Tanu Weds Manu Returns (22 May 2015)

Cast: Kangana Ranaut, R. Madhavan, Deepak Dobriyal, Jimmy Shergill, Mohammad Zeeshan Ayyub, Swara Bhaskar, Eijaz Khan, Rajendra Gupta, Navni Parihar, K.K. Raina, Dipti Mishra, Rajesh Sharma

Director: Anand L. Rai   Music: Rdb, Krsna Solo   Writer: Himanshu Sharma

Duration: 128 minutes

‘Tanu Weds Manu Returns’ is the sequel of ‘Tanu Weds Manu’ (2011). The sequel is a logical continuation of its prequel, and also an independent and entertaining film in itself. With around four years gap in between, but almost the same cast and crew, and similar town type comic sensibility, two major differences noteworthy in the sequel are – a much more confidant and polished Kangana Ranaut and a much rounder (obese) R. Madhavan.

The prequel ended with the protagonists’ marriage in Kanpur and the sequel starts with their marriage counseling in London. Tanuja aka Tanu (Kangana Ranaut) feels utterly lonely in suburban London housing and desperately seeks the ‘fun and spark’ of earlier romance, while Manu (R. Madhavan) considers his role of ‘provider’ of the family as task enough, and is considerably irritated by the naggings of his four year old wife.

Counseling gets heated and Manu’s impromptu act of violence results into his detention in the mental rehabilitation facility. After sometime, bizarre as Tanu is, she returns to her parental abode in Kanpur. Prior to this, she informs Pappi (Deepak Dobriyal), Manu’s Delhi based best friend, to fly off to London and get him released!

In Kanpur, Tanu is as stylish and robust as before. However, she is highly disillusioned with the institute of marriage, and is indulgent to all her suitors, both ex and present, which include – Deepak, a friend turned rickshaw puller; Chintu (Mohammad Zeeshan Ayyun), her father’s non-paying tenant and law student; and Raja Awasthi (Jimmy Shergill), Tanu’s goon type ex-lover turned building contractor.

Pappi releases Manu and brings him back to his parent’s house in Delhi. A disgruntled Manu sends a divorce message to Tanu, which is eventually replied by a divorce notice. The reply is masterminded by Chintu without Tanu’s approval.

While in Delhi, Manu spots Kusum Sangwan aka Datto (Kangana Ranaut), a Haryanvi student-athlete and look alike of Tanu. With some initial hurdles, they fall in love and decide to get married. Coincidently, an arranged marriage is already on the cards between Kusum and Raja Awasthi! The film then goes through various twists and turns, ultimately giving in to the Bollywood style righteous action.

The movie is well written and directed. Its comical in nature and draws some serious laughs now and then, which is quite an achievement. Kangana is a revelation, especially as Kusum. She successfully creates a clear demarcation between Tanu and Kusum – in appearance, body language and dialogue delivery. Never before, the Indian screen has witnessed such an excellent take on double role. Her Haryanvi student-athlete impersonation – with bucked teeth, matter of fact and asexual attitude, pride for being a state level athlete, and last but not the least, super wide and honest eyes, is simply superb. Till now, the only other actor who has perfectly played a Haryanvi is Randeep Hooda (‘Highway’), but then, he actually hails from Haryana. Deepak Dobriyal is excellent in his comic timing, and brings about most of the laughing roars. R. Madhavan, as usual, has well played the role of being subdued and well educated. Jimmy Shergill and Mohammad Zeeshan Ayyub have also acted very well. With time, Jimmy has been able to carve out a kind of magnetic screen presence. He has come a long way from ‘Mohabbatein’. Rest of the cast has relatively miniscule role. But they have also acted well. Music is average.

In the movie, the storyline travels from London to Kanpur and Delhi, then to Chandigarh, and then finally to Jhajjar, thereby depicting a wide range of sensibility, ranging from that of an international metro to Indian metro, small city, and town. Be it set design, apparels or supporting caricatures, the right flavor has been maintained throughout the movie.

Bombay Velvet (15 May 2015)

Cast: Ranbir Kapoor, Anushka Sharma, Satyadeep Misra, Karan Johar, Manish Choudhary, Siddhartha Basu, Raveena Tandon Thadani, Remo Fernandes, Vivaan Shah, Jagdish Rajpurohit, Sandesh Jadhav, Shaanti, Denzil Smith

Director: Anurag Kashyap   Screenplay: Vasan Bala, Anurag Kashyap, Gyan Prakash, Thani

Music: Amit Trivedi   Production Design: Errol Kelly (Sri Lanka), Sonal Sawant   

Set Decoration: Kazvin Dangor, Rose Maria, Tharakan   Cinematography: Rajeev Ravi

Running Time: 149 minutes

Anurag Kashyap’s ‘Gangs of Wasseypur’ saga reaches its closure with ‘Bombay Velvet’. While the former dealt with the rural terrain of newly independent India, the latter deals with the mother of Indian urban terrain aka Mumbai, or Bombay, as it was called in those days.

Both the movies, more or less, have the same outline – new India with new policies and vast untapped potential; cartel of politicians, police, gangsters etc. striving for the largest chunk, power strife amongst men of power and ambition; rags to riches climb of ruthless and determined protagonist; and his vulnerable moments with his lady love. In fact, in both the movies, before taking his last breath, the protagonist guns down his foes like a driven maniac! However, in spite of the aforesaid similarities, the backdrop, narration, casting and overall sentiment is quite different in these movies.

In 1949, Balraj (Ranbir Kapoor) and Chiman (Satyadeep Misra) arrive at Bombay as kids. They come across each other, and end up becoming lifetime friends and partners in crime. They are street smart, self taught in the ways of the city and dream of making it big. Their prayers are answered in the form of Kaizad Khambatta (Karan Johar), who employs them, rechristens Balraj as Johnny and adds the required moolahs and style into their lives. On the surface, they are the managers of Khambatta’s brand new and high end club, ‘Bombay Velvet’, but in reality they are the executioners of all his dirty works (read blackmailing, kidnapping, murder). Khambatta uses his club to hold meetings with the high and mighty, like - the mayor, Romi Mehta (Siddharth Bas) to execute vast land deals that will yield gold after Bombay’s Reclamation. He also runs the paper ‘The Torrent’ and uses his wife (Shaanti) to seduce and catch his foes off guard!

Jimmy Mistry (Manish Choudhary) is Khambatta’s arch rival, who runs his own paper and is against such closed door capitalistic deals. He is on his own mission to divulge the misgivings of Khambatta and company. He is also rich and efficient and considers himself a follower of Communism.

Rosie (Anushka Sharma), an aspiring jazz singer with abused Goan (Portuguese ruled) past reaches Bombay and travels the clichéd path of – semi nude photo shoots, small time bar singer, mistress (of Jimmy Mistry), and ultimately the cherished lady love (of Johnny) and celebrated jazz singer of a high end club (Bombay Velvet).

In a bid to make use, Johnny’s immense liking for Rosie, Jimmy sends her to Johnny, to gather a game changing evidence. Instead, they end up becoming two youthful and passionate lovers. Alongside, Johnny becomes, more ambitious and is not satisfied with just managing the club. Instead he seeks a slice of Khambatta’s real estate deals! This turns the cartel of high and mighty against him, leading to the onset of a cat-and-mouse game, which leads to Rosie’s fake death and investigation of the same by Inspector Kulkarni (Kay Kay Menon), a detective.

Set design and Ranbir Kapoor are the two best things about this movie. The former shows immense r&d and immaculate detailing, and the latter has made full use of his acting genes, intelligence and histrionics to sink his teeth deep into the character. Its impossible to think that he is the same guy who played the couch potato in ‘Wake Up Sid’. Throughout the movie, both by his body language and dialogue delivery, Ranbir exudes a sense of earnestness, which is a treat to watch. Anushka Sharma looks tall and elegant and surreal till she plays docile and silent. Her dialogue delivery is same as all her other movies, as well as TV appearances! She wears an enviable collection of larger than life gowns with immaculate jewelry, make-up and hair-do. In some of the initial frames, this hero heroine duo does remind you of Raj Kapoor and Nadira! Apparently, Karan Johar has acted pretty well. But his non-stop reality TV show appearances displaying his real life fun loving personality loom so large in your head, that you somewhere fail to connect with his on-screen character. Satyadeep Misra has acted very well. His understated acting is very precise. Raveena Tandon Thadani appears twice as the lead club singer and takes care of the required style quotient pretty well. Manish Choudhary, Kay Kay Menon and others have also acted well. Cinematography is very good. Music is good. Screenplay has some loop holes, which could have been taken care of. The movie is based on historian Gyan Prakash’s book ‘Mumbai Fables’.

P.S.: A yesteryear pairing that comes to one’s mind, that would have done full justice to this movie, is that of Amitabh Bachchan and Parveen Babi.

Shamitabh (6 Feb 2015)

Cast: Amitabh Bachchan, Dhanush, Akshara Haasan, Rekha

Director: R. Balki   Music: Ilaiyaraaja   Screenplay: Nigel Genis, R. Balki

Running Time: 155 minutes

Every time you shake and look through a kaleidoscope, you see a different and beautiful pattern. Thus, in general, you repeat the process a few times and pamper your visual senses. But, if the repeat mode exceeds the required loop, will your visuals be still as entertaining? Will your mind, still absorb the beauty or register the differences between two successive formations?

‘Shamitabh’, the movie, is a brand new and excellent concept, captured by an excellent team, with an amazing first half, but half baked and mindless iterations in the second half, and an unnecessary sad ending.

Danish (Dhanush) is a born dumb but not deaf Maharashtrian lad from Igatpuri. Since childhood, cinema is everything to him, and his only dream and ambition in life is to become a big Bollywood hero. Ironically, though his handicap in no way barricades his favorite activity i.e. watching any cinema on any medium, it definitely acts as a stone wall for fulfilling his dream. And this is exactly what he realizes after coming to Mumbai, post his mother’s death.

Soon, Akshara (Akshara Hassan), a young and feisty assistant director, enters his life as the fairy Godmother. She not only realizes his potential, but also provides the means to showcase the same. She introduces him to a new Finland based technology, wherein implantation of a microchip in Danish’s throat and wearing of Bluetooth type ear-devices by both Danish and an actual speaker, and coordinated speaking by the speaker and lip syncing by Danish, will make appear, as if the voice is coming from the latter’s throat! It does not need saying that, as of now, this technology is a fiction.

Post the implantation, the duo’s search for the right speaker ends at Robert aka Amitabh Sinha (Amitabh Bachchan), a drunk old man with loads of attitude, but a strong baritone voice. Ironically, around forty years back, Robert himself could not make it big as an actor, as the film industry found his voice unsuitable!

Together, Danish and Amitabh create ‘Shamitabh’ i.e. Danish’s screen name and presence. Akshara plays the able moderator between them, as well as between them and their first director. Together the ‘Shamitabh’ duo touch an altogether new height in the film world, till their day-to-day minor bickering, take the form of gigantic ego clash, wherein the voiceless actor and faceless speaker, refuse to abide by or bow down to each other, with each striving to become the primary beneficiary of new impounding limelight and recognition. Surprisingly, none of them is bothered about the money part. It is left to see, who will win out of the two and what has fate got stored for both of them.

By sixty, most actors, either retire or shift from main leads to character roles. Thanks, to R. Balki, Amitabh Bachchan is still playing the main lead, and that too with dignified success (Cheeni Kum, Paa). By now, the director, R. Balakrishnan aka Balki is very well versed with Amitabh’s physical and theatrical extravaganzas and limitations, and he has used this knowledge to the ‘T’. Hats off to him, for working on a super fresh and unusual script and carving out an interesting outcome out of it. But, since he is an ad man (Chairman & CCO of ad agency Lowe Lintas) by first profession, he has vastly used his movie canvas as ad films for products and services, like - Lifebuoy, Amazon etc. It may be a smart financial move, but such, on the face, advertisements cannot go down well with serious movie enthusiasts. Latter half of the movie, focuses a lot on ego clash. Unfortunately, to support the same, neither Danish appears thanklessly robust, nor Robert seems the one with the unfair deal. Also, with his impeccable reputation, international recognition and designer clad appearances, it’s a tad bit difficult to imagine Amitabh Bachchan thriving and kicking for recognition!

Both of Balki’s earlier movies were unusual, well appreciated and both showcased a demise towards the end. This one follows the same trait. Now, whether this is done to maintain the so-called superstition for hit movies, or, to appeal better at international film festivals, unlike his previous movies, this one does not create the aura of hope and good life towards the end.

The movie has six songs and cameo appearances by various celebrated personalities of Bollywood, including Rekha! ‘Sha sha sha mi mi mi’ and ‘Piddly Si Baatein’ tracks are nice. The latter is voiced by Amitabh Bachchan himself and its picturization is full five minutes of toilet humor! Barring, Amitabh’s performance, the remaining movie transcends considerable dosage of South Indian sensibility. The movie also draws a lot of similes from its lead actor’s lives. Like rejection of Amitabh Sinha for his voice vs. Rejection of Amitabh Bachchan for his voice, by All India Radio; Danish working as a bus conductor before becoming a hero vs. Dhanush’s father-in-law aka superstar Rajnikanth practicing the same; etc. Art Direction is very good. Whether it is the swank new and themed urban apartment of Danish, or graveyard situated and rupees five hundred rented dump of Robert, there is distinct beauty and harmony in both the establishments.

Amitabh Bachchan is superb in soliloquy, as well as action-reaction scenes. Crossing seventy and with evident wrinkles, this great personality still manages to look quite a debonair, even when he is dressed in rags. In this film, arrogance, mirth, humor, nonchalance, despair, going into oblivion, and every other possible shades of emotion have been rolled into one and only Amitabh Bachchan. Dhanush, is again a different shade card with his own rich plethora of different shades. He simply stands out in the scenes, wherein he emotes frustrated arrogance, and that too in a speechless mode. Not for a single second, you as an audience will happen to miss the voice of his dumb character! Managing to stand tall in front of Amitabh is no mean feat, and Dhanush has successfully achieved that. Akshara, the debutante, appears a combination of Riya Sen and Kareena Kapoor, from their respective debut movies. She looks very young, boyish, genuine and strong minded. However, she will be required to work over her South Indian dialect. Rest of the cast is good as well.

In addition to, such great concept and execution, only if there was more humor, less altercations, and that too packed in lesser duration, the movie would have emblazed on an altogether different level.

Baby (23 Jan 2015)

Cast: Akshay Kumar, Danny Denzongpa, Anupam Kher, Rana Daggubati, Taapsee Pannu, Kay Kay Menon, Madhurima Tuli, Rashid Naz, Sushant Singh, Jameel Khan, Mikaal Zulfiqar, Esha Gupta

Director: Neeraj Pandey   Writer: Neeraj Pandey   Choreographer: Vishnu Deva

Music: Meet Bros Anjjan, M.M. Keeravani   Background Music: Sanjoy Chowdhury 

Cinematography: Sudeep Chatterjee   Production Designer: Sandeep Ravade

Editor: Shree Narayan Singh   Casting: Vicky Sidana

Running Time: 160 minutes

For both its director and lead actor, ‘Baby’ is the third super-sixer in their respective hat-trick of movies. Back to back direction of ‘A Wednesday’, ‘Special 26’ and ‘Baby’, clearly makes the young, dynamic and three films old director, Neeraj Pandey, a pro in terrorist based or equivalent thrillers. Similarly, power packed performance by Akshay Kumar in ‘Special 26’, ‘Holiday: A Soldier Is Never Off Duty’ and ‘Baby’ transition him successfully from a ‘romancing, dancing, fighting Punjabi puttar’ to a no-non sense, well trained and ever vigilant intelligence officer. Bye bye leading ladies. This macho man is now past your ‘nakhras and jhatkas’!

Implementing the saying, ‘Precaution is better than cure’, post 26/11 (terror attacks in Mumbai), a Covert Counter Intelligence Unit is crafted, so as to nip the terror attacks in their budding stage, as well as to prevent their execution at any cost. Before making anything permanent or glorified, a five year trial period is granted to this Unit, and hence its termed ‘Baby’. The movie ‘Baby’ showcases the final and fifth year of the Unit ‘Baby’, when only five of its officers are still alive! The Unit is headed by Feroze Ali Khan (Danny Denzongpa) and chiefly enacted by agile and fearless counter espionage agent, Ajay Singh Rajput (Akshay Kumar), along with his team mates, which include – hulk-like Jai Singh Rathore (Rana Daggubati), comical and brainy computer whiz, Om Prakash Shukla (Anupam Kher), and docile looking but fearsome in fighting, Priya Suryavanshi (Taapsee Pannu).

The movie goes on to show, how these special agents travel far and wide (read Istanbul, Delhi, Mumbai, Kathmandu and Abu Dhabi), following their clues, collecting their targets, and last but not the least, preventing the terror attacks, ranging from bomb explosion in a mall, to that in multiple cities. All throughout, these agents are on their own, without any kind of diplomatic immunity or direct government aid. Their family life is highly unpredictable and their lives are in constant danger of termination as well as gruesome torture. In case of being assassinated, the government will never recognize them. If required, they have to be prepared to leave in lurch, or even kill their own teammate! In spite of knowing all these facts, these unsung heroes readily do, what they need to do, to protect their country and countrymen.

The best thing about the movie is its non-stop pulsating rhythm. From the onset, till the end, it keeps you glued to the screen. Throughout, you are curious to know what happens next. And this is no mean feat to achieve. Neeraj Pandey deserves full points for achieving this. The film does not cater to a new subject, but the screenplay and adaptation is good. Background music, cinematography, production design, editing and casting are apt. Thankfully, the movie has only two soundtracks, each of which appear twice. They are – ‘Beparwah’, which establishes the mood of the movie, and ‘Main tujhse pyar nahin karti’, which is good to hear and see, but could have been avoided. First half of the movie creates the platform, and the second half depicts the execution of the mega counter espionage act. At the end of the movie, rolling credits are shown along with Esha Gupta’s item number.

However, the movie is mostly on the lines of ‘the diary of a counter espionage agent’, meaning to say, that it is made from the perception of an intelligence officer, rather than the perception of a common man. So, it does not cater to the actions-reactions of country men in the event of occurrence or seize of a terror attack. Thus, unless you survive on heavy dosage of international fiction thrillers via books/serials/movies, you will most probably enjoy the vintage wine, simply for its distinct taste and without any realization of its vintage quality!

Akshay Kumar lives and breathes his role, even in the scanty family based scenes. He sleep walks his role sans any glam-sham and kind of carries alone the first half of the movie. Rana Daggubati has a powerful muscular presence. Anupam Kher brings the much needed comic relief. But it is Taapsee Pannu, that totally takes you by surprise in her small but very effective appearance. She beautifully carries off a long hand-to-hand combat scene with the terrorist Waseem Khan (Sushant Singh). Her natural and lethal performance, very much remind you of Elizabeth Jennings (Keri Russell) from the American soap ‘The Americans’. In fact, in this film, Taapsee even resembles a lot like Keri. One cannot say if it is mere coincidence or the basic fact behind her getting this role. Madhurima Tuli as Akshay’s wife shows a lot of resilience in her performance. Kay Kay Menon and Jameel Khan are expectantly good as Bilal Khan, the chief executioner of terror attacks, and Taufeeq, the ISI agent who stays hidden amongst Indian Muslims, respectively. Pakistani actors Rashid Khan as Maulana Mohammed Rehman, the terrorist leader, and Mikaal Zulfiqar as Ashfaq, the Unit’s Abu Dhabi based asset, have also performed well. The former has good control over dialect and the latter can give many a models a run for their money. The actor who plays the role of Abu Dhabi based intelligence officer is pretty charismatic in his persona.

Congratulations to Neeraj Pandey for forming a successful team, which is successfully carving out meaningful and well researched hits.

PK (19 Dec 2014)

Cast: Aamir Khan, Anushka Sharma, Sanjay Dutt, Saurabh Shukla, Sushant Singh Rajput, Parikshit Sahni

Director: Rajkumar Hirani   Music: Shantanu Moitra, Ajay-Atul, Ankit Tiwari, Ram Sampath 

Writer: Rajkumar Hirani, Abhijit Joshi, Sreerag Nambiar

Running Time: 150 minutes

Producer – director team of Vidhu Vinod Chopra - Rajkumar Hirani is known to belt out brilliant movies that impart social message with humor and old world romance. And ‘PK’ is this duo’s latest offering. Herein, the social message is very much on the lines of ‘OMG – Oh My God’, but the treatment of the subject is very unique and different.

Jagat Janani aka Jaggu (Anushka Sharma), a budding New Delhi TV journalist, in her perennial quest for scoop or ‘breaking news’ stumbles across P.K. (Aamir Khan), who is highly weird, amusing and different in his attire, walk and talk. In the recent past, Jaggu’s heart has been broken by Sarfaraz (Sushant Singh Rajput), who apparently left her at the altar! Jaggu first spots P.K. while he is distributing pamphlets for missing persons, only the names and photos of the missing persons are those of different Hindu deities (Lakshmi, Ganesh, Shiv etc.)! Out of curiosity and professional interest, she trails and observes P.K. And she realizes that P.K.’s expectation and understanding of the environment around him is very different from that of a normal human being. It’s stupid, humors law and at times also causes embarrassment. But it’s definitely not illogical.

P.K. is also on a one track quest of his usurped belonging. With his never say die attitude, he is continuously learning, adapting and devising new ways to accelerate his quest. But his unconventional methods, often land him into trouble. During her following up, Jaggu witnesses one such crisis and lends a genuine helping hand, thereby winning P.K.’s trust. Upon askance, he readily agrees to tell her more about himself and obliges, which leaves Jaggu confused and bewildered. Initially, she brushes off his tale as absurd and fake. But further probe into the matter, establishes the fact that P.K. is actually an alien from a far off planet who is stuck on Earth because his remote control was forcefully taken from him  in Bhiwandi region! Bhairon Singh (Sanjay Dutt) of Bhiwandi told him that his usurped remote control will be sold in a big city like Delhi, which prompted him to come to the city. Apparently this alien species looks exactly like humans, except for their protruding ears and walking style. Also, in their own planet, they neither wear clothes, nor are required to speak, as they are advanced enough to know the mind, just by holding each other’s hands!

For some reason, this precious and big locket like remote control is found in the possession of Tapasvi ji (Saurabh Shukla), an acclaimed guru, who propagates it to be a broken end of Lord Shiva’s musical instrument i.e. ‘damru’! Tapasvi ji is known for his direct connection with God. Devotees flock his meetings to tell him their problems, to which he provides solutions after discussion with God! Coincidentally Jaggu and her boss Cherry (Boman Irani) also have their individual personal scores to settle with Tapasvi ji. Thus, Jaggu convinces Cherry and using the power of media and logical oration of P.K., devices a plan that will bring to light the fakeness of Tapasvi ji and also enable P.K.’s return to his planet.

‘PK’ is a brilliant movie with an amazing script. The whole ruckus of myriad relegions and self appointed religious managers aka God men has been questioned from the view point of an alien, who is like a blank canvas with no prior understanding or reflex of the human race. And when this canvas is exposed to a series of brush strokes carrying different colors, pressures and stroke styles, he needs to attach a unique purpose to each type of brush stroke. Whenever there is a breach in this uniqueness, he gets confused, and whenever the result is illogical, he questions the stroke itself! His confusion and questions seem bizarre, but are in fact very logical. In fact, due to years of wrong practice, we humans have unnecessarily got tuned to absurd practices. God is one, but we have divided Him into a number of relegions. God is to be loved, but we have associated Him with fear. God is same for everyone, but we seek God men to feel closer to God!

The movie also highlights the fact that the original purpose of clothing and speech has been lost upon the humans. They were simply meant to protect against the weather and provide a medium of expression. Instead, they are being used to create myriad sects and spread aggression and lies. A civilization sans these provisions may actually be superior and better, like that of P.K.’s planet!

The beauty of the movie lies in its simplicity. It doesn’t cater to any burning social issue or condemns any social practice. It simply questions and expresses amusement over conflicting practices and ready subservience of the human race. The overall feel is of humor and amazement. Bhojpuri language was never better used in a Bollywood movie. Usage of words like ‘gola’ (planet) and ‘lool’ (meaningless) are bound to bring smile on the viewer’s lips.  Songs are situation based. The track ‘Tharki chokro’ has a nice rustic flavor and is also well picturized. Casting is also appropriate.

However, wherein the past productions (Munna Bhai MBBS, Lage Raho Munna Bhai,3 Idiots) of the makers of this movie have successfully focused upon a single issue, herein you get confused, whether the focus of the movie is diverse relegions or God men.

Aamir Khan as usual is brilliant. He is like Tom Hanks of Bollywood. Every new performance of his is a refreshing surprise. No one else can enact P.K. like him. In his own head, he understands the pulse of the character and develops the required persona and body language, complete with small nuances. Can anyone believe that such a young, innocent and gleeful looking character is actually an actor nearing fifty! Except for her daffy duck lips (no thanks to cosmetics), Anushka Sharma with her good height and flawless complexion, looks like a million bucks. She has also acted well and managed to hold her own opposite Aamir Khan. Sushant Singh Rajput is also a revelation in his small role. He has well matched the effervescence of Anushka. In fact, his dialogue delivery is better than many experienced actors. Saurabh Shukla, Parikshit Sahni and others have also acted well.

Last but not the least, in this movie, the heroine is considerably taller than the hero, and the movie is devoid of any attempt to camouflage the same. This is very much evident in the ‘stress removal dance’ performed by the lead pair. The dance is beautiful, but more beautiful is the journey of Indian cinema, where now the hero no more needs to be the taller one.

Happy Ending (21 Nov 2014)

Cast: Saif Ali Khan, Ileana D’Cruz, Kalki Koechlin, Ranvir Shorey, Govinda, Preity Zinta, Shivani Tanksale

Director: Krishna DK, Raj Nidimoru     Music: Sachin-Jigar     Writer: Krishna DK, Raj Nidimoru, Sita Menon

Running Time: 136 minutes

‘Happy Ending’ is like an age old and time tested multi course meal served in a new diner which calls out the name and necessity (also read as state-of-no choice) of each course before serving the same. It seems as if the sellers don’t really believe in their wares, but end up offering the same (albeit packaged differently) acting on the law of demand and supply. But neither do they fulfill the buyer’s expectation, nor is their new packaging attractive enough to hold the buyer’s interest!

Yudi Jaitley (Saif Ali Khan) is a USA based ‘one book wonder’ writer and a casanova. He is phobic of love/marriage and has thus indulged into a trail of shallow relationships with the opposite gender. He likes to enjoy his relationships without any strings attached. So, the moment a girl utters the quintessential ‘I love you’, he mumbles and fumbles, but never reciprocates the same. Only two steady relationships of his life are Montu (Ranvir Shorey), his long time BFF and Divya (Preity Zinta), his ex GF, the one he actually loved. Both are married. Yudi also has a paunchy, beardy, bespectacled, shorts clad and ever-eating  alter ego Yogi who forecasts the impending turn of events.

Yudi’s free spirited lifestyle and the state of no new publication since five and a half years, result into his bankruptcy. While scouting for new assignment, he witnesses a rival writer, Aanchal Reddy (Ileana D’Cruz) gaining momentum with his publisher. As expected, in due course of time, their rivalry gives way to attraction and companionship. But this time, the tables are turned. And Yudi is the one who utters the magical three words in vain!

Alongside, Armaan (Govinda), an aging actor visits USA for dual purpose. First – to avail the top notch cosmetic surgery to attain a younger face and toned up body (read six-pack), and Second – to approach Yudi to pen down a highly inspired (read copying from a plethora of hit movies) rom-com that will change Armaan’s status from a single screen actor to a multiplex actor. And yes, there is also the nutcase Vishakha (Kalki Koechlin), Yogi’s dentist, who is in love with Yogi and too mesmerized to break up with him, in spite of him repeatedly trying to do the same!

As per the movie title, the protagonist is expected to avail happiness aka success in both love and career. And the movie progresses on the similar lines.

The movie has a story, but its execution is not up to the mark. It is a classic case of casting gone wrong. Also, in spite of good effort, there is no chemistry between the lead actors. Preity Zinta just plays a cameo in the film and surprisingly there is perfect chemistry between Saif and Preity. Alter ego concept could have been made so much interesting, but it comes out as plain vanilla. Saif has been a pro in playing such roles. But the well settled real life mid forties ‘nawab’ with his diva like new wife, grown up kids and estates galore, can no more look or act like a playboy. Music is average and a bevy of singers have been used. The track ‘G Phaad Ke’ will be a hit amongst the disc goers. Cinematography has well covered the west coast of America.

Saif looks charming and is good with comedy. Ileana has acted well. She looks stylish and confidant, in fact a little too confidant. Kalki appears like a psycho in love. Whether the role demanded the same, or it was her style of execution, its debatable. Ranvir and Shivani are OK. Its Preity, who doesn’t try too hard and still brings the life in the couple of scenes that she is in. Govinda is especially good with his action-reactions and dancing. While dancing, he simply captures the screen. But you do miss the ‘connection’ that he had with his co actors in all of his earlier films. Call it computer wizardry or something else, but the scene towards the end where Govinda appears with a much younger face, six pack abs etc. is a pleasant surprise.

Kill/Dil (14 Nov 2014)

Cast: Ranveer Singh, Ali Zafar, Parineeti Chopra, Govinda, Alok Nath

Director: Shaad Ali   Writer: Nitesh Tiwari, Shreyas Jain, Nikhil Mehrotra   Music: Shankar-Ehsaan-Loy

Running Time: 145 minutes

The centre point of the movie is the critical choosing of the protagonist between ‘Kill’ and ‘Dil’ aka heart (read sweetheart), and hence the name Kill/Dil. Alongside, the movie also ‘kills’ your celluloid expectations and breaks your trusting ‘heart’. And you are left wondering, how come the dynamic combination of – country’s most successful production factory with one of their cherished directors, team of young and successful lead actors, middle age veteran actor; can be submerged in the platter of a shallow plot, incomplete characterizations and unfocused direction! 

Bhaiyaji (Govinda), an anti-social, finds two abandoned newborns amongst garbage. He brings them home and they grow up as Dev (Ranveer Singh) and Tutu (Ali Zafar), who carry out shooting assignments for Bhaiyaji without any question or remorse. Rather, they carry out their executions with fun and style! And they never miss.

In a disc, Dev saves Disha (Parineeti Chopra) and her friends from some gun pointing rowdies. Disha is a super rich urban girl who works for the rehabilitation of jail inmates. This chance meeting eventually leads to love and Dev’s heart filled with new found love finds it impossible to further kill. He tries to turn a new leaf, so as to protect Disha from his past misgivings. Tutu unconditionally helps him in the process. This irks Bhaiyaji to no end as he cannot bear to see his return on investment go awry. And thus he arranges for Disha to know the truth in the most ruthless of manners. Disha breaks off with Dev, giving him no choice but to return to Bhaiyaji. Instantly, Bhaiyaji gives a heavy assignment to the killer duo. Will Dev be able to kill again? What will be the fate of his love? Therein lies the movie suspense.

The movie is filled with designer wear and style. It has good music and cinematography. Couple of tracks will be quite a hit amongst the disc goers. The music directors, Shankar-Ehsaan-Loy have used a bevy of good singers for their tracks. However, the movie lacks logic and depth. The protagonists live on a rooftop with basic and depreciating furniture. However their cooking table is laden with modern and sleek kitchenware. Actors have performed well but many scenes are pretty boring. All the actors are emitting their individual energy. But there is no fusion of the same into one big energy, that runs throughout the movie and makes it entertaining to the audience.

It is noteworthy to see the protagonists perform the action of killing as pure duty towards their provider and then going back to him with the sentiment and expression of that of children, who have scored highest in their class and will be loved and rewarded for the same!

Ranveer Singh has acted very well. His child like glee is endearing. Also, he appears very sincere and natural in crying scenes, something which very few male actors can boast of. Ali Zafar has completely given in to his character, never bothering for angles or screen capture. Parineeti has experimented with delicate (read skin showing) designer wear, which has not gone well. She is blessed with the screen presence of a la Kajol. Wonder why she is trying to fit in the shoes of the delicate damsels? Also, in her bid to appear stylish, she has over acted. Govinda has appeared in a full fledged role in an A-list movie after a gap of almost seven years. Still he is natural and commanding. As expected, he has been given some mean dance moves and he has performed them with aplomb. But dancing seems very out of character for the dominating and ruthless killing contractor played by him.

Last but not the least, don’t miss the red imprint of Govinda’s palm on Ranveer Singh’s face after a stinging slap scene. Whether its real or makeup, its definitely minute production design.