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/

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Movie Review: 'Hawaizaada' is aesthetically pleasing, but perpetually boring!

As a premise, the story of an Indian scientist of pre-independent era overcoming all odds to fly the world’s first ever aircraft sounds quite fascinating. But, glaring loopholes emerge when the director tries to weave narrative around a supposed aviation breakthrough that is not really accounted for in the history books. Hawaizaada makes no effort to legitimize Shivkar Bapuji Talpade’s exploits as an aviation scientist, and in the process ends up being an unbaked product which is part fanciful and part illogical.

Read the full review here: http://www.todaybollywood.com/movies/movie-review-hawaizaada-aesthetically-pleasing-perpetually-boring/

Remember to read reviews of upcoming films every Friday and Saturday, now exclusively on www.todaybollywood.com.

Movie Review: This ‘Baby’ is Worth Your Day Out!

When was the last time you saw an action-thriller that did not let your mind wander even for a minute? Think. Madras Café? Special 26? A Wednesday? Whatever your pick is, do notice that you are most likely to name a Neeraj Pandey film when it comes to genuine action thrillers that keep you on the edge of your seat. Pandey does it again with ‘Baby’. Although, ‘A Wednesday’ remains my favorite in this genre, ‘Baby’ is nothing less than a giant leap when you ponder over the sheer dearth of quality thrillers in the Hindi film industry.

Read the full review here:

http://bit.ly/15x4EMS

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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/

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'Haider' Takes the Kashmir Dare and Is Almost There

Shakespeare would have been proud of Vishal Bhardwaj, it's a given. One cannot imagine better Indian adaptions of Macbeth and Othello than Maqbool and Omkara respectively. I mean, even if you match title to title, Maqbool and Omkara sound super cool, and these names have a certain 'ring' much like their Shakespearean counterparts. With Haider, Bhardwaj does something unusual and daring, he amalgamates the bard's Hamlet with Kashmir. The resultant is a dramatic and dark cocktail of personal strife and collective sorrow of Kashmir, sorrow that has been mostly ignored by the mainstream Hindi cinema.

Kashmir is not just a shooting location in Haider, it is one of the film's main protagonists. Full credit to Vishal Bhardwaj for an imaginative, sensitive and well-researched portrayal of Kashmir of the mid-90s, the era when the state was battling incessant militancy and unease. It requires a lot of courage and conviction to call a spade and a spade and Bhardwaj does exactly that when he calls AFSPA as 'chutzpah'. It is by far the most quirky take by any Indian film on the draconian law that gives sweeping powers to the armed forces in the strife-torn areas. There is no chest thumping about nationalism nor there is any over-dramatic cry for the 'Kashmiri' cause. Haider beautifully balances its narrative by giving a voice to grievances of all the sides, however, it largely focuses on the plight of the average Kashmiri who is torn by the unrest in the valley.

But apart from a brave, honest and intimate take on Kashmir, Haider also boasts of a heartfelt portrayal of mother-son relationship. Tabu and Shahid Kapoor put up pitch perfect performances as Gazala Meer and Haider respectively, to gift us one of the best Ma-beta jodi of Hindi cinema in recent times. With Hamlet as its inspiration, this mother-son duo share a unique bond that is simmering with love, longing and a strange shade of hatred from Haider's side. Tabu steals the show as Shahid's mother and it is such a joy to watch the great actor on screen after so long. One could only wish to see more of her on the silver screen and thank Vishal Bhardwaj for giving this acting powerhouse another meaty role post Maqbool.

Shahid Kapoor shows yet again that he is a terrific actor and comes up with a layered performance that is at times restrained and mostly vulnerable. Irrfan Khan makes a huge impact in a very brief role as the mysterious Roohdaar and Kay Kay Menon looks cunning enough as Haider's uncle Khurram. Shradha Kapoor comes of age in role of Arshi and takes a big leap in the acting department. She shares a lovely chemistry with Shahid, and the two light up the screen every time they find some room for romance. The film's cinematography (Pankaj Kumar) is first rate, so is the soundtrack and background music. Also, the film's dialogues are truly memorable that are sprinkled with doses of humor, intrigue and pain.

But everything is not hunky dory with Haider. The second half seems a bit dragged specially after a stunningly impactful first half. Bhardwaj fails to resist the temptation of getting into self-indulgence and pretentious symbolism towards the fag end of the film. So, there are graveyard caretakers singing 'So Jao' and digging graves for themselves, Haider holding and talking to a human skull as if it were a trophy and this over-dramatic sequence also a has a young boy watching and asking questions. Trying to pass on a commentary on Kashmir's present and future, Mr. Bhardwaj? It does not come out well, eh? Also, at times conversations on Kashmir seem a little forced and contrived. Kulbhushan Kharbanda's character gives us a sermon on how one 'inteqaam' would only lead to another inteqaam, and it only comes across as the director's attempt to balance out the anti-India or anti-army tirade in the film.

But overall, Haider is a fantastic film and to see or not to see it is never a question. But is it Bhardwaj's best work till date? I would stop short of claiming anything like that and would still rate Maqbool as the affable director's finest work.

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

'Bang Bang' Could Have Easily Been Titled 'Blah Blah'

Bang Bang makes you feel uncomfortable. Two incredibly good looking actors hop across some exotic locations, fire guns and machine guns as frequently as one pees after gulping a few bottles of beer, and if all of this does not make you sulk about limitations of your own life, they also kiss and dance, and flaunt their sculpted bodies all through the film.

Yes, Bang Bang is a kind of film that makes your body suffer from acute inferiority complex and forces you not to see the mirror for sometime. But sadly, that is all that the film offers- some stunning visuals, some jaw-dropping action sequences and plenty of sculpted body show by its lead actors. Apart from it, the film is a big letdown that becomes boring and predictable within 10-15 minutes of its initial run time.

Clinging on to a wafer-thin story line (if you decide to call it a story), the film starts with a hilarious 10-15 minute sequence featuring a guest appearance from Jimmy Shergill and the film's main antagonist Danny Dengzongpa. It reminds you of the terrible action films of the late 80s and early 90s where the 'hero' would throw some cheesy patriotic dialogues and the 'villain' would rebut citing his own 'lambe haath' that could buy off every damn politician, policewalla or judge of the country. Yes, you are reading the write review. Hrithik Roshan, the 'hero' of this film, would not takeover the proceedings well into 15-20 minutes. Yawn, you are already sleeping.

Then, there is an irritating Katrina Kaif and her annoying personal life of a 'bank receptionist'. The bank is funnily called 'Bank of Simla'. And there is robbery of Kohinoor diamond from London and the MI6 is rolled over by Javed Jaafri (one of the villains, who has also the responsibility of being comical) and his gang. However, the most funny and outrageous part of the movie is how much of snowfall they attribute to places like Shimla and Dehradun! Too much of unbelievable blah blah.

Hrithik tries hard to wrest control of the situation on several occasions, and he mostly succeeds, but obviously he can't fill in for the missing story and semblance of some substance in the film. The action sequences are well-shot and at times sunning, the locations are picturesque, but the overall proceeding has a constant stamp of dullness. Hrithik flaunts his abs and stunningly fit physique on several occasions, in fact, the director treats his body like one of the main leads of the film. Katrina looks beautiful, her skin as radiant as the Taj, but fails to make any mark with her acting (not saying that I expected anything significant.)

Watch Bang Bang only if you are a die-hard Hrithik fan or you get inspired by seeing people who are physically super fit. All in all, the film is nothing but the makers' tribute to good looks of Hrithik Roshan, and Roshan's own contribution to the club of '100 crore films' that otherwise suck big time.

Oh yes, and the film is a remake of Tom Cruise-starrer 'Knight and Day'. But, who cares. Yawn.

Rating: ** (Average)

Taking Care (Silence)

All kinds of sound,

A child wailing, a train running

Sound that resides in a guitar

Noise that comes from within and far.

Rain lashing a tin rooftop

A bird's lazy morning chirp

Crickets playing a night-long match

To each soul, a voice you can attach.

The sound and its healing verb

It would all be futile

Without a lasting doze of silence

Peace suffices after gunshots and violence

Silence of the rain, the guitar, the people

Silence of a bird, a friend, a mountain

They may look a little out of place

But if sound is a shoe, silence is the lace.

So sit back, cut off, let go

Everything can wait, or else fall silent

Don't always seek, just be there

Life has a million ways of Taking Care.

'Mary Kom' is Neat, Sincere and Inspiring

Attempting to make a biopic on a sportsperson is tricky enough, add to it the fact that the subject in question still happens to be active and very much in the news; then you are virtually playing with fire. Howsoever ignorant the Indian public may be about the Northeast, most of them would have at least gone through the real Mary Kom's Wikipedia page since a movie on her life was announced. It is in this context and the fact that you already know which way the boxing match in the climax would go, 'Mary Kom' stands out and deserves praise. Debutante director Omung Kumar and story & screenplay writer Saiwyn Quadras smartly go up, close and personal into the champion boxer's life and beautifully weave the narrative around her life's challenges and predicaments.

The film interestingly and cleverly does not follow Mary Kom's career's most recent events (the boxer's bronze medal winning effort in the last Olympics Games). Starting from Mary's younger days in Manipur where she battles insurgency, poverty, her father's resistance and society's prejudices, the film eventually closes after tracing the boxer's unbelievable comeback to the top (wining the 2008 Women's Boxing World Championship Gold in China) after getting married and delivering twins, and while battling the sports administration's apathy.

The film's biggest strength lies in the way it depicts Mary Kom's unusual relationship with three important men in her life- her husband, coach and father, and how it shapes the boxer's life on and off the boxing ring. Darshan Kumar as Onler Kom, Mary's out-of-the-world husband beautifully underplays his part and ends up making you smile and dote over him (and of course, the 'real' Onler). The actor as the ever-supportive husband, friend and motivator who gives up his own career, baby sits the twins and digests all the barbs of the world for being a man who 'lets his wife go out and get beaten', looks very believable and effective. Shiv Thapa as Mary's maverick coach is affable and outstanding.

Aided by a wonderful support cast, Priyanka Chopra gets into the role of Mary Kom with her heart and soul, and boy it shows! The actress is almost flawless in her dialogue delivery and diction, powerful and fierce when she is punching her opponents, and vulnerable and excitable when she is confronted with emotions. This is easily one of Priyanka's finest performances that is oozing with sincerity and dedication. The gorgeous actress has gone de-glam, bulked up and trained really hard to play her part and it has come out magnificently on the screen. Thankfully, the director does not fall prey to the temptation of trying to make Priyanka 'look' like Mary Kom. This is an out and out commercial film that never tries to come across as something which it isn't or cannot be (characters maintain a consistently believable accent while they speak in Hindi, no one goes overboard in trying to look and sound like a Manipuri).

But, everything is not ten on ten in the film. The film's soundtrack, although played in the background, is a big downer and distracts you many a times from the narrative. Also, the first half of the film gets a tad slow towards the interval and you suspect that the makers look a little lost while trying to bridge the pre-marriage and post-marriage events of Mary's life. The climax of the film also looks a little over-dramatized, especially when most of the film moves you without trying to be too dramatic.

All said and done, Mary Kom definitely has more pluses than pitfalls and it surely qualifies as a fine biopic that never lacks purpose and honesty. Watch it for Priyanka Chopra's stellar performance, balanced storytelling and to get inspired from one of India's greatest sportswoman's unbelievably remarkable journey to the top.

Rating: *** 1/2 (Three and Half - Very Good)

10 Reasons Why Modi is Proving To Be a Gamechanger

It's been 100 days and you know it. You know that you have a Prime Minister who is not as stiff as a robot and does not wear a mask in place of regular human face. The new Prime Minister has eyes that rove, muscles that flex, hands and a head that move and most importantly a mouth that utters words. Behold India, you have just gifted yourself a rather energetic, spontaneous and 'lively' prime minister, ending a decade-long agony of drift, lethargy and uncertainty.

I am not trying to draw out a 100-days report card of Prime Minister Modi nor I am trying to say that all that plagues India has ceased to exist. I am a regular young Indian who is very impressed with what he has seen of Mr. Modi thus far. From the historic swearing-in to the just concluded Japan trip, Modi has driven home at least three vitals points - one, he is way more spontaneous and imaginative that even his admirers thought of him to be, two, he will go all out to achieve what he believes in, almost like an adamant child, three, he means business, and he will do everything possible to leave behind a remarkable legacy. To cut matter short, I am here listing 10 reasons that make PM Modi a gamechanger or at least give him a very good shot at becoming India's first great leader of the 21st century:

1. The Man is the Message: Modi is a workaholic, no-nonsense man. He labours every day in his office and he his making sure everyone else around him does the same. Ministers are more accountable and ministries are bustling with activity right at 9 in the morning. Bureaucrats are powerful but their flab has been peeled off. There is zero tolerance towards inefficiency, non-performance, sycophancy, chalta-hai attitude and corruption.

2. The blessed oratory genius: Modi speaks with his heart wherever he goes. Secretary-written speeches have been junked, nicety and typicality have been minimized, he calls a spade a spade. So, not only his speech is extempore on the Independence Day, he takes the great risk of going completely unscripted on a foreign tour as crucial as Japan's. Guess what, he is pulling it off with aplomb thus far.

3. Buidling a personal connect: Mr. Modi has the innate knack of staring into someone's heart, and not just the eyes. Right from his campaigning days to his current status of being the prime minister, Mr. Modi has managed to strike chord with a billion people. You believe him when he says he will build 100 smart cities, clean the Ganges or get us the bullet train. Politics is a game of perception and Indians largely perceive Mr. Modi as a 'doer'.

4. Love thy neighbour: Modi has managed to do what the two successive UPA governments conveniently and dangerously ignored, that is meaningful engagement with its immediate neighbours. In an unprecedented gesture, he invited eight heads of state and chose Bhutan for his first official tour after taking oath. Next in line was the much-needed brotherly (not big brotherly) gesture towards Nepal where he won over everybody's heart while addressing the Nepalese parliament. India's relations with Bangladesh and Sri Lanka have dramatically improved and even Pakistan was given an olive branch till they decided to look the other way.

5. Perfect Pakistan Policy: Modi and his government has successfuly underlined a simple message- terror and talks cannot go on simultaneously. Despite opting to engage with Nawaz Sharif on day one of his office, Modi quickly realized that it is futile to 'talk' with a neighbor that is hell bent on gunning down our soldiers and civilians on the border. Add to it to the brazenness of Pakistan to hold separate talks with the so-called Kashmiri representatives, the Hurriyat, a group of largely out-of-job and out-of-favor anti-nationals. By deciding to call off the foreign secretary level talks, Modi has at least cut down on a futile decade-long exercise that yields nothing other than an inflated bill of cookies and table tennis balls.

6. Reinvigorating foreign policy: Modi has left Japan in complete awe of him. From tweeting in Japanese to jamming with drummers to playing a flute, Modi has brought in whole new level of personal involvement in India's relations with Japan. Expect more of this when Chinese come to Delhi or Modi himself visits the US. Also, not to forget the subtle nudge that Modi had for Beijing, hinting the strategic shift in India's position to not treat China with the kind of respect that it hardly deserves. India-Japan partnership may well be the most defining achievement of this 100-days old government.

7. Right noises on economy: There are no tall promises of bringing down the inflation in 100 days. Jaitley, Modi's trusted Finance Minister, is working slowly but surely to bring India's economy back on track. Green shoots are already emerging with the manufacturing and service sectors showing signs of revival, GDP clocking its best ever performance in the last two and half years and a renewed push for reforms and economic management. The fact that Modi has eloquently asked the world to come and 'make in India' shows the kind of interest the PM has in reviving the India story.

8. Rebuilding and reselling the India story: The last five years have seen India plummeting in the eyes of global investors and marketers. Policy paralysis, indecisiveness of the leadership and red-tapism threatened to cut the India story short, but Modi, like a true-blue Gujarati is selling the India model to the world again. He promises to reduce bureaucratic hurdle for foreign investors and offers them a red carpet while underlining the uniqueness and opportunities of the Indian market.

9. Focus on little things that will go a long way: Bank account for all Indians, drive to make India a clean country, cutting down on multiple ministries, scrapping of the planning commission etc. are just some of the examples of small but significant corrective measures that Modi has focused upon. While the big pet projects may take some time to materialize, these tiny jewels may well help India shrug off some of its dirt and troublesome flab.

10. Dodging a thousand provocations: From day one, parties and intellectuals with vested interests have been trying to flare up unnecessary controversies around the new government. From Smriti Irani's educational qualification to random communal statements by fringe elements, an attempt has been made to incite Modi into speaking something silly or out of turn. Dodging all these efforts, Modi has been focused on governance and promise delivery, and has refrained from playing into the hands of his critics.

These are great signs coming from India's new Prime Minister. 100 days is too less a time to judge the performance of a Prime Minister or a government, but it is the kind of mandate, resounding and historic, that Mr. Modi has got from the people, which makes his each day in office an acid test. The man, so far, has delivered more often than not, a feat that has further risen the already towering expectations of this nation of a billion hopefuls.

An Apple Love Story

We didn't fall in love

Love fell on us

Like how the apple did

On that scientist so famous

We did make faces

But also seemed to like it

Like how you feel

For a deal when you strike it

We didn't realize

How it hurts and gets no better

After the dust settles

On the cherished love letter

We warned, they said

Scoffing at us in disdain

And we thought they were happy

People we cared for in vain

With time we learned

A lesson so true and deep

It's your apple, your love

For you to eat, juice or keep.

This I-Day, Think of Your New Government

It's been nearly three months since the new government, under the leadership of Narendra Modi, took office in New Delhi. It's also been three months of greatest scrutiny that any government in Independent India has ever faced. While scrutiny is welcome, more than welcome it's need of the hour, but in the case of the new central government, the scrutiny has often bordered on plain jealousy, useless leg-pulling and an insatiable desire to see the government fail even before it finds it feet on the ground.

This Independence Day as Narendra Modi stands on the Red Fort to address the nation, calm down and think a little. Realize that a government is not only of the people who voted it to be in power. It is also for the people who did not vote for Modi or the BJP and also for those who did not bother to vote. It is in this perspective that one must realize that praying for this government to fail or wishing for Modi to make a mistake will do no good to this country. We have already suffered years of misrule (even if you discount UPA-1's relative good performance), and its time India had a government that has full support and trust of the masses.

Let's not make the mistake of thinking that those who are trying to run down the government are in vast majority or reflect the popular mood on the ground. They are a handful of self-proclaimed intellectuals with bruised egos who have yet not submitted to the idea of Modi riding on a massive, historic mandate. These are people who wrote off Modi and the BJP despite opinion polls predicting a landslide. Bogged down with egg on their faces and by lack of any credible 'issue' to challenge the new government, the intellectual, social media savvy gliterrati is pulling out rotten tricks out of the hat. No wonder, Smriti Irani's education suddenly becomes nation's talking point, what if we have had most unworthy of ministers occupying the office in past. It is absolutely laughable how a self-made young woman is being made fun of by a group of online war-wagers who claim to be all for woman's right and dignity.

Smriti Irani's deriding seems to be a flash in the pan when you take a look at some of other 'issues' raised by the naysayers. Hardly three months in office, and you start criticizing the govt's economic policies (let the govt. frame its policies first!), the budget is called unworthy and everybody forgets about the baggage of economic paralysis that this government has inherited. You start complaining of 'bure din' the moment petrol prices go up but fall silent when the prices go down subsequently. Do they even know that petrol prices are deregulated and hence out of the govt's direct control? You start crying hoarse over rising tomato prices but fail to realize that the prices have not gone up spirally (unlike in the past) and wholesale inflation has been going down. Who bothers about all this when the sole objective is to make poor parodies of 'Achche Din'?

You have people giving lectures on communal harmony and shedding crocodile tears on what's happening in Uttar Pradesh. Is maintaining communal harmony only the BJP's duty? What about the Congress, the Samajwadis and virtually every other political party? Why is the communal bogey raised every time the BJP comes into power?

And last but not the least has been the absolutely hilarious frenzy over PM Modi's supposed 'silence' since the time he has taken oath. Why the PM is not speaking as much as he used to do while campaigning? Really? Guess what, he is working. And also do you not realize there is huge difference between election campaigning and running a nation as big as India? Can you imagine how intimidating and overwhelming it can be to walk into the Prime Minister's shoes, leading a rather inexperienced group of ministers, being surrounded by bureaucrats with decades of experience? Can you imagine how foolish will it sound to speak out of turn or without proper knowledge when officials, bureaucrats, economists and diplomats thrown jargons at you?

Modi is taking his time. He is getting used to the PM's office, the air of Delhi, the corridors of ultimate power, the challenges of governing a nation that has seen anything but governance in the last few years. He is picking up the pieces of a nation's broken dreams, he is opening up the shackles of immense expectations that this country has from him. And that's why the relative silence. The PM is working. Give him time. Do not pray and wish for this government to fail. If your wishes come true or your prayers are answered, the results will be catastrophic.

If You Think Of Me

If you think of me

As the sunshine

When it rains

And there are dark clouds.

If you think of me

As the rainbow

When the color fades

and there are self-doubts.

If you think of me

As your shadow

When the need comes

And there are no crowds.

If you think of me

In these moments

And not really all the time

We can bond every now & then
Like how sugar mixes with lime.

Image- St. John's Church in the Wilderness. All Rights Reserved

'Kick' Review: Watch it (Only) for Some Moments of Madness

Let me put out a disclaimer first up. Before catching the midnight show of Kick, I coincidentally watched Salman Khan's 1999 hit Hum Dil De Chuke Sanam on TV. This review may, therefore, be a little biased in favor of Khan, whom I absolutely adored in the aforementioned SLB film.

There is little doubt that there used to be a good Salman Khan, all throughout the 90s and at least through the first half of the first decade of the new millennium. And then, he was hit by a formula that worked - formula of remaking action-comedies from down south. The dividends gained were super rich, superstardom achieved in the process was almost Rajnikanth-like. It is in this context that Hum Dil De Chuke Sanam and several other films of the 90s make you miss the real Salman Khan. Anyways, lets not take anything away from the new-age, muscle-flexing, bone-cracking, train-stopping bhaijaan who has now become a legend in his own right.

So, does Kick carry forward the new-found larger than life image of Salman Khan? Oh yes, it does and in fact goes the extra mile in mystifying the superhero Khan image who can do anything and everything possible on earth. Okay, not just on the earth but the entire universe. So, you have comic strips of the 'Kick Puttar' writing with both of his hands, working on a laptop upside down, riding a bicycle on rooftop railing, and doing much more that only possibly son of Jaadu can do.

Kick celebrates the legend, and the life and times of Salman Khan. Every single frame and scene of the film worships the superpowers of Khan without formally proclaiming him as God's messenger. All of this mad fixation and obsession with Khan would have made for a delightful cinema experience; after all we have whistled in the past for Chronicles of Bachchan and Rajnikanth; if only the makers of this film would have settled for a bit of method in their madness.

The writing and editing of the film is pedestrian, almost cringe-worthy. There are so many unanswered questions at the end of the film that you will not bother to remember them. And yes, you will wonder how can writers (Rajat Arora, Chetan Bhagat, Keith Gomes and Sajid Nadiadwala- who also happens to be the unworthy director) take your wisdom for granted and offer you such a substandard product in the age when every film is scrutinized with the precision of a hawk's eye. Also, in its zest of showing more and more of Bhaigiri the film is somewhat never-ending. It goes on and on without caring for your aching brain and back.

But nonetheless, in between the nearly three-hour long 'test of patience', there are some genuine moments of madness. Some scenes that make you realize that Salman is a born entertainer and if given an opportunity, he can actually make you laugh like a hyena. Special mention should be made for his hilarious yet effortless dance moves on 'Saat Samandar' and 'Party All Night'. There is also a scene where Salman lands up in jail and enacts a laugh riot with the inimitable Sanjay Mishra as the inspector-in-charge. But rest assured, these moments are rare and few, and you will need to really wait for them. And when these moments come, make sure you grab them with both your hands and feet.

There is no need for you to bother about the story, the plot or the climax, because there is hardly any. Randeep Hooda is efficient as the super cop, Jacqueline Fernandez looks pretty and gets substantial screen time, given that it is a Salman Khan film. Nawazuddin Siddiqui tries hard to come across as a menacing villain, but ends up tickling your funny bones instead.

All in all, Kick will give you a kick if you are ready to wait and have patience. And also, if you are ready to make the most of the 'moments of madness'.

Okay, at the end of the film, you will also wonder if you have adjusted your patience and acceptance levels (with regards to a Bollywood film) in the last few months/years. Or if now, you expect the least from Salman Khan these days. Go, take your Eidee and also think a little.

Rating: **1/2 (Average)

The Stupid Naught

She stood there
Pushing her point like ever before
I looked at her, eyes wide open
She looked at the ceiling and the door

We had been together all along
Like a road is with its traveler
But a road has a few roadblocks
Oh yes, love is a great leveler

Today as the guns blazed
I noticed a bit of a difference
A piece of gem shone in front
Filling me with joy and reverence

I think she smiled from her heart
And it truly reflected on her face
It wasn't the first, but first of its kind
The kind that holds a special place

Don't know if she knows it
But every time we have loved or fought
It's her smile that has made the difference
She goes one up, and I'm stuck at the stupid naught.

Image: Google

ग़म, सुकून, फ़िक्र और तस्सल्ली

ग़म 

ग़म में डूबे कई मर्तबा हमने सोचा

दिल-ए-दरिया में उफान है या हमें तैरना नहीं आता

उम्दा ये जवाब मिला, "ठहरे हुए पानी में बहा करते हैं,

तैराकी की बारीकियां अक्सर उफान ही सिखाता है"

सुकून

निज़ात पाना अगर सुकून होता

तो हर शाम लोग दीये जलाया करते

कोई वजह होगी जो हर रोज़ जंग जीतने वाले भी

दिवाली की  राह देखते हैं। 

फ़िक्र 

थाम कर मेरा हाथ वो मुस्कुराई और बोली 

हमारे प्यार की उम्र बहुत लम्बी है 

हमने कहा ये हुई दिन, साल,  महीनों की बात

अब हाथ के हाथ हमें फिक्र की फ़ेहरिस्त भी बता दीजिए

तस्सल्ली

जान लेकर भी उन्हें नहीं मिलती 

और हम जान देकर भी देख चुके 

ताज़्ज़ुब इस बात  पर है 

आज भी एक नज़र काफी है तस्सली के लिए। 

साभार - Google

Ashes

It fuels the fire,
Fire that burns your inside.
Inside a shop when asked to throw it,
It hurts to dump your favorite cigarette.

She walked far away,
Away when you needed her close by.
By now, when the dust has set over,
Over and over again, you miss her shine.

Love has bitten you more,
More than making you shy.
Shy of the pain it leaves behind,
Behind it all, you still sense some love.

A few things go wrong at times,
Times when you think you are done.
Done with the burning, the snub, the pain
Pain that runs from head to toe via heart.

But your cigarette, your girl, your love,
Love them a little more come what may.
May you learn to relish while you burn,
Burn because you'll shine, unlike the Ashes.
(Ashes that are dead, lusterless and gray.)

Guwahati: The Inconvenient Truth

It's shocking how all of us (myself included) missed it completely. Yes, the first response after seeing that molestation video from Assam had to be that of outrage and anger. But even after settling down post that initial response, nobody managed to notice the most obvious signs of the entire filming being fishy. It took me a bit of enlightening on part of Barkha Dutt to finally notice the strange 'friendly' relationship that the camera had with the mob.

When journalists or cameramen go to cover a frenzied mob, they fear for their safety. Simply because of the reason that the mob, in that state of madness, could target them, their camera or their heads. Because howsoever crazy and ill-reasoned the mob may be, it does understand that a journalist and his camera are the last things to be befriended. This assumption is more and more applicable in cases where the mob is indulged in some horrific law-breaking exercise, such as lynching and molesting. So, a mob beating up a thief may not mind the camera over its head, but a mob molesting a girl, in 99 out of 100 cases, would not hesitate in assaulting the journalist, for it knows that the camera can spoil their fun.

But nothing of this sort was visible in the Guwahati molestation video. Forget about being camera conscious, the molesters passed familiar and friendly smiles towards the camera, inviting it to come closer for a 'better' view. There was not even a pinch of hesitation or reluctance amongst the molesters about letting the cameraman shoot the condemnable incident. Now, either the molesters were so daring that they did not give a damn about the camera's presence or they had a tacit understanding with the man shooting the entire event. The chances of former are very rare. Because, fear is an emotion that has a place in even in a law-breaker's heart.

So, it brings us to that age old debate over the role of media in situations like these. First, if the molestation was orchestrated and instigated by that cameraman/ journalist, it makes him a worse offender than the molesters themselves. But let's not jump onto this conclusion so early and wait for probe to conclude. But even if the incident was not choreographed, should the journalist have tried to stop it or should he have continued to shoot?

I belong to the school of thought that says a journalist must go ahead with the 'job' at had first. Because, the truth is that the 'truth' would have never come out and caused this national hysteria if there was no video footage. Every individual in the society has a definite role to play and I believe a journalist's role is to 'inform' the people. He is a messenger, much on the lines of a doctor being the saviour and the police being the protector. But again, in situations like these, an individual needs to move out of his traditional role and assume a greater collective responsibility towards the society. After all 30-minutes footage or the a 5-minute short clip, the 'message' would have been lucid enough in any case. Informing the police as soon as the possible, and intervening to stop the mob to the best of his abilities, are part of that collective social responsibility.

There are far too many horrendous blunders that have been committed in the Guwahati molestation case. From showing the face of the victim by the media to revealing her identity by the NCW (how ironic!?) and the Chief Minister's office, the trail of indifference is horrifying. Amidst all the hue and cry and the supposed aftermath of 'justice', the girl in question is turning out to be the greatest sufferer. Because, the channels and the reporters will move on, the government and the administration will cope up with the jolt too, but the victim's lost dignity is hard to be restored.

And I fear the worse. The Guwahati case will soon be forgotten.

'Cocktail' Belongs to Deepika Padukone!

Cocktail arrives with a huge baggage of expectations. The promos and music of the film gave us the belief that it perhaps has all the ingredients of an 'urban epic' on contemporary friendship and romance. So, does the trio of Saif Ali Khan, Deepika Padukone and Imtiaz Ali (Co-writer) succeed in scaling new heights of romance post their highly successful outing in 'Love Aaj Kal'. The answer is- yes, but only partially. While the first half of the film is full of some beautiful light moments, the second half is stretched and aimless at several places. In between all of this, there are some quirky dialogues, memorable sequences and an incredibly brilliant musical score.

Saif Ali Khan plays Gautam, a 'flirt' who can not control his urge to go behind beautiful women. More often than not he succeeds in charming women of all hues and nationalities, Veronica (Deepika Padukone) being the latest of them all. Veronica, herself, is a free-spirited 'rich bitch' who in a sense is the female version of Gautam. But all her flings aside, she is a girl with golden heart who helps out Meera (Diana Penty), a simpleton who has just arrived in London from India, and has to deal with the shock of a fraud marriage. Veronica and Meera live together and soon Gautam moves in on the virtue of being former's 'boyfriend'. They are visited at their apartment by Gautam's loud Punjabi mother (Dimple Kapadia) who is bride searching for her son. What follows next is a cocktail of triangular romance between Gautam, Veronica and Meera.

Cocktail boast of some endearing moments in the first half. The unique bond shared by the three leads brings smiles on your faces, and some of us can even relate with the principle characters and the kind of fun-filled situations they land in. Proceedings breeze past in front of you as long as Veronica and Gautam are into their non-committal relationship, and share a very warm camaraderie with Meera. Problem surfaces as soon as cupid strikes the trio in Cape Town, and the awesome threesome undergo emotional distress. There are some sluggish talk heavy scenes in the second half that induce yawning. Also, the predictable path of the storyline post intermission leaves a lot to be desired. But, despite all these flaws Cocktail manages to sail through mainly because of its very entertaining first half, cleverly juxtaposed musical score and brilliant performance from the self-proclaimed rich bitch Veronica, that is Deepika Padukone.

In fact, Deepika comes across as the cornerstone of Cocktail. She looks absolutely stunning and sufficiently wild as Veronica, expressing and holding back emotions with aplomb. You are not just mesmerized by her sumptuous looks, impeccable wardrobe and scintillating grooves, but also by the way she handles difficult emotional scenes post interval. Cocktail is surely one of Deepika's finest performances till date, at par with Love Aaj Kal, and should bring in a flurry of award nominations for her.

With films like Salaam Namaste, Hum Tum and Love Aaj Kal to his credit, Saif Ali Khan by now is an expert at playing the quintessential urban dude. But in Cocktail, Saif looks cocky at places. There are a few scenes where the actor displays his perfect comic timing, but in a lot of scenes he looks jaded and out of touch. Also, he looks 'aged' at many places and some of his supposed one-liners fall flat. The debutante, Diana Penty, comes across as a pretty lass and gives an average performance. She has the habit of being monotonous with her body language and facial expressions despite the sombre nature of the character she plays. Dimple Kapadia as Saif's mother is very effective while Boman Irani does not get his share of brilliance despite of having ample screen time. Randeep Hooda in a cameo is a total waste.

Director Homi Adajania easily comes out of the dark mould of his debut film 'Being Cyrus'. He shows good craft in creating some identifiable characters but struggles in execution of emotional scenes. Interestingly, Homi seems to be in command till the story (Imtiaz Ali, Shaad Ali) proceeds in its merry path, but falters as soon as writing goes slightly weak. Anil Mehta's cinematography captures London and Cape Town beautifully. Special mention should be made for remarkable camera work inside the night clubs that plays a crucial role, along with the music, in pushing the audiences in party mode.

Pritam's music is uplifting, perhaps his most accomplished work since Love Aaj Kal. 'Daaru Desi' and 'Tumhi Ho Bandhu' are peppy while two tracks (Angrezi Beat and Main Sharabi) borrowed from Honey Singh's album 'International Villager' are like icing on the cake.

On the whole, 'Cocktail' is a heady blend of some fun-filled and  few ordinary moments. Despite its 10-odd minutes of surplus length and untidy second half, the film rides high on Deepika Padukone's spirited performance and Pritam's foot-tapping music. This one is to be watched with your dosts and yaars, followed by some Desi Daru (afterwards)! A cool summer gift from Bollywood.

Rating- ***3/4 (Good)

Bol Bachchan is Consistently Watchable

Ok, I have this feeling that Bol Bachchan was conceptualized and made for Abhishek Bachchan. You may argue that there is nothing strange in a film being made with a certain actor in mind. But, here the concerned actor happens to be Abhishek Bachchan, whose career has nosedived in the last few years. He hardly has had any credible film under his belt off late, and he is struggling badly when it comes to box office numbers with even newcomers like Imran Khan and Ranbir Kapoor putting up much better performances, both critically and commercially. And also, Bol Bachchan is not a film that will enhance Junior AB's credentials as an actor, that dream project kind of thing that every hero/heroine dreams about. So, what do I mean when I say Bol Bachchan was made for Abhishek Bachchan? Ok, to put it in straight words, Bol Bachchan was filmed to gift a 'hit' to Abhishek Bachchan! And guess what, after watching the film you realize that Abhishek, finally, will actually have a hit to his credit. Thanks to Rohit Shetty and his brand of Cinema!

Bol Bachchan revolves around a predictable 'comedy of errors' plot. This formula of mistaken identity in Bollywood is as old as AK Hangal. And our very own Mr. Shetty has milked this formula like no one else, minting in hundreds of crores of rupees through Golmaals and All the Best (My favorite Rohit Shetty Film). What is different with Bol Bachchan then? Here, Rohit Shetty pays a tribute to the original Golmaal, the cult classic from Hrishida, in his own signature style but does not attempt to become over smart. He keeps it simple, interpreting the original in today's times, without tampering with the 'soul' of Golmaal.

The story, as you may already know and guess, is quite predictable. Abhishek Bachchan plays Amol Palekar's part while Ajay Devgn (why this missing 'a' in Devgn?) reprises Deven Varma's role. Both of them are sufficiently funny, specially Ajay who delivers some horrendously humorous 'English' one-liners like 'Hard work is the keyhole to saxophone' and 'Boy in armpit, hyper-noise pollution in city'. He is Rohit Shetty's go-to man and he does not disappoint one bit. And yes, there is ample dose of car flying sequences and Ajay beating the hell out of goons, while the camera wanders across his muscular body. 

Abhishek Bachchan, for whom this film was made, is brilliant at places and ordinary sometimes. He revisits his Dostana days through the character of Abbas Ali and comes out with flying colors. He looks sincere throughout film and seems keen on making the most of this wonderful 'hit' formula in hand. However, it is Krushna, the marvelous stand-up comedian of 'Comedy Circus' fame, who disappoints out of the entire principle cast. He looks uneasy in front of the camera and your wait for a moment of comic brilliance from his side never ends. Archana Puran Singh, Krushna's judge at Comedy Circus, plays her 'double role' with required humor and perfection. And the two leading ladies, Asin and Prachi Desai, are perfect eye candies, roaming around the picturesque Rajasthan village in their beautiful traditional Indian dresses. 

As for the director Rohit Shetty, kudos to him for creating a niche brand for himself in this industry. We need him in the fray, as much as an Anurag Kashyap or Imtiaz Ali. I think he knows his target audience as well as any other filmmaker, and is proud of his own limitations and strengths. 

All in all, Bol Bachchan is certainly not an ideal comic flick. But it is very much tolerable and in fact quite humorous at places. Film's more than 2 and half hours of length is a problem, so is Himesh Reshammiya's uninspiring music and Asin-Ajay's half-baked love track. But the major objectives of this film, like all of Rohit Shetty's films, such as madness and buffoonery  are duly achieved.

Your chest will certainly not become a blouse after watching Bol Bachchan, but you will get your intermittent dose of laughter and fun. This one is a typical popcorn and Pepsi stuff from Rohit Shetty factory!

Rating- *** (Good) 

 

Ability to Laugh at Itself Makes America Great

236. No, this not Sachin Tendulkar's or Kumar Sangakara's latest Test double hundred. A country has completed these many years of its existence. And let me remind you that today is 4th of July. Yes, the United States of America, that ruthless superpower that we so love to hate and pounce on every opportunity to write its future off, is celebrating its more than two-century old existence today.

What makes me write about America? I am all of 23-years old, do I have the right to scrutinize and debate over a nation that is now 236 years old? Also, I am not an American (you know that) and have only little knowledge about the world outside India. And I did not say that I know India inside out either. But there is something fascinating about America, something magnetic that draws almost every human being towards that country. Even those who are repulsed by American hegemony can not help but think about America all day all night long. They vent their anger against US through Twitter and Facebook, forgetting that these platforms too have deep American roots. From the automobile to the Television to google to your toilet seat, the American connection is hard to be ignored.

Yes, America is a shameless resource hunter, a country that has exploited the earth's endowments relentlessly over the last century. In the process, it has fought and incited wars in almost all corners of the world. From Iraq to Afghanistan, US' quest for superiority and its championing the cause of democracy and counter-terrorism have been nothing but veiled attempts to establish control over critical non-renewable resources. But today, I am less concerned about the policies of the successive American governments. What intrigues and interests me is the remarkable success of the American society to stand as a cohesive unit over the centuries, and spread its influence over the entire globe.

So, what makes America 'Great'? For me, the greatest American asset is its ability to laugh at itself. Yes, freedom of expression in American society is almost unprecedented, the people there enjoy the kind of liberty that hardly any other country in the world offers. Right from a literature genius like Mark Twain to the current crop of comedians and satirists, America has a long list of its own national icons who ridicule and laugh at their country's misdemeanors. In the early and mid-20th century, the legendary notion of the 'Great American Dream' was trashed by scholars and general public alike. The American society has always been divided on the racial and ethnic lines, but these lines have often been blurred by Americans themselves. So, an emotional nation voted a Black into Presidentship, and few years prior to that, did not hesitate in branding its own President as a 'human rights violator' or even a 'terrorist' in extreme cases, based on his misadventures in Iraq and Afghanistan.

You can not imagine such liberty in the rising superpower like China. The voices of Chinese people is often thwarted and human rights is a taboo term in that part of the world. If US has a belligerent army that threatens security of the nations across the world, it also has watchdogs like Amnesty who cry hoarse at the slightest hint of injustice. It is this wonderful dichotomy that makes America a fascinating success story. Despite contending with a huge influx of immigrants of various races and ethnicity, the American society has managed to keep its various strings attached, at least much better than the Britons.

American government may always look for its own interests, but its the free-thinking mindset of the people of the United States that makes their country great. You hardly witness an outcry in countries like Pakistan or even the Gulf Nations over Jihadist terror attacks across the world, but the Americans did not hesitate to criticize Bush after the Gulf War or his so-called War on Terror. You may call CNN biased, but it enjoys great autonomy, something that you can not associate with a Xinhua. From Hollywood to MTV to that common middle class American, every one is proud of the achievements of the USA as a nation, but is never shy of pulling the carpet from the under the feet if a need arises.

While our Desi 'experts' sweat profusely when asked whether the Great Indian Story has gone bust, the Americans have been at the forefront when it comes to predicting doomsday for themselves. Noted comedians and social critics have predicted that US will no longer be the numero uno of the world and that its decline is inevitable. It is this ability of the American society to introspect and self-examine which has made it last so long, that too very strongly. Don't forget, US was like Britain's abandoned child in its initial days, the White settlers were indulged in fierce wars with native Indians, and there was a third dimension of African slaves as well. But over the years, the Americans have evolved remarkably by their methods of self-correction and improvement. 

For me, the American Dream is not over. It will not be over till the Americans continue to laugh at themselves. Because governments may think in terms of military expenditure or GDP figures, but the an average American still thinks about how to change the world in a positive manner. An American continues to be fiercely free and reasonably sensible.

It is perhaps the reason why Shah Rukh Khan has to go to America again and again despite being frisked at the Airports. The work culture and social credentials of this country is impeccable. Why just Shah Rukh Khan, don't be surprised if you find a Communist or a Jihadist standing in a queue outside the US consulate. There is something magnetic about America, I told you.