There are innumerable heartbreaking stories of children cutting off all ties with their parents in their ripe age. Ill-treating parents, enrolling them at old-age homes, avoiding them, abusing them, even torturing them during the sunset of their lives… the behavior is despicable, appalling and disgraceful. How does the modern world treat its elders? Why do kids push their parents — who need all the love, care and attention — into the dark alley? MAI… raises the disturbing issue of a distressed mother discarded by her son. A subject like this isn’t new for the Hindi screen. ZINDAGI [Sanjeev Kumar, Mala Sinha], AVTAAR [Rajesh Khanna, Shabana Azmi] and BAGHBAN [Amitabh Bachchan, Hema Malini], besides several films, have dealt with elderly parents being neglected by their children. In those films, the senior citizens were mistreated by their kids. In MAI…, the mother is reluctant to admit that her son has discarded her and is embarrassed to stay with her daughter and son-in-law. Therein lies the difference! The premise may be archaic — elderly parents being neglected/ignored/mistreated by their family — but it’s relevant even in this day and age of nuclear families and children who don’t think beyond themselves. Apparently, the subject matter [screenplay: Manoj Tapadia and Mahesh Kodiyal] demands a sensitive storyteller and director Mahesh Kodiyal executes the material with extreme sincerity and sensitivity. MAI… banks heavily on the emotional quotient, making you think about the woman who helped her son take the first steps, but the ungrateful son deserts her when she needs to take her last ones. Loaded with emotions, with heart wrenching situations, MAI… is a sincere attempt at telling an uncomplicated story with straightforwardness, with episodes that tug at your heartstrings. MAI… is about a woman [Asha Bhosle] suffering from Alzheimer, who is tossed between her four children. The only son, who she had great expectations from, isolates her the moment he lands a job in a foreign country. The two youngest daughters try to run away from the responsibility too. The eldest daughter, Madhu [Padmini Kolhapure], a woman of substance, takes a stand against the wishes of her husband [Ram Kapoor] and daughter takes the responsibility of tending for her. As time progresses, Mai’s health deteriorates. The family life of her daughter is in shambles due to the prevailing tension with her husband. However, Madhu balances her disgruntled family and work pressure, until, one day, the condition of her mother forces her to quit her job. At this stage, the relation between Mai and her son-in-law takes a miraculous turn, which changes his life forever. In this era of new-age cinema and experimental themes, MAI… may come across as an old-fashioned tale, with cliches aplenty, but some subjects can never go out of fashion. The tried and tested formula continues to work despite contrived scenes and situations, if handled with dexterity. That’s one of the prime reasons why MAI… works — the expert handling by its director. Rich in emotions, the film never deviates into unnecessary sub-plots, which explains why the focus remains on the core issue. Downers? The run time could’ve been shorter, with Kodiyal doing away with a couple of sequences and songs. Also, a few sequences don’t leave much of an impact, perhaps because they seem too predictable. Besides, one of the vital points in the screenplay — the change of heart of the son-in-law — seems abrupt and far from convincing. There had to be a strong reason, which is missing here. Cinematography deserves special mention, mainly because a major chunk of the film is shot indoors [in a home, in this case]. Dialogue are straight out of life and sound so real. Asha Bhosle, who makes her acting debut with MAI…, surprises you with a controlled, refined, truly wonderful performance. She lends a lot of credibility to her character and makes it seem so genuine. Padmini Kolhapure is supremely efficient, while Ram Kapoor handles his part with flourish. Note Ram’s outburst in an inebriated state. His contribution to several sequences is truly wonderful. Both, Padmini and Ram contribute enormously to the dramatic moments, which, frankly, would’ve fallen flat if entrusted to amateurish actors. Anupam Kher is perfect in a cameo. Naveen Kaushik, enacting the part of the son, doesn’t get much scope, while Shivani Joshi, who plays Padmini and Ram’s daughter, is alright. On the whole, MAI… is an honest attempt. It moves you on several occasions thanks to its emotional quotient, but it needs a strong word of mouth and patronage to sustain from its target audience — the families.

The moviegoers have developed a taste for innovative, out of the box stories. Topics that were once considered taboo are being attempted on the Hindi screen. Pushing the envelope within commercial parameters is the new mantra. Known for attempting diverse stories in film after film, Sudhir Mishra takes on a hitherto untold topic for his newest venture INKAAR: Sexual harassment in a work environment. A film like INKAAR is extremely relevant, topical and relatable in today’s times. Sexual harassment is a reality and one needs to address it. We ought to discuss it — with students, with grownups, with working men and women, within and outside organizations. One has to be vigilant, on the guard against those indulging in it and getting away scot free. The ones who endure harassment are often scared to come out in the open, fearing that it may ruin their personal/professional life. INKAAR may revive memories of DISCLOSURE [Michael Douglas, Demi Moore] and also Abbas-Mustan’s AITRAAZ and Madhur Bhandarkar’s CORPORATE, but INKAAR depicts the clash of egos most differently. Beneath the sexual harassment issue that it addresses, there’s a love story that comes to the fore during the culmination of the film. However, the writing isn’t watertight this time. More on that later! At one of India’s leading ad agencies, the battle for the top job between Rahul [Arjun Rampal], a venerated advertising CEO, and Maya [Chitrangda Singh], his ambitious protégé, takes a dramatic turn when she files a sexual harassment complaint against him. It’s the job of the committee set up by the agency to hear both sides of the story and work through the layers of lies and accusations to find out who’s really telling the truth and who’s lying. The stakes are high because only one of them [Rahul or Maya] will walk away with their reputation intact. Will the committee really be able to uncover the truth? INKAAR is a tough film to make and one must compliment Sudhir Mishra for sticking his neck out. Let me add, INKAAR is not just about sex. It’s about greed, ambition and power play. Generally, in a majority of Hindi films, it’s the man who seeks sexual favors, while the woman is projected as someone who’s meek. But the woman here is shrewd and spiteful. When the two sexes collide, what the spectator gets to see is not just the issue that the film raises, but also the games the ambitious play to reach the top spot. Mishra is a sensitive storyteller. At the same time, he’s a director’s actor. Given the subject matter, INKAAR would’ve turned into a sleaze fest, a cheesy film, but the director handles the provocative moments elegantly. However, like I pointed out at the outset, the writing is gripping in parts, not in its entirety. A few episodes are engaging, but a couple of them lack the hammer-strong impact. Besides, the screenplay should’ve been exhilarating and engaging towards the resolution. Also, the track of the father [Kawaljit Singh] is a little difficult to comprehend. What was the writer trying to convey in those scenes? Dialogue are incisive, razor-sharp and acidic, depending on the situation. INKAAR succeeds in bringing out the right emotions from its actors. Arjun Rampal displays remarkable understanding of the character. Post CHAKRAVYUH, which released a few months ago, this is yet another power-packed performance that makes you realize that this supermodel has transformed into a super actor. Chitrangda immerses herself into the role brilliantly. She uses her lustiness in a wicked, dominating way and that’s what catches your eye. It’s great to see Deepti Naval after a hiatus. The film has a collage of talented actors, which includes Vipin Sharma, Mohan Kapur, Asheesh Kapur, Shivani Tanksale, Gaurav Dwivedi and Rehana Sultan [cameo] and each of them stands out in his/her respective part. On the whole, INKAAR is for spectators of serious cinema. Caters to a niche audience!

DABANGG and SINGHAM started a trend of sorts. Besides reviving memories of the cinema of yore, these two films depicted the main protagonist in larger than life avatars. In a majority of masala entertainers these days, the star power supersedes the script [although DABANGG and SINGHAM had watertight scripts to compliment the stardom], with cinematic liberties galore. The protagonist breaks into a power-packed dialogue while confronting the villain, besides taking on the immoral brigade and evil forces single-handedly. MUMBAI MIRROR is cast in the same mould: A defiant cop locks horns with those in power, exposing the nexus between corrupt dance bar owners and police. Also, there’s a dash of prostitution and drug trafficking here… The guy has a toned physique, oozes masculinity, bashes up rogues like we swat flies… Like DABANGG and SINGHAM, which had Salman Khan and Ajay Devgn monopolizing almost every sequence, the focus is on the lead man of MUMBAI MIRROR, Sachiin Joshi, while the other characters [Prakash Raj, Mahesh Manjrekar, Aditya Pancholi, Prashant Narayanana, Sudesh Berry] partake in his journey. Very much like his previous film BHINDI BAAZAAR INC., director Ankush Bhatt mirrors the Mumbai underbelly, but unlike that film, the director tries to cram too many things this time. Oh yes, it’s the good versus evil saga wrapped in a new foil, with several riveting moments. But the writing could’ve been sharper… Abhijeet Patil [Sachin Joshi], a police officer, takes on an important mission involving drug dealing. But, in the process, he rubs the wrong people on the wrong sides. He messes up with a very powerful man called Shetty [Prakash Raj], who runs innumerous illegal bars and is involved in drug mafia. Abhijeet gets entangled in the drug circuit, where most of his seniors are involved and ends up getting suspended from the job. How he fights back forms the remainder of the story. MUMBAI MIRROR has a couple of plusses going in its favor: The dramatic moments between Sachin and Prakash Raj, the raw action sequences and of course, the viewpoint of the aam aadmi on issues plaguing the country today, right from corruption to spineless goons to slimy politicians to dishonest cops. Sure, these have been depicted in scores of Hindi movies before, but Ankush Bhatt succeeds in holding your attention in a number of scenes. Additionally, the feverish pace and energy add pep and vigor to the proceedings. And with Sachiin working hard on having a toned physique, the action looks plausible and credible. On the flipside, you yearn for some innovative stuff that Ankush promised in his earlier film. MUMBAI MIRROR seems like a hodgepodge of so many films put together. Nothing wrong with that, but the tried and tested stuff gets monotonous after a point. Also, the romance doesn’t work, with the mandatory song-and-dance routine looking like an aberration. The soundtrack too is plain mediocre, barring the high-on-energy track ‘Govinda’ at the commencement of the film. Action, of course, is a highpoint. Sachiin portrays the tough cop with gusto. It’s a vast improvement over his previous outing AAZAAN. He has worked hard on his physique and does the head-smashing bit [read action scenes] with flourish. Besides, the confidence that you witness in his second Hindi movie is worth lauding! Prakash Raj is getting typecast in similar roles. Mahesh Manjrekar is first-rate. Aditya Pancholi has a brief role, which he handles quite well. Prashant Narayanan excels yet again. Sudesh Berry impresses. Gihana Khan and Vimala Raman are adequate. On the whole, MUMBAI MIRROR is for those who relish masala movies. Especially for the single screen circuit.

One looks forward to a Vishal Bhardwaj film for varied reasons. For this supremely talented storyteller/music composer, stories have preceded stars, which, to be brutally honest, is a rarity in Bollywood. Though he has worked with A-list names, he’s *not* made it a compulsion or regularity. Additionally, one cannot accuse him of peddling saccharine sweet romances, brain-dead comedies or fancy family dramas to his spectators. Experimenting with varied genres, pushing the envelope vis-à-vis the subject matter of the film and often focusing on small-town stories has been his forte. Also, the soundtrack remains fresh in your memory, even after his movies make an exit from cinema halls. With MATRU KI BIJLEE KA MANDOLA, Vishal goes to the Indian hinterland yet again to narrate a brand new story. This film, like some of his past works, reflects the rustic flavor of villages/small towns. The supremely talented film-maker is often accused of making ‘dark films’, but MATRU KI BIJLEE KA MANDOLA is an exception. Vishal tackles a serious issue, but makes sure he injects dollops of humor this time. Be forewarned, the humor is not the leave-your-brains-at-home kind of stuff that we get served in most films. It’s quirky and unconventional. MATRU KI BIJLEE KA MANDOLA is definitely not Vishal’s best work, though the master touch is evident in several sequences. The story barely moves in the first hour; there are stretches when the account begins to blur. Thankfully, the sequence of events and some exceptional moments in the post-intermittent portions save the film from tripping. At the same time, I wish to add that the film could’ve done with some judicious trimming for a stronger impact. It’s way too lengthy! Set in the rustic surroundings of a village in Haryana, MATRU KI BIJLEE KA MANDOLA is about Harry Mandola [Pankaj Kapur], a wealthy industrialist who loves his drink, his daughter Bijlee [Anushka Sharma] and the unusual bond they both share with Harry’s man Friday, Matru [Imran Khan]. Much to her father’s delight, Bijlee is all set to marry Baadal [Aarya Babbar], the son of a powerful politician Chaudhari Devi [Shabana Aami]. This alliance, which is far from just being a simple union of two young people, becomes the seed for a story that brings twists and turns in the lives of Matru, Bijlee and Mandola. One has come to expect genuinely hatke stuff from Vishal Bhardwaj and MATRU KI BIJLEE KA MANDOLA is no exception. Right from the casting to the setting, the plotline and the twists, even the music… you can’t draw parallels with any movie you may have watched. That’s one of the significant reasons why this motion picture thrives. But there’re shortcomings galore… The erratic writing [screenplay: Abhishek Chaubey, Vishal Bhardwaj; script consultant: Sabrina Dhawan], a few sequences are stretched for no reason, the uneven pacing distracts you from staying focused. In addition, like I pointed at the very outset, the humor is quirky and may not appeal to the hoi polloi. The Haryanvi dialect is another deterrent. The lingo remains faithful to the flavor of the region it chooses to depict, but a section of viewers will find it difficult to comprehend what the on-screen characters are expressing at times. Having said that, it’s tricky to find any slipup in Vishal’s implementation of the material. The handling of a number of sequences is exemplary, especially the dramatic ones. Also, a few lines [dialogue: Vishal Bhardwaj] are truly side-splitting, not distasteful, although a few words [‘Paincho’] may appear offensive. In fact, there are several gems in the narrative, making it difficult to pick just one and highlight here. Vishal teams up with ace wordsmith Gulzar yet again. The duo has always believed in experimentation and MATRU KI BIJLEE KA MANDOLA is no exception. He amalgamates folk and western rhythms to create tunes that sound so distinct, but are ear-pleasing nonetheless. The soundtrack may not be mainstream [like ‘Dhan-Te-Nan’ or ‘Darling’], but is pleasant nonetheless, with two standout tracks — the title number and ‘Oye Boy Charlie’. Cinematography [Kartik Vijay Thyagarajan] is top notch. Each and every actor fits in delightfully in the structure of the tale. After DELHI BELLY, Imran faces the biggest challenge of his career as he attempts to portray a Haryanvi in MATRU KI BIJLEE KA MANDOLA. By transforming his looks and working hard on his dialect and body language, Imran shuns the chocolate boy image with this performance. The act takes him to another level, in a different league altogether. Anushka has emerged one of the finest actresses of her generation. Her character is truly complex: She’s confident and mischievous, yet vulnerable and naïve. Her smoldering looks coupled with a nuanced performance will win her praise. Her styling too catches your eye. Pankaj Kapur enacts the flamboyant and boisterous part with gusto. The veteran goes all out for this role — singing, dancing, jumping into a pool — and it is this enthusiasm, besides a splendid performance, that merits the highest praise. Shabana Azmi is magnificent, as always. Her character changes colors constantly, an act only a powerful actress could’ve essayed with expertise, and Shabana takes to it like a fish takes to water. Aarya Babbar is a complete revelation. He gets a meatier role this time and he handles it exceedingly well. Navneet Nishan is alright. On the whole, MATRU KI BIJLEE KA MANDOLA holds your attention in parts, but that’s not enough. The first half is lackluster, while the post-intermittent part catches some steam. However, the excessive length plays a spoilsport. Below expectations!

The job of a promo is to send out accurate pointers to its target audience. The gist of the premise, the essence of what the characters will be, an extract of the milieu… one needs to furnish a general idea of what to expect when the spectator saunters into the cineplex to watch the film. Arbaaz Khan and Abhinav Singh Kashyap had a tough responsibility on their shoulders when they embarked upon DABANGG. As luck would have it, DABANGG was hailed as one of the best entertainers of that year, with Chulbul Pandey becoming a household name. The film consolidated Salman as the darling of the masses, a position he enjoys to this date. With DABANGG 2, one is well prepared about what to expect. The sole factor that Arbaaz needs to worry about is whether DABANGG 2 would meet the towering and monumental expectations. More so, because Salman Khan is contending with himself. He seems to be raising the bar [in terms of business] with each film. WANTED, DABANGG, READY, BODYGUARD, EK THA TIGER… Salman has redefined superstardom with mass entertainers. He’s Boxoffice’s fav child and seems invincible and insurmountable at the moment! With DABANGG 2, you know exactly what to expect. But you don’t know its premise till the reels unfold. Let me add, the plot is an extension of the first installment of the franchise. The route is very similar except that the antagonist is more influential and authoritative. DABANGG 2 is a typical Bollywood film. It’s the kind of cinema we relished in the 1980s and enjoy to this date, but narrated in today’s lingo and format. It may/may not make sense to you, but Arbaaz and team ensure that you are entertained. Thoroughly entertained, actually. It’s riotous, outrageous, wacky, ambitious, absolutely madcap, transports you to an altogether different world. Add to it a sprinkling of desi songs, wicked sense of humor, with Chulbul Pandey taking on the antagonist like the vintage hero would — with fearlessness and daredevilry. Actually, Chulbul Pandey has come to represent the common man and that’s yet another reason why you root for him, feel overjoyed and ecstatic when he triumphs in the finale. For those who adore masala movies, celebrate mainstream cinema, relish the cinema of yore and of course, hero-worship Salman Khan, DABANGG 2 is your ticket this festive season. DABANGG 2 begins with Chulbul Pandey moving to Kanpur. Once there, Chulbul gets into conflict with Baccha Bhaiyya [Prakash Raj]. Baccha Bhaiyya, a criminal turned politician, is aided by his two brothers, Chunni [Nikitin Dheer] and Gainda [Deepak Dobriyal]. Things take a turn for worse when Chulbul kills Gainda. the battle lines are drawn… Like I pointed out at the outset, DABANGG 2 is a hardcore masala entertainer that’s desi at heart. The plot is *not* out of the box [it’s the usual good versus evil saga], but it’s completely irrelevant here. What camouflages this deficiency are several interesting episodes that Arbaaz and writer Dilip Shukla have integrated in those 2 + hours. These episodes, aimed at pleasing the hoi polloi and of course, Salman’s die-hard fans and also fans of mainstream cinema, are, to put in filmi lingo, absolutely paisa vasool. In fact, Salman’s star power is so so so strong that you’re ready to overlook and forgive-and-forget any blemish that you may encounter in the movie. Yes, there are blemishes. The Arbaaz-Mahie Gill track is half-baked. The confrontation scenes between Salman and Prakash Raj lack fiery dialogue. The songs, though popular, are integrated in the narrative without any valid situations. But these are cinematic licenses you overlook in a Salman movie. Arbaaz Khan, who makes his directorial debut with this film, knows his fundas right. He may have borrowed from the cinema of 1970s and 1980s, but he garnishes it well enough to suit the present-day sensibilities. Sajid-Wajid take the same route they undertook while making the soundtrack of DABANGG. Much like the content of the film, the songs are desi, with a mix of old-world charm [‘Dagabaaz Re’ and ‘Saanson Ne’] and foot-tapping numbers [‘Pandeji Seeti’ and ‘Fevicol’]. In fact, ‘Fevicol’ is already a rage and Kareena’s presence in the song only acts as sone pe suhaaga. The action/stunts do complete justice to Salman’s persona. The action plays a crucial role in a masala entertainer and adds so much power to those scenes. Dialogue are of mixed variety. Salman uses his fists, escapes the bullets, spews venom and threats, bullies the villain, flirts and romances his wife, does the pelvic thrusts… in fact, he does everything that one expects from Chulbul Pandey. Oh yes, he even takes off his shirt, flexing his muscles and showing his well sculptured torso without inhibitions, a mandatory requirement in a Salman Khan movie. Honestly speaking, DABANGG 2 is a Salman Khan vehicle and the actor is the Big Boss here. You cannot imagine anyone else doing what he does. And every time he plays to the gallery, many in the audience [especially at single screens] are sure to fling the loose change on screen as a mark of appreciation for his on-screen antics. He defies logic and gets away with it! Sonakshi has the infectious charm and radiates confidence all through the enterprise. Arbaaz is just about okay. Mahie Gill has nothing to do. Vinod Khanna is passable. Prakash Raj is in terrific form yet again. The supremely talented actor is ferocious when the need arises. Nikitin Dheer has good screen presence and does well. Deepak Dobriyal gets better scenes and is hugely competent. On the whole, DABANGG 2 has Salman Khan, Salman Khan and Salman Khan + Entertainment, Entertainment and Entertainment in large doses. The film has the masala to work big time with the masses. This one will rewrite the rules of the game and the festive occasion [Christmas and New Year] will aid its potential. Sure shot Blockbuster!

Now that the 1980s’ variety of masala films are being lapped up by spectators, it is heartening to see Mumbai-based film-makers working hard to create zany entertainers, also boarding the next available flight to South India to clinch the deal/s for the remake rights of Southern blockbusters. The A-list actors, on their part, are equally gung ho for unabashed entertainers, consenting to allocate ample time to movies of this variety. Akshay Kumar, who tasted super success earlier this year with ROWDY RATHORE [besides HOUSEFULL 2 and OMG – OH MY GOD!], comes up with his second masala outing before the year draws to a close, KHILADI 786. What makes KHILADI 786 conspicuous is the fact that it marks Akshay’s return as ‘Khiladi’ after more than a decade. From the immensely likeable KHILADI in 1992 to KHILADI 420 in 2000, Akshay was the face of over half-a-dozen ‘Khiladi’ movies during that phase — some good, some plain average, some terrible movies. The brand ‘Khiladi’ got affixed to Akshay in those years. KHILADI 786 borrows the ‘Khiladi’ brand, but has no correlation with the ‘Khiladi’ movies attempted earlier. KHILADI 786 has a skeletal plot, but is padded with ingredients that are aimed at the hoi polloi: The lead man bashes up 10/15 goons at one go like we swat mosquitoes, punches the wall in anger and the wall crumbles, even gulps down a man as if he we were consuming a soft drink from a straw [yes, you read it right!]. This is a mere sample of what you gonna see in KHILADI 786. So, be prepared! Come to think of it, KHILADI 786 has been made with the intention of grabbing the attention of the hardcore masses, hitting the ton [Rs 100 cr Club] and giving the tag of a ‘Hit Machine’ to its lead man, Akshay, who has delivered three solid hits this year. Ashish R. Mohan, who has been an apprentice to Rohit Shetty in the past, adapts his mentor’s formula of wooing the audience, stretching the term unbelievable more than it should. More on that later! Born to the owner of a marriage bureau Champak Lal [Manoj Joshi], Mansukh [Himesh Reshammiya] has been a complete failure ever since he has grown up and tried to help his father in their family business. All the alliances he had tried to get done have resulted in separation even before the marriage took place. To prove his worth to his father, he takes up an unusual challenge of getting the underworld don, TT Bhai’s [Mithun Chakraborty] spoilt sister Indu [Asin] married to a cop called Bahattar Singh aka Khiladi 786 [Akshay Kumar] in Punjab. Mansukh convinces TT Bhai to pretend as a cop. Little do they know that Bahattar Singh, his father Sattar Singh [Raj Babbar] and his uncle Ikhattar Singh [Mukesh Rishi] are not cops, but a family of con men. The two families now pretend to be policemen in front of each other, but the cat is out of the bag soon… KHILADI 786 is an old-school wacky potboiler. There isn’t an iota of logic here and one is not even looking for intelligence, rationale or justification either. The film is packed with ingredients that constitute a wholesome entertainer such as humor, South-styled stunts with the one-man army outsmarting a bunch of deadly goons and of course, visually enticing songs every 15/20 minutes, but the writing has its share of hiccups… * Mithun is supposed to be a dreaded don in Mumbai, whose name and pics have been splashed in newspapers and TV channels since decades [we’re even shown clips], but how come Raj Babbar, Akshay and their family are completely clueless of his identity? * The track of Asin’s lover [Rahul Singh] is a yawn. What was the writer thinking while penning those sequences? * The climax, with Rajesh Khattar landing up at the wedding, Johny Lever unlocking himself from a room where he was held captive and Mushtaq Khan and Bharti suddenly becoming news reporters at the wedding mandap , looks too much of a cinematic liberty. On the plus side, the first-time director throws every trick in the book to entice the spectator and moves on to the next scene, before the viewer gets the feeling of deja vu. There’s no denying that you actually enjoy certain moments in the narrative. The concept of having an African and Chinese in the family is so funny. Also, the lost-in- mela brother surfacing in the end may look ridiculous, but makes you smile again. In a nutshell, the film caters to the masala loving audience and the director has no qualms about admitting it. Himesh Reshammiya, who enacts a pivotal part in the film, belts out super numbers here. ‘Balma’, ‘Lonely’, ‘Hookah’ and ‘Long Drive’ have already made it to the music charts and are, without doubt, standout tracks. The action sequences are very much macho and executed with zest and enthusiasm. Akshay’s desi punches, raw and masculine action and the correct comic timing is sure to win a lot of hearts yet again. He is in his element, in complete form, brimming with charm and confidence. He’s the mainstay of the film and lives up to the title every bit. Asin is the prototypical heroine who has to look her best, dance admirably and pair off with her on-screen man. Himesh Reshammiya does very well, while Mithun Chakraborty and Raj Babbar add lots of weight to their characters. Sanjay Mishra is in his element. Mukesh Tiwari impresses. Johny Lever is under-utilized. Manoj Joshi, Rajesh Khattar, Mukesh Rishi and Gurpreet Guggi are perfect. Mushtaq Khan, Bharti and Rahul Singh deserved better roles. Claudia Ciesla’s item song adds glamour to the proceedings. On the whole, KHILADI 786 is not for purists, but for lovers of hardcore masala films completely. If zany amusement, wacky humor and over the top entertainers is what you enjoy, this one’s for you. Go, have fun!

Before analyzing the movie, I just wish to state one thing. You haven’t watched a suspense thriller like TALAASH on the Hindi screen. Ever. Also, all those sms-es prior to the release pertaining to the ‘killer’ are humbug, bogus and phony. Another clarification. TALAASH is not remotely similar to KAHAANI. A lot of space was devoted to the imaginary tale that TALAASH and KAHAANI were similar in nature. But you realize it’s an ill-founded rumor as the reels of TALAASH unfold. It’s also alleged that TALAASH borrows from a novella called ‘Act Of Providence’. Then there’s an assumption that TALAASH borrows from SHUTTER ISLAND… Similarities apart, TALAASH stands on its feet for the reason that it merges conspiracy, tension and tragedy with dexterousness. Add to it the turn of events, the razor sharp dialogue and of course, the suspense… TALAASH takes the suspense angle to a new altitude altogether, emerging into an exceptionally constructed mystery. Aamir Khan plays an investigation officer, Inspector Shekhawat, who is informed about the accident and subsequent death of a superstar. The case turns into a life altering chase for Inspector Shekhawat when he is forced to reel under the repercussions of a disturbed married life [Rani Mukherji] and come face to face with his suppressed grief. Being on his investigative quest, Inspector Shekhawat meets a sex worker [Kareena Kapoor], who further adds shades of mystery to the puzzle. What looks like a simple car accident investigation turns into a haunting mystery as further investigations show many anomalies were stringed to the death of the victim. TALAASH is dramatic and absorbing, both. Director Reema Kagti takes up an attention-grabbing premise and along with co-writer Zoya Akhtar spins a tale that makes the viewer a participant of sorts. While the cop tries hard to solve the jigsaw puzzle, the spectator, with his mind wide alert by now, gets intrigued by what he observes and perceives and is keen to get to the bottom of the mystery himself/herself. That, in my opinion, is why this suspense drama works. Frankly, it’s the sort of film that’s extremely tough to pull off, but Reema has a strong control of the material and together with her efficient team pulls off the trick with aplomb and composure. In addition, Reema creates the right ambiance essential for a suspense drama. The tale is stylishly told and the authentic mood keeps you on the edge of the seat for most part of those two hours. TALAASH is not one of those movies that relies on the been-there-seen-that kind of situations. I’d like to add that though there’s a remote possibility that you may solve the mystery before the protagonist gets to it in the finale, you can’t help but stay hooked and wrapped to the twisted characters and disturbing situations that TALAASH offers. The finale, sure enough, is all important in a film of this genre. In this case, it’s astonishing, powerful and also heartrending. It ends up as an emotional film that tugs at your heartstrings. The film delves into deep, dark secrets and that makes the conclusion one of the most satisfying wrap ups one has witnessed in a movie of this variety. I could just go on and on about the merits of the film, but I shall not reveal any further and spoil the fun for you. I suggest, experience it yourself! The production design and the detailing attached to the movie couldn’t be more authentic and adds incredible value to the project. Visually too, the frames capture the nervousness and uneasiness of the characters and also the setting with aplomb [DoP: Mohanan]. The music [Ram Sampath] is situational. The songs may not feature on your fav list, but a couple of numbers are fascinating nonetheless. In fact, the songs are well integrated in the narrative, driving the story forward every time they appear. The dialogue [Fahan Akhtar; additional dialogue: Anurag Kashyap] are taut and transfixing. Though Aamir has portrayed the role of a cop earlier, he brings something new to the table with his spellbinding performance in TALAASH. The earnestness and authenticity with which he enacts his character cannot be expressed in a few sentences. That would be doing gross injustice to the actor’s abilities, frankly. He holds the camera in every frame and charges assertively through the film, making you believe in Inspector Shekhawat’s journey in entirety. It’s a standout piece of acting, unquestionably. That Aamir is the best actor of his generation comes to the fore yet again! Both Rani and Kareena are given a moment in the sun, despite Aamir dominating the film with a power-packed performance. Rani is superb as the troubled wife, while Kareena is terrific as the hooker. Together the two actresses deliver admirable performances that would definitely merit a mention in award ceremonies next year. The sequences between Aamir and Kareena in particular are simply fantastic! Nawazuddin Siddiqui sparkles in a significant role, enacting his part with remarkable ease. Raj Kumar Yadav is efficient enough. Shernaz Patel leaves a stunning impact. Every actor in the film — in a brief role or otherwise — stays fresh in your memory after the screening has concluded. On the whole, TALAASH is an outstanding film. A taut psychological thriller that keeps you guessing till the end, it leaves you spellbound, leaves you mesmerized, leaves you with an exclamation, ‘Wow!’. An absolute must watch for all movie buffs. You just can’t afford to miss this one!

After a wait of eight long years, the master storyteller, the most admired and revered director of our times, Yash Chopra, returns with his new motion picture. Regrettably, JAB TAK HAI JAAN happens to be the last film of one of the greatest raconteurs of our times… Yash Chopra is synonymous with love and romance and also spellbinding drama and heartrending emotions. Is synonymous with harmonious music and exquisite poetry and also snow-capped mountains and mustard fields. Is synonymous with waterfalls and rains and also Switzerland and Punjab. And so much more… JAB TAK HAI JAAN encompasses everything that one has come to expect from a Yash Chopra movie. This time, it’s a brand new setting, but the journey remains the same as his previous love stories — just as the lead man and his lady love sprint towards each other from opposite directions, to cuddle each other lovingly, you’re told that the romantic pathway is crammed with thorns and spikes [a quick clarification: all this talk of JAB TAK HAI JAAN being a present-day avatar of Yash Chopra’s DAAG is absolutely unfounded]. For the hardcore romantics, this one’s a treat. But those who *don’t* swear by love stories, I am certain, will be able to connect with this film, since the twists and twirls in the screenplay are sure to allure those yearning for something captivatingly distinctive. JAB TAK HAI JAAN is a poignant voyage of three characters. Thankfully, not once does the script or the writers [Aditya Chopra and Devika Bhagat] permit any penetration of superfluous or redundant characters or sub-plots that would’ve only led to puzzlement. Every episode transpires for a persuasive reason. Besides, the drama is absolutely intriguing, with an undercurrent of emotions running through the length and breadth of the film, thereby adding intensity to this passionate love story. JAB TAK HAI JAAN is not your typical love story. It has the old-world charm written all over it, with twists and turns plenty. It would be a disservice if one were to reveal the journey of the three principal characters — Samar, Meera and Akira — since the plot changes from conventional to unconventional in its second hour. JAB TAK HAI JAAN is attention-grabbing from inception till conclusion. The drama only soars higher and the complex love story gets more and more gripping as the conflict between the characters come to the fore. Mind you, JAB TAK HAI JAAN is not the usual ‘love triangle’, with two women fighting for the same guy. Nor can you compare it with any Yash Chopra film of yore either. Yash Chopra’s brilliancy and vividness is apparent in a number of sequences. And it echoes throughout the film. The poignant moments keep you on the periphery, while the culmination to the narrative may meet with extreme reactions. However, I strongly feel, the conclusion is most befitting for a film that doesn’t take the beaten to death pathway. The only hiccup is that it gets too slow-paced at times. Also, the screenplay could’ve been tighter at places. A few sequences in the post-intermittent portions could’ve been spruced up for a stronger impact. When Yash Chopra, A.R. Rahman and Gulzar join hands for a film project, the expectations are gargantuan. Its music has to meet the lofty expectations. Chopra Sr.’s music has had an eternal impact, but the songs here aren’t of that towering calibre that you would anticipate from a Yash Chopra movie. Yet, the melodies that merit a mention are ‘Challa’, ‘Saans’ and ‘Jiya Re’. While on music, the music piece and its choreography in the first hour deserve brownie points. The DoP [Anil Mehta] and the production designer give the film a radiant look that befits a classic. The cinematography is surreal, grandiose and simply overwhelming. The vibrant frames add to the magnificence of this already spectacular looking film. The costume designers too come up with a wardrobe that’s brimming with stunning outfits. Event films such as JAB TAK HAI JAAN are, generally, embellished with seasoned actors. That’s one of the fundamental reasons why these films appear so tempting. In addition, assembling such accomplished names [in lead roles as also supporting characters] is a rarity and there’s a strong possibility that one may not see them sharing screen space ever again. One can’t imagine anyone else but Shah Rukh in the role of Samar. An individual with an emotional baggage. Although Shah Rukh has been an integral part of several romantic movies, he enacts it resplendently in JAB TAK HAI JAAN, brushing off any condemnation that he may have encountered for replicating himself in movies of parallel genre. The role gives the actor abundant opportunity to exhibit his talent and I must add, Shah Rukh transforms himself into the complex character with dexterity. Katrina is the classic Yash Chopra heroine. An enigmatic beauty, who doubles up as a seductress [watch her in the ‘Saans’ track or the music piece]. She looks ethereal and enacts her part with elegance and restraint. As a matter of fact, she glides into her part with effortlessness and acts out some of the difficult moments with flourish. In view of the fact that a major portion of the story focuses on SRK and Katrina, one might assume that Anushka’s role is more of a supporting one, but that’s entirely fallacious. She’s an integral part of this story and it must be said that she walks away with some of the best scenes and lines in the movie. Her performance is full of grit. Rishi and Neetu Kapoor are endearing in a cameo. Anupam Kher, also in a cameo, pitches in a neat performance as Katrina’s father. Sarika is first-rate in a pivotal part. On the whole, JAB TAK HAI JAAN resonates an oft-repeated fact: Love stories will come and go. But no one will make them like Yash Chopra. Just don’t miss this heartwarming love story!

S.S. Rajamouli, the creative genius, holds the enviable record of delivering stupendous Blockbusters in a row. His films, consequently, have been remade in various Indian languages… the Hindi film industry has woken up to his brilliance as well. VIKRAMARKUDU was remade as ROWDY RATHORE, EEGA was dubbed in Hindi as MAKKHI and now, Rajamouli’s MARYADA RAMANNA gets a Hindi avatar — SON OF SARDAAR — after being remade in Kannada and Bengali languages. MARYADA RAMANNA, in turn, displayed a striking similarity to the 1923 Hollywood silent film OUR HOSPITALITY. SON OF SARDAAR is the remake of a Telugu film, but the Hindi avatar is set in an entirely different precinct. Nonetheless, what remains unaffected are the set of regulations that make masala entertainers work. Be it the hero’s gallant introduction, his breaking into a power-packed dialogue or confronting the opponent, also bashing up the rogues, like we swat flies and mosquitoes, romancing the heroine amidst the mayhem… every significant episode has been integrated with the objective of eliciting whistles, catcalls, roars and ovation. SON OF SARDAAR stays most faithful to the ideology of providing unabashed entertainment, while logic, expectedly, takes a backseat. But who’s expecting a movie with smart repartee and loads of enlightenment anyway? Deviating from the light comedies/slapstick humor that he’s attempted in the past, director Ashwani Dhir follows the Rohit Shetty and Prabhu Dheva tradition of making formulaic films/entertainers that pack drama, humor, song-n-dance, thrills et al, with the 2.20 hour film brimming with just about everything available on the shelf. Since the setting is Punjab, everything that you witness in SON OF SARDAAR is larger than life, right from the hospitality and hostility, the humor, the jokes and the thrills. With a skeletal plot to play around with, SON OF SARDAAR may give you the feeling of deje vu, but let’s face it, it needs tremendous skills to pen a screenplay that never lets you lose focus. Dhir and screenwriter Robin Bhatt ensure that they throw every trick in the book to serve a no-holds-barred entertainer, with 70 mm herogiri at its best, to the amusement-seeking moviegoer. That’s one of the prime reasons why SON OF SARDAAR hits the right notes. Ajay Devgn works for his friend [Salman] and his uncle in London. He receives a notification from his hometown in Punjab that states that he is about to inherit a piece of land. Ajay sets out for his hometown in Punjab and bumps into Sonakshi Sinha while boarding the train. Both Ajay and Sonakshi are oblivious of the fact that the families have a long-standing feud. Sonakshi happens to be the niece of Sanjay Dutt, whose brother was killed by Ajay’s father many years ago. Soon enough, Sanjay Dutt and his nephews [Mukul Dev, Vindu Dara Singh] realize that Ajay is the son of the killer and even want to slaughter Ajay, but there’s a hitch. Ajay has entered their mansion as a guest and as per the tradition, all guests are to be treated as God. Like GHAJINI, WANTED, DABANGG, SINGHAM and ROWDY RATHORE, SON OF SARDAAR pays homage to the cinema of 1980s and 1990s. The trend of creating desi movies that emphasize on entertainment has already gathered steam and SON OF SARDAAR is one more big-budget extravaganza that aims at wooing the Indian mass audience. Sure, it’s brash, outrageous, wacky, exaggerated, irrational… so what? As long as it’s fun to watch, one shouldn’t grumble. While the first hour is breezy and thoroughly enjoyable, the narrative dips in the second half as the focus shifts to romance, with vengeance taking a backseat. But the penultimate portions, especially the combat between Sanjay and Ajay, is the hallmark of the enterprise, with the film concluding on another euphoric note — the song ‘Po Po’ — which features Salman. Regardless of the ‘old-fashioned’ appeal, Dhir imparts a novel touch to several sequences. He plays to the gallery blatantly and audaciously, but he also ensures that the film is held together by a mesmerizing screenplay that unfolds at a feverish pace. Besides, Dhir emulates his peers and packs a solid punch in the high-voltage dramatic sequences. The ones between Sanjay and Ajay in particular are the mainstay, actually. There’s a strong undercurrent of emotions, courtesy Juhi Chawla, while the romantic scenes are more of window dressing, offering the director reasons to slot in the mandatory song-and-dance routine. Action has always been the perfect component to straight away connect with the masses and SON OF SARDAAR has several of those South-style maar-dhaad scenes [Jai Singh Nijjar]. They might seem gimmicky, but the truth is they work big time with the spectator who relishes those kind of stunts. The climax fight sequence, when Sanjay and Ajay lock horns, is superbly choreographed. Aseem Bajaj’s cinematography compliments the director’s vision completely. It’s top notch. The soundtrack boasts of talented and accomplished names and in keeping with the mood of the film, the composers deliver songs with North Indian tadka . ‘Bichdann’, ‘Rani Tu Main Raja’, the title track and ‘Po’ [the Salman Khan number] come easily to the lips. The choreography of ‘Po’ in particular is imaginative and is sure to please ‘Bhai fans’. Sandeep Chowta’s background score is fantastic. SON OF SARDAAR marks Ajay’s return to action, a genre that was once dominated by him till he decided to diversify to romance and comic roles. The supremely talented actor takes charge of the film from the commencement itself and holds it tight all through. If you’re a fan of Ajay, repeated viewings are assured for sure. Post AGNEEPATH, SON OF SARDAAR is another significant film in Sanjay’s career. The actor is in his element here, handling the ferocious moments [when he gets to know Ajay’s identity] and the sensitive ones [with Juhi and Sonakshi] with effortless ease. Sonakshi’s character is similar to the one she portrayed in DABANGG and ROWDY RATHORE and there’s this fear of getting typecast, but she sparkles in the sequences that she appears in, which works to her advantage. Juhi Chawla is outstanding, adding so much weight to her character. Her sequences with Sanjay are thoroughly enjoyable. Salman Khan appears in a fight sequence, a sequence thereafter and the song in the end credits and adjoins incredible star value to the project. The film has a very strong supporting cast and I’d like to single out Mukul Dev for his fantastic performance. His performance is truly first-rate. It’s a delight watching Tanuja, one of the finest actresses, after a hiatus. She’s wonderful, especially in the final moments of the film. Vindu Dara Singh is hilarious, while Rajesh Vivek leaves an impression. Arjan Bajwa does well in a brief role. Puneet Issar and Mukesh Tiwari are efficient in cameos. On the whole, SON OF SARDAAR is for lovers of hardcore masala movies. If you liked WANTED, DABANGG and ROWDY RATHORE, chances are you will relish SON OF SARDAAR as well. The North Indian audiences in particular and those residing abroad will be simply delighted by this chatpata, masaledaar fare. A wholesome entertainer in the festive period. Go, have a blast!

One of my childhood’s beautiful memories is having an impressive collection of Amar Chitra Katha comic books. In fact, the comic books were hugely popular [I am sure, they still are!], with several kids showing off their prized collection to friends and relatives. I distinctly remember, the comic books had gorgeous imagery and each story was wonderfully simplified for kids to decipher. In a major move, Amar Chitra Katha now ventures into production of animation films and in collaboration with Cartoon Network unveils its first offering, SONS OF RAM, in 3D. Ramayana and Mahabharata are the two great epics of India — much admired, revered and adored — and though we may have heard the stories over and over again, besides witnessing the plot and legendary characters on television and also on the big screen, the joy of reliving Ramayana and Mahabharata remains unrivaled to this day. One of the key reasons being, the stories are packed with bravery, heroism, treachery, betrayal and tragedy. Not everyone who saunters into a cineplex to watch SONS OF RAM may be well tuned with the premise or familiar with all its characters. So the real test lies in telling the story. To its credit, SONS OF RAM succeeds in narrating the story of Luv and Kush most adroitly, besides highlighting episodes that the kids and also many grownups may not be too well versed with. But the film lacks the epic feel that one associates with Ramayana. The imagery is plain ordinary, while the animation appeals in parts. The year 2012 has witnessed several animation films leaving a mark and I’d like to single out at least two films — ARJUN: THE WARRIOR PRINCE and DELHI SAFARI. Unfortunately, SONS OF RAM pales when compared to those films. Besides, what prompted the makers to opt for 3D? It hardly contributes here. Lord Ram of Ayodhya was forced to send his beloved wife Sita into exile. Unknown to Ram, far away in sage Valmiki’s ashram, Sita lives as Vandevi, raising their twin sons, Luv and Kush. Though not aware of their royal lineage, the twins imbibe wisdom, compassion and combat skills that would put any royal prince to shame. Accompanied by a steadfast gang of lovable friends, Luv-Kush’s journey of discovery takes them from enchanted forests with mythical creatures, to the revered land of Ayodhya. The voice-overs are okay, although the lip sync doesn’t match at times. The background score is a high point. On the whole, SONS OF RAM has a great story to tell, but lacks the epic feel that one associates with mythology.