of and mental instability. The message that this parable intends to give is the age-old movie-moral that money is not everything and there's more to life than moolah. Blah blah blah! In fact the movie literally ends with Saurabh Shukla's sermon of the Aastha channel and Miraclenet variety. But the question to be asked is - did Dubey ever ask for money at the first place? No! So why is God hell-bent on helping him? The scripting by as many as five writers is a clear case of too many cooks spoil the broth. The idea of god trying to help and humans oblivious of his presence is interesting but the execution is bad, boring and bland. The pace is slow, the screenplay is stretched and the proceedings never gain momentum at any point. Monotony sets in the second half with Dubey's repetitive attempts to get rid of the money. The climax is as delusional as the outrageous optical illusion that it opts for.
Vinay Pathak never rises above the spineless script and tends to overdo it towards the end. Divya Dutta has pretty less to do and Harsh Chhaya is wasted. Saurabh Shukla hams it up as the gluttony God and irritates occasionally. The only element analogous to Bruce Almighty is his white suit attire. Otherwise this film doesn't even come close to God Tussi Great Ho. Watch the film and you will know that the title Oh My God symbolizes more of a sigh of revulsion than an exclamation remark. Skip this film and you would be a happier human.
God stumbles upon Dubey in the getup of a lottery-ticket vendor, gambler, investor, policeman, et al and bestows him with big money each time, but Dubey fails to recognize the opportunities. It's a case of god proposes man disposes. Finally a frustrated God imposes crores of cash on Dubey which he is unable to evade. And this wealth makes him paranoid to the extent of and mental instability. The message that this parable intends to give is the age-old movie-moral that money is not everything and there's more to life than moolah. Blah blah blah! In fact the movie literally ends with Saurabh Shukla's sermon of the Aastha channel and Miraclenet variety. But the question to be asked is - did Dubey ever ask for money at the first place? No! So why is God hell-bent on helping him? The scripting by as many as five writers is a clear case of too many cooks spoil the broth. The idea of god trying to help and humans oblivious of his presence is interesting but the execution is bad, boring and bland. The pace is slow, the screenplay is stretched and the proceedings never gain momentum at any point. Monotony sets in the second half with Dubey's repetitive attempts to get rid of the money. The climax is as delusional as the outrageous optical illusion that it opts for.
Vinay Pathak never rises above the spineless script and tends to overdo it towards the end. Divya Dutta has pretty less to do and Harsh Chhaya is wasted. Saurabh Shukla hams it up as the gluttony God and irritates occasionally. The only element analogous to Bruce Almighty is his white suit attire. Otherwise this film doesn't even come close to God Tussi Great Ho. Watch the film and you will know that the title Oh My God symbolizes more of a sigh of revulsion than an exclamation remark. Skip this film and you would be a happier human.
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Rab Ne Bana Di Jodi
Rab Ne Bana Di Jodi movie review
“Rab Ne Bana Di Jodi” is a common man real life drama made into a modish glamorous movie. The film has a knowable love story made to look like an extraordinary film by Aditya Chopra as it comes with intense emotions, songs, dances, drama and succeeds in touching hearts of audiences. You enjoy, cry and have fun watching the film. Performance of Shahrukh is at its best and Anushka is made to match him. The film story is about a Surinder Sahni, who appears boring from his outfits but he is good at heart. Once he attends a marriage ceremony of his boss’s daughter Taani where an accident happens to the bridegroom and Surinder’s boss suffers from a heart attack, and Surinder gets into a situation to marry Taani, who is beautiful youngster and Surinder feels attraction towards the girl on first sight.
Surinder takes back the girl to his ancestral house after marriage but they are not in love. Taani is youthful dance loving girl and Surinder is boring conventional kind who likes to read books and news. Taani is not happy with Surinder and one day Taani takes permission from Surinder to joins a dance class .Surinder happily allows her to go to dance classes. Once Surinder overhears Taani telling her friend that she married him out of sympathy. Her friends say that he is the most boring person on the earth and it was her mistake to marry him. Surinder feels bad for his situation and he talks to the photograph of his late father (who looks exactly like him) and tells him why he has been grown up in a way to look so ordinary and he promises to change the situation in his favor.
The second part of the film is how Vinay Pathak helps Suri to change into a youngster Raj who joins dance class and impresses Taani .He joins his wife Taani in the dance competition like Nach Baliye called “Dancing Jodi.” During the dance competition Raj performs on Raj Kapoors songs and like many other veterans of Bollywood. The couple Raj and Taani couldn’t win the competition but Taani falls in love with Raj, who asks her if he becomes Suri ,will she love her or not and Taani say “she is proud of him and will love him as Suri” and both of them return back to their original simple lives. The climax dance is beautifully shot. The dialogues and writing is fine but the story gets predictable after initial few sequences. Only the most promoted song “Haule Haule” is imposing. The screens are beautifully shot, locations look fresh. Cinematography is good. The problem with the film is its length and a part of movie looks unrealistic when Suri turns into Raj very fast and it is unbelievable.
The performance of Shahrukh Khan is brilliant, his costume, his dialogue delivery; mannerism in two different looks just perfect. Even his dance is convincing. Vinay Pathak is impressive .Anushka is new but looks convincing. You don’t have action thrills suspense but those going for Shahrukh Khan’s film, can watch the movie. Since the film is coming with high expectations many won’t find it up to their thoughts. The film got advance booking of almost one week and audience going to multiplexes have been waiting for this one from long time. The film fits all generations, families and ages and it can be expected to be a hit film.
“Rab Ne Bana Di Jodi” is a common man real life drama made into a modish glamorous movie. The film has a knowable love story made to look like an extraordinary film by Aditya Chopra as it comes with intense emotions, songs, dances, drama and succeeds in touching hearts of audiences. You enjoy, cry and have fun watching the film. Performance of Shahrukh is at its best and Anushka is made to match him. The film story is about a Surinder Sahni, who appears boring from his outfits but he is good at heart. Once he attends a marriage ceremony of his boss’s daughter Taani where an accident happens to the bridegroom and Surinder’s boss suffers from a heart attack, and Surinder gets into a situation to marry Taani, who is beautiful youngster and Surinder feels attraction towards the girl on first sight.
Surinder takes back the girl to his ancestral house after marriage but they are not in love. Taani is youthful dance loving girl and Surinder is boring conventional kind who likes to read books and news. Taani is not happy with Surinder and one day Taani takes permission from Surinder to joins a dance class .Surinder happily allows her to go to dance classes. Once Surinder overhears Taani telling her friend that she married him out of sympathy. Her friends say that he is the most boring person on the earth and it was her mistake to marry him. Surinder feels bad for his situation and he talks to the photograph of his late father (who looks exactly like him) and tells him why he has been grown up in a way to look so ordinary and he promises to change the situation in his favor.
The second part of the film is how Vinay Pathak helps Suri to change into a youngster Raj who joins dance class and impresses Taani .He joins his wife Taani in the dance competition like Nach Baliye called “Dancing Jodi.” During the dance competition Raj performs on Raj Kapoors songs and like many other veterans of Bollywood. The couple Raj and Taani couldn’t win the competition but Taani falls in love with Raj, who asks her if he becomes Suri ,will she love her or not and Taani say “she is proud of him and will love him as Suri” and both of them return back to their original simple lives. The climax dance is beautifully shot. The dialogues and writing is fine but the story gets predictable after initial few sequences. Only the most promoted song “Haule Haule” is imposing. The screens are beautifully shot, locations look fresh. Cinematography is good. The problem with the film is its length and a part of movie looks unrealistic when Suri turns into Raj very fast and it is unbelievable.
The performance of Shahrukh Khan is brilliant, his costume, his dialogue delivery; mannerism in two different looks just perfect. Even his dance is convincing. Vinay Pathak is impressive .Anushka is new but looks convincing. You don’t have action thrills suspense but those going for Shahrukh Khan’s film, can watch the movie. Since the film is coming with high expectations many won’t find it up to their thoughts. The film got advance booking of almost one week and audience going to multiplexes have been waiting for this one from long time. The film fits all generations, families and ages and it can be expected to be a hit film.
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Meerabai Not Out
The film tells the story of a 30 plus middle class school teacher, Meera Achrekar (Mandira) whose obsession for cricket crosses all bounds. While on one hand her family comprising of an ever caring parents and a cricket hating brother (Manjrekar) are trying their best to get her married, her craze for cricket is growing manifold. Also what rattles everyone is her extreme devotion to Indian spinner Anil Kumble which borders beyond a simple crush. So when handsome doctor, Arjun (Eijaz) enters Meera’s life and is planning to marry her, there comes a twist which throws up things upside down. What follows next forms the rest of the film. It is a sweet concept and the direction style too reminds you of those medium budget sensible comedies like those of Hrishikesh Mukherjee, Sai Paranjpe and Basu Chatterjee but unfortunately it doesn’t have the matching content. A wonderful premise is spoiled by some unimaginative writing. Mandira is shown to be cricket crazy but her craziness hasn’t been utilized fully for the audience to feel empathy for her. Also too much time is wasted on some really silly sequences that are supposedly funny but don’t really make you laugh.
First timer, Chandrakant Kulkarni (a big name in the Marathi film industry) appears technically sound but should have given more attention to the content. But full marks to him for the atmosphere creation of a typical middle class Maharashtrian household. Mandira Bedi gets her first full blown lead role and she does justice to the part. TV heart throb Eijaz Khan not only looks very handsome but acts well too. Anupam Kher playing his dad copies his own DDLJ – SRK’s father act. Vandana Gupte as Mandira’s mom gives able support. But it is Mahesh Manjrekar who towers over them all with his superb act. His frustration of not becoming a cricketer because he wanted to take care of his family is noticeable in every single sequence. He commands great screen presence and makes us wish he pays more attention to his acting career than directing silly films. All in all it’s an okay one time watch if you have nothing else to do but it does end up giving you a feeling that it could have been better!
Movie Review: Meerabai Not Out; Movie Cast: Mandira Bedi, Eijaz Khan, Anupam Kher and Mahesh Manjrekar; Director: Chandrakant Kulkarni;
The film tells the story of a 30 plus middle class school teacher, Meera Achrekar (Mandira) whose obsession for cricket crosses all bounds. While on one hand her family comprising of an ever caring parents and a cricket hating brother (Manjrekar) are trying their best to get her married, her craze for cricket is growing manifold. Also what rattles everyone is her extreme devotion to Indian spinner Anil Kumble which borders beyond a simple crush. So when handsome doctor, Arjun (Eijaz) enters Meera’s life and is planning to marry her, there comes a twist which throws up things upside down. What follows next forms the rest of the film. It is a sweet concept and the direction style too reminds you of those medium budget sensible comedies like those of Hrishikesh Mukherjee, Sai Paranjpe and Basu Chatterjee but unfortunately it doesn’t have the matching content. A wonderful premise is spoiled by some unimaginative writing. Mandira is shown to be cricket crazy but her craziness hasn’t been utilized fully for the audience to feel empathy for her. Also too much time is wasted on some really silly sequences that are supposedly funny but don’t really make you laugh.
First timer, Chandrakant Kulkarni (a big name in the Marathi film industry) appears technically sound but should have given more attention to the content. But full marks to him for the atmosphere creation of a typical middle class Maharashtrian household. Mandira Bedi gets her first full blown lead role and she does justice to the part. TV heart throb Eijaz Khan not only looks very handsome but acts well too. Anupam Kher playing his dad copies his own DDLJ – SRK’s father act. Vandana Gupte as Mandira’s mom gives able support. But it is Mahesh Manjrekar who towers over them all with his superb act. His frustration of not becoming a cricketer because he wanted to take care of his family is noticeable in every single sequence. He commands great screen presence and makes us wish he pays more attention to his acting career than directing silly films. All in all it’s an okay one time watch if you have nothing else to do but it does end up giving you a feeling that it could have been better!
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Slumdog Millionaire
The movie is about the Indian version of the hit TV show Who Wants to Be a Millionaire? Dev Patel plays Jamal Malik, a former Mumbai street-kid who has a job making tea at a call centre. He astonishes all of India by entering the show as a contestant and triumphantly getting question after question right. Is he a fraud? A savant genius? Or is something weird going on? His amazing winning streak means he has to come back the next evening for the final big-money question and overnight he is brutally interrogated by Mumbai cops convinced he is a cheat. They take him through each of the questions he got right, and Jamal's life story unfolds in flashback as our hero reveals that each question, like each of Max Bygraves's cards, has a special significance. His tale involves crime, drama, knockabout comedy and romance. Various characters determine his fate: his gangster brother Salim (Madhur Mittal), the love of his life Latika (Freida Pinto) and Prem (Anil Kapoor), the creepy quizmaster himself, who has his own interest in Jamal's staggering success.
This movie has interesting antecedents. It is not the first to be made about Who Wants to Be a Millionaire? Patrice Leconte's 2006 film My Best Friend, starring Daniel Auteuil, features a nailbiting edition of the French version of Millionaire. Leconte's film, like Boyle's, culminates with a "phone a friend" showstopper and both cheekily suggest the show is transmitted live, when, in real life, it is of course recorded and edited well in advance, at least partly to weed out the cheats. I have some knowledge of all this, incidentally. I was once the "friend" telephoned by a contestant on the show but at the crucial moment, my mobile phone was, shamingly, out of range. Chris Tarrant's face was reportedly a picture of polite bemusement as my voicemail message echoed pointlessly around the studio, before being smartly cut off and the contestant was permitted to phone another "friend". Naturally, hiccups like that don't make it on to air.
Slumdog Millionaire is co-produced by Celador Films, owners of the rights to the original TV show, and so it functions as a feature-length product placement for the programme, whose apotheosis here came when would-be cheat Major Charles Ingram tried to scam the quiz in 2001. All he got was a suspended sentence, a fine and minor celebrity status, and the show got mouthwatering publicity. In this film, poor Jamal is, simply on suspicion of wrongdoing, beaten to a pulp by the police and horribly tortured with electrodes - the nastiest interrogation scene I've watched for a while. But afterwards he makes it into the studio as fresh as a daisy. What the Mumbai police make of their unflattering portrayal, I can't imagine. Despite the extravagant drama and some demonstrations of the savagery meted out to India's street children, this is a cheerfully undemanding and unreflective film with a vision of India that, if not touristy exactly, is certainly an outsider's view; it depends for its full enjoyment on not being taken too seriously.
Interestingly, the co-creator of Millionaire, Steven Knight, is himself a screenwriter who has scripted far more serious films than this: Stephen Frears's Dirty Pretty Things (also co-produced by Celador) and David Cronenberg's Eastern Promises. Slumdog Millionaire really is gentle compared with, say, Robert Redford's satire Quiz Show and softcore compared with Danny Boyle's famous movies, Trainspotting and Shallow Grave. In fact, it's more of a kids' yarn, like his wacky caper Millions. Well, for all this, it's got punch and narrative pizzazz: a strong, clear, instantly graspable storyline that doesn't encumber itself with character complexity, and the cinematography by Anthony Dod Mantle is tremendous. It's definitely got that quirky-underdog twinkle and the silverware glint of awards can't be far away.
This movie has interesting antecedents. It is not the first to be made about Who Wants to Be a Millionaire? Patrice Leconte's 2006 film My Best Friend, starring Daniel Auteuil, features a nailbiting edition of the French version of Millionaire. Leconte's film, like Boyle's, culminates with a "phone a friend" showstopper and both cheekily suggest the show is transmitted live, when, in real life, it is of course recorded and edited well in advance, at least partly to weed out the cheats. I have some knowledge of all this, incidentally. I was once the "friend" telephoned by a contestant on the show but at the crucial moment, my mobile phone was, shamingly, out of range. Chris Tarrant's face was reportedly a picture of polite bemusement as my voicemail message echoed pointlessly around the studio, before being smartly cut off and the contestant was permitted to phone another "friend". Naturally, hiccups like that don't make it on to air.
Slumdog Millionaire is co-produced by Celador Films, owners of the rights to the original TV show, and so it functions as a feature-length product placement for the programme, whose apotheosis here came when would-be cheat Major Charles Ingram tried to scam the quiz in 2001. All he got was a suspended sentence, a fine and minor celebrity status, and the show got mouthwatering publicity. In this film, poor Jamal is, simply on suspicion of wrongdoing, beaten to a pulp by the police and horribly tortured with electrodes - the nastiest interrogation scene I've watched for a while. But afterwards he makes it into the studio as fresh as a daisy. What the Mumbai police make of their unflattering portrayal, I can't imagine. Despite the extravagant drama and some demonstrations of the savagery meted out to India's street children, this is a cheerfully undemanding and unreflective film with a vision of India that, if not touristy exactly, is certainly an outsider's view; it depends for its full enjoyment on not being taken too seriously.
Interestingly, the co-creator of Millionaire, Steven Knight, is himself a screenwriter who has scripted far more serious films than this: Stephen Frears's Dirty Pretty Things (also co-produced by Celador) and David Cronenberg's Eastern Promises. Slumdog Millionaire really is gentle compared with, say, Robert Redford's satire Quiz Show and softcore compared with Danny Boyle's famous movies, Trainspotting and Shallow Grave. In fact, it's more of a kids' yarn, like his wacky caper Millions. Well, for all this, it's got punch and narrative pizzazz: a strong, clear, instantly graspable storyline that doesn't encumber itself with character complexity, and the cinematography by Anthony Dod Mantle is tremendous. It's definitely got that quirky-underdog twinkle and the silverware glint of awards can't be far away.
Saturday, February 21, 2009
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Ghajini (2008)
Cast: Aamir Khan, Asin, Jiah Khan, Pradeep Rawat
Director: A R Murugadoss
How do you count eight packs? The question plagues you when you first come at Aamir Khan in his new movie. His rippling musculature has been all the focus, through the past month, in print, in TV, in hoardings. That, and the buzz cut, with deep scars running through, showing the scalp. This is an Aamir we haven't seen before—fronting a frame filling physique, flaunting matter over mind.
If you had 15 minutes of memory, what would you cram into that terrifyingly short span? The name of your loved one, your phone number, your home? If you were a regular joe, that's exactly what you'd do, but if you are Aamir Khan in ‘Ghajini', you would bulk up your body, tattoo the name of the man you need to kill, and smear your walls with violent graffiti. Short term memory loss means you forget, everything, within a short span of time. And the moment you get back into the zone, re-building the pieces of your life, the clock starts ticking again, for the next meltdown. It's a fascinating premise for a movie, and a few years ago, ‘Memento', made by Christopher Nolan, gave us a unique hero who suffers from short haul amnesia, while he searches for his beloved's killer. In 2005, the Tamil ‘Ghajini', inspired by ‘Memento', catapulted the till-then-on-the-fringes lead pair of Surya and Asin into the frontlines, and turned out to be a monster hit.
Aamir Khan's first film this year, is a faithful remake of the Tamil film (with a lot of the original crew , including the director) barring a couple of twists in the climax. It has Aamir doing an out-and-out actioner after a long time (‘Sarfarosh' in 1999 was the last time he went around brandishing guns and decimating baddies). It also has him bare-chested for a lot of the running time, because he needs to display his impressively muscled frame. So is it all good? Not really, no. The thing with doing a film like this is that you have to completely get with the flow of the film, and here Aamir is split down the middle. When he's Sanjay Singhania, the billionaire boy friend of wannabe celeb Kalpana (Asin), pretending to be a broke model himself, to insinuate himself into her good books, he's just fine. The sequence in which he first sees her help a bunch of disabled kids and loses his iron-clad heart to her, is a winner. So are a few others: how many impossibly wealthy men carry ‘chutta' to give the ‘pani puri wala'? He flips him his platinum card, and we crack a smile, as we are meant to. And then the transformation from smooth urbane tycoon, to the damaged violent guy happens, and the film starts to stutter. Not because Aamir doesn't try hard. He goes at this one with just as much effort as he does in his others, but he doesn't fill out this part with as much conviction. It's all his fault--- he shouldn't have done films like ‘Rang De Basanti' and ‘Taare Zameen Par', in which he coasted on his cerebral appeal. He just doesn't look the part of a man who can pulp other humans with his bare hands, despite the wild grimaces and the angry howls. The maximum fun is had by Asin, nicely curved and rounded, very far from unreal size zeroes, making her Hindi cinema debut. She plays pretty much the same role as she did in the original-- loud, warm, emotional, and is the best part of the movie, but even she can't liven up the pallid songs-and-dances. Third lead Jiah Khan, the medical student who studies the amnesiac and ends up first hindering then helping him, is a total loss-- she has to speak Hindi and do an item number, and both are beyond her. The villain (Pradeep Rawat) looks like he's a bit part stretched into something he can't quite handle: is he the only one they could find?
Too long, at three hours and some. Too violent. The bad guy goes around wielding a rusted iron jack and bashing peoples' heads in. And so not Aamir: ‘Ghajini' is engaging, only intermittently. Can we please have our old Aamir, the actor-star who's taught present-day mainstream Bollywood to think, back again?
Director: A R Murugadoss
How do you count eight packs? The question plagues you when you first come at Aamir Khan in his new movie. His rippling musculature has been all the focus, through the past month, in print, in TV, in hoardings. That, and the buzz cut, with deep scars running through, showing the scalp. This is an Aamir we haven't seen before—fronting a frame filling physique, flaunting matter over mind.
If you had 15 minutes of memory, what would you cram into that terrifyingly short span? The name of your loved one, your phone number, your home? If you were a regular joe, that's exactly what you'd do, but if you are Aamir Khan in ‘Ghajini', you would bulk up your body, tattoo the name of the man you need to kill, and smear your walls with violent graffiti. Short term memory loss means you forget, everything, within a short span of time. And the moment you get back into the zone, re-building the pieces of your life, the clock starts ticking again, for the next meltdown. It's a fascinating premise for a movie, and a few years ago, ‘Memento', made by Christopher Nolan, gave us a unique hero who suffers from short haul amnesia, while he searches for his beloved's killer. In 2005, the Tamil ‘Ghajini', inspired by ‘Memento', catapulted the till-then-on-the-fringes lead pair of Surya and Asin into the frontlines, and turned out to be a monster hit.
Aamir Khan's first film this year, is a faithful remake of the Tamil film (with a lot of the original crew , including the director) barring a couple of twists in the climax. It has Aamir doing an out-and-out actioner after a long time (‘Sarfarosh' in 1999 was the last time he went around brandishing guns and decimating baddies). It also has him bare-chested for a lot of the running time, because he needs to display his impressively muscled frame. So is it all good? Not really, no. The thing with doing a film like this is that you have to completely get with the flow of the film, and here Aamir is split down the middle. When he's Sanjay Singhania, the billionaire boy friend of wannabe celeb Kalpana (Asin), pretending to be a broke model himself, to insinuate himself into her good books, he's just fine. The sequence in which he first sees her help a bunch of disabled kids and loses his iron-clad heart to her, is a winner. So are a few others: how many impossibly wealthy men carry ‘chutta' to give the ‘pani puri wala'? He flips him his platinum card, and we crack a smile, as we are meant to. And then the transformation from smooth urbane tycoon, to the damaged violent guy happens, and the film starts to stutter. Not because Aamir doesn't try hard. He goes at this one with just as much effort as he does in his others, but he doesn't fill out this part with as much conviction. It's all his fault--- he shouldn't have done films like ‘Rang De Basanti' and ‘Taare Zameen Par', in which he coasted on his cerebral appeal. He just doesn't look the part of a man who can pulp other humans with his bare hands, despite the wild grimaces and the angry howls. The maximum fun is had by Asin, nicely curved and rounded, very far from unreal size zeroes, making her Hindi cinema debut. She plays pretty much the same role as she did in the original-- loud, warm, emotional, and is the best part of the movie, but even she can't liven up the pallid songs-and-dances. Third lead Jiah Khan, the medical student who studies the amnesiac and ends up first hindering then helping him, is a total loss-- she has to speak Hindi and do an item number, and both are beyond her. The villain (Pradeep Rawat) looks like he's a bit part stretched into something he can't quite handle: is he the only one they could find?
Too long, at three hours and some. Too violent. The bad guy goes around wielding a rusted iron jack and bashing peoples' heads in. And so not Aamir: ‘Ghajini' is engaging, only intermittently. Can we please have our old Aamir, the actor-star who's taught present-day mainstream Bollywood to think, back again?
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Jumbo Movie Review
Review:
Percept's JUMBO may not be as entertaining as HANUMAN -- one film that opened the doors for animation films in India -- but it is shades better than most amateur attempts that followed the success of HANUMAN. JUMBO, based on 'Chao Praya Prah Hongsawadee', a story by Ariya Jintapanichkarn, tells the adventures of Jaiveer aka Jumbo, a baby elephant. He dreams of following Yudhveer, his absent father, and becoming the royal elephant. Jumbo decides to go in search of his father. During his search, Jumbo meets up with a kindly elephant trainer, a hyperactive messenger bird and a female elephant, who becomes his sweetheart later. Subsequently, Jumbo becomes a war elephant and defends his kingdom against the evil opponents. JUMBO bears an uncanny resemblance to THE LION KING. You don't take to the film instantly, but it picks up towards the latter part when Jumbo is chosen by the king to fight the opponents. The animation isn't at par with the best [SHREK, THE LION KING, FINDING NEMO, the recent hit MADAGASCAR: ESCAPE 2 AFRICA], but the quality is better than some of the stuff we've witnessed in India. Jumbo Movie PosterJUMBO has the trappings of a typical Hindi film. There's revenge, romance, emotions, action... plus, the voiceovers by several top names, besides a song [well choreographed by Ahmed Khan] and scenes featuring Akshay Kumar. Also, the voiceovers are in sync with the lip moments. Akshay, Dimple Kapadia, Rajpal Yadav and Gulshan Grover infuse life in those characters. On the whole, JUMBO is a sweet, sincere and simple film that works. Who knows, it may spring a surprise this Christmas. Recommended for kids from 6 to 60.
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Transporter 3 (2008) (In Hindi)
Synopsis: Combining Western-style car chases and Hong Kong-inspired fight sequences choreographed by martial arts legend Cory Yuen, the Luc Besson-created TRANSPORTER films have found international success... Combining Western-style car chases and Hong Kong-inspired fight sequences choreographed by martial arts legend Cory Yuen, the Luc Besson-created TRANSPORTER films have found international success as a sort of working-class James Bond series. Jason Statham, who has become the go-to guy for big-budget B-movie thrills, returns once again as Frank Martin, the driver-for-hire for whom no job is too risky. Brimming with the usual jaw-dropping stunts, this is another crowd-pleasing entry in the saga, delivered at a brisk and flashy clip by director Olivier Megaton. Following the coercion of Ukrainian environmental official Leonid Vasilev (Jeroen Krabbe) into signing papers permitting the shipping of toxic materials into a harbor by criminal mastermind Johnson (Robert Knepper), Frank Martin is forced into accepting the job of driving Vasilev's kidnapped daughter, Valentina (Natalya Rudakova)--acting as human collateral--from Marseilles to the Black Sea coastal city of Odessa. On the chance the Martin should attempt to flee, Johnson has rigged him with a bracelet that will detonate if he strays more than 75 feet from his car. When Valentina is intercepted by a rival group, Martin will have to push his Audi M8 to the limit to complete his mission and ensure his own survival. The TRANSPORTER films require copious amounts of suspension of disbelief, but then again, one doesn't hope they will strictly adhere to the laws of physics. The third volume provides ample thrills, not the least of which is the sight of a car driving off a bridge onto a moving train. Plenty of screen time is also given to Statham's superhumanly chiseled torso, while freckled Rudakova's unconventional beauty balances out the sex appeal. In the end, Statham's undeniable likeability propels the film, and his chemistry in a handful of scenes with François Berleand, returning as Inspector Tarconi, provides some nice comic moments.
Watch Saas Bahu Aur Sensex online | Watch Hindi Movies online | Watch movies online | Free download Hindi Movies | Download hindi moive
Saas Bahu Aur Sensex
Saas Bahu Aur Sensex (Movie Review)
It’s a world where the economy ain’t in great shape. And so, “Saas Bahu Aur Sensex” may provide some good-old-those-were-the-days nostalgia for those who get the stock market. Interestingly titled, “Saas Bahu Aur Sensex” always had me wondering how it would blend in the culture of saas-bahu soaps with the Indian stock market. After watching the film, I’m still left wondering. It’s a slickly packaged film – as virtually all Indian films nowadays are – and in the perfectly colour coordinated world of Modern Colony, we are introduced to the various members of the super complex of apartments that now define urban India. At the Jetmalani family wedding, we get a glimpse of the various migrant families that have made Mumbai home. The Sikh, the Tamil, the Sindhi, the Bengali, the Muslim, the Parsi and so on. It’s a pretty tableau that is well in sync with the India Shining story.
Ritesh Jetmalani (Ankur Khanna) works at a call centre and helps Nitya Sen (Tanushree Dutta) and her mother Binita Sen (Kirron Kher) settle into their new home in the colony. He also helps Nitya secure a job at the call centre, where various other members of the colony’s families seem to be employed. The Sens have relocated from Kolkata after the parents divorced and both women work on finding jobs and working out their own mother-daughter friction. As Nitya learns how to sort out her Yankee twang, Binita teaches nursery children at a school recommended to her by Feroze Sethna (Farooque Shaikh), who also teaches her the nuances of the stock market. Fluctuating between the rising Sensex, soap operas and kitty parties that include Anita Jetmalani (Lilette Dubey) and other members of the colony, the film also plays out the narrative of a love triangle involving Nitya, Ritesh and Keerti (Masumeh Makhija). Jilted at the altar by Keerti, who prefers money over man, Ritesh and Nitya’s love track is set right towards the end. The backdrop of “Saas Bahu Aur Sensex” is novel. It’s set in a large township colony and is a squeaky clean and simplistic look at the world of call centres, kitty parties and stock markets. The narratives are basic, the plots are predictable and the music – barring one track from a Tamil film of the ‘90s – is passable.
“Saas Bahu Aur Sensex” is pleasing on the eye as it has a soothing aesthetic look to it and nothing about it is over the top. It shows us one of the many faces of India today. So we’re spared the poverty and the realities of the social complications that plague the country. Its message is clear. While it champions female empowerment it also cautions against greed when investing. And of course, with a stellar cast of theatre players, there is little to say about the performances. Farooque Shaikh is delightful as the stock broker lacking a female presence in his life. Watch him transform from a lady loather to a lady lover who entertains the kitty party group of Modern Colony, and you end up wishing he was on screen much much more. Kirron Kher is as graceful in the role of divorced woman and single mother as is her perfectly put together wardrobe. And what of Lilette Dubey? She charms her way through the character of a loving mother and wife of a Sindhi man. The younger actors – Tanushree Dutta, Ankur Khanna and Masumeh – all impress greatly with their composed performances. When faced with veterans they hold well and as representatives of the aspiring young café-savvy India, they come out top notch.
“Saas Bahu Aur Sensex” fails in the engrossment quotient. As a film it may have worked a couple of years ago, when India’s Sensex was really booming and call centres were all the rage. Today’s India though is different from the India in the film but as is the case with most Indian films it means well, but is ill-timed. As a narrative and plot it’s far from gripping and has many a meandering moment. Fortunately though it’s not a preachy film and passes little judgment on any of the players including the gold-digging Keerthi, who leaves Ritesh for the ultra-rich Yash Modi (Sudhanshu Pandey). As a film it holds little mass appeal even among the urban elite. It will however, find great favour with the demographic similar to Binita Sen and her friends – the kitty party, soap opera loving Indian woman, who occasionally dabbles in stocks.
Cast: Farooque Shaikh, Tanushree Dutta, Kirron Kher, Ankur Khanna, Masumeh, Lilette Dubey
Director: Shona Urvashi
Music: Blaaze, Bipin, Randolph Correa
It’s a world where the economy ain’t in great shape. And so, “Saas Bahu Aur Sensex” may provide some good-old-those-were-the-days nostalgia for those who get the stock market. Interestingly titled, “Saas Bahu Aur Sensex” always had me wondering how it would blend in the culture of saas-bahu soaps with the Indian stock market. After watching the film, I’m still left wondering. It’s a slickly packaged film – as virtually all Indian films nowadays are – and in the perfectly colour coordinated world of Modern Colony, we are introduced to the various members of the super complex of apartments that now define urban India. At the Jetmalani family wedding, we get a glimpse of the various migrant families that have made Mumbai home. The Sikh, the Tamil, the Sindhi, the Bengali, the Muslim, the Parsi and so on. It’s a pretty tableau that is well in sync with the India Shining story.
Ritesh Jetmalani (Ankur Khanna) works at a call centre and helps Nitya Sen (Tanushree Dutta) and her mother Binita Sen (Kirron Kher) settle into their new home in the colony. He also helps Nitya secure a job at the call centre, where various other members of the colony’s families seem to be employed. The Sens have relocated from Kolkata after the parents divorced and both women work on finding jobs and working out their own mother-daughter friction. As Nitya learns how to sort out her Yankee twang, Binita teaches nursery children at a school recommended to her by Feroze Sethna (Farooque Shaikh), who also teaches her the nuances of the stock market. Fluctuating between the rising Sensex, soap operas and kitty parties that include Anita Jetmalani (Lilette Dubey) and other members of the colony, the film also plays out the narrative of a love triangle involving Nitya, Ritesh and Keerti (Masumeh Makhija). Jilted at the altar by Keerti, who prefers money over man, Ritesh and Nitya’s love track is set right towards the end. The backdrop of “Saas Bahu Aur Sensex” is novel. It’s set in a large township colony and is a squeaky clean and simplistic look at the world of call centres, kitty parties and stock markets. The narratives are basic, the plots are predictable and the music – barring one track from a Tamil film of the ‘90s – is passable.
“Saas Bahu Aur Sensex” is pleasing on the eye as it has a soothing aesthetic look to it and nothing about it is over the top. It shows us one of the many faces of India today. So we’re spared the poverty and the realities of the social complications that plague the country. Its message is clear. While it champions female empowerment it also cautions against greed when investing. And of course, with a stellar cast of theatre players, there is little to say about the performances. Farooque Shaikh is delightful as the stock broker lacking a female presence in his life. Watch him transform from a lady loather to a lady lover who entertains the kitty party group of Modern Colony, and you end up wishing he was on screen much much more. Kirron Kher is as graceful in the role of divorced woman and single mother as is her perfectly put together wardrobe. And what of Lilette Dubey? She charms her way through the character of a loving mother and wife of a Sindhi man. The younger actors – Tanushree Dutta, Ankur Khanna and Masumeh – all impress greatly with their composed performances. When faced with veterans they hold well and as representatives of the aspiring young café-savvy India, they come out top notch.
“Saas Bahu Aur Sensex” fails in the engrossment quotient. As a film it may have worked a couple of years ago, when India’s Sensex was really booming and call centres were all the rage. Today’s India though is different from the India in the film but as is the case with most Indian films it means well, but is ill-timed. As a narrative and plot it’s far from gripping and has many a meandering moment. Fortunately though it’s not a preachy film and passes little judgment on any of the players including the gold-digging Keerthi, who leaves Ritesh for the ultra-rich Yash Modi (Sudhanshu Pandey). As a film it holds little mass appeal even among the urban elite. It will however, find great favour with the demographic similar to Binita Sen and her friends – the kitty party, soap opera loving Indian woman, who occasionally dabbles in stocks.
Cast: Farooque Shaikh, Tanushree Dutta, Kirron Kher, Ankur Khanna, Masumeh, Lilette Dubey
Director: Shona Urvashi
Music: Blaaze, Bipin, Randolph Correa
Friday, February 20, 2009
Wafaa – Movie Review | Watch Wafaa online | Watch Hindi movies online | Free Download Hindi Movies
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As I watched Rajesh Khanna wooing Laila Khan in "Wafaa", images from all the old films of the erstwhile superstar I grew up watching were crowding and colliding in my mind.
Surely this old, henna-haired man with a jaded face could not be the ultimate superstar who serenaded legendary beauties like Sharmila Tagore, Mumtaz, Zeenat Aman, Raakhee and Asha Parekh with songs that R.D. Burman composed and Kishore Kumar sang to infinite immortality. Nope, this was an imposter... This was a fumbling out-of-sync man on the screen, who could do with regular visits to the gym rather than this romp in the bed with a starlet. Many years ago, Rajesh Khanna had done a generation-challenged love story called "Anokha Rishta". A real-life scandal had reportedly occurred on the sets when the starlet playing the superstar's Lolita accused her co-star of unbecoming behaviour. Not much was heard of poor Sabia thereafter, except when she re-surfaced some years later as Akshay Kumar's co-star in Abbas-Mustan's "Khiladi". Back then Akshay wasn't the Khanna's son-in-law. And back then "Wafaa" would've shamed less people around the once-was-superstar than today.
It's not the content of "Wafaa" that shocks so much as the lurid treatment of the theme that leaves no room to doubt the film's makers intentions. Films about ambitious women gold-diggers who marry into money, have come and gone. Bindu tried to do Dilip Kumar out of his millions in B.R. Chopra's "Dastaan". Bobby Deol was quietly cuckolded by Amisha Patel in Abbas-Mustan's "Humraaz". But these were predominantly suspense thrillers meant to contour the dark, evil side of femininity. "Wafaa" finds Rajesh Khanna's performance shockingly laboured. It isn't his fault, really. It's the presentation and packaging. They clearly indicate an embarrassing absence of positive intentions. Tragically, the plot in "Wafaa" kills not the tycoon in the film, but the career of the actor who plays the cuckolded tycoon.
The character lusting for Lolita in "Wafaa" is more like Shakti Kapoor from the South Indian remakes in the 1980s than any of the smooth-and-sensitive lover-boy roles Rajesh Khanna played in earlier decades. Yes, this has got to be an imposter. Rajesh Khanna once lived in our cinema. RIP.
Cast: Rajesh Khanna, Laila Khan
Director: Rakesh Sawant
As I watched Rajesh Khanna wooing Laila Khan in "Wafaa", images from all the old films of the erstwhile superstar I grew up watching were crowding and colliding in my mind.
Surely this old, henna-haired man with a jaded face could not be the ultimate superstar who serenaded legendary beauties like Sharmila Tagore, Mumtaz, Zeenat Aman, Raakhee and Asha Parekh with songs that R.D. Burman composed and Kishore Kumar sang to infinite immortality. Nope, this was an imposter... This was a fumbling out-of-sync man on the screen, who could do with regular visits to the gym rather than this romp in the bed with a starlet. Many years ago, Rajesh Khanna had done a generation-challenged love story called "Anokha Rishta". A real-life scandal had reportedly occurred on the sets when the starlet playing the superstar's Lolita accused her co-star of unbecoming behaviour. Not much was heard of poor Sabia thereafter, except when she re-surfaced some years later as Akshay Kumar's co-star in Abbas-Mustan's "Khiladi". Back then Akshay wasn't the Khanna's son-in-law. And back then "Wafaa" would've shamed less people around the once-was-superstar than today.
It's not the content of "Wafaa" that shocks so much as the lurid treatment of the theme that leaves no room to doubt the film's makers intentions. Films about ambitious women gold-diggers who marry into money, have come and gone. Bindu tried to do Dilip Kumar out of his millions in B.R. Chopra's "Dastaan". Bobby Deol was quietly cuckolded by Amisha Patel in Abbas-Mustan's "Humraaz". But these were predominantly suspense thrillers meant to contour the dark, evil side of femininity. "Wafaa" finds Rajesh Khanna's performance shockingly laboured. It isn't his fault, really. It's the presentation and packaging. They clearly indicate an embarrassing absence of positive intentions. Tragically, the plot in "Wafaa" kills not the tycoon in the film, but the career of the actor who plays the cuckolded tycoon.
The character lusting for Lolita in "Wafaa" is more like Shakti Kapoor from the South Indian remakes in the 1980s than any of the smooth-and-sensitive lover-boy roles Rajesh Khanna played in earlier decades. Yes, this has got to be an imposter. Rajesh Khanna once lived in our cinema. RIP.
Cast: Rajesh Khanna, Laila Khan
Director: Rakesh Sawant
Mere Khwabon Mein Jo Aaye–Movie Review | Watch Hindi Movies online | Watch Mere Khwabon Mein Jo Aaye
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Maya ( Raima Sen ), a middle-class housewife in Delhi is stuck in the rut of her mundane, monotonous life that’s limited to daily chores for her cold-hearted husband ( Arbaaz Khan ) and an adolescent daughter. One day, Maya comes to know of her husband’s clandestine affair with another woman. Devastated, she speaks to her neighbour and the conversation sparks Maya’s fantasy about an ideal man.
As she slips into repetitive rounds of day-dreams, Jai ( Randeep Hooda ), her ideal man, appears in various avatars – as a shirtless flautist, a cowboy, James Bond, a saxophone player and even as his eminence Mr. Amitabh Bachchan . During her talks with this dream man, Maya is inspired to follow her heart and pursue her long-harboured dream of becoming a singer. She doesn’t have to search far. There is a band in the neighborhood looking for a lead singer. ‘Mere Khwabon Mein Jo Aaye’ begins well but keeps going in circles in the second half. It’s hard to make out if the film’s about following one’s dream or about an ideal man (for it gives ample footage to Hooda) or about self discovery. Debutante director Madhureeta Anand is unable to give a definitive direction to the story. Neither does the struggle of the housewife – to find her own identity – comes through, nor is her transformation credibly brought out.
Raima Sen tries to do best with the role she is given while Randeep Hooda mostly indulges in pageantry in the name of acting. Arbaaz Khan does look convincing as a cheating husband (no allusions made here), while actors in the supporting roles – Shubhi Mehta, Suhasini Mulay, Neil Bhoopalam and Juhi Pandey – are just about okay. The biggest flaw of ‘Mere Khwabon Mein Jo Aaye’ is its convoluted story. After sparking your interest in the first half, the movie just lulls you to sleep. Perhaps to dream about your own ideal man or woman.
Maya ( Raima Sen ), a middle-class housewife in Delhi is stuck in the rut of her mundane, monotonous life that’s limited to daily chores for her cold-hearted husband ( Arbaaz Khan ) and an adolescent daughter. One day, Maya comes to know of her husband’s clandestine affair with another woman. Devastated, she speaks to her neighbour and the conversation sparks Maya’s fantasy about an ideal man.
As she slips into repetitive rounds of day-dreams, Jai ( Randeep Hooda ), her ideal man, appears in various avatars – as a shirtless flautist, a cowboy, James Bond, a saxophone player and even as his eminence Mr. Amitabh Bachchan . During her talks with this dream man, Maya is inspired to follow her heart and pursue her long-harboured dream of becoming a singer. She doesn’t have to search far. There is a band in the neighborhood looking for a lead singer. ‘Mere Khwabon Mein Jo Aaye’ begins well but keeps going in circles in the second half. It’s hard to make out if the film’s about following one’s dream or about an ideal man (for it gives ample footage to Hooda) or about self discovery. Debutante director Madhureeta Anand is unable to give a definitive direction to the story. Neither does the struggle of the housewife – to find her own identity – comes through, nor is her transformation credibly brought out.
Raima Sen tries to do best with the role she is given while Randeep Hooda mostly indulges in pageantry in the name of acting. Arbaaz Khan does look convincing as a cheating husband (no allusions made here), while actors in the supporting roles – Shubhi Mehta, Suhasini Mulay, Neil Bhoopalam and Juhi Pandey – are just about okay. The biggest flaw of ‘Mere Khwabon Mein Jo Aaye’ is its convoluted story. After sparking your interest in the first half, the movie just lulls you to sleep. Perhaps to dream about your own ideal man or woman.
The Ruins (2008) (In Hindi) | Watch Hindi Dubbed Movies online | Download Hindi Movies | Watch Hindi Movies online
Starring: Jonathan Tucker, Jena Malone, Shawn Ashmore, Laura Ramsey, Joe AndersonDirector: Carter Smith
Synopsis: Author Scott Smith adapts his own popular 2006 novel in this unsettling and surprising horror yarn. In its first half hour, THE RUINS seems to be cut from the same... Author Scott Smith adapts his own popular 2006 novel in this unsettling and surprising horror yarn. In its first half hour, THE RUINS seems to be cut from the same "body-count-of-young-Americans-abroad" cloth as HOSTEL and TURISTAS, but the film has a supernatural element not present in either of those works, keeping it clear of the overpopulated slasher and torture genres. A talented young cast also ensures that Smith's tale reaches the screen with plenty of genuine chills intact. While vacationing on the Yucatan Peninsula, 20-something Americans Jeff (Jonathan Tucker), Amy (Jena Malone), Eric (Shawn Ashmore), and Stacy (Laura Ramsey), befriend German traveler Mathias (Joe Anderson), who invites them to accompany him into the jungle to meet up with his archaeologist brother at an "off the map" Mayan temple. They agree, but once they arrive, angry locals shoot one of their party and refuse to allow them to leave. The Americans and Mathias retreat to the top of the temple, only to find the archaeological camp deserted. Mathias falls into the temple and is badly injured, but that is only the beginning of their troubles, as it soon becomes apparent that the vines covering the temple are alive in a way that goes beyond normal vegetation. It may be tempting to summarize THE RUINS by saying that it's about killer plants, but that would be undermining its strong points. The latter two thirds of the film play out like a very grim five-character stage play about survival, with large servings of death and desperation, without resorting to the fake scares that many horror films use as a crutch. The gore, while often quite nasty, is also necessary to the story, which takes on a heavy psychological component as the characters begin to fear for their lives.
Tuesday, February 17, 2009
Watch Dev D online | Dev D (2009) | Download Dev D | Free Download Dev D (2009)
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Story:
Dev D is a modern take on Devdas the novel written by Sarat Chandra. Though Devdas has been adapted on screen many times and by some illustrious filmmakers like P.C.Barua and Bimal Roy Dev.D will still appear as fresh and riveting a tale of love lost and self destruction. Classically Devdas has been hailed as the ultimate lover who drowns himself when he looses his love and goes into the path of self-destruction. Dev.D on the other hand unabashedly proclaims Dev as the hypocrite who drowns in self pity and as a man who could not stand up for himself. Dev.D breaks all the typecasts of the original novel including it‘s principal characters. Dev.D in essence is the tale of a man who goes into self destruction but the circumstances and the characters he meets are the people we meet and know and are of this generation. Unlike prior endeavours by filmmakers like Sanjay Leela Bhansali, Dev D is set in modern world where plastic money like ATM debit and Credit cards play more important role than hard cash, there is advance mode of communication like mobile, internet chatting instead of traditional means like telegrams. Globalization has expanded the horizon of technological availability. Dev.D will be shot in the winters of Punjab and Delhi. The backdrop to this saga oscillates between the rustic and colorful Punjab to the Foggy and Dingy lanes of Pahadganj, connaought place and Old Delhi. Dev.D has been scripted by Anurag Kashyap the writer of contemporary classics of cinema like Satya, Kaun, Shool,Yuva,Water. He has also directed the critically acclaimed Black Friday and the soon to release No-Smoking with John Abraham. Anurag Kashyap also has Paanch his hard-hitting directorial debut and Gulal ready for release. Dev.D is being produced by UTV and Line produced by Flying Unicorn Entertainments.
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