Barah Aana Movie Review

On the buttons, final take for ‘Barah Aana’ is that it’s a flick meant strictly for few amongst miniscule groups. Well, there aren’t many chances for single screens to fill their sacs with profits. Incisively, Raja Menon can be praised for his most adept efforts of delivering a piece of out-of-box. Picking the characterizations of a driver, a watchman and a waiter, (categories of people who face the hardest things in Maxim City of Mumbai), the filmmaker weaves a tale of drama that’s enjoyable in few parts. Certainly, not everyone would love to watch this film for it’s the kind of genre that Raja has worked on. Merely not everything is laudable when it comes to screenplay and other narrative vistas.

Take a glimpse on this synopsis and let’s get through a clear-cut analysis…

Barah Aana is a comedy of real life set in today's Mumbai. The story revolves around three unlikely friends: a driver (Naseeruddin Shah), a watchman (Vijay Raaz) and a waiter (Arjun Mathur). The driver is an older man, stoic but dependable. The watchman, in his 30's, is a pushover at work but otherwise mischievous. The waiter is a young, swaggering chap, brimming with ambition. Living together, their different attitudes make for an interesting banter.

At some point, misfortune befalls the watchman, and due to a series of chance events, he stumbles into a crime. Striking upon a seemingly low-risk way to make good money, and discovering a new sense of self-confidence, he tries to entice the others to join him in a series of such crimes. Cat and mouse games ensue between the three as personalities change, but events soon spiral out of control, leading them in a direction that none of them had ever wanted to take...

Getting on with these three actors, they’ve strongly depicted the characterization of most complicated jobs of a chauffeur, night watchman and waiter. Fine, for sure you’ll have those residents in apartments and posh colonies getting through such kind toughest encounters faced in reality. The first half goes flimsy very the filmmaker brims it all plainly with establishing characters. But on the pars, things gets-goes in the latter part and to a higher degree, the kidnap mission of the trio is really interesting. 

Indeed, Naseeruddin Shah’s pictorial in the past films A Wednesday and this week release in ‘Firaaq’ have been terrific. Over there, you don’t watch him articulating more and more words, but his gestures and actions takes us for a great fascination. Possibly, Arjun Mathur who could’ve felt bit unconvinced with his ‘Luck By Chance’ show in minor role has reasons to rejoice. It’s a commendable effort rendered by him. Vijay Raaz is extremely decorous in enacting his role.

Apart from cinematography, Director Raja should’ve tried for getting other technical aspects on the screens with finesse.

Certainly, as the verdict is written right over the top, the film goes close to title that’s been named uniquely. But such an unparalleled comedy-drama wouldn’t savor to everyone’s tastes.

Verdict: Watch it good efforts.

Rating :**½

Videsh Movie Review

Hop-skipping through contrasocio themes, Deepa Mehta strikes with yet another flick that flavours with a strong feminism. Precisely, the film’s female protagonist has many similarities with Aishwarya’s role in The Provoked… Indian brides battered black and blue in soul and body – these similarities tags them together. Of course, scenarios go straight on the same lines where families are prone to ‘Devil-may-care’ motive of barging their daughters in foreign countries after their marriage.

Vibrant and irrepressibly alive, Chand (Preity Zinta) is a young bride leaving her home in Ludhiana, India, for the cavernous landscape of Brampton, Ontario, where her husband Rocky (Vansh Bhardwaj) and his very traditional family await her arrival. Everything is new to Chand everything is unfamiliar including the quiet and shy Rocky who she meets for the first time at the Arrivals level of Pearson Airport. Chand approaches her new life and her new land with equanimity and grace, and at times the wide-eyed optimism of hope-her first snowfall is a tiny miracle of beauty, and the roar of Niagara Falls creates the excitement of new beginnings.

But soon optimism turns to isolation as the family she has inherited struggles beneath the weight of unspoken words, their collective frustration becoming palpable. No one feels the pressure more than Rocky, weighed down by familial obligations. A controlling mother, who can't let him go, a sweet but ineffectual father, and a sister whose two children and unemployed husband are also a burden, all live with Rocky and Chand in a two-bedroom house in the suburbs of Toronto. To make matters worse, Rocky is expected to find the money to bring his extended family to Canada. Unable to express his anger, he finds other ways to release it and it's Chand who bears the brunt of his repressed rage. 

Trapped in a world she cannot comprehend and unable to please her husband, Chand is desperate. Hope comes in the form of Rosa (Yanna McIntosh), a tough and savvy Jamaican woman who works alongside Chand in a factory where immigrant women from all over the world clean and press dirty hotel laundry. Rosa sees past the make-up that covers Chand's bruised face. Realizing Chand has nowhere to turn, Rosa gives her a magical root advising her "to put it in whatever the bastard drinks." The root is supposed to seduce the one who takes it, making them fall hopelessly in love with the person who gives it to them. Chand's attempts with the magic root lead to surreal incidents and her life gradually begins to mirror an Indian fable involving a King Cobra. As the lines between fantasy and reality converge, Chand and Rocky come face to face with each other and themselves. 

It’s as the famous saying goes, ‘One step away from striking Gold’, Deepa Mehta stops halfway… An auteur who established extraordinary versions of substantial women-oriented scripts, this is quite an absurd one.  Ever imagined a socio-drama coalesced with fantasy. A rare cocktail that was supposed to be churned in early 70s; Deepa! You’re too late with this show. Possibly, an ardent film researcher may pick this one to be his case study while for others; they may feel uncomfortable with fantasy barging in through ‘Cobra Ka Khel’…

Pertaining to onscreen performance, doubtlessly it’s Preity Zinta who has trenchantly spelled her characterization. Getting to watch a bubbly missy who often glued herself to glamorous appeals on contrastive grounds is mind-boggling. Nothing much to mark on other star-casts as Preity herself eclipses everyone around…

Giles Nuttegen’s cinematography is honky-dory of its kind. Especially, in the frames where we get to watch the shots placed within the confined walls of Toronto’s house is top-notching. Giles has been so keen on filling the screens with specified tones adapting to scenarios. Moreover, he treads applying the psychological-aspects of getting viewers adhered to screens.  Nothing else to do with other technical aspects as musical scores could’ve been furthermore better; editing is simple sans innovativeness.

Deepa deserves a grand round of applause for her yet another approach towards feminism. But what stops us from getting ahead of appreciating her is dropping an inappropriate idea of fancy into a serious subject.

Certainly, it would have worked if Deepa had set out of her box and adapted some fantasy-based stories like Cinderella. Why not? ‘Alice in the Wonderland’ and ‘Cinderella’ haps to be carrying strong female personas…

Verdict: A slight disappointment from Deepa

Rating : **

Ek - The Power of One - Strictly for ‘Masala’ buffs

It isn’t all the same this weekend. Three films with different genres hitting screens should be a real fiesta for all film buffs… If Aa Dekhen Zara is about ‘Supernatural Thriller’ and Deepa Mehta’s ‘Videsh’ a dramatic theme, Ek – The Power of One is a well-tailored commercial cinema for B and C Centres. Yeah! For those who had missed a hero skipping from air-to-grounds, running faster than a bullet train, cracking down at least 25 bullies and more, here’s a perfect kickshaw.

‘Ek – The Power of One’ is a faithful remake of Mahesh Babu’s Telugu film ‘Athadu’ which can be best regarded to be a different version of ‘Tom and Jerry’. A cop with sense of humor chasing a gangster who’s dwelling with hidden identity… It has a perfect mix of action, here-and-there humors, lots of sentiments, a long-time love story and an inexcusable traitor.    

Appropriately, this isn’t a gonzo flick… as you would’ve frequently seen such movies in Bollywood before couple of decades.

Nandu (Bobby Deol) an orphaned gangster is hired by opposition party leader Anna Mahatre (Sachin Khedekar) to carry through a political gimmick. Nandu had to barge the bullets close to the politician during a public meet, which will win him sympathy votes. Isn’t that a smart move? Well, much before Nandu could set his focus from a rooftop, he’s blown of waters to witness the politician’s assassination. With no options left, Nandu runs into a train where he meets Puran (Akshay Kapoor). He’s a boy from Punjab heading to meet his relatives after long time of his childhood. Meanwhile, cops have reached the next station where train will have its arrival. Turn the tables, there’s a cop who loses his focus on Nandu and bumps off Puran instead. Much before cops could reach the train, Nandu has vanished.

To convey the news about the innocent’s death, Nandu reaches Puran’s ghar only to be misidentified. Aye! The family members assume Nandu to be Puran and emotions take over everyone as each one comes forward to meet him. Drenched in pains of being an orphan and gangster, Nandu for the first time tastes the sweet pangs of love and care from the family. Nandu sees the hidden pain in this family and yet the strength with which Puran's grandfather has held the family till date. His decides to remain there as Puran. 

Thus Nandu now Puran starts living within the family as its own member. He experiences, love, care, pain and goes through a lot many emotions as he is showered by so much love from all within the family. He bonds the most with the grandfather and the eldest bhua. Gradually he also starts falling in love with Preet. Nandu has forgotten his past and becomes Puran, helping the family in all its needs as if the family is his very own. 

In the interim, case pertaining to assassination of Anna Mahatre is handed to CBI Inspector Rane (Nana Patekar)… Fine! He’s a brilliant guy cracking jokes to his best and on the pars close on tracks of Nandu’s hidden place. When time urges both to encounter each other, Nandu has to gear up for his own investigations of raveling the mysterious death of Anna…

Will Nandu be able to come out of the crisis? Will Puran's family find out the truth? Who is the real killer of Anna Mahatre? 

Sangeeth Sivan, who dangled with comedy entertainers jaise ‘Kyaa Kool Hai Hum’ aur ‘Apna Sapna Money Money’, goes for a bold attempt. Hats off to Sangeeth!! In this era where ‘A Wednesday’ and ‘Rock On’ kind of films are topping, Sangeeth presents an old-fashioned masala in a complete new package. As it goes, ‘An Old Same SIM Card in a new mobile’ (polished take on ‘Old Wine in New Bottle’), he has embellished the clichéd tale with stylish technical aspects. Be it Peter Hein’s spellbinding stunts or the sleek editing that enhances the powerful feels of thriller: they’re fantastic.

Bobby has a fair comeback with his adept show. Nana Patekar steals the show with his witty behavior. ‘Awarappan’ and ‘Mission Istanbul’ could’ve disappointed Shriya, but the desolated girl has a convincing approach. Perhaps, she could’ve made it yet more impressive… Alongside, Sangeeth could’ve conceived something more innovative on delineating romantic sequences between Bobby and Shriya. He seems to have simply copycatted the Telugu versioned style. Pradeep enacting Bobby’s friend does a superb performance and he can expect best offers in tinsel town. Jackie Shroff and Zareen Wahah dash down our hopes to a greater extreme… Again, Chunky Pandey slips out from this list by few marks.

The film goes flawless expect mawkish factors overloaded in tons. Every family member seems to be over-emotional. Again, the Telugu style could’ve been reworked for the adaption of Bollywood style.

Valuating ‘Ek – The Power of One’, the film is sure to make it big across B and C centres while miniscule audiences may term it to be ‘absurd’. But that wouldn’t stop the good business of this film…

Verdict: Ek – Dekho Ek Bar, Agar Tum Chaho    

Rating:**1/2

8x10 Tasveer Movie Review

Well, here’s another new genre of ‘Supernatural Thriller’ persistently hitting screens sans a pause. Glimpse through previous weeks’ releases. ‘13b’ dealt with a phenomenal idiot box, ‘Aa Dekhen Zara’ – about a mysterious camera unveiling future’. Here goes, ‘8 X 10 Tasveer’ right on similar notes. This time it’s all about a ‘photograph’ that will unravel the frizzled scenario.

It’s really surprising to watch Nagesh Kukunoor taking up a new avatar of treating an unparalleled script – ‘Murder-Mystery’.  He takes off with a perfect narration all throughout the show and naturally holds onto a perfect climax. What else should a film possess to carry the label of best verdicts? Obviously, Nagesh seems to have focused more on technical aspects that helps a lot for a positive approach on audiences.

Perfect cinematography – sleek editing – dazing locales of foreign countries; here’s the mantra of delighting audiences with a visual treat.

But the film stops an inch from reaching the destination of triumph. It all goes with a slight stumble in the latter part and the reasons justified for murders. Nagesh Kukunoor sports himself bounded with amateurishness on dropping such motifs on the screen.

‘8X10 Tasveer’ is a story about young man named Jai Puri, (Akshay Kumar), who possesses supernatural powers. Jai is of Indian origin who works as a forest ranger in Canada. His life is shattered by the loss of a very important person in his life, his father (Benjamin Gilani). This personal tragedy leads him to use his unique supernatural power to unravel the mystery behind the murder. ‘8x10’ is a supernatural thriller with a nail-biting finish to come up with startling answers.

Getting on with performance, Akshay Kumar excels with his decent show. Perhaps, if you ever felt that Akki had overdone acting in many of his previous flicks, here’s something that proves his adeptness. Be the sequences, where he’s woe-stricken by his father’s loss or the part where he shares elated moments with his sweetheart, he’s cool. Ayesha Taakia goes about with her middling act and Nagesh could’ve depicted her characterization that would’ve had a better impact. Man who steals the show is Javed Jaffrey. He’s sure about sparkling smiles on your faces when he says ‘My name is Happy… Happy without ‘I’ and you are pulled in more with his witty mannerisms, particularly ‘Aaj Mera Happy Birthday Hai’ quotient works out well. Sharmila Tagore, Benjamin Gilani, Ananth Mahadevan and Rushaad Rana score 5/5 for their best take. Credit goes to Nagesh for a perfect casting.

Vikas Sivaraman’s cinematography is scintillating. As mentioned earlier, his works on the stunning locales are sure to carry your senses straight to those places. Songs are quite mediocre and it could’ve been done better while the background score by Salim Sulaiman has been done stylishly.

On the terms of scripting and narration, Nagesh excels with extraordinary skills. Of course, you are bounded with so much of suspense that you’ll really get mystified about the murderer. But then, if you’re really a wizard, the mystery is disentangled right before the intermission.

On the whole, ‘8 x 10 Tasveer’ is all about a faultless thriller that should get you hooked for a couple of hours. If few garbled vistas were pulled out from the reels, then the film is worthy getting ennobled as a ‘Best Thriller’.

Verdict: A gratifying entertainer.

Rating : ***

Aa Dekhen Zara Movie Review

Obviously, very few auteurs composed unique fictions on the supernatural thriller genre. Well, none presumed to go for the most speculative take on such genres. Perhaps the raise of new filmmakers inspired by western flicks is coming to the forefront with groundbreaking motifs.  Aye! You know something…. It all started when the Japanese filmmaker Tsuruta Norio’s ‘Yogen’ (Premonition) topped the charts of World Box Office. If you’re all guessing what this plotline is all about, it’s there right in the title. A Newspaper carries stories that would happen the very next second once read.  Japanese flicks never left anyone getting inspired, even Hollywood.  Things got more exemplified with ‘Grudge’, ‘Ring’ and more that were marked coherent factors sans absurdities that we often notice in other films.

If ‘Yogen’ was all about newspapers, Ring - ‘A Video Tape’, ‘13B’ about TV Series, how about a phenomenal camera exposing future. Quite interesting, isn’t? Befittingly, the film top-notches with a brilliant script unforeseen ever in Indian film scenarios as it treads interesting parts.

‘Aa Dekhen Zara’ goes far-fetched with powerful characterizations and substantial screenplay, though it stumbles at few points.

Not all wildlife photographers do become Mohit Chauhan who’s prone to ‘Thrills’ n ‘Chills’ across every moment. Surely, his famous statement “a wildlife photographer in India, being charged by a tiger sometime in your life is almost a certainty” hasn’t got anything to do for a guy like Ray Acharya (Neil Nithin Mukesh).

Ray Acharya is a struggling wild life photographer who finds ‘misfortunes’ right on his shoulders. The guy hasn’t got a single paisa to run around for his every need until his grandpa dies passing on an extraordinary camera. Nevertheless, Ray who isn’t aware about the supernatural powers of this photo-cam clicks it haphazardly on Simi (Bipasha Basu), an aphrodisiac DJ who resides in the opposite apartment (this guy has been drenched with peeping-tom mania into her Kidkiyaan…). Ah! He’s stuck in appalling waters as one of the photographs depicts herself getting shot at a bar. It’s almost like Ray’s fortune gushing through boundlessly. Not just does he save his girlfriend’s life, but also turns into a millionaire overnight as he clicks at the lottery ticket, race horses to auspicate the right one.

Meanwhile, you’ve the worst baddies in town knocking his door for grabbing the sorcerous camera.  In some manner, he sorts out things through hand-to-hand combat. Wait! This isn’t a happy ending for the lad. He’s topsy-turvily frizzled with the most awful situation, where camera starts prognosticating his awful future.

When previous week’s releases catered to specified groups: either multiplex or single screen audiences, ‘Aa Dekhen Zara’ savors to the best for all… Possibly, for those buffs of ‘Final Destination Series’, it may not exceed your expectations. But, pace dropping off in the latter part adds to the negative traits though loaded with finest songs, it eclipses those diminishing factors.

Neil Nithin Mukesh is simply his best as Ray. The actor had proved his adept skills with in his debut ‘Johnny Gaddar’. He doesn’t strain himself overreacting to the riskiest situations in the frame.  Neil is cool striking limelight with a naturalistic appeal. Totting up is his elegant looks and gestures that draws commendable conclusions. Scrumptious Bipasha shares best chemistry with Neil. Rahul Dev as the baddie does a laudable performance. Musical score by Gourov and Pritham are pleasant to the ears though the camera could’ve been far better. 

Jehangir goes proficient with an unparalleled film. As mentioned, fine screenplay and powerful characters (including the strange camera) grounds the film on best remarks.

‘Aa Dekhen Zara’ - Zaroor Dekhna  Hai… At box office, the film is sure to sustain for next couple of weeks. It’s a doubtless statement, that we can ensure.

Verdict: Don’t miss it.

Rating:*** ½

Dashavatar Movie Review > Hindhi

By all odds, Kamal Haasan has been universally acclaimed as ‘Jacks of all trades in tinsel town. Watching this fantastic actor over on a show of grandeur isn’t something off-the-wall. On the dots, there doesn’t need to be an illustration for his record-breaking attempts for that would be a cliché. But, donning 10 roles isn’t a history-breaking record of this. If you’re an ardent buff of World Cinema, then you wouldn’t have missed the flicks made in ancient times.  Who can forget Rolf Leslie who appeared in 27 different looks in LIFE STORY OF QUEEN VICTORIA (1913)? On the pars, Lupino Lane donning 24 roles in Only Me (1929), Joseph Henabery – with 14 characterizations in BIRTH OF A NATION. More than all, Robert Hirsch picking 11 roles in NO QUESTIONS ON SATURDAY will remain cherished in the pages of World Cinema forever. Certainly, that isn’t an end to the list of actors who’ve created history with multiple roles. It keeps going on and on including Eddie Murphy and our own Sivaji Ganeshan.

Well, looks like it would turn to be an exclusive rather than a review. Let’s put a full stop and get on scrutinizing Kamal Haasan’s brilliant attempt with 10 different roles.

You can whole-heartedly appreciate this man who has stridden marking his best efforts. Nevertheless, not do all 10 roles impress you. For sure, the characterization of Fletcher – Ex CIA Agent was really an outstanding piece of recital. Watch these portions; he has distinctly picked the mannerisms of ALGORE, United States’ most stylish politician.

On the other side, what’s really disappointing with this film? Again, it’s all about Kamal Haasan’s 11th Avatar – Screenwriter. You’ve to be more noetic to grasp what’s actually being presented on the screens, especially for the first 30mins. Looks like both screenwriter and filmmaker were both perplexed in designing particular sequences. Joining the list of absurd factors is unwanted characterizations and situations that coalesces them.

The film opens at the backdrops of 12th century where Vishnu Rangaraja Nambi (Kamal Haasan) is thrown into deep oceans tied to God’s statue. The phase shifts over to 21st Century where you notice Govind (Kamal Haasan), an intellectual scientist excogitating a bombastic biological weapon in the form of a computer chip. When US President Bush (Again played by Kamal Haasan) are appreciating his feat, there happens to be another team trying to grab it illegally. Of course, they’re ready to pay Govind figure of 100Crores. Here begins the ride of roller-coaster thriller where Govind has to get back the Chip that’s been accidentally couriered by himself to Chennai. Rest of the film is all about what happens in next 4 days before horrible accident of Tsunami had grudged thousands of lives…

As mentioned earlier, Kamal Haasan deserves appreciations for his adeptness in endeavoring through the speculative project. But, things would’ve been better if more prominence was thrown on narrative aspects too. Well, that’s the problem when it comes to dubbing films as the tastes vary from Kollywood to Bollywood. That includes comedy tracks too… However, Kamal’s smart move is so blatant with unparallel intonation of RAW Investigation Officer. Surely, you’ll have lots of grand humorous stuffs from him.

When it comes to other star-casts, Asin’s characterization as a Brahmin girl is really ludicrous. This missy had spelled a glorious performance in her debut ‘Ghajini’ and this doesn’t actually elevate anything in Asin’s graph… Mallika Sherawat steals the show with her alluring and sleek looks steals the show. Don’t miss her stunning dance in ‘Black Ya White’. Jayapradha hardly appears not more than 15mins and she could’ve been depicted with yet more importance.

Technically, the film goes extraordinarily sumptuous. In particular, the opulent visuals during climax part are mind-boggling. Ravi Varman’s cinematography is quite impressive but unneeded Jimmy-jib shots really annoy the most. Musical score by Himesh Reshammiya goes middling on certain numbers. The song that has appraisals on Kamal Haasan during final credits is commendable while ‘Mukundha’ is feet-tapping.

On the whole, Dashavatar is all about experiencing a passable show for 185mins brimmed with excellent factors that go in hand with more absurdities too.  It would’ve been better if Kamal Haasan had attempted for a separate version for Bollywood rather than merely dubbing it. In box office, the film has little chances of sustaining for few weeks as there aren’t any big releases on the race.

Verdict: watch it for Kamal’s speculative show 

Rating : **