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@Anuj: Sorry, I had not seen your post. And I would have most likely missed it had not my explorer by chance positioned the screen after refresh on your post.
Let me make an attempt to answer it.
With the exception of Pink and MSD, for all the other films that you have mentioned in your post I have put my rating on the relevant wogma review pages. Nevertheless, to summarise:I enjoyed watching all those films (probably Airlift a bit less), and if I am not mistaken then I have given a Yay Thumbs Up on their individual pages. Having said that, I do not feel like watching them again, not even in parts. Let me explain:
Often I have nothing to do, and am just switching the TV channels in an effort to find something that I might like to watch whilst whiling away my time. At that time, if I come across any channel playing any of these films, then I would not stay on the channel for a few minutes to give it a relook. I would just continue switching the channels. So, even though I did enjoy them when I watched them, having watched them they do not hold any special attraction for me to give a full or partial re-look.
This is not the case for the 2015 films. For instance, a Bahubaali or a Bajirao or a Drishyam would make me want to see a couple of scenes before continuing on my exercise of channel switching. Similarly, a Kahaani or A Wednesday would make me pause and take a re-look. None of the 2016 films that you name give me that urge. And that leads me to say that they are good films, but they all are at the same level. None is better or worse than the other. And certainly they are not exceptional.
Coming to the special case of Airlift, as I wrote in my review on the wogma page, I found it like a documentary. Does not mean it is bad, but it did not have the filmy touch. Yes, the goosebumps were there. Yes, Akshay Kumar gave one of his best performances. Yes, it gives a pretty good patriotic feel. But it still looked like watching a documentary. I cannot put my finger on the real reason for that, but I never got the feeling of watching a film - with the inherent anxieties, adrenaline, what-next, etc. I think that what also probably spoilt it for me is the massive hype that was already built up by the time I saw the film. And most likely the hype made me to expect something out of the world. And these expectations (which were unrealistically high due to the hype) not being matched, the experience was not ecstatic (artistically speaking).
Anyways, so in short, enjoyable films to watch once, but nothing memorable. At least for me.
I was under the (false) impression that Befikre is in 2017. Hence missed it from my list.
@Anup: see my earlier posts on Salman being a convicted criminal before shooting. I am quite consistent in my position. As regards Amir, sorry but his actions speak louder than your words. The guy is a hypocrite, and has selective pangs of hurt and human rights awakenings. And selective is unacceptable.
Human rights must not distinguish on religion, color, creed, caste, gender, age, ... If you agree on this basic principle then you would see through the pattern of Amir. You need to remove your adoration goggles to see the true colors of the guy.
@Anup : my remarks are on money made. I mentioned second highest around 125 cr and the rest below them. I did say that Force2 looks interesting, but I doubt that it would break commercial barriers. Kahaani2, the first trailer was horrible, the second trailer is alright. Befikre is for 2017, isn't it? As regards Dangal, I don't want to give too much credit to someone who regularly makes racist and communal remarks against only one community.
Okay, so the year 2016 is coming to an end. And from the last few drops that remain in the pipe, nothing spectacular is expected. Yeah yeah I know Amir Khan is lined up, but after his disguised communal attack exactly a year ago he has lost all forms of credibility.
From the rest that is still in the pipe: Force 2 might be an alright watch, if it continues where Force left. But still it would not be a force to reckon with and to upset the 2016 tables.
Kahaani 2: all promos lead me to think that this is going to be the biggest disaster of this year. It will make Mohenjo Daro look like the finest film ever made. Kahaani is so high in esteem (par with a Wednesday), and the promos of the 2nd installment are completely cheesy and Vidhya seems to be hamming all the way (despite the fact that she is a brilliant actor in the current generation of actors).
What does that leave us? Some Zindagi crap - I leave it for die hard SRK fans (who are dying faster than I am typing).
And that is about it.
So: all in all after an exciting 2015 with the Bahubalis and Bajiraos and Bajrangis the year 2016 has been a completely banal year. Commercially Sultan leads, but artistically or technically it is an average film. Followed by MSD in 2nd place with an approx. 125 cr collection. That's it. All the others just trying to make a difference but failing.
On star power, Akshay Kumar still reigned. With 3 movies released, and all 3 crossing the 100cr marker, his aggregate in 2016 is 300cr +
Maybe the absence of Deepika Padukone film made the year lose out? In the past few years, she has been at the spearhead of each commercial blockbuster.
On the hatke films, very few remain in memory. Neel Battey Sannata is very high. Aligarh is a good attempt. And that is about it.
So good riddance to a rubbish year (from Hindi films aspect). Year marked by stupid commercial driven controversies created by Kashyaps and Johars. And the year is not complete, wait for Dangal to contribute in the controversies.
Looking forward to 2017, with Kaabil to start the year. Going by the promos, if the love track is kept within a song sequence, then the movie promises to be a great watch. If the love track is going to take up one hour, then the movie will go down the drain.
@Anup : you say That extended climax after the last fight almost made me angry
It is a pity that you felt that way. The irony of the situation that the writer director wanted to convey is lost.
Think of it this way. Here's a father who can go to any extent to stop his child being separated from him. Fighting the known and visible bad men. But life has so many ways to force the separation. How many battles are he going to fight? What is the point of fighting such battles? Can we win all the battles? If not then why bother about winning any?
So many questions come to mind. So many emotions rush in. So many profound thoughts occupy your mind in that "5 minutes of extended end". Leaves a Kashyap film far behind.
But then again, if the irony is lost on the audience then it is a real pity.
@Gokul: to answer your question, it depends on what is the criteria used to define a winner. More footfalls, or more money. Or a combination of both. It is not straightforward as who made more profit, which is easier to say. Another factor (other than money, footfalls, etc.) is the technical and artistic excellence. Shivaay, is long but action is top rate once it starts going. The other I have not watched, and have no intentions of paying to watch - so difficult for me to compare both, but in my friend circle whosoever has watched the other has complained heavily that it is a bakwas film. So the (paid) media hype of catch it in theatre with 4 stars is visible for many to see. The word of mouth for both the movies has been average, with Shivaay having an edge in the word of mouth (at least in my circle).
So going only by footfalls, which Anuj equates to popularity in his above post, then Shivaay is the winner - even if it made lesser profits.
@Gokul: 100 crore depends on what is measured and how is measured. I am hearing 100 cr since day 4, but then bollywoodhungama etc is displaying 70-80 cr at least around day 8 or 9. So, the 100cr is whatever anybody wants to make of it.
Regardless of this reference point, in whatever business article you read, Shivaay collections are approximately 10% less. Thus if one is at 100 cr (in a given reference) then the other is at 90cr in the same reference. And given that the average ticket price paid for one is 300 Rs it would give a footfall of 3.3 Million. For the other, with an average ticket price of 150 Rs (which is on the higher side still considering smaller towns of India - and talking of average prices): gives a footfall of 6 Million for Shivaay. Even if you throw in the lopsided overseas collections thank to the Muslims of UK, you could still not match 6 Million footfall.
Of course I am simplifying a lot, but even with a complex algorithm it would be more than evident which was the number one choice of audience.
Considering that as of today, Shivaay is hardly 10% below some wannabe in terms of money collected. And given that Shivaay's main patrons are in smaller cities where movie tickets are at least 50% less expensive as compared to metros wherein lies the main patronage for the wannabe. It is amply clear that the number of footfalls for Shivaay are much higher than the wannabe. Power to the people who ignored all the paid superlative reviews of the wannabe.
Shivaay is not the finest of movies to come out of Bollywood but this Diwali it is the clear winner.
Anuj's prediction that Shivaay will pick up during the week seems to be coming true. Collaborated by industry figures/statements:
Shivaay is at 7.4 out of 10 on imdb.
Another product vying for attention gets 5.4 out of 10.
Even though imdb is full of trolls, it is clear that even the trolls are dumping some crappy product.
Almost a decade ago Ajay Devgn had made a brave attempt via U Me Aur Hum to increase awareness on the sensitive and painful issue of Alzheimer. This time around Mr. Devgn makes a brave attempt to highlight the issue of paedophilia, human trafficking and human organs dealing. Gruesome as it sounds it is a fact that India is faced with this problem (remember Mardaani?) and Eastern Europe is rampant with it. The Eastern European mafias are ruthless and have successfully infiltrated the important institutes to guarantee a smooth running of their operations. In India too this is a serious and widespread menace which the Burhan Wani sympathising media chooses to ignore and keep out of news.
It's with this context, crime and injustice that the film deals with.
The film starts off with the finest Himalyan visuals to be captured on the celluloid. It is simply breathtaking. Watching this on a 50" TV or an even smaller tablet would rob the viewer of the grandiose views that the makers had envisaged. Yes, I agree that this "introduction" part was lengthy and could have been shortened to 10 minutes. But sit back and relax because the story kicks in about 1 hour into the film.
The anxiety and pain felt by a father who knows that he is confronted with paradoxically an extremely efficient mafia to save his mute daughter, and with single focus of saving her from the sex traders is played out brilliantly by Ajay Devgn. There are enough "lump in the throat" moments, and the "bas kar rulayega kya" moments. Yes the second part of the film is loaded with top rated action. And it can be accused of being extremely violent often gruesome too. But that is the context. Eastern European mafias are not known to deal, discuss, negotiate; they go after the enemy with one sole purpose - eliminate the bastard. In that situation the only possible way to advance is to fight them and kill them before they kill you.
On the performance front it is Ajay Devgn show all the way. Abigail as the mute child was outstanding too. Some of the Bollywood leading ladies should take lessons from her.
The film does have aberrations and a few cliches - somebody must stand up. Yes, somebody must standup and take the (right) position.
Several factors will certainly work against the film; ie the name. Had it been called Sikander or Ali or Pervez the film would have fared better. The absence of a known face for the female lead or for the bad guys will also put off many people from appreciating this valiant attempt. And finally the cause of paedophilia and human trafficking does not resonate with many Indians - which is a shame IMHO.
Final words? If Ajay Devgn had kept the exact same story and execution of the film, but would have replaced the father by a simple god fearing Pakistani who is fighting against (not Eastern European) Indian politicians who are also sex traders to save his mute Pakistani daughter - then the movie would have broken all commercial records and would have scaled high peaks to make even Lord Shiva proud.
What's in a name, asked Shakespeare. A rose by any other name would smell as sweet.
Well Shakespeare did not know the Indian intellectuals and minorities, who are willing to dump a film because it's title has Hindu connotations. Poor Shakespeare.
BTW : Happy Diwali to all.
A nice film, that is more fiction than fact - even though going into it I was under the impression that it will be the other way round. Although not a problem to have a fictional story based on a real life incident.
Knowing the real life incident, and having seen the first Bollywood attempt on this story (Achanak by Gulzar starring Vinod Khanna), I was expecting Rustom to be an open and shut case. But I was surprised. The film had sufficient twists to keep the viewers engaged. Although probably not required to show Rustom as the greatest of all in a way that nobody is able to figure out what he did and why he did it - and then allowing Rustom to explain it calmly. The same (showinh Rustom unbeatable) could have been done differently and better if the director would have chosen to do so.
Songs are good - well balanced in the film.
Performances are a let down though. Ileana has to wear the guilty look throughout, and Akshay is in full decorated navy uniform all the time (well almost all).
Akshay pulls off yet another film on soldier / loyalty to armed services and country / patriotism. He has really mastered this genre. Maybe he will be known as the Mr. Bharat of the 2000s?
@Meeta: to each their preferences. :-)
@Meeta your bias for mediocre Dharma productions and Ranbir Kapoor shows through the 2 previews you wrote including that of Shivaay. Where the Dharma product is banking on the most repeated and chewed up formula of a love triangle, you are calling it something to look forward to in your preview. And in the same breath you are labelling Shivaay as a film with similar stories to some films and by consequence nothing great to look forward to other than probably the action.
Ajay Devgan's track record with high budget home production is highly shaky. In all his past endeavours he has confused money with substance. He has spent lavish amounts on his films in special effects and other polishing without concentrating on the contents of the film. Result? Terribly flop Raju Chacha, Toonpur ka superhero.
That is what is making me worried about Shivaay. I sincerely hope that he has learnt his lessons, and that he has a top notch story which is being recounted with the help of slick effects. If that is the case then nothing can stop Shivaay being the Diwali superhit.
Fingers crossed tightly, hoping that Ajay delivers the blockbuster.
Like many people around the world, I have read all the Dan Brown books. Including the books without the character Robert Langdon. Restricting myself to only the Robert Langdon adventures, I must say that Inferno was not my number one on that list.
If the book did not interest me as much as the other books, then why would the movie be different?
But being a Dan Brown and Robert Langdon fan, I did make it a point to visit the theatre and watch this on the large screen. It is an alright watch - even for someone who has read the book and knows all the twists and turns that are likely to come up. Although I must admit that my recollection of the details in the story was very vague, the only character that was very clearly etched out in my memory other than Robert Langdon was that of the Provost (played nicely by Irrfan Khan). The movie adaptation however does not do justice to the plethora of historical information (facts) that was scattered liberally all across the book. Just one or two passing remarks or statements of historical facts - and the rest was a nice modern day thriller. Nevertheless, for someone who has not read the book, I can imagine that this can be a nice thriller to Watch.
Performance wise, Tom Hanks can now play the Boston based symbologist professor with eyes closed. Amongst the others, Irrfan and Omar were good. BTW: is it a coincidence that the last 2 Irrfan Hollywood big ticket films also featured Omar Sy, albeit always in a minor role compared to that of Irrfan. And closing this post on Irrfan, I was pleasantly surprised to see him billed 3rd in the credits, and only his single name on the screen!!! I had not realized that he had become so influential in Hollywood.
Very long and disappointing film. Barring the last 15 minutes the film has nothing special to offer.
@Anup: one can't ignore history. Every successful director (India or elsewhere), eventually delivers at least one mega flop in his/her career. They eventually lose contact with the (changing) audience tastes, and keep on delivering in their past (comfort and) success zones.
It is bound to happen, with every successful director. It is incorrect to expect a hit every time.
I do not believe that Mohenjo Daro failed commercially due to Hrithik. And anyone saying that is simply exposing his lack of understanding of film business.
As regards "Directors except Raj Hirani do not guarantee success with their films." let us wait for Sanjubaba's biography with no less than Ranbir before counting one's eggs. Every top director meets super failure in their career at least once, whether it is a Raj Kapoor, or a Manmohan Desai or a Prakash Mehra (not to be confused with Rakesh Om) or a Ashutosh Gowariker.
@Anuj: yes, he had a cameo. Playing Virat Kohli. When Fawad refused to criticize the terrorist attack on Indian soldiers, Neeraj removed the cameo parts. Good thing, in my opinion.
I have yet to watch the film. As noted in one of my initial comments on this film, it is not something for which I was waiting with bated breath. I very much enjoy watching Dhoni as a cricketer, but I am not a fan of his overhyped image of captain cool.
However, I must appreciate Neeraj Pandey for his integrity, courage and position on country coming before everything else. To have the guts to remove each and every scene featuring Fawad Khan is surely commendable. The last thing we need in times of crisis is to encourage foreigners who are refusing to condemn terrorist acts against Indian soldiers, thereby accepting that they support the terrorists more than the soldiers. If for that one single reason, if I have to watch every Neeraj Pandey film, then I shall do so.
On the one hand we have Neeraj Pandey who did not mind sacrificing the solidness of his film for the right cause. And on the other hand we have the champion of mediocrity, Dharma and YRF, who for some monetary gains are backing Ali Zafar and Fawad Khan who refuse to condemn terrorist act against Indian soldiers. That those monetary gains are delusional will be known by Diwali, when Karan will lose money instead of making money due to his lack of guts to take a position for the right cause.
Even more proud of you Neeraj Pandey.
My views on censorship are quite known (I hope). When Anurag Kashyap is told by censor board to clip certain dialogues as it hurts sentiments, all pseudos including those on the wogma site, are up in arms.
When @Anuj or somebody else does an Anurag, the admins are quick to remove everything that they deem as objectionable.
Why the double standards? Or basically nobody has the courage to the stand up to industry bullies?
Now this is a movie that the makers would be better off putting in the freezer for some time till things cool off with a rogue state called Pakistan. Shrewd and selfish business attitudes will portray the businessmen as peaceniks and messengers of love and peace, and urge all to watch the film. It is up to the smart crowd to see through such pretenses and recognize the shameless undermining of national policy, policy that is aimed at permanently resolving a major security issue. On one hand the country in its vast and diverse majority wants the entire world to hit Pakistan with sanctions, and on the other hand shrewd businessmen want exceptions made to sanctions for selfish personal financial gains.
I register my protest against Dharma and all other who believe personal financial interests are higher than the sacrifices made by families of brave soldiers in giving the luxury and freedom with which Dharma can go about living their lives. A strict no for this film.
I have no issues with film makers successful in one particular genre trying their hand on another genre. In that sense Neeraj Pandey shifting genres is alright. But of all things why select a biopic on a still serving player - and that too a player whose life has probably no secret aspect thanks to the 24x7 social and other media barrage?
The only aspect in a Dhoni film would be a rags-to-riches tale. But that saga has been the staple income of Bollywood producers over the decades, and thus cannot be made further interesting.
I cannot say that I am really waiting with bated breath for this Neeraj Pandey film to release.
Labeling Amitabh Bachhan's performances (other than in Pink) as hammy?
Now that's a first.
Some commentators do inadvertently reveal their age when commenting on all time greats.
This is probably one of the most horrible films I have watched this year. And I have just started.
The director gives two hoots about the continuity and logic in the film. Who cares if one moment a tiger is enclosed in a cage in the Mumbai zoo, and the next second he is roaming in the Amazon jungles. How does he come out of the cage, how does he reach from Mumbai to Amazon in 1 second, etc. are details with which the director does not want to be bothered.
Yes the action scenes are probably better than your average fare. But at the same time they are Very Violent (both V in capital).
On the positive side, Tiger Shroff seems to be quite confident in his second outing. Given the fact that what we see of him in media (TV, Youtube) is a very shy soft spoken guy, in the film he is certainly very confident. A rapid transformation in just one film. Also: for the first time I felt that he resembled his father, Jackie Shroff.
It surprises me to learn that this is a commercial success.
I did watch this, even though a bit over a week later than I had planned.
The canvas on which the movie is made is huge, Hrithik is A1 in performance, music (Rahman) that seemed alright when heard on earphones or home systems was certainly pretty good with Dolby in the theatre, Pooja Hegde is stunning, attention to small details is a bit patchy but once in a while the brilliance of Ashutosh Gowariker shows through. Unfortunately where the movie falls flat is the story line. It is so banal, and has been repeated so many times in Hindi films over the decades, that there is just no juice left in it to extract. It tries to do a Bahubaali in large parts but fails miserably.
I think that the makers were swayed away from the central theme by trying to show (spoon feed) too much on how life was in 2016 BC and how little discoveries of now "accepted" things (animals like cats, dogs, horses) were an object of enormous surprise then. The makers got carried away in showing all such useless and probably incorrect portrayals of those times. Imagine somebody making a film in 4016 AD on the times of 2016 AD and showing how people get amazed with the discovery of a smartphone that can make a call but also surf the internet. Looks and sounds banal.
Despite the shortcomings, from time to time the attention to details came through. The reference of second person in the more familiar form of "tu" (in Hindi) instead of "tum" or "aap" irrespective of hierarchy, age or relation. In fact, I do not recollect having heard "tum" or "aap". Interesting observation on equality during those times. Also: the subtle but clear signs on the equal stature given to women in those times was another sign of having done a little bit of research.
This was one film where the makers could have used the voice over (like in Lagaan) to quickly introduce the context, and once again at the end to conclude the proceedings - which I think would have reduced the torture to the audience. Especially the last scene, I almost yelled out saying that "This is impossible, please don't say what I think you will say". And lo & behold Hrithik says the word and the film came to an end, with me almost falling off my seat laughing at that. Honestly, a voice over to finish off in a dignified manner would have been much better.
And I cannot sign off this post without a special mention: In the film, we have a Lothar, and we have a Hojo. As a friend remarked, we were waiting for Mandrake to show up and do a miracle to save the film.
A rating of so-so mainly to give credit for the grandulence of the sets, performances, action scenes, and music. Story gets a complete and big zero from me.
Whilst watching the film, I constantly had this Kahani-esque feeling, what with the streets of Kolkata, search for a person, and by chance the same two faces as in Kahani i.e. Vidhya Balan and Nawazuddin. The similarities (coincidences) with Kahani stop there, the film is just a shade of Kahani.
It has a slow feel about it, but that does not bother because the pace remains consistent throughout the film. The thriller part, once the story shifts into that mode, is quite nice whilst watching - had me hooked into it. The climax and the reveal somehow just did not seem to work. Despite a decent build up, the climax came as a bit of a let down. I still feel that something is amiss, or something could have been done better. It is not "THE" thriller like a Kahani or a Drishyam. I am just unable to pinpoint what it is that I felt missing, but it certainly is to do with the climax. Probably the fact that it was revealed rather than allowing the viewer to discover it gradually. I don't know.
Other than the climax, what had me annoyed was the fact that there are two different threads of the story unrevealing slowly at the same time on the screen. [comment partially delete because it gives a part of the plot away] This could and should have been better explained by the director at the start - rather than just allow the audience to accidentally discover the fact.
The plot (at least of the initial kidnapping) is pretty smart - and thought out at a professional level. The story certainly had the potential to be turned into a major thriller.
For the performances, there is nothing that I could add to the fact that this is just one combination of a possible dream team. Amitabh Bachhan as John is in top class. His mannerisms, expressions, dialog delivery, attention to details, etc. of a bereaved octogenarian on the hunt for the truth (and justice) are perfect and to the point. This gentleman just does not stop to surprise us with his skills - truly genius. Nawazuddin and Vidhya are totally reliable. Although they do not have much scope to display their acting skills they were a treat to watch, a sign in itself of their brilliance. Any other actor without any strong role would have made it a pain to watch them on screen, but these two manage to keep the proceedings lively and sufficiently taut to keep on waiting to discover what happens next. Other than these top 3 stars, all the rest are strictly alright - Sabyaschi Chakraborty being the only other actor who gets a sufficiently large role, all the rest just being faces in the crowd.
At the end, the question that still bugs my mind and for which I do not have an answer is: why is the movie called Te3n?
A "happy" go lucky film. As I watch a large proportion of hindi films that are churned out, I did enjoy this one. Even though it has almost nothing (except the two leading ladies) that I retained after leaving the theatre. I would imagine that people on a strict limited watching of Hindi films (for taste reasons or for budget reasons) are likely to skip this film. And my rating of so-so is keeping in mind this population - it is NOT a must watch film.
The film is a light hearted comedy of errors - although after a while the errors seem more contrived than natural. But the mood is "happy", and the visuals are colourful and zany. So it worked well for me.
Performances are alright - every actor fitted the role well. Although the two leading ladies were marvelous. I found the Divya Dutta look alike Momal Sheikh very expressive with her eyes. She had a special touch. And so did Diana Penty - wonder why she disappeared after delivering a sleeper hit like Cocktail.
Ha ha ha. Trees v/s pollution.
@Meeta: yes, all's well. Thanks for your concern. I made the remark more for the "next 48 hours" part. I had not realized that it is so common amongst the medical fraternity. I had to suppress the smile when they used the words "next 48 hours are critical".
This one surprised me. Seeing Manoj Bajpayee on all the posters of the film, I was expecting a film on the life of a traffic policeman. The typical day to day grind, the positives and the negatives of a city where the drivers are pushing the limits in every sense, a family life centred on a chawl etc. Mind you, I had not watched the trailers.
But instead of all this, the film turned out to be a thriller!! Of all things, this is the last that I was expecting. And Manoj Bajpayee's role could be referred to as a cameo - despite the fact that his face is splashed over every poster. To be honest, there is no single face that could represent the film Traffic. Every character is just there, no particular character has been allowed to grow beyond its limits. So despite so many familiar faces (and there are a lot) in the film, at the end no single face stays in your mind. This can be labelled a success in itself, as none of the stars were allowed to dominate the proceedings thereby dwarfing other characters.
The film in itself succeeds partially in achieving the edge-of-the-seat thrills. The film takes a long time to reach its main theme i.e. thriller. Till that time it just introduces the various characters, and has your classical non-commercial film look and feel. But from the word go, when the thriller part starts, you as the viewer know exactly where the film is going to end. So there are no prizes for correctly guessing the end. There are a few twists here and there, but they seem artificial (too much convenient coincidence) - and they are explained very quickly (so the surprise element does not linger for long). Nevertheless they manage to keep you reasonably well engaged with the film.
The film also tries to interweave too many individual stories into one another, and without any purpose. Take for instance Rehan and Dev Kapoor. There was no need whatsoever to link them up by being interviewer / interviewee. The whole interviewer / interviewee episode could have been dropped without impacting the story by an iota - and it would have lent a lot of credibility to the proceedings.
Also: the fact that the entire lethargic public services machinery across cities are mobilized into the most efficient operating machine raised the question several times, would it have been done if a commoner was involved? The answer that came each time without hesitation is a vehement NO. Not in India at least. No governor, no super rich surgeon, or no commissioner would even spend 2 minutes of their time in case a commoner was involved. Thus the film comes across as a bit artificial affair. On the other hand, the film is based on a real life incident that occurred in 2008 in Chennai. And not knowing the details of that case, I presume that a non-celebrity was involved in the real life case. So hey, who knows? Maybe sometimes the so called public servants are really serving their true master - the common public.
Overall: the film is an alright one time watch if you have nothing specific to do. Predictable but fast moving - no particular outstanding performances (which is a positive point for me). And yes, if like me you don't like watching grown-ups cry (especially senior citizens) then skip it. It is not a movie a must watch film.
Once again here comes a film for which I feel that the highest available Wogma rating of "Yay! Thumbs Up" does injustice to the film. This film is a wonderful story told in the most lucid and enjoyable manner on celluloid screen. This should be a part of the portfolio of films that everyone should watch before dying.
Just a few minutes into the film, and I was totally drawn into the lives and dreams of Chanda and Appu (Apeksha) Sahay. Very rarely have I seen a film with so much emotions packed into the story, acted out by naturally gifted actors, and the whole experience recounted by the director in a poetic flow.
How so often have we heard in real and reel life that a doctor's son (child) becomes a doctor, an engineer's son (child) becomes an engineer. And so on. And how we associate and accept that for the "white collared" professions. And it seems all a respectable dream. After all a child having grown up in an environment is likely to be highly influenced by that environment to shape his/her professional life.
Now if this concept is extrapolated (mathematics must be felt) on the down side, then the same logic says that a driver's son (child) becomes a driver, a peon's son (child) becomes a peon, and a maid's son (child) becomes a maid. And soon this same concept sounds so base. Why could a maid's child not aspire to be a doctor / engineer / banker / collector? Is our society that much compartmentalized into the new caste system that permits only the rich and self-sufficient families to dream a bright future for their children?
Nil Battey Sannata (as per the film it is a proverb in UP region meaning roughly GOOD FOR NOTHING) brings the story of a mother, or rather an ambitious mother, who dreams of a good quality higher education for her daughter. On the other hand, the daughter having been brought up in slums and government schools alongwith children of the same background has her priorities set on watching TV - playing games - lazing around - briefly, on everything else other than studies. And the daughter's point of view is important too, she has never seen in her life any good come out of good education to people from her strata of the society. Thus, her dreams, if she has any, are more modest.
How the mother goes about trying to fulfill her dreams and ambitions, and does she succeed in that attempt, make up the wonderful experience called Nil Battey Sannata.
All along the movie, there is this underlying feel good and humorous feeling - but this constant fear of what the end is going to turn up to be. Would it be a feel good ending, or would it take a dark turn? Fears of Chandni Bar, and hopes of Well Done Abba both churn up in the heart. I would let the viewers discover themselves how the story ends up - whatever the film makers have dished out is a good watch.
The film is ably supported by the side characters - Ratna Pathak Shah in a cameo is a breath of fresh air. Pankaj Tripathi is an absolute treat to watch, and you cannot avoid a natural smile forming on your face each time that he shows up on the screen.
The other characters (Pintu, Amar, Dr. Dewan's husband, etc.) have played a fantastic role - each character very well portrayed.
And of course the biggest thumbs up are reserved for Swara Bhaskar and the teenager Ria Shukla.
@Meeta: you were unable to catch it in theatre - pity. But I do suggest that you watch it now (DVD, TV, Streaming). I would not suggest TV, especially if there are going to be commercial breaks. Watch it in one go, without interval too. This is an experience you do not want interrupted even to just go and get a popcorn or cola.
Best film this year so far.
The news story on the internet today is that Hrithik is out of Thug because he demanded 60 cr fees. What is the real truth, god only knows.
On big franchises, it seems Dhoom4 is announced with SRK and Ranveer Singh (so out goes Jr. B).
Couldn't help sharing this anecdote that happened to me today.
An acquaintance's close family member is recently admitted to hospital and is currently in critical condition. Hopefully things will improve soon. When I enquired the health of the patient, he told me that the doctors have said that the next 48 hours are critical. If nothing serious happens in the next 48 hours then the danger would be over.
Those who have watched the film will know why I have shared this anecdote here.
@Anuj: in my post above, I am assuming that you have watched the film.
@Anuj: Regardless of the commercial reception of Mohenjo Daro, what is your PERSONAL opinion on the film? Is it really that bad as being made out on the internet and as reflected in commercial numbers? Or is it just a witch hunt against Ashutosh or/and Hrithik.
PS: I have yet to watch it. Most likely next weekend 26/27. And hence trying to see your objective opinion on the merits (or demerits of the film).
Katrina was never known for her acting skills. If she made it so far it is mainly thanks to her connections (Salman Khan) and then secondly to her looks. But looking at the various trailers and songs of Baar Baar Dekho, Katrina looks horrible in her ultra thin avatar - it even shows on her facial features. So wonder how the future is going to be for her (sans strong Khan backing, and sans those killer looks).
@Anuj: Yes, Hrithik needs to increase the films that he does over a period of time. At the same time his personal injury during the shooting of Bang Bang, plus the emotional traumas of Suzanne and Kangana episode are not helping neither. He has the skills, he is just going through a rough phase in his life that is reflecting in his choice of films.
@ehinome: As regards Shivaay, I have my fears. From the bottom of my heart I want the production to succeed and deliver the Diwali dhamaka it is promising. On the other hand, the past experience shows that when Ajay Devgan goes overboard with his home production in terms of money spent, he completely ignores the story and content of the film. He ends up spending a fortune on special effects, gimmicks and other glossy finishing (remember Raju Chacha, Toonpur Ka Superhero??) - and in the process he completely ignores the content. Naively thinking that the special effects will attract people to the films. Thus, I am scared with his high budget extravaganza like Shivaay that he might go overboard on effects without story. Just praying that this does not turn out to be the Diwali like in the year of Blue, another glossily packaged product without any real contents.
After watching the film I am left with a mixed feeling - was it a great film or was it alright. I will settle for alright, even though the first half of the film had me completely immersed into the story and the lives of the two main characters.
Where they lost me was the second half - with the same "waiting" game continuing without any feeling of progressing. I suppose it is part and parcel of the film, to make the audience realize how mundane and dreary the things get once one comes to terms with the reality.
Performances are top notch from Naseeruddin Shah and Kalki.
The subject treated is also nice, how an individual (or individuals) come to terms between the love of a dear + near one; AND the commercial nature of medical care providers (corporate hospitals and insurances). Even though the film was careful to not show explicitly the pure business approach of the doctors and hospitals, as an audience we can connect very well to the fact that the people who are supposed to care for us are taking the maximum advantage of the situation to further their economic goals.
Welcome change to see Kochi (Cochin) as the base of the film instead of the regular Mumbai setting. Would have expected / loved to see a sunset kind of scene along the coast - a la Anand (Kahin Door Jab Din Dhal Jaaye) with the leading character in a reflective mood.
Overall a nice soft watch, even though could get a bit repetitive in the second half. The "A" certificate is awarded most probably because of too much use of f**k and d**k in the dialogues, plus a last minute sprinkling of a few lip to lip.
Disclaimer: I am yet to watch the film and so I am basing my post on what I have heard and read elsewhere about the film.
@Anuj: Regarding the choice of scripts, I do agree (and I think most rational film followers would agree). However, where I disagree is the implied message that the selection of Mohenjo Daro by Hrithik was a mistake on his part.
I do not believe that is was an error of judgment by Roshan Jr. On paper, Ashutosh Gowariker making a period drama (after the commercial successes of his previous period dramas like Lagaan and Jodha-Akbar) is a project that very few would have guessed could go awry. Look at the reactions on this single page alone, more articles on the first weekend than the average film (Sultan barring) this year. Just goes to show how many (me included) had thought that the film would be a blockbuster given Gowariker's penchant for larger than life canvas and story telling. Thus, blaming HR for selecting Ashutosh's Mohenjo Daro is not fair. Any actor in place of HR would have had signed on the project without any questions asked, not knowing that even the greats do falter once in a while.
As regards Kaabil, honestly I was surprised to learn some months ago that HR is starring in a Sanjay Gupta film. There I do agree, it is a massive risk that Hrithik has taken. Only glimmer of hope is that it is a home production and that the father-son(and maybe daughter) have influenced the film making to positive effect.
@Meeta: no worries and no hurries.
I just happened to notice that the section was missing - and hence I remarked.
@Meeta: is it intentional that the movie details section above does not have the cast & crew details? Typically you mention the banner, the director, the lead actors, ... but I didn't find them for Rustom's review.
I had never heard of the film. Thanks to Wogma and the review, I know of it and very likely to watch it on dvd/tv.
The promo video that is posted above is quite gripping, and the premise of the film (wherein the title tells you what it is all about) is a very interesting and never tried concept.
My issue, as with any new film, is with the explicit sexual scenes. I cannot even imagine how could they be so important to the film's story to merit an inclusion. For that matter, I have yet to come across even a single film where sexual exhibition and kissings are an essential part of the film's story in the absence of which the film could not move ahead. They are just meant to attract some more footfalls - a gimmick that is unnecessary if the director has a good story to tell.
The trailer does press the right buttons but mainly because we see a female samurai of sorts. Let's hope that it has a bit more novelty over and above replacing a male lead by a female lead.
With the repeat and repeat of trailers and songs prior to the release, one gets the impression that the film is not about Mohenjo Daro. It is “in” Mohenjo Daro. The region is just a setting for your standard love story. It could have been any other region or village without affecting the story. Somewhat similar to John Cameroon’s Titanic, where the oversized boat was just a setting to tell a fictitious love story using real-life climax. Mohenjo Daro seems to be doing the same, using the real-life fate of a historical region to convey a fictitious love story. Thus all looking forward to Mohenjo Daro as a researched piece of cinema might just be futile.
Wait a little over 1 week and the suspense will be revealed.
Two consecutive days, two films, and both do a mediocre Houdini act. The one in Now You See Me 2 wins by a slight margin.
David Dhawan is known for making the most ludicrous Hindi films. Luckily for him he had Govinda, Satish Kaushik , and Kader Khan to rely upon. His son Rohit continues the trend but sans Govinda. And doesn't succeed to recreate the absolute nonsense that David was able to churn out. Some of you might consider it a success for Rohit.
Starting with the acting department, John Abraham is most likely a nice human being, an even better model. But what he is definitely not is an actor. And least of all a comedy actor. I have always marvelled as to how does he bag so frequently a lead role in out and out comic films??? Varun seems to have taken the challenge to outdo Uday Chopra as the jester in a home production. And in that objective he excels. Was looking forward to seeing Akshaye after a hiatus. But he was in continuation mode of Tees Maar Khan. And Akshay (without the 'e') didn't have any punch neither. The girls, in skimpy outfits in the middle east region (!!!!), were just for eye candy purposes (I believe Meeta used a gender variety analogy).
The story, if there is any, got dishoomed out. A Virat Kohli - Tendulkar amalgamation cricketing hero is kidnapped just before the finals with Pakistan in a tournament in which only India, Sri Lanka. Bangladesh and Pakistan are playing. India's reply to Rush Hour's Jackie Chan, a tough cop Kabir (K), is called in to trace the star. He is partnered by sidekick Junaid (J) on the wild goose chase through the deserts. A bar dancer / pickpocketer / druggist / ... Ishika completes the party. Together, I J K make a complete mess of the film. Even Satish Kaushik's Mirchi Murga / whatsapp gag failed to garner enough laughters as there was no novelty in it. With too many explicit and implicit sexual jokes the film seems to be targeted at upper teens and early 20s youth in metros. But those youth are much smarter to fall for this rubbish.
Save money and skip this one. If you are keen to spend the money then you are better off donating it to charity.