Review Of Ra.One Movie
I’ve often heard people say, film-making is nothing short of a gamble. And as any gambler will tell you, you’ve got to gamble huge to triumph huge. Going by this logic, Shah Rukh Khan is The Supreme Gambler of the year.
What’s at stake, beside the big money invested in RA.ONE of course, is a dream, a vision, an aspiration to make a film which appeals to kids and kids at heart. In short, attempt a film that appeals to the universal audience. At the same time, it ought to raise the bar for Hindi films. Also at stake is SRK’s once-unchallenged supremacy as the reigning idol of Bollywood and that elusive thing called reputation. When you invest your repute in your dream project and stick your neck out, you expect nothing short of a mega-success.
Movies like KRRISH and ROBOT initiated the trend of superhero films in India, with fantasy making deep inroads into mainstream Hindi cinema. Now RA.ONE raises the bar, takes not a step or two, but a giant leap and adheres to international standards, in terms of execution. But the soul, I wish to add, is very desi. That’s precisely the reason why RA.ONE emerges trumps. RA.ONE is beauty with brains.
What characterizes a stunning superhero movie? I have narrowed it down to three precise constituents that I deem are absolutely necessary for an alluring superhero flick. The first is that the motion picture must encompass spectacular action and edge-of-the-seat thrills. Secondly, a magnificent superhero movie must also boast of luminous performances from the protagonists, which in turn should make these characters appear credible and relatable. Thirdly and most importantly, superhero films must have a narrative that keeps us yearning for more. All of these are indispensable factors in making a superhero movie that will be both acclaimed and adored by fans. Fortunately, RA.ONE emerges triumphant in all the three departments.
RA.ONE is the most ambitious, most expensive and the most technologically complex Hindi film ever made. It pushes the envelope further. It’s not merely a film, but an experience, an event. It’s a film that will rewrite the textbook of computer graphics in Hindi cinema. At the same time, it is very Indian at heart. The relationship between SRK and the kid is the highpoint of the enterprise. But, at the same time, there are ample clap-trap moments that will send the viewers in frenzy. The chase sequence, when Ra.One finally zeroes on Lucifer, and the subsequent ‘entry’ of the superhero is awe-inspiring. The train sequence in the second hour is exceptional and a cinematic feat. The presence of Rajnikanth in a crucial sequence will be greeted with deafening claps and whistles. And, of course, the climax of the film; it’s simply jaw-dropping.
Besides these factors, the ‘Chammak Chhallo’ number is already a rage and so are the sequences involving visual effects. In a nutshell, it’s an entertainer that works big time. You haven’t experienced something like this ever before, on the Hindi screen!
A father tries hard to fit into his son’s world. While Shekhar [Shah Rukh Khan] tries every trick in the book to woo his son, his son had given up on him. Just when the father-son duo hit a deadlock, Shekhar strikes gold when he designs one hell of a game. Finally, it all starts falling in place. But the happiness is short-lived. All hell breaks loose when the game that was meant to be played with, starts playing them.
We are spoilt by cinema’s ability to create on celluloid anything that can be imagined, therefore we have raconteurs making endeavors to bestow us with movies that you wouldn’t have ever envisioned even in your mind’s eye. You realize this as you watch RA.ONE, which is a visual spectacle from start to end.
Director Anubhav Sinha along with co-writers David Benullo, Kanika Dhillon and Mushtaq Shiekh may be inspired by international flicks as far as the concept is concerned, but they ensure that they serve the right masala to moviegoers in those 2.30 hours. What actually takes you by complete surprise is not just the money spent on visual effects or the stunning chase and action scenes, but the twists and turns in the screenplay that unravel at a feverish pace.
Besides, the moviegoers have certain expectations and notions about superhero flicks and they expect such characters to perform audacious aerobatics to save someone’s life or a nation. But this one’s different. Visually arresting and dramatically just what the doctor ordered, the film boasts of relatable characters, which makes this superhero movie for kids as well as grown-ups. In fact, I’d like to add, RA.ONE is not only skillfully directed, but also visually dynamic and entertains from commencement to conclusion.
The album of the film lives up to the grand expectations. Vishal-Shekhar deliver a striking score with ‘Chammak Chhallo’, ‘Dildaara’ and ‘Raftarein’ being the pick of the lot. The background score, also recorded by them, is equally electrifying. V. Manikandan and Nicola Pecorini’s cinematography is top notch. Same goes for the stunts and chases [Andy Gill and Spiro Razatos]. Dialogue [Kanika Dhillon and Niranjan Iyengar] are hardly ever commonplace. What I found most interesting is that, whether humorous or thoughtful, the channel of communication appears very credible. The Ra.One and G.One suits, designed by Robert Kurtzman, are super.
RA.ONE is a perfect vehicle that does justice to the talent of Shah Rukh Khan. He seems to have found a story and character that work in perfect sync and tandem with manic energy. SRK steers this physically challenging lead role with high-spirited self-belief. He’s endearing as the father and magnificent as the superhero with a heart. Kareena Kapoor is a delight to watch. She effortlessly glides into the character. Besides, she looks ethereal in the ‘Chammak Chhallo’ song and her wit is infectious. Arjun Rampal pulls his act with effortlessness and style. Also, Arjun’s well-designed look is admirable.
I’d like to make a special mention of Armaan Verma, the kid who has a pivotal part to portray. He stands shoulder to shoulder with SRK and Kareena all through the film and delivers a super-confident performance. The film has a number of actors in key roles [Shahana Goswami, Dalip Tahil, Satish Shah, Suresh Menon, Mushtaq Shiekh and Tom Wu] and each of them fit well in their respective parts. Sanjay Dutt and Priyanka Chopra add to the glam quotient, while Rajnikanth proves yet again that he’s a scene stealer.
But the man who warrants the actual round of applause is director Anubhav Sinha himself. For bringing out the best of SRK, Kareena and Arjun. For the amazing screenplay. For the speedy yet smooth stream of the narrative. And for the fantastic unfolding of the written material. He merits top admiration for every act of his.
On the whole, RA.ONE is a solid entertainer, no two opinions on that. It’s not merely a great looking film, but also has soul, which is so essential to strike a chord with the avid moviegoer. As for the business prospects, RA.ONE is sure to shatter all previous records and set new ones, in India as well as internationally. The film will be the new yardstick for measuring success. It has Blockbuster written all over it!
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Damadamm Movie Review And Ratings
Like him or not, but there’s something about Himesh Reshammiya. He may not feature on your favorite actor list, but you cannot ignore him. A braveheart in whatever he’s dabbled into — producing TV serials, composing music, singing songs or stepping in front of the camera — Reshammiya now forays into film production with DAMADAMM [his company HR Musik presents the film].
A rom-com that comes across as a slice of life film, DAMADAMM takes you back to the times when simple stories were the order of the day, when ordinary looking people were grappling with not too complex issues and problems, when the focus was on delicate relationships. The 70s cinema, which witnessed a number of charming films by doyens like Hrishikesh Mukherjee and Basu Chatterjee, comes alive as you watch DAMADAMM. Of course, DAMADAMM is not as memorable as the films made in the bygone era, but first-time director Swapna Waghmare Joshi [a reputed name in tele circles] makes a sincere attempt to tell a tale that’s not commonplace. Beneath all the song and masala that’s integrated in the story, you will find characters you can relate to.
Notwithstanding its plusses, DAMADAMM doesn’t rise to those levels for two reasons. One, too many songs in the narrative. Two, the plot gets predictable after a point and loses the steam.
Sameer’s [Himesh Reshammiya] life is perfect, but for his over-possessive and constantly nagging girl-friend [Purbi Joshi]. To add to it, he gets drawn towards his boss’ sister [Sonal Sehgal]. All hell breaks loose when the girlfriend returns from her hometown. Sameer is in a fix.
Though not a comic fare, DAMADAMM has light moments aplenty that do bring a smile on your face. When you’re in a relationship, everyone likes to feel loved and wanted by their partner. But, quite often, the love and caring tends to suffocate you as the partner gets over-possessive. This kind of extreme behavior is exactly what Swapna Waghmare Joshi tries to highlight in the movie in a light-hearted fashion and that’s what sets DAMADAMM apart from films of its ilk.
Swapna has avoided going over the top and remains faithful to the subject. I’d like to make note of at least three sequences that are strikingly filmed. One, the tiff at the interval point, when Himesh calls off the relationship. Two, Purbi explaining to Himesh why she behaves that way. Three, Himesh landing up at Purbi’s office towards the final moments of the film.
But, like I pointed out earlier, DAMADAMM should’ve avoided the been-there-seen-that kind of situations that you get to watch in love triangles. Also, the makers could’ve done without a couple of songs. ‘Madhushala’, for instance, is a good track, but wasn’t required in the first place. Also ‘Mango’. Even ‘Umrao Jaan’, the best song of the enterprise, comes too late [end credits].
Himesh’s dedication to his craft is well-known by now and the composer/singer/actor goes that extra mile to get the role right. Sonal Sehgal looks alluring and acts well. But it is Purbi Joshi who steals the show with a power-packed performance. Her confident portrayal stands out. Rajesh Khattar is impressive as Himesh’s boss. The actor enacting the role of Himesh’s friend/colleague is first-rate.
On the whole, DAMADAMM isn’t bad, but it isn’t great either. Though it has a hit score to its credit and some endearing moments, it will have to rely on a strong word of mouth to withstand a mighty opponent [RA.ONE].
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Tell Me O Kkhuda Movie Review And Ratings
Hema Malini returns to direction after a sabbatical, almost twenty years after she made DIL AASHNA HAI [1992], and so does her daughter Esha, whose last release hit the screens three years ago. But the veteran actress/film-maker takes an emotional trip yet again. In DIL AASHNA HAI, it was all about a girl wanting to know who her mother was. In TELL ME O KKHUDA, the gender is changed; the protagonist goes in search of her biological father. It’s her passionate quest for her roots, the search for her father that makes her travel to different destinations — Rajasthan, Turkey and Goa.
Well, this isn’t an innovative concept, frankly. Of course, DIL AASHNA HAI had a similar theme, but prior to that, Yash Chopra incorporated a similar sub-plot in KABHI KABHIE. But, if one were to be specific, TELL ME O KKHUDA inadvertently bears a striking resemblance to the Meryl Streep starrer MAMMA MIA!. Generally, in subjects such as these, the focus is on, you guessed it right, the drama and also the emotional quotient. It boils down to how one connects with the plot and how proficiently can the protagonist get into the shoes.
Hema Malini gets it right as far as the plot is concerned and there’s no denying that Esha pitches in a sincere, heartwarming performance, but TELL ME O KKHUDA suffers for that vital reason that’s the lifeline of every film — the screenplay isn’t convincing enough. The three stories, not connected with each other, hold your interest intermittently, in bits and spurts. But it’s the culmination to the tale that spoils the effort. Things go awry at this stage. What was the need for a formulaic and filmy end?
Tanya [Esha Deol] is brought up in the secure and content environment of a loving family [Farooque Shaikh, Deepti Naval], but decides to chart an unpredictable course with the intention of tracing her biological parents. The intense search for her roots, which Tanya takes up passionately and with headstrong determination, takes her around the globe. She meets the three men one by one — Abhay [Vinod Khanna], a royal by birth who is revered for integrity; Altaf [Rishi Kapoor], a sophisticated Indian settled in Turkey; Anthony [Dharmendra], a gangster. Tanya has to find the answers she’s looking for.
Of the three stories, the one featuring Rishi Kapoor manages to hold your interest. That’s because it comes across as real. The story featuring Vinod Khanna gets into an altogether different track and even the camel race that’s featured in this episode, which should’ve been a highpoint, fails to excite you. And the one featuring Dharmendra is the weakest of the lot. Frankly, the sequences that feature the real-life father and daughter, Dharmendra and Esha, are electrifying, but the episode featuring the father’s past [Hema Malini] is so so disappointing. The emotional connect is missing here. Like I pointed out earlier, even the finale is an absolute letdown.
Hema Malini has handled a few emotional moments well, but the screenplay is far from convincing, disjointed and least engaging, which takes the film down. There’s not much hope for music here, yet Pritam comes up with two decent tracks — ‘Mera Mann’ and ‘Esha’. The latter comes too late in the narrative, though. The cinematography is consistent. The portions in Turkey are luminously filmed.
Esha Deol delivers a mature performance. Dharmendra, Vinod Khanna and Rishi Kapoor are accomplished actors all and they stand out in their respective parts. Farooque Shaikh is equally good. Deepti Naval is effective. Arjan Bajwa doesn’t get scope, though Chandan Roy Sanyal is a complete livewire, a spontaneous actor. Sudhanshu Pandey is strictly okay, while Madhoo does well. The actress playing the part of Rishi Kapoor’s wife does a fine job. Johny Lever provides some genuine laughs. Hema Malini appears towards the end of the film. She doesn’t impress this time!
On the whole, TELL ME O KKHUDA has an erratic script, which works in bits and spurts. That, honestly, isn’t enough!
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Music Review of Desi Boyz Movie
Music Review of Desi Boyz Movie
EXPECTATIONS
You have very good expectations from the music of Desi Boyz. First and foremost this is an unpretentious out and out commercial outing which means catchy music is pretty much on cards. Moreover, the title song with Akshay and John has already caught attention in a big way. Also, Pritam can well be expected to deliver goods in a biggie like this, especially after some chartbuster soundtracks that he has created for Akshay in the form of Action Replayy, De Dana Dan, Singh Is Kinng and Bhool Bhulaiyaa. With prominent lyricists like Kumaar, Irshad Kamil and Amitabh Bhattacharya contributing here, one looks forward to a fun and entertaining ride.
MUSIC
Desi Boyz gets a powerful beginning with ‘Make Some Noise For The Desi Boyz’ which is the kind of track that one would have expected when it comes to male bonding between the lead actors. A Punjabi-Hindi-English track by Kumaar that has K.K. singing in an altogether different style (when compared to far sombre songs that he usually sings for Pritam) along with Bob, this one is a chartbuster all the way. Boasted by addictive beats, relentless pace and some quick-fix arrangements that keep the adrenalin pumping for those four minutes, this one starts and finishes in a jiffy with no dull moment whatsoever. As expected, the song is also complimented by a ‘remix version’ which has a concert/club feel to it, hence requiring a wide dance floor that creates enough space to get the dance moves on.
What takes the fun quotient forward is ‘Subha Hone Na De‘ which is second straight chartbuster track in a row. This one is a club outing as well with a definite Indian melody to it which only accentuates the overall appeal of the song. With Mika Singh getting into a total mood while singing this fun-n-entertaining number, this one also has a sonic sound to it, courtesy the parts sung by Shefali Alvaris that gives an added touch to this Kumaar written number. Though the song requires a couple of listening to make one get into the groove, ‘Subha Hone Na De‘ is all set to become popular in quick time. No wonder, the makers too show good confidence in the song, hence adding not just a ‘remix version’ but also repeat it as ‘Tu Mera Hero‘.
After a couple of club outings comes a quintessential Bollywood dance number that has Pritam giving exactly what is expected from him. With its opening sound on the similar lines as ‘Zor Ka Jhatka’ [Action Replayy] and the mood similar to that of ‘Twist’ [Love Aaj Kal] , ‘Jhak Maar Ke‘ is clearly one of the massiest numbers that John Abraham has danced to in his decade long career. With Neeraj Shridhar and Harshdeep Kaur clearly having a lot of fun behind the mike and singing to the rhythm of some ‘desi’ Punjabi beats, ‘Jhak Maar Ke‘ written by Irshad Kamil works instantly with the listener and only makes one nod in approval by the time the ‘remix version’ arrives.
A much refined version of ‘Razia Gundo Mein Phas Gayi’ [Thank You] comes in the form of‘Allah Maaf Kare‘ which only makes one sure that the makers here were sure about bringing in all the commercial ingredients that would have kept the mood of Desi Boyz upbeat and catering to class as well as mass audience. While this Irshad Kamil written song has a core Indian appeal to it, Pritam presents it in a Western avtar to bring in just the right fusion that ensures that ‘Allah Maaf Kare‘ makes it four-in-a-row for Desi Boyz. With Sonu Nigam and Shilpa Rao bringing in a new dimension with their singing style here, ‘Allah Maaf Kare’ also arrives in it’s remix version and makes one head to the dance floor.
Last to arrive is ‘Let It Be‘ which could just have turned into a sad outing if only lyricist Amitabh Bhattacharya would have changed a few words here and there or Pritam would have stepped into a much serious zone. However, despite the relatively serious mood of the song here when compared to the rest of the album, ‘Let It Be‘ never makes one feel that the sound of Desi Boyzhas been compromised. A song where the protagonist is regretting the mistakes he has made in life and now wants his partner (and life in general) to stick to him as he makes amends, this situational track is sung well by Shaan and has the composer’s stamp all over it.
OVERALL
Music of Desi Boyz exceeds expectations. While one was sure that there would at least a couple of chartbusters in the album due to reasons mentioned at the very beginning, it is clear that director Rohit Dhawan had additional expectations from his team here. Result is this soundtrack by Pritam which is one of the better ‘masala’ albums of the year that works as instant coffee and also promises a good shelf life once the film scores at the box office.
OUR PICK(S)
Subha Hone Na De, Allah Maaf Kare, Make Some Noise For The Desi Boyz, Jhak Maar Ke.
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