Ritu's Reviews

Indian movies always explore the self-less-ness and the greatness of individuals, making them shining examples in society and sacrifice the way of living. While Kabhi Alvida Naa Kehna is the story of 4 wonderful people, this film’s characters glorify none of these characteristics. They are real human beings who have various shades; they’re giving, caring, sensitive - but also, irrational, bitter, and at times full of resentment. Just as we all do when our spirits are down, they look at the cup as half empty rather than half full. Often quoted English philosopher Thomas Hobbes theory, “humans are selfish by nature”, is exhibited here.

Karan Johar who’s trademark till date has been fairytale films strong on family values, wholesome togetherness, and happy endings, enlightens his as well as the audiences frame of reference to the reality of relationships as they are today. So true is his take that it’s nearly absurd and disgusting, making it a difficult concept to fathom for traditional viewers. Set in New York, KANK takes a look at the crumbling marriages of 2 NRI couples. It shows how a relationship can fall apart without any one person being the villain and how an extramarital affair can enter to fill the void between the cracks. Johar has approached this controversial topic sensibly, revealing the consequences of such actions.

Although not as happy-go-lucky and entertaining as his other films, KANK still has enough touches for commercial appeal. Dialogues by Niranjan Iyengar range from witty humor to hard-hitting drama. As always an aesthetically superior and pleasing production, Sharmista Roy excels in art direction and designer Manish Malhotra yet again creates a look of envy for the feature cast. A mix of emotional and enthusiastic music by Shankar-Ehsaan-Loy succeeds in topping charts once again. Javed Akhtar’s lyrics strike a chord. Cinematography by Anil Mehta adds gloss but many shots of New York appear the same as they did in Kal Ho Naa Ho. Where the film looses its edge is in length. The pace drags and there are about 3 points where it seems like the film’s over, yet it keeps going; thereby weakening the solid and impactful conclusion.

Coming to the performances, a stellar star cast of Amitabh Bachchan, Shah Rukh Khan, Abhishek Bachchan, Kirron Kher, Rani Mukherjee, and Preity Zinta can hardly disappoint. In contrast to his role from the Bhagban, Amitabh shows his versatility with a different image in which he’s hip, fitting, effective, though slightly offensive. Shah Rukh too is seen in a new avatar. Not his usual Mr. Fix-it, he plays a highly irritated character with a negative outlook. He’s actually quite annoying which means he succeeded in playing the part, since what comes across is precisely the character type. The best character and performance in the film is that of Abhishek Bachchan. He is intense and simply brilliant! Kirron Kher adds the right flavor and does justice to her character. Rani Mukherjee is stunning, exuding her usual confidence. Preity Zinta’s character gradually grows to show scope. She delivered a strong performance in the latter half.

It may not be a ‘typical’ Karan Johar film, but for his ardent fans he doesn’t fail to include his extra special appearances. So keep your eyes open because you won’t want to miss out!

While broken marriages may not be common in Indian society they are definitely not foreign. This film in no way condones extramarital affairs or encourages divorce; rather it questions circumstances. In fact even in the light the situations are presented, the two lead protagonists fail to gain sympathy.

Given the film is by Karan Johar, one expects a lot - fully loaded 3 hours of pure entertainment. If those are your expectations, than that’s where KANK will tank. It’s missing that certain something that makes you feel good about watching a KJ film. Due to the nature of the topic, its grim and deep, leaving your senses unfulfilled. On the other hand, it’s a film that’s sure to spark discussion with various opinions circulating. Done right a movie should make you go through its motions, it should make you laugh, cry, and think – Kabhi Alvida Naa Kehna achieves all three laurels and earns 3 ½ out of 5 stars.

Posted by Ritu at 11:24 AM | Permalink | Comments (3)

Deep, dark, and full of turmoil is the impression of Shakespeare’s ‘Othello’. Likewise, you would expect Vishal Bhardwaj’s OMKARA to drag you down into a ditch of gloom. However, while the film is tragic, its execution is far from dull and dreary. With a stellar star cast and an expert director, this film prevails.

As a viewer there are three variable outcomes and one fixed.

-If you’ve read Othello, then most probably you’ll come out thinking it was a fair adaptation
-If you haven’t read Othello, then chances are you’ll find the narrative appealing, but also face the odds of being
lost
-Lastly, if you struggle with crude language, bold dialogues and find a UP/Bihari version with ‘gundas’ vs. dukes,
to be a demeaning take on a classical great…then you’ll walk away disappointed and disillusioned.

Irrespective of which of the above impressions you form, there are no two opinions on the production quality of the film. Clearly conceptualized, everyone from the actors, to the set director, costume designer, light techs, and lens men, are in sync. Director Vishal Bhardwaj has done an exemplary job. Along with him the art director earns praise for exceptional work and the director of photography for skillful cinematography.
As for the screenplay, it is, what it is. You like it or you don’t. The base of the story is after all an adaptation, so you have a general idea of what you’re walking in to. But what you may not expect is the inappropriate language and suggestive nature. Evidently no film for children, full of foul language it doesn’t make for a wholesome family watch. Still the dialouges are witty and act as a relief from the otherwise intense script. Although an adaptation, Bhardwaj’s OMKARA, still forms its own identity, apart from what Shakespeare may have envisioned. Vishal’s characters have their own individuality and unique shades.

Omi, Omkara, played by Ajay Devgan retains the basic attributes, but is too stoic. The zest of jealously that should be engulfing his being is portrayed in a subtle manner leaving his characterization weak. Ajay plays the central role but fails to leave a mark, only appearing functional. However this could largely be due to the fact that someone else steals the thunder right from down under.
In a key role, it’s Saif Ali Khan that shines all through. When you think Omkara you think Saif in the same breath. Up top from his shaved head, down to the fungus in the toes of his character, he’s absolutely phenomenal. Completely transformed from the comic and lover boy type, he’s entirely consumed as ‘Langda’. 5 stars to Saif for taking the challenges presented by the role and following through with flawless determination.
Next to Saif if there are others that take notice, its Kareena Kapoor and Konkona Sen Sharma. Kareena, the beautiful catalyst, enacts with the right amount of vulnerability and grace. Konkona, is as fitting in her role as Saif. She’s the female show stealer who with a small part, looms large.
Vivek Oberoi fans may have been waiting for this one to give him the re-charge he desperately needs, but a’las no such luck. The young Oberoi isn’t able to add any newness or take much notice.
While the rest in this multi-starrer, maintain a dated look with the demands of their character, Bipasha Basu still holds on to her supermodel image. She looks like an absolute misfit in the film and doesn’t have much to boast of for her character. In fact her portions include raunchy dance-numbers that are pace breakers.
Additionally deserving mention are Naseeruddin Shah, who takes a notable stance, and Deepak Dobriyal, Dolly’s pining lover whose existence is a comical satire on its own.

Musically, the title track, ‘Omkara’, ‘O saathi re’, and ‘Jag jaa’, are outstanding tunes. As a matter of fact, the talented director himself composes the music matched with Gulzar’s soulful lyrics.

To sum it up, Vishal Bhardwaj’s Omkara is a distinct piece of work. But don’t let the hype fool you; it may very well not be a film to your liking. Where as Shakespeare’s Othello among his other works are noted as classics, Omkara’s treatment is unique in a Bhardwaj style. If you liked his sense in Maqbool, then the approach is very similar. This time his actors of commercial appeal help step it up a notch. Omkara from a critical perspective is a well made and well enacted film earning Ritu Mahindru's 3 stars.

Posted by Ritu at 01:50 PM | Permalink | Comments (2)

Mahesh and Mukesh Bhatt produce The Killer, with their steady favorite Emraan Hashmi. Just recently the happy trio were celebrating the success of Gangster, a sincere film truly deserving the heights of its appreciation, and now without wasting much time they’re back in the scene.
Debutante director’s Raksha Mistry and Hasnain Hyderabadwala have it easy in a sense. They direct a film that’s already been done. Well… at least in Hollywood. They take the liberty of presenting the Indian version of Collateral. Of course a re-make comes to no surprise, as the Bhatt’s are in the business of supporting films of this nature. However a Bollywood conversion is always a gamble. This time the dice does not role in their favor. Even with it laid out plain and simple, just so easy, the film does not meet the gusto of the western flick.
Emraan Hashmi steps into the role of the cab driver while Irfaan Khan is the killer. Somehow the base of the Indian screenplay is dense, but it’s our desi dudes that hold it together. Emraan and Irfaan have great camaraderie through out the film. Granted they’re not on the same team as best of pals, but their exchange of dialogues and time shared onscreen, are what bind the viewer to the film. Emraan improves with the transition of his character from flimsy to courageous. Irfaan Khan is confident, cold, brutal, and just what the director ordered!
Nisha Kothari, Emraan’s love interest in the film is far from impressive. She displays her anatomy in a tasteless dance number. However she’s sure to get some whistles of admiration.
Director’s Raksha Mistry and Hasnain Hyderabadwala, make a fair attempt at mimicking the Hollywood hit. For first-timer’s they’ve delivered an average product. The duo’s excelled in striking a fine balance between romantic, comedic, and tense moments.
Technically the film has been handled with care. Cinematography captures Dubai at its best. Music by Sajid-Wajid is not up to par with the Bhatt camp’s level of distinction.
Nothing extraordinary about this film stands out. It’s something to kill time with. The Killer ranges a 2 out of 5 stars on Ritu's reviews.

Posted by Ritu at 10:10 AM | Permalink | Comments (0)