Ritu's Reviews

SLB vs. SRK, the battle of the titans. The joyful Diwali weekend brings these two celebrated cinema wizards head to head. The inevitable competition and comparisons between Saawariya and Om Shanti Om begin! If Om Shanti Om presents the gorgeous Deepika Padukone, then Saawariya shines with the beauty of Anil Kapoor’s mesmerizing daughter, Sonam. If Shah Rukh shows off his 6-pack, then legendary Raj Kapoor’s grandson, Ranbir, shows off his 6-pack and then some! I had the first look at Sony-Columbia pictures Saawariya directed by Sanjay Leela Bhansali, debuting Ranbir and Sonam Kapoor. Find out if Bhansali’s magnum opus was bogus!

Many good ideas have been discovered when someone’s poked around outside of discipline. Every Bhansali film has ascended the prior. Clearly a lover of the arts, he’s placed earnest effort in opening the minds of viewers to many things. In Saawariya, this director with a vision becomes a painter and a poet.
Adapted from a short story first published in 1848, White Nights; this is the story of a dreamer and his 4 mystical nights. In the late night hours a magnetizing damsel entraps this youthful lad’s attention, leading him in to a dreamy journey, one filled with hope and despair. The body of Saawariya is similar to that of a Shakespearean play. On other fronts it has the feel of classics such as Casablanca or Gone With the Wind. What Bhansali has attempted is to put poetry in motion, but what he’s neglected to create is a motion picture. Saawariya has been entirely shot on set and its treatment is somewhere between a Broadway musical and a High School play. Much like a fantasy every visual aspect of the film has been catered to. Whether it’s the costumes, lighting, choreography, sets, or cinematography, each facet is precise. For those in the school of cinema, Bhansali’s use of imagery and symbolism in this film is a school in it self. But for most watching it from a viewer’s perspective, the story has little to offer. The slow start never picks up, nor does the romance between the two characters. Our hopeless Romeo comes across senseless and one who can’t take ‘no’ for an answer.
The traditional Romeo-Juliet story set in a previous era doesn’t connect with the viewers of today. Films like Maqbool and Omkara were adapted to somewhat reflect the tastes of today’s viewers. Even Parineeta had a real-life appeal. So it’s not to say ‘period’ films don’t work, they do and can, it’s just Bhansali’s approach hasn’t. Style over substance rules.
If you try hard enough you can understand what Bhansali was trying to conceive but didn’t quite attain. Saawariya should’ve been a spiritually enlightening film about love. Unconditional and endless love under any circumstance. But the greatest affliction in achieving this message is the barrier between the characters and the viewer. Too many emotions are thrown at the viewer early on in the film before the story develops or any connection to the characters forms. Since you don’t know about the characters their plight doesn’t reach out. In effect, there’s no character that binds or love story that appeals to any senses.
Placing criticism of the story on one side, the magician still has one trick up his sleeve. Bhansali has children who come from a formidable legacy to orchestrate under his baton.
Who doesn’t want to see the star kids of Rishi and Anil Kapoor? Ranbir and Sonam Kapoor may just be stepping in front of the camera, but truly it was only a matter of time till the bug bit them. After Karisma and Kareena, it’s finally the first male successor of the Kapoor clan to step in the forefront. And what’s unique about Sonam, is that her father Anil Kapoor is not like other star father’s who’ve retired. He’s still going strong, but has had the heart to let his princess join the same world. Ranbir Kapoor suits the role of a young, enthusiastic, naïve lover, but tries too hard to impress. Perhaps it’s the pressure of his first film or maybe it’s the instructions he received. He’s over the top in his happy moments, but persuasive in his moments of sorrow. In some ways he’s reminiscent of Raj Kapoor from Mera Naam Joker. On the whole he’s given a fair shot at holding the film on his shoulders. Granted he’s got work to do, but he has decent potential. Sonam Kapoor is a traditional classic Indian beauty. When it comes to looks, she’s nearly flawless. After a long time has such a sharp, radiating, classy face come on screen. She’s done a fine job of balancing her character, playful yet full of naughty suspicion. The pair individually compliments one another, but the story doesn’t compliment their chemistry to its greatest potential. They’re surely promising and posses talent that would make their ancestors proud. Salman Khan’s appearance is minimal in which he’s mechanical. Rani is present throughout the film, but not impressive. Zohra Seghal is the absolute most endearing character. She may be a supporting artist, but she’s the only character that’s able to reach in to the depths of your emotions and make you feel something. To no surprise she’s brilliant.
Music Director Monty and lyricist Sameer play a pivotal role, given there’s a song every few minutes. The songs are light and flowy, traditional more than contemporary. Truly a soundtrack for lovers of music from yesteryears who are tired of today’s noisy tracks. The good thing is, if it bored you on audio, seeing the songs choreographed will make them more likeable. Although, the choreography is off, some movements don’t fit with the period nor with the scene. The stylish cinematography is applaudable as is the lighting. It helps set the precedence of Bhansali’s theme. Even though the film’s been kept concise, keeping American viewers in mind, it still drags on given the limited scope of the actual script.
Saawariya feels like you’re watching a play taped on HD. There’s too much focus on the ‘look’. Saawariya’s undoubtedly a well packaged box. But big box, small wonder is the outcome of Saawariya. Sanjay Leela Bhansali may have peaked with BLACK, but he’s come so far down with Saawariya, he can only go up with his next venture. With a style that doesn’t appeal, Saawariya disappoints with Ritu’s 2 ½ stars. See it to believe it!

Posted by Ritu at 11:26 AM | Permalink | Comments (0)

Director Imtiaz Ali had debuted with Socha Na Tha in which he featured the young Abhay Deol and vibrant Ayesha Takia. A surprise of sorts the, the movie wasn’t half bad with its unknown director and at the time, unfamiliar faces. Romance comedies seem to be this director’s specialty. With Jab We Met his credibility takes a huge leap. He’s focused on the movement of the screenplay and flawless performances.
Jab We Met is much like a modern-day Dilwale Dulhuniya Le Jayenge. A playful friendship evolves in to love and eventually meets a number of obstacles. A bit predictable and stretchy, but the nuances of Jab We Met are irrelevant when you measure the amount of laughter and frolic the film delivers. With the kuri being from Bhatinda the background could be nothing short of colorful. Imtiaz Ali’s screenplay is void of crude humor and instead packed with situational comedy. Witty dialogues and excellent acting take the simple script to new heights of enjoyment.
In a role of a carefree girl that’s far from glamorous and more her loudmouth, chatterbox, senseless self Kareena may not have been a natural fit. One would imagine Preity Zinta or Ayesha Takia who possess this girl-next-door look and attitude to play such a character. In the past Kareena has either come off annoying or too pompous in such roles. But Imtiaz Ali brings out of Kareena what may be one of her best performances. It may have been a fun film, but it’s done some serious wonders to prove her capacity as an actor. She’s absolutely incredible! Shahid on the other hand has less of a Shah-Rukh hang-up and is original. He’s personable and does very well as Aditya, mature yet full of boyish charm. Although the supporting cast is effective, the film primarily relies on the shoulders of these two.
And finally flop after flop, Shahid and Kareena deliver a film as a hit pair! This film does justice to their chemistry and Kareena’s new trim look allows her to compliment Shahid. The two are adorable and endearing together as friends-cum-lovers.
One too many songs create some friction in the progress of the screenplay, but music director Pritam tries to make sure each song has a different flair. “Nagada Nagada” and “Mauja hi Mauja” are hit tracks. The cinematography is beautiful from Punjab to Kulu Manali, with breathtaking sights.
Whether you’re six, sixteen, or sixty Jab We Met will make you smile! Youthful and lively, this film is not a let down. A well recommended sweet watch, Jab We Met melts hearts with 3 ½ stars.

Posted by Ritu at 01:31 PM | Permalink | Comments (0)

Now you know there was no way I was going to let Ram Gopal Varma’s AAG slip from my radar. Whether you were ready to bash it or embrace it, if you’re a Bollywood buff, you were waiting to set fire to this one in one way or the other. RGV calls it a “tribute” to Ramesh Sippy’s Sholay, but it was a much opposed and forced tribute. The relentless director, let no one stand in the way of his imagination and thrust the remake of this classic in viewers faces. Check out today’s review to find out if it was a shameful or grateful tribute.

It’s as if Sholay sat in a time machine and came to life in Modern day India; but on its journey lost translation of key elements. Ram Gopal Varma’s AAG, gives Sholay an extreme make-over. But the results of this makeover weren’t as good as the results of Ashlee Simpson’s rhinoplasty. In fact it turned Ramesh Sippy’s masterstroke in to a master-joke! The facelift Varma wanted to give with his ultra suave cinematic style and imaginative form doesn’t connect with new or old-age viewers.
Writers Sajid-Farhad are no Salim-Javed. They’ve retained some of the pertinent dialogues and scenarios from the original but haven’t added much zest. If anything they’ve killed whatever there was. The misplaced inclusion of references to Al-Qaeda, Osama, and America throw things off track.
Ram Gopal Varma further sabotages any tang with his twisted execution. Reliant on technical uniqueness, Varma’s production team shoot new angles, play with lighting, and try to scout unseen locations that give the film an emblematic identity. With the exception of Rangeela, RGV’s films have been dark and dreary. And in this case, where the original Sholay was full of life and entertainment, his colorless palette of hues doesn’t help brighten the dark fate.
RGV must have been threatened by “Soja, warna Gabbar aa jaayega” as a child because it’s clearly a character he seems petrified of and who’s left the strongest imprint in his imagination. More than a tribute to Ramesh Sippy’s Sholay or the friendship of Jai and Veeru, this film is all about the villain. Bagging Mr. Bachchan for the role was probably Varma’s greatest feat in this project. Support from one of the original actors generated curiosity and encouraged audiences to have some faith in the remake. From Gabbar to Babban, Amitabh essays a character that requires him to make you shudder at the mere mention of his name. Standing on the other side of the fence, Amitabh delivers with great effort. He tries to get in to the extremes of his character and performs proficiently but not without flaw. Unfortunately his character has been sketched with too many idiosyncrasies that in his solemn effort to live up to them, he loses momentum. However he is the solo reason the film has a slight chance to appease audiences.
As for others, there is no chemistry among the characters. That sensation when the eyes of Amitabh and Jaya first met, the playful interaction between Dharmendra and Hema Malani, and the bond between Amitabh and Dharmendra from the original Sholay are all missing.
On individual fronts, Ajay Devgan and the role of Dharm ji’s Veeru, fail to compliment one another. Sushmita Sen enacts her character with proper reserve and makes strides as a competent actress. Where as dream girl Hema Malini’s character was bubbly, slightly ditsy, but endearing and adorable, Nisha Kothari is just annoying. Her workout’s definitely paid off, as the camera seems to love zooming in on her ‘ass’ets, but had she put in half as much effort in her performance as she did in her appearance, she would’ve attracted positive attention. Stepping in to hot water, not only playing Amitabh, but also facing Amitabh is newcomer Prashant Raj. He shocks with his ability to carry off the role. Mohanlal suitably plays the role of Sanjeev Kumar.
The original Sholay had a number of moments that offered situational humor. In RGV’s AAG, Rajpal Yadav has been placed to substitute those numerous instances and he predictably falls short. In place of Helen, Urmila’s shimmy number is the peak of excitement.
Why was Sholay a blockbuster? Because it offered the right dose of it all! Action, drama, romance, comedy, music, thrills, acting, dialogues, legendary stars – the whole gamut! In addition to all that, it’s about being at the right time and place for things to work. When Sholay had released it was about the time and place Hindi cinema was in; where that type of setting, script, and theme worked. Since then, cinema has changed. And Ram Gopal Varma tried to adjust accordingly for that change. But a replica could never offer the value of the authentic creation, hence old is gold. It was best to not have experimented with Sholay as this colorless rendition of Sholay is not a tribute anyone associated with the original would appreciate. RGV Ki AAG, greatly chagrins with 1 ½ stars.

I’ve said this before and I’ll say it again. Ram Gopal Varma is a director who makes films for himself. He doesn’t fear box-office results, critics, or even public opinion. He makes what he believes. While his conviction is commendable, his obstinate take on a classic isn’t. This might just be a film, only he’ll be watching.

Posted by Ritu at 01:29 PM | Permalink | Comments (0)

It’s the season of ghosts and goblins and you wouldn’t believe it, but this Halloween weekend, there’s actually an Indian movie that has the right amount of thrill for the mood! Priyadarshan probably had no idea of what perfect timing his film Bhool Bhuliyaan arrives at for the US market. In a time where freaks roam about the streets and creepy stories are told, this psychological thriller, of a haunted mansion is sure to make you feel as if spiders are crawling up your spine! But don’t be too afraid because Akshay Kumar brings some comic relief. Read more about Bhool Bhuliyaan in today’s review!

Bhool Bhuliyaan is the remake of an award-winning Malyalam film. Priyadarshan adopts the screenplay and with his imagination brews a new potion. But unlike the original, his recipe is not spell-binding. Far from bewitching this dormant plot doesn’t captivate at any point or time. As the first 10 minutes endlessly proceed to torture, you sit with hopes that Akshay Kumar will eventually enter to pick up the slack. And yes, enter Akshay you heave a small sigh of relief, but only momentarily. After all what can one man really do with a director who’s not as accomplished in this genre? Priyadarshan who’s built his reputation on successful comedies that are a hit with the masses, isn’t quite able to figure out what senses he’s trying to appease. Is he trying to amuse or petrify? Unable to go either way or blend the two, he ends up amusing when he’s supposed to frighten. A great concept with a rational theory, the story is applaudable but not the dull execution. The film doesn’t firmly take hold of the viewer, in the beginning, middle, or end. Secrets of the haunted mansion are unveiled in a very humdrum fashion. The critical juncture where the viewer is to have solved the mystery is missing.
The lighting and cinematography is gray and gloomy, representative of the atmosphere. Portions of the film brighten with the demands of the scene and characters. Paresh Rawal is side-lined and only average. Rajpal Yadav enters in spurts and is a hoot. The remaining supporting artists provide ample support.
As for the main leads, Shiney Ahuja is mediocre. Amisha Patel plays a relevant role but is weakly characterized. This impacts her performance and her delivery is limp. Vidya Balan has a meaty character with variations that allow her to present herself as a complete actor. She’s highly competent and gives a powerhouse performance. Akshay Kumar is like a messiah. He alleviates most of the pain of this wishy-washy watch, but isn’t the miracle man who can heal all. Still he’s the best thing about Bhool Bhuliyaan and it’s purely for him the film is even worth a look. Lively and beguiling he whisks you away!
As for Priyadarshan and his career, Bhool Bhuliyaan ko Bhool jaana is more in his favor than not. This slow paced, anti-climatic feature would have been better off as a pure comedy rather than a hodge-podge of thrill and humor. Spook and sugar-free, this film’s like getting a box of prunes in your trick or treat bag; a treat barely worth 2 stars.

Trick or Treat? Priyadarshan sure got us with this one! Bhool Bhuliyaan was definitely a trick more than a treat! The film neither scared the daylights out of me or tickled my funny bone! Let’s hope your Halloween adventures are more fulfilling!

Posted by Ritu at 01:28 PM | Permalink | Comments (0)