Shamitabh Review: Captivating Concept, Brilliant Bachchan, Uneven Execution

R Balki has a knack of coming up with brilliant ideas but falling just a little short of perfect execution. His previous films, ‘Cheeni Kum’ and ‘Paa’ were very high on thought, thoroughly enjoyable but do not really make it to your list of ‘my god, what a film!’ With Shamitabh, writer-director Balki, once again shows that he is a master when it comes to envisaging the unusual and unique. Yes, it takes a lot of guts and conviction to juxtapose arguably the nation’s most recognizable voice over someone else.

Read the full review here: http://www.todaybollywood.com/movies/shamitabh-review-captivating-concept-brilliant-bachchan-uneven-execution/

Note: Now, read film reviews every weekend, exclusively on www.todaybollywood.com

Watch 'Alone' with your friends and have a little laugh about it!

Based on the 2007 Thai film of the same name, Director Bhushan Patel’s ‘Alone’ does little justice to what is an otherwise interesting premise of a love triangle between two human beings and a ghost! Apart from a couple of genuine and praiseworthy creepy scenes, ‘Alone’ suffers from what plagues most of the Hindi films belonging to this genre. So, there are squeaking doors, a barking dog, a couple of weird looking dolls (which no normal child would pick up to play) and of course, a protagonist who hears and sees things only after she goes to bed in her cute little knickers.

Read the full review here: http://www.todaybollywood.com/movies/menu-reviews/watch-alone-friends-little-laugh/

Note: Watch out for film reviews every week, now exclusively on www.todaybollywood.com

Vicky Donor is a 'fantastic sperm'

The first quarter of 2012 has been fantastic for the Hindi film Industry. We have witnessed small but significant films like Kahaani and Paan Singh Tomar make their mark at the box office, and there have been a couple of massive blockbusters in form of Agneepath and Houseful 2. Amidst all the hue and cry about that coveted 100 crore club and star power, the audiences have consistently rewarded smaller films that come up with novel and interesting stories. Director Shoojit Sircar's 'Vicky Donor' is another such small film albeit with a big heart.

Vicky Donor's biggest plus point is a unique and 'never been touched before' kind of subject. The issue of sperm donation is still a taboo in Indian society and the masses at large have little knowledge about the same. Shoojit Sircar's film successfully deals with this sensitive subject in a very humorous as well as educative manner. So at the end of the film, you not only come out with your funny bone tickled, but also with your mind illuminated.

The story of the film revolves around the protagonist Vicky Arora (Ayushmann Khurana), who is a quintessential young Delhi boy. Yet to find a suitable job for himself, he lives life as it comes. The Arora family comprises Vicky's Punjabi mother Dolly (Dolly Ahluwalia) and grandmother (Kamlesh Gill). While the former often nags Vicky about job and life in general, the later always backs the young boy. On the other hand there is Dr. Chaddha (Annu Kapoor), a fertility expert, who is frantically looking for a sperm donor for his rich clientele and addresses human beings as 'sperms', like 'confused sperm, complicated sperm'. His eyes are set on Vicky, in whom he sees the perfect 'Arya Putra', an excellent reservoir of finest quality sperm. Ashima Roy (Yami Gautam) is Vicky's love interest, who discovers her beloved's 'Donor' realty quite late.

There is plenty of quirky Punjabi humor throughout the film, specially the first half. Some scenes, like one where Vicky's mother and grandmother bond over late night drink, are madly comical. Dialogues are top notch with granny cracking you up with outstanding one-liners. The film takes a different turn post interval with less emphasis on humor and more mileage being given to the core 'issue'. There are subtle subplots of complex and beautiful human emotions and relationships, like the bond between Vicky and his mother, his mother and grandmother, Vicky and Ashima and not to forget Vicky and Dr. Chaddha. Here, I would ike to mention a solitary scene from the film where Vicky comes back to his home late at night to find his mother sleeping in his room. The hardly 3-minute sequence beautifully depicts the mother-son love, and stands out as the emotional high point of the film.

Ayushmann Khurana as Vicky comes across as a complete natural. He gets into the skin of Punjabi boy character and charms you all the way through with his impeccable comic timing. Not to mention, he looks dashing on-screen, justifying in every sense the title of 'Arya Putra' being bestowed upon him. Annu Kapoor as Dr. Chadha is terrific. He is funny, maniacal and a total Dilli da doctor. Seeing his remarkable performance, you tend to wonder why dont we see him more often on the celluloid. Yami Gautam as Ashima looks yummy and charming! She beautifully underplays her character, letting the surrounding Punjabi folk take the center stage. Apart from these three main leads, Vicky Donor boasts of an enviable support cast that delivers a cracking performance. Dolly Ahluwalia as Vicky's mother is sufficiently over the top and reasonably gentle. The showstopper, however, is the veteran Kamlesh Gill playing Vicky's granny, who makes you laugh more than any other cast of the film.  

Director Shoojit Sircar (and scriptwriter Juhi Chaturvedi) deserve applause for conceiving and executing a subject oriented film. Debutante producer John Abraham also deserves some brownie points for backing a project like this and walking an untrodden path. The film also boasts of soulful music with 'Paani Da Rang' being the pick of the lot.However, editing leaves a little to be desired with a scope for 15-20 minutes trimming of film's length. Also, film loses pace in middle portions when humor seems to be making room for few emotions.  

But all said and done, you need special sperms (read people) to make a film like Vicky Donor. It is a brave, humorous and educative film that does not get preachy even for a second. Humor here is mostly subtle sans all the possible awkwardness, given the kind of topic in hand.  

Watch Vicky Donor to get rid of a few stereotypes and have a sperm count of laughs! (read a million laughs)


Rating- ***1/2 (Very Good)

P.S. - By now you know that title of the review intended to say- 'Vicky Donor is a fantastic film.'

Not-So-Great List of Top 10 Songs-2011

Ok, I was really interested in bringing out a proper list of Top-10 songs of 2011. I was always fascinated with Cibaca Geetmala or even a Mirchi Top 20. But, when I sat down and tried to collect the data, I realized that the task was enormous (I hate to research while writing a blog!). First, I had to google all the releases of 2011, then sort them out. I did not want to miss out on any good song. We often forget the films and songs that come in the beginning of each year. Second, I realized on what basis can I call my list 'Top 10'? I mean, different people have different tastes and my list was certainly not based on any scientific survey. I tried to run a small survey on blog's facebook page for the No. 1 song but again the sheer 'variety' of taste was again on display.

So, I finally settled down on bringing out a list of 'personal' favorites. Yes, 10 songs of 2011 that I liked the most. Based on the number of times I listened to these songs, watched their videos, recommended them to friends, put them as my caller tune/ ringtone and so on. Obviously, the list will have some songs that are universal favorites. But a few might surprise you or even make you despise my music taste. But anyways, If you are here, reading my blog, I know you love me. :)

So, Here are the 10 Songs that kept my ears engaged in 2011!-- (In the descending order)

1. Chammak Challo (Ra.One)--- It has to be the song of the year for me, for the sheer impact it had on my mind. I have heard it innumerable times and it still exists in my playlist. It was my ringtone for good one month. And I love Shah Rukh Khan. And of course, the song has its merits. Akon's diction, Vishal-Shekhar's music and the gorgeous KK. Yes, choreography left a lot to be desired. But SRK looked cute while trying Bharatnatyam steps.

2. Sadda Haq/ The Rockstar Soundtrack--- I took up to Sadda Haq immediately. It was the perfect fodder to my mind in this year of rebellions and protests. However, I was not very fond of rest of the songs of Rockstar, till I saw the film. With time, 'tum ho', 'Sheher mein' and 'kun faya' mesmerized me. Now, all the songs of Rockstar seem to be so soulful! Easily Rahman's best work since the Oscars. True master he is! And no to forget, Mohit Chauhan's awesome vocals!

3. Laung Da Lashkara (Patiala House)--- This song is 2011's unsung masterpiece! Shankar-Ehsaan-Loy are second to none when it comes to creating Punjabi magic! Earthy innocence!

4. DK Bose/ Switty (Delhi Belly)--- DK Bose hit my like a cyclone. Unconventional and unforgettable lyrics. Switty took over after a certain time! Awesome Punjabi dance number! Delhi Belly was one hell of an unusually great soundtrack! (The Return of Ram Sampath)

5. Saddi Gali (Tanu Weds Manu)--- R Madhvan and Kangna Ranaut. It does not get more non-typical than this. Flair of folk and strong vocals. Also, appreciable is the effort of relatively new music composer (krsna) and lyricist (Rajshekar). Great soundtrack in totality!

6. Darling (7 Khoon Maaf)--- Usha Uthup carried this song on her shoulders. Vishal & Rekha Bhardwaj and Gulzar are proven geniuses. Teasing lyrics, foot tapping music.

7. Senorita (ZNMD)--- Spanish flavor. A lesson on life and how it should be spent. Hrithik-Abhay-Farhan's vocals. Do we need more?

8. Te Amo/Saibo (DMD, Shor in the city)--- Te Amo drowned without making much impact as it was part of a forgettable film. Ash King and Sunidhi made sure that I remembered 'her', every time I listened to this song. Saibo was another such beautiful track. Fresh and romantic.

9. Achcha Lagta Hai (Aarakshan)--- This one makes to the list just on the power of its lyrics. Prasoon Joshi, my god! He seems to be so familiar with the common man's antics! Another song that makes me remember 'her'!

10. Jalebi Bai (Double Dhamaal)--- Ok! I am sure, you are hating me by now! May be laughing! But If I had not included this one in the list, I would have been a hypocrite. I was hooked to this song, specially its video. That 'Jalebi-Making step' of Mallika! I don't know who sung it, or who composed the music! Sometimes, it does not matter! (Wink)

P.S. - More serious 'Top 10s' follow soon. I know, this list is not so great. But, music is all about comforting your ears and soul. Is not it?

Ladies V/s Ricky Bahl: An Uninspiring Face-Off

I will not get into the plot and story line of Yashraj Films' Ladies Vs Ricky Bahl. As an audience, you are intelligent enough to figure it out after seeing promos and reading about the film in the media. There is nothing new or no 'twist' as such, of which I need to make you aware of or warn you before hand. So, let's come across to the goods and bads of the film, straightaway.

Ladies Vs Ricky Bahl comes with a huge albatross, called Band Baaja Baarat, around its neck. Frankly, no one expects Maneesh Sharma (Director), Aditya Chopra (Producer) or Anushka-Ranveer (Lead Actors) to recreate that magic 'literally', as films like BBB are very rare and special. But one can not help but expect at least 'some' of the euphoria that 'BBB' generated, from 'L Vs RB'. That earthy humor, taut script, sizzling chemistry! Aah!

Ladies Vs Ricky Bahl fails to take off for the entire duration of its running. It moves at a steady and sometimes lethargic pace, reminding you of the 'plateau' phase in any tenth-standard physics graph. But film's slow pace in the second half and lack of excitement in the first half are not the only flaws. What comes across as an unpardonable sin is the way Anushka Sharma has been somewhat sidelined in the narrative. She ends up playing a 'pawn' in this epic battle between 'Ladies' and Ricky Bahl (Ranveer Singh).

The ladies in question here, Debutante Parineeti Chopra, Aditi Sharma and Dipannita Sharma Atwal, do justice to their respective roles. In fact, Parineeti deserves special applaud for pulling off the role of typically rich and partially dumb Delhi girl with utmost ease. Her dialogues, or rather monologues, are hilarious at places, and her timing brings in some much-needed comic relief to the entire proceedings. Dipannita Sharma, as the ambitious, brave and modern corporate professional cum leader of the ladies pack, exhibits remarkable restrain and poise.

And what about Anushka Sharma? She is undone by a script that does not let her be free. She is absent for the entire first half, and gets very few moments of personal brilliance in the second half. That famed chemistry of Anushka-Ranveer suffers heavily due to this injustice done to role of the girl who carried BBB on her shoulders.

Ranveer Singh seems to be enjoying his day under the sun with a well-toned body and a meaty role. He looks totally at ease, looking sufficiently cunning and deceptive as the 'woman-wealth hunter'. The music of the film is very 'one-track', with at least two songs (Jazba and Jigar Ka Tukda) having stunningly similar tunes. Maneesh Sharma, the director, should have ideally done more with such an interesting concept in hand.

Moreover, the film clearly lacks doses of humor. A film of this genre (Rom-Com) breathes, eats and sleeps humor, both covert and overt, but Ladies Vs Ricky Bahl falls flat in this department, with only the character of Parineeti Chopra fighting a lone comic battle.

I went to the theatre with an expectation to watch an mouthwatering battle of sexes, some fun moments (Typical Yashraj style), all in all to have a paisa-vasool experience. But Ladies Vs Ricky Bahl falls well short of the expected experience with not so exciting treatment of the story line. Ranveer Singh cons the girls way too easily and the girls too, get back at him way too easily. And somewhere in between, Anushka and Ranveer fall for each other way too easily and that, is the end.

Final Verdict: Ladies Vs Ricky Bahl disappoints in totality. Do not expect a Band Baja Baarat encore. This is strictly a 'one-timer'!

**1/2 (Average)

Sometimes, Greatness Just Spills Over the Brim!

I don't believe in mourning. I think, great people leave behind great memories which should be cherished rather being mourned. This was precisely the reason, I refrained from putting up blog posts after demise of several legendary artists this year, be it Dr. Hazarika, Shammi Kapoorji, Jagjit Singh, Bhimsen Joshi and many others. I have no hesitation in admitting that I know very little about the craft and the legacy left behind by these great people. But sometimes, greatness just spills over the brim. You need not always eat a mango to relish its taste.

But Dev Anand's demise leaves behind a great vacuum and fills my heart with strange sadness. Again, I have not seen all of his films. Hum Dono, Guide, Heera Panna and Jewel thief are some of his works that I had the chance of appreciating. My remembrance of Dev Anand is mainly associated with my father being a fan of his style and cinematic craft. I remember being told by my mother that my father used to imitate Dev Saab's style during his youth. Those were the days when Dev Anand would sweep the nation off his feet by wearing 'black trousers' and 'white shirt'. He was the first style icon of India, with millions of girls dying to get a glimpse of the charismatic actor. Dev Saab possessed a unique charm, an infectious radiance that could enthrall young and old alike.

On his birthday this year, I put up a status on Facebook which said, "Happy Birthday Dev Saab! Please stop making films now! :P". It was a casual update. I never knew he would take my jibe so seriously. People of my generation have often been amused to see a 80-plus man making films after films, most of them disappearing without making any noise. But most of us failed to understand the undying vigor and love for cinema that Dev Saab had. His 'Chargesheets' and 'Love At Time Squares' may not have set new landmarks, but his unflinching faith in his craft and abilities has definitely put several of those young filmmakers to shame, who waste their talents and resources like overflowing water.

This post was not planned. I do not know what to write. I will always remember Dev Anand for acting in, and making great films. I will remember him for living his life on his own terms, for working till his last breath and for giving back so much to the Industry (he groomed an army of young talents). Much more than what Industry actually gave him. I saw spark in his eyes every time he sat there at any award function. There was a child-like stubbornness in him. He did not mind people cracking jokes on him. He did, what he loved.

R.I.P Dev Anand!


********


P.S.- Needless to say, this year has been absolutely terrible for Indian Art/Entertainment. The picture below comprises few of the gems who passed away this year, but let me clarify, the list is much longer. (Notable misses- Uncle Pai, Indira Goswami, Ustad Sultan Khan, Shrilal Shukla)

'Your' Music Stands a Chance!

Listen. You mostly listen to shit. Worse, most of the times you even memorize that shit and later on complain about it. Yes, I am talking about your playlist.

And when I refer to music playlist on your phone, i-Pod or whatever, I mean Hindi Film Music. Strictly. 'These Bollywood songs are so predictable these days', is a typical 'music lover' grievance. The purists fondly remember the good old days, when melody was more important than the sound effects and other 21st century gimmicks. Some of the more evolved music aficionados go a step further and say, 'I think, I would have done better than this singer who sings from his nose!' or 'I guess, they have used a bit too much of guitar in this song'.

Here is an opportunity for such music enthusiasts. People who think they have something to contribute towards Hindi Film Music. People who like to take up challenges, but seldom get the right opportunity. 

Lorien Motion Pictures, an Independent Film Production House founded by Bhargav Saikia, has introduced the "Kaafiron Ki Namaaz Song Contest", for their upcoming Hindi Film 'Kaafiron Ki Namaaz' (can be roughly translated as 'Non-Believers' Prayer', in English). This specially designed contest gives you an opportunity to get your self-composed, original song featured on the Audio CD of this film. The winning song will be featured with songs sung by eminent playback singers like Usha Uthup, Javed Ali, Najim Arshad, Kshitij Tarey and Sukhwinder Singh. Individual musicians as well as music bands are welcome to participate in the contest.  Not to mention, this is a first-of-its-kind contest in India, where the 'common music enthusiast gets an opportunity to get his/her song/music featured in a Hindi Film Soundtrack! (Stop imagining as of now, your name would look good on the CD cover)

The music of 'Kaafiron Ki Namaaz' is being composed by the talented Advait Nemlekar. The songs boast of some rich, imaginative and fresh lyrics by the film's director himself, Sandeep Sharma (On facebook under his pen name Ram Ramesh Sharma). If you like music that touches soul and lets you shed your inhibitions, Kaafiron ki Namaaz is your destination (Don't frown, I am saying this as I had the privilege of listening to a few songs). Nothing better than being a part of the venture that promises not to travel the often traveled path in Hindi music and cinema.

So, this is your chance to clean up the shit yourself. Be the change that you want to bring. Give something back to Hindi Film Music. Challenge that melodious soul inside you!

Visit www.loriensongcontest.co.in for details.

P.S.- Yes, you guessed it right. The film's producer has asked me to keep my mouth shut about the exact amount I have received for writing this post. (wink)

'Rockstar': A 'Could-Have-Been' Classic

You will hear every person associated with film making, be it a director, producer or an actor, say 'story is the soul of a film'. Even the often warring reviewers and critics, agree as far as the significance of a good story in a film is concerned. Imtiaz Ali, the young director, who gave us inventive, fresh and memorable love stories like Jab We Met, Love Aaj Kal and somewhat unnoticed Socha Na Tha, tries to redefine love through a rather unconventional Rockstar, his fourth directorial venture. However, this time it is Imtiaz's trump card (read story) that deserts him. Rockstar works very well in patches, with some memorable moments, but falls short of mark in totality, specially the closing reels. 

Ranbir Kapoor plays Janardan Jakhad/JJ/Jordan, an average Delhi boy who dreams of being a Rockstar, inspired by none other than Jim Morrison. He fails to make much headway after being discouraged by his family and ridiculed by people around him. He gets a friend cum confidant in a canteen owner (Kumud Mishra) who tells him that it is absolutely necessary to experience pain, suffer humiliation and undergo tragedy to become artist of any kind, musician/singer included. Janardan then meets Heer (Nargis Fakhri), the gorgeous college candy, and decides to 'experience' tragedy/pain by proposing to her (he knew the proposal would be duly rejected). Later on Janardan and Heer become very good friends, traveling from Kashmir to Prague. As is the case with most friends of opposite sex, love blossoms, and what follows next is heartbreak, tragedy, pain and self-destruction. And yes, Janardan goes on to become Jordan, gains popularity across the world and develops a peculiar violent streak.

Rockstar suffers from inconclusive and unclear narrative. There are glaring loopholes in film's screenplay. For example, opening scene starts with a few men beating Jordan while he is going for one of his concerts. Then, the film goes into the flashback mode to tell the tale of Jordan, but explanation of that first scene never really comes up. That scene is totally forgotten when the story comes back to present times. The Prague episode looks totally unconvincing. While, Heer and Jordan's adventures in Delhi are fresh and charming, the European part of the story looks forced and made up. This is the reason why film works well in the first half with Ranbir pulling off the simpleton act with aplomb. The second half is stretched and induces a slight headache. Ranbir and Nargis's love track is inconsistent and disjointed. Sometimes, you wonder is this love or lust or none of the two? Also, there is not much insight into Ranbir's peculiar violent streak. This was needed, specially after he was also simultaneously shown as a very mystical and 'tough' guy, who spends two months at a Dargah. There are different ways of justifying a Rockstar's erratic behavior, mostly it is done through showing substance abuse. Imtiaz does not get into that cliched territory, which is good, but he should have put more logic behind it. The film's end is its biggest lacuna, you don't really know what happened to the female protagonist. Mind you, this is not open ending, but clear lack of clarity in the storyteller's head. The end, somehow, justifies the process, with that lingering confusion along with occasional brilliant moments.

But also, everything is not bad about the movie either. Few things are exemplary, some are very good. Ranbir Kapoor's riveting performance stands out, his best so far (You will forget Saawariya and Rajneeti). Hindi Cinema's youngest Superstar gives his heart, soul, sweat and blood to the role of a maverick Rockstar. His shrieks, violent encounters, rendezvous with strings, passion for Heer, comic timing, every damn thing will be etched in your mind forever. His performance is beyond praise and awards. Theatre's cooling (AC) has nothing to do with hair-raising moments that you experience throughout the film. It's Ranbir's show all the way.

Special mention for film's cinematograher Anil Mehta. Frames of Rockstar are very soothing, almost like painting. Shots of Kashmir and Hazrat Nizammudin Dargah deserve standing ovation. If Ranbir's histrionics as a helpless, mystical soul finding shelter at dargah make you feel for him, brilliant camerawork of Mehta inside the Dargah completes your experience. 

And as expected, A. R. Rahman's music weaves magic, hand in glove with the film's narrative. Expect for Sadda Haq, no song has immediate recall value but they grow on you with each passing day. 'Tum Ho' and 'Kun Faya' are honey to ears. Rockstar should go down as Rahman's finest work since his Oscar achievement. Also, background score gives a boost to somewhat sluggish proceedings in the second half.

Film also boasts of very fine editing (cuts and montage wise), but the editor (Aarti Bajaj) could have easily done away with at least 15 minutes in the second half. But again, there is a flip side to it. With such a wafer thin storyline, the editor did not have the liberty to reduce the film's length. Rockstar almost gasps to reach its conclusion in the second half, you know the director is trying hard to say 'The End'. Also, film's dialogues are straight out of heart and situational. (Palangtod takes away the top honors)

Ok, what about the newcomer Nargis? She is gorgeous except for that ever-protruding pout. Her acting skills are ordinary, to say it in the polite terms. Dubbing of her voice looks very odd at places, you sincerely wish to see a Katrina in her place by the time film reaches mid-way. Also, you wonder how Nargis miraculously gets turned on by just 'hugging' and produces semi-moans. Kumud Mishra as Ranbir's friend cum confidant is superb. Piyush Mishra, as the music company owner has been wasted. The massage scene is the only worthwhile scene that he gets in the film, and he makes an impact. The legendary Shammi Kapoor makes a very short appearance. But seeing him on the celluloid for one last time is pacifying enough. Isn't it?

Rockstar, as a film, would boost Imtiaz Ali's skills and credentials. One can easily see that the director has come out of his comfort zone (Fresh love stories) and tried something more challenging and mystifying. Full marks to him for taking that extra step. But he struggles to match promise with execution. There are way too many loose strings in the film to give the director a clean-chit. The film has everything, a larger than life canvas, a lead actor in form of his life, a compelling premise but it is the basic story and screenplay that seem to be awry. 

There are many moments in the film that you will take home. This is not an ordinary affair that you will see and forget. It will compel you to think. However, at the end of the movie you will wonder, "agar ye aisa hota to film classic hoti."

Rockstar is the quintessential 'could-have-been' classic. Ranbir Kapoor is the reason enough to watch it. And there are many more as well. Worth a Watch!

Rating- *** (Good)

P.S.- Mohit Chauhan deserves applaud for being the 'Unsung Rockstar' of the film.

Ra.One: Needle for Naysayers

First, the fact that an 'intellectual' minority is aggrieved and agitated by the thunderous promotional spree that Ra.One is currently on, ascertains that the film and its makers are moving in the right direction. Promotions, after all, are not just to woo your core target audience and the concurring lines surrounding them, but also to shock, infuriate and startle those 'select few' who would never wish you good luck, come what may. These 'critics' (the term has lost all its dignity off late) are not just pessimists, sadists and frustrated but are also driven by a biased notion that has no rational foundation. They see a film through a prism of prejudice and presumption. Presumption that they have the right to discard and disintegrate someone's hard work, devotion and dream. So, going by the kind of uneasiness film's trailers and its massive promotions has created amongst the 'cynics', Ra.One is well on its course to hop on a sky-penetrating rocket, this Diwali.

Second, charming, hard working and successful men have always aroused strong emotions of jealously and hatred amongst others. Shah Rukh Khan, apart from all the above mentioned qualities, also possesses a very sharp tongue and a brilliant mind. This makes him a thorn in flesh for those who can not withstand dazzle of a star or shine of a diamond. When the otherwise subtle Aamir Khan went into promotional overdrive for his films Ghajini and Three Idiots, it was termed as the 'stroke of a genius'. But, when SRK, the father of all promotions and marketing extravaganza, promotes Ra.One, it's being called a gimmick. Why the cynics forget that Aamir's promotional drive was inspired, if not imitated, from Shah Rukh Khan School of Economics? When an Aamir can cut hair in salon, travel across India in disguise, why can't SRK visit major cities for promotion, or launch a happy meal at McDonald's?

It is ridiculous how quickly the naysayers change their colors. I wonder, they would beat chameleons, if a 3C ('Color Changing Competition) was ever held in this world. For them, Ra.One's first teaser (April) was 'naive' and way too ambitious for someone like SRK. They stayed up whole night google-ing similarities between Ra.One and superhero flicks from West. Their response to Chammak Challo (the leaked version) was cautious. They could not quash the efforts of a well-known international singer. According to them, it was 'OK', but they again blamed Khan for leaking the music on the net!

From the first one-minute teaser to the recent post-Dusshera trailer, the reactions of naysayers have changed from 'Ra.One-is-going-to-be-biggest-disaster-ever' types to 'Special-Effects-look-good-and-anyways-its-Hindi-cinema-which-will-benefit-in-the-longer-run' . Why do cynics always jump to conclusions? Why can not they give a chance to someone who has invested his soul in some project? Every moviegoer reserves the right to love/hate Ra.One post its release. But to deride a film and efforts of an actor, well before its display, smacks of jealousy. Or lets say, it indicates how resentfully or painfully they are desirous of someone's advantages and gains.

Ok, let's not waste more words on naysayers. I will just drop some hints/identifications, that would help you recognize such creatures and beware of them. Because, cinema, after all, demands your reactions, and your reactions must be free of influences.

• These people would, in all probability, experience orgasms while watching an Aamir Khan film.
• Their reaction to Salman Khan's Dabangg or Bodyguard would be 'he is like this only, what else do you expect?' or 'he is a mass entertainer who makes masala films'. They would not criticize Salman's filmography, come what may. (They fear rebuttal from massive fan following of the muscular Khan)
• Psuedo-intellectuals that they are, they would only appreciate Shah Rukh Khan's Swades or may be 'kabhi haan Kabhi Naa'.
• They would tell you not to trust film critics. They will give you their numbers. 'Call me before going for a movie.'
• They will comfortably shuffle between critical and commercial aspects of a film to determine its success. The shuffle is entirely their discretion, so collections are relevant for '3 Idiots' or even 'Bodyguard' but not for 'Om Shanti Om'.
• They will have no concrete reason to hate Shah Rukh Khan, but still they will hate him. They find it 'cool'. 
• If they will fall short of logic while debating about SRK, they will mention Karan Johar.
• These people would watch K3G, DDLJ, RNBDJ on weekends but never admit it.
• And lastly, if you manage to win over them and force them to admit all the above mentioned 'traits', they would switch to Hollywood. Sigh.

Films and actors are not just about fans and non-fans. There must be a line that separates criticism from cynicism , dislike from grudge and lies from truth. Ra.One may or may not be a great film. But decide only after you watch it. Be honest to those 200 odd bucks that you spend, to that 70 mm screen that you so often look up to and to that 45-year old man who has been entertaining you for the last 2 decades.


P.S.: This is neither a 'Hate Post' nor a 'Fan Post'. I call it the 'Needle Post'. Needle for the Naysayers.

Bombay Beloved: Rock On! (2008)

Film Making is an exciting process. Perhaps, no other work engulfs you to an extent that you yourself become its embodiment. While making a film, you become its characters, its songs, situations and even its success/ failure. There are some stand out examples of such devoted film-makers, actors, musicians and other technicians who give their soul and heart to the process of film-making. For them, films are not just their source of livelihood or even a medium to express their creativity, but also a way of life.

First Impression:

When we look at the young generation of filmmakers, Farhan Akhtar is one such shining example. However, in 2008, when he decided to take a plunge into acting and singing, I was little skeptical. Being a conservative man, I have always vouched for 'specialists' and hence Akhtar's decision left doubts in my mind. Rock On!, the supposed launching pad of Farhan the Singer and Actor, was being directed by a little know Abhishek Kapoor, who had earlier delivered a dud like Aryan. All kinds of negative images were created in my mind regarding the film. I wanted a supremely talented director to stick to what he does best, direct films.

Even the music of Rock On! failed to make inroads in my thick skin. I am a very stubborn man when it comes to likes and dislikes. The idea of rocking on in Hindi seemed little alien to me. Javed Akhtar's lyrics failed to impress me first up. And then the film released. I went to watch it with a friend after lots of pursuance and insistence.

What I witnessed on screen during those 3 hours was awe-inspiring. Rock On! made one thing very clear from the onset. I did not need to be a rockstar to watch and enjoy the film. I did not require to have an understanding of Rock Music and bands to appreciate and indulge in the film. All I needed was to have a few good friends, some successes and failures and unfulfilled ambitions in my life to 'experience' Rock On!

Story:  

Aditya Shroff (Farhan Akhtar) is the lead singer  of the band 'Magik' who belongs to an affluent family. Joseph (Joe) Mascarhenas (Arjun Rampal) is the lead guitarist, Rob Nancy (Luke Kenny) and Kedar Zaveri or KD/"Killer Drummer" (Purab Kohli) comprise the remainder of the band. As youngsters, they dream of making it big in Rock Music but end up messing it up when the opportunity actually arrives. A series of compromises, ego tussles and love-hate relationships finally leads to disbanding of the band Magik. Worse, the four protaganists cease to be friends and drag themselves into cocoons of life, doing things that did not excite them.

Ten years later, coincidences and Aditya's Wife Sakshi's (Prachi Desai) efforts bring them together. Joe is now married to her girlfriend Debbie (Shahana Goswami) and is in poor financial condition. Magik regroups to recreate magic one last time. Friendship, love and ambition triumph over ego, hatred and obstacles.

Performances/ Why the Film Works?

Rock On! pegs you to dream big. It teaches you to value your relationships and never hesitate to pursue your goals. The film's high point lies in the simplicity with which it conveys a bag of complex emotions. Farhan Akhtar makes a fascinating debut and his voice emerges as his biggest strength. Arjun Rampal, finally, comes of age, and infuses life into the character of an insecure, struggling musician who wants to reach to stars someday. Luke Kenny and Purab Kohli play their part well and the four members of the band bond like house on fire. The ladies, Prachi Desai and specially Shahana Goswami, are not mere showpieces and are inseparable part of film's storyline. Abhishek Kapoor, the director, makes a massive mark with Rock On. This film makes Excel Entertainment's slate even more brighter.

Kudos S-E-L and Javed Saab!

With time, I developed a strong liking for the film's music. 'Tum Ho Toh' is melancholy and jubilation personified. 'Sinbbad the Sailor' is a landmark Hindi Rock Song. The title song and Pichhle Saat Dino Mein are superbly composed (Shankar-Ehsaan-Loy) and written (Javed Akhtar). Rock On has an ultimate soundtrack that every music lover should have. And I have no hesitation in admitting that my initial judgement of the soundtrack was, well, faulty. (To say the least).

Why a 'Bombay Beloved?'

Rock On! symbolized Hindi cinema's coming of age, in many ways. It showed that buddy flicks need not always revolve around girls, romance and love, and a film based on Rock music can work with Indian masses. The main reason why Rock On worked, both with the critics and at the Box Office, was because it had its heart in place. Joe Mascarhenas did not just play with strings of the guitar but also hit a chord or two of the viewers' hearts. Aditya's vocals give you goosebumps, the band's camaraderie makes you smile. You relate with film's characters, their fights, the situations and wish to have that final swansong in your life too.

Rock On! is an honest film that does extraordinary things to you while telling an ordinary story. The culminating song (the last performance of the band) made me shiver and left my eyes wet. I am sure most of us have already watched it. If you have not, watch it as soon as possible. This is somewhere near to New Age Hindi Cinema's Pinnacle.

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Bombay Beloved series will feature Hindi films that have offered something new to the viewers, set a new trend in the industry and have certain repeat value.

Not A (Great) Love Story!

Ram Gopal Verma divides opinion, there is little doubt over this fact. While some loathe his mannerism, outspoken nature and even his body of work, others praise his distinctive style, courage and 'never say never' attitude. However, neither I intend to discuss the enigma called RGV here nor do I wish to tear apart his 'infant terrible' stature. I just wish to present an honest opinion on RGV's latest directorial venture 'Not a Love Story', based on the infamous Neeraj Grover Murder Case.

Lets make few things clear at the onset. This film seems to be made in a tearing hurry, to cash on the public attention the Neeraj Grover case is getting. To make sure that a good film is made in the given limited time span, the director has smartly used young (student-level) technicians, who come up with an over-all refined product. Students of a leading media school have managed to give a very slick look to the film. Not a Love Story boasts of snazzy editing, competent sound design and excellent special effects. This, for me, is the high point of the film.

The film also has excellent background score (Sandeep Chowta, Remember him?) and some very competent performances. Mahie Gill shines in the role of a aspiring actress whose dream of making it big in the dream city turns sour. Zakir Hussain, as the investigating cop, infuses life into the otherwise dull second half. Surprisingly, Deepak Dobriyal, otherwise a very fine actor, looks out of touch in the role of Mahie's obsessive boyfriend. RGV just makes a caricature of that gruesome murderer in form of Dobriyal.

Not A Love Story lacks drama. It merely tries to depict the circumstances and events that led to murder of Ashish (Ajay Gehi) on that fateful morning in Mumbai. Sadly, the killing and the subsequent chopping of the dead body fail to incite fear, nausea and tension in the viewers' mind. Expectedly, it is the famed 'camera angle' of RGV that irritates, nauseates and suffocates you. He goes overboard with his camera fixation and ends up zooming in on bosoms and underpants of the lead protagonist. Towards the end, you develop a strong feeling that camera in the film has been used for pretentious reasons, for hiding the glaring loopholes in story and screenplay. What else explains, a 'shaky' camera in the courtroom!

Unlike other crime dramas like No One Killed Jessica, Verma's Not a Love Story lacks substance, conclusion and conviction. The ending is bizzare and leaves a very bad taste in your mouth. A fine talent like Deepak Dobriyal has been terribly wasted. His only job is to pop out his yellow eyes and suck the life out of Mahie Gill's mouth. The middle portions of the film lack pace and hence, even a two-hours length seems to be treacherous. The director also does not bother to take the audience inside the mind of such a ruthless murderer. The 'psychological angle' would have been welcome, but all we get is a funny 'nightmare' scene, with RGV written all over it!

Verma's treatment of the subject in the final reels in amateurish and stupid in many ways. Yes, the case is still sub-judice and one does not expect the director to pass a judgement on the murder. Yet, the ending makes you laugh at the sheer audacity and stupidity of the director!

To give credit to makers of the film, the entire package is not that bad, thanks to strong technical aspects of the film. But, as the cliche goes, nothing can replace the soul and substance. Watch it (if at all) for Mahie Gill's riveting performance and some crash course in editing & sound design! And Yes, this is not RGV's 'best work' by any stretch of imagination.

Average- **!

Delhi Belly is Yummy Shit!

The punch-line of Delhi Belly says ‘Shit Happens’. Very True. Shit has been happening in the name of comedy for too long in Hindi Cinema. So, 'Masters of Laughathons' serve us with some rotten, run-of-the-mill ‘no-brainers’ in the name of comic flicks. We are supposed to leave our brains at home but carry our wallet to the theatre, pay heavily and watch ‘shit’ in the name of comedy. I won't take names here, but biggest of stars, some renowned directors and famed production houses have done this to us again and again. Only the timing of release differs. Some throw shit at you on occasion of Diwali, some prefer Summer Holidays while others wait till Christmas.

In this regard, Delhi Belly is a refreshing shit, I mean change. The film does not take its audiences for granted, there are no ‘forceful’ laugh riots here. Delhi Belly is a fine example of exemplary execution of situational comedy. My first hug goes to the writer of the film Akshat Verma, who has written a very smart yet bizarre script. The scenes, the situations and the characters infuse laughter spontaneously.

All the three male leads are in terrific form. But it is the debutant Kunal Roy Kapur (Playing Nitin), as a fat, farting, pottying photographer from Patna who steals the show. His exploits will contribute to legend of gross and you may well develop signs of nausea next time orange juice is served to you. Vir Das (Playing Arup) is a marvelous comedian. In fact, he is a master of situational comedy and this ensures that he does not have to break any sweat for making audiences laugh. And yes, there is Imran Khan (playing Tashi) who gets his shares of passionate smooches & 'erection' and in the process, makes you laugh. The two girls, the landlord and Vijay Raaz as the potty-receiving gangster play their part well. Vijay Raaz remains subdued (for a change) throughtout the movie, only to break into cuss spree towards the climax.   

  

The Director, Abhinay Deo, who made a rather lackluster debut with ‘Game’ early this year, leaves a massive impact with Delhi Belly. The way he executes funny sequences, maintains dignity while filming so-called bold scenes, is commendable. And yes, he along with the writer, deserves all the credit for sketching and portraying such ‘relatable’ characters who land up in unimaginable situations.

Ram Sampath’s music is the highpoint of Delhi Belly. Not a single song is second best or an 'also-ran'. Its tough to chose your favorite. For me, Switty edges past DK Bose by a whisker. Background score is compelling and songs have been very well fused in the scenes, which makes Delhi Belly a slim-trim film, length-wise.

Kudos to Censor Board, for passing this movie without any cuts. Yes, the film has been A-rated but that’s actually required but hardly a matter of concern for producers now a days. In fact, Delhi Belly is India’s first Wholesome Adult Entertainer. Abuses and cuss words fly thick and fast but they do not look vulgar. The entire narrative is so beautifully woven in the script that it leaves no scope for complains. Also, the film shocks you with its boldness at places. So, you gape in utter surprise when Kunal Roy Kapur gives a ‘delicate touch’ to a sex worker’s…well…bosoms. Imran Khan’s much publicized ‘erection scene’ also makes you sit upright in your seat. And yes, the concept of 'Blow Job' has been immortalized by Delhi Belly.

And lastly, let’s laud the man, Aamir Khan. You need lots of courage and conviction to back a project like Delhi Belly. His mind-blowing pelvic moves in ‘I Hate You Like I Love You’ culminate the proceedings on a high. He charms you with his antics and seems to be enjoying the golden phase of his career as producer.

 Delhi Belly is bold, intelligent and funny. It is one of those rare comic films that does not try to make you laugh. The decision is entirely left to you. 

Go, celebrate Hindi Cinema’s coming of age. You will find Mr. ROFL and Miss LMAO sitting next to you. Let Naysayers sulk!

Rating: **** (Excellent)

P.S.: I brought this quote from the film back home, “Your Ga**d is like Full Solar Eclipse”. (Vir Das to Kunal Roy Kapoor)

This 'Shaitan' Packs a Punch!

Very few films make you happy after disturbing you to the core. Even fewer films engross you to an extent where you do not mind watching blood and gore on screen. To be honest, I have a very weak heart, I can not stand too much of violence, blood and other 'dark' domains. It is here that a film like Shaitan scores brownie points. It makes you a 'Shaitan' for that duration of nearly two hours. You become a part of that extraordinary ordeal and your innermost demons rule roost, without your conscience realizing the same.

Shaitan is the story of five friends (Emmy, Zubeen, KC, Dash, Tanya) who in the process of getting their asses saved get involved in a series of botched crimes. The film beautifully sketches the lives of affluent youngsters who devastate their lives by committing crimes which are more circumstantial than intentional. Shaitan quite correctly depicts youngsters as sexual, compulsive, edgy and aggressive. It reveals the dark undercurrent that lies beneath youth's trendy outfits, cool demeanor and attractive persona. 

Revealing too much about the storyline of the film would not be justified, as there is a wafer thing plot in first place. All I can say is that Shiatan is the sum total of umpteen 'judgmental errors' made by the characters in a matter of few hours. 

The film never gives you a chance to recover. It weaves a certain magic around you, which does not let you come out of the lives of those five friends. Apart from subtle doses of psychotic behavior, erratic waves inside a youth's mind and dark emotions, the film also dishes out some very basic, simple and 'worth-repeating-numerous-times' kind of lessons. I extracted the following lessons from the film:

• Always be very careful in selection of your friends
• Drug addiction is worse than death, it kills life every time it plans to resurrect itself
• And the most important, committing a new crime is never the best way to hide your criminal past

The film boasts of splendid performances. The entire ensemble cast of Shaitan breathes fire from scene one. There are no mediocre or even average actors involved here. Kalki Koechlin (in the role of Emmy) is the show stealer, she is one of those rare new talents in the industry who can enact both a 18-Year Old and a 80-Year Old with utmost ease. Rajeev Khandelwal (as Inspector Mathur) is super effective in the role of a frustrated cop, while Shiv Pandit (Dash) comes of age in the role of a mysterious drug peddler cum friend of other 4 central characters.

Gulshan Devaih (KC) and Neil Bhoopalam aka Zubeen (Who enacted Shayan Munshi's role in No One Killed Jessica) are terrific. Their peculiar behavior in first half of the film is sure to enthrall the audiences. Kirti Kulhari looks gorgeous as Tanya Sharma and emotes really well in the second half. Also, Rajat Barmecha (of Udaan Fame) appears in a very interesting cameo. 

The director, Bejoy Nambiar, deserves rich accolades for not faking the dark theme. There is strong logic behind every crazy move that characters make in the film. Abuses, dirty jokes fly around but they do not look vulgar. They complement the mood and tone of the film. The director maintains a hawk like grip over the proceedings, throughout the film. He gets into the psyche of Shaitan just so beautifully. Also, I laud Anurag Kashyap for producing a film like this. His taste for anything dark is quite legendary now, but this one is dark as well as beautiful.

Special credit must be given to the scintillating background score (Ranjit Barot), captivating cinematography (Madhie) and impactful dialogues (Abhijeet Deshpande). These are the three pillars of Shaitan on which hinges the overall receptivity of the film. 

There are a few glitches too. Rajiv Khandelwal's marriage on the rocks track looks futile. Also, the ending leaves you begging for more. But nevertheless, the movie as an entire package packs a massive punch. Shaitan is cunning, disturbing, dark, witty, gory, edgy, racy and scintillating.

This one is the best 'beat-the-heat-deal' on offer. Grab it!

Recommended!


Rating: **** (Very Good) 

P.S.: Do not watch it if you are below 18. Strictly Not. Few scenes are indeed very disturbing. Be Strong. And your girlfriend might develop symptoms like nausea and headache, if you plan to watch the film with her.

Film Review: Ready

Morning shows the day. Whosoever said this, must have been a man/woman with great wit and intelligence. When all the supposed Special appearances of Ready winded up within first 15 minutes of the film, I knew I was being taken for a ride. There was no logic whatsoever to cram Sanjay Dutt, Arbaaz Khan, Ajay Devgan, Kangana Ranaut and that Katrina Look alike (she finally has flab at right places) in the initial reels of the film. Cameos and special appearances are supposed to be ‘significant’ for the film, they are supposed to add some value. Only Zarine Khan had something to do as she sizzled in the character dheela number while Ajay and Sanjay looked completely out of place. I instantly got a feeling, Salman Khan, family (Arbaaz and Sohail, the producer) and friends (Sanjay, Kangana, Zarine) have made this film for fun, they must have had a gala time shooting in picturesque island of Sri Lanka.

So how is Ready? Firstly, it’s not just a no-brainer but actually a non-film, a tangy docu-drama, whose sole purpose is to glorify and further glorify the Larger than life image of Salman Khan, the lead protagonist. Nothing wrong with it. Salman Khan is a mega-star who is perhaps going through the purple patch of his career. In fact, he does give that periodic feeling of Vintage Salman. I mean only he can pee on a hay stack and ask you to go into interval and look cunningly at the audiences every time after getting hold of Asin’s Body. He plays it to the gallery and deserves all the sities and taalis. But…

There are several moments in the film when you feel like holding the director (Anees Bazmee) by his collar and ask him, “WHY”? This man has been dishing out rotten potatoes to the movie-goers for years now. I have seen good side of him (Deewangee, Pyar To Hona Hi Tha), he can be a master at comedy too (No Entry) but off late he seems to be driven by moolahs only. What explains his precarious decision of working on three films simultaneously (No Problem, Thank You, Ready). Even Ram Gopal Verma would be ashamed of such audacity. Bazmee virtually made No Entry Part 2 in form of Thank You (by the way, No Entry 2 is still on!), now he picks up Welcome’s script, replaces Bhais with mamas, expands the family on both sides and makes Ready! Outrageous.

Ready has no story to write about. There are simply too many characters. Salman has three uncles (sorry two if you do not count Paresh, his adopted uncle), each uncle has a wife. He has a father too, who also has a wife. Then there are two maids in his house, a Guruji and his accomplice. Asin’s family tree is worse. She has two Mamas, respective mamis, a rowdy cousin and the entire goon clan of the Chaudharies, as they call themselves.Thankfully, her parents are dead.

The entire first half is wasted in establishing the characters. Story and screenplay not just have loopholes but huge potholes. Talented actors like Paresh Rawal, Sharat Saxena, Akhilendra Mishra, Manoj Pahwa and Mahesh Manjerekar (he repeats Suneil Shetty's Act in Awara Pagal Deewana) have been terribly wasted. Only Sudesh Lahiri (of Comedy Circus fame) manages to tickle your bones. I have a feeling that director or the script writer contributed little to his achievements, his stint at Comedy Circus and his own sense of comedy saved the day for him. Asin Thottumkal needs to pay attention to her skin. Her face appears to be pimplified through out the film. For acting part, she is her natural self, vibrant in whatever little she has got to do.

Salman is the only savior. I am sorry, this film was made to show him as the savior. His screen presence his fantastic, you can not take your eyes off him when he is around. He throws some quirky one-liners (Its hilarious when he starts singing Chaudhary ka chand ho), packs some double meaning dialogues too. He is in top form, doing virtually everything possible in front of the audiences.

Music (by Pritam) is Ready's highpoint. Dhink chika and Character Dheela are chartbusters and other songs too suit the mood of the film. There is nothing special about Sunil Kumar's and Thomas Xavier's cinematography. As far as the story and script are concerned, well, JFI (Just Forget It).

I am not a Cinema scholar who tears apart every commercial cake thats on offering. But there should be a limit to what you offer in the name of fultoo entertainer or paisa vasool. The sad part is that makers of Ready seem to be arrogant and non-sensitive, in the way, they serve out this non-sense. Sheer star power of Salman Khan seems to have gone on to their heads rather than the actor himself.

Akshay Kumar too had a similar streak of success some years back. Salman Khan is different from him in the sense that he enjoys much larger and far more loyal fan following. It wont be an exaggeration if I say he is turning to be Rajnikanth of North. Wanted and Dabangg were the perfect fodder, but Ready flatters to deceive.

Final Verdict: You will be disappointed if you expected Ready to be the first big entertainer of the year. You will be exasperated if you thought Ready would give you a relief from scorching heat and overdose of cricket.

I would not state the cliche: The film is strictly for the die-hard Salman fans. 

My Rating: * 1/2 (Poor)

Salman Khan: A Star Away from Galaxy

While I was coming back from my office to home in the yellow-green Delhi Auto (I love this color combination!), my gaze fell on a small sticker pasted above the rear view mirror. I had seen posters of this man on almost all the autos, taxis, buses, small shops, in short in every nook and corner where India resides. The autowalah saw me looking at the sticker and put across a query " Bhaiya, Are you going for 'Ready' this Friday?". The exemplary glee and pride in his voice was evident.

That's the unique charm, charisma and mass appeal of this extremely good looking and 'somewhat' talented superstar of Hindi Cinema- Salman Khan. With uncountable flops to his credit and a not so sober image, Salman still manages to catch the imagination of the great Indian Aam Aadmi. But what exactly makes this Super-brat click? Where does he stand in front of the other two Khans..? Well, lets diagnose..

Salman Khan is not an actor, let's face it. He is a mere performer, a terrific one. His strength lies in being himself, not pretending (even remotely) to be someone else. Salman connects with the audience because, he does things that an ordinary young man fantasizes to do. So he rips apart his shirt and flaunts his muscular body, cracks jokes on farting, laughs very naturally, plays guitar on the seaside, dances with firangi girls on the beach, crushes the enemy with utmost ease and flamboyance. And ofcourse, woos women by singing romantic songs, dressing up in designer tees et al.

The audience also sees the 'rebel' in him. A guy who has broken law on many occassions, but is good at heart nevertheless. A friend of friends and a bitter enemy (Ask King Khan for both the aspects). The world also has a soft corner for him as he is perceived to be a man who has been betrayed in love time and again. So, the common perception implies that Aishwarya left her after climbing the success ladder, so did Katrina (if at all).

While SRK and Aamir are more like Businessmen, Salman is the people's man. The two of more illustrious Khans are shrewd intellectuals, very conscious of their image, the films that they do and how they behave in public. Off late they have presented themselves more like producers than Stars. They mean business, they deal in huge numbers.

Salman is a touch different, he walks in a friend's film just like that and research & preparation are two terms alien to him. Directors who know to tap Salman's " being self" talent, have succeeded in dishing out hits. Rest of them have just used him for no use effectively.

The original macho man of Indian Cinema, Salman Khan's career is very interestingly poised. His raw appeal seems to be working with masses but the urban audience might have developed a disconnect.His way forward heavily depends on films that he does post Dabangg, because there can't be many Wanteds and Dabanggs. He has already cashed upon trash masala stuff , the challenge is to go a step beyond and walk in a new lane. The question is what exactly can he offer us through 'Ready'?

Just for thought.- Have you seen anyone dance better than Salman Khan in 'Munni Badnam' ? Thats DANCE for you, rest of them I call as CHOREOGRAPHY.

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Don't miss Review of Ready on June3-4.