The phenomenon of hero worshipping is very old among Hindi cinema lovers. There is nothing wrong with it since these actors have entertained us and helped us escape from our stressful routine. But when hero worshipping goes onto a level that people turn a blind eye to the high level of crime their onscreen ‘hero’ commits, be rest assured we are living in dangerous times.

Picture Source - Mail.com

I have always found it questionable and even disturbing to see people demanding forgiveness for Sanjay Dutt despite him being convicted in an utterly dangerous crime of storing arms in connection with the 1993 bomb blasts. But my disturbance scaled higher levels recently when I saw the actor being surrounded and cheered by his fans when he was about to surrender at the Tada Jail. It’s so funny to see people supporting a criminal just because he is a big Bollywood superstar!

All these disturbing scenes have given rise to a single question in my mind – Suppose if a common man like me was convicted under the arms act in connection to a crime as serious as 1993 bomb blasts, how many people would have supported me and demanded forgiveness for me? Nobody would have simply because I am not a superstar! The public would have burnt my effigies in fact! So how can the law be different for a common man and a filmstar?

It is been argued that Dutt has already spent some time in jail but is it enough for a crime as serious as this? His supporters are also raising the point that he deeply regrets what he did. So suppose if I commit a similar serious crime and then repent my acts, will people demand for my forgiveness too?

In the midst of this madness, Nana Patekar’s brave and bold statement on the issue has come as a pleasant surprise. The fearless way in which Nana has expressed no mercy for Dutt has increased my respect for him manifolds. Perhaps, he is the only one from the film fraternity to have spoken about equality in law.

As for the rest from the industry, they scream about honesty, truth and justice only in their films. Their fans whistle and clap whenever their favorite actors speak about these three issues. In real life, both parties will go all out in supporting a criminal activity.

Watch Nana Patekar giving a fearless opinion against Sanjay Dutt's mercy:

Picture Source: Indiatoday.in

With unthinkable amounts of money involved in every stage of the Indian Premier League (IPL), the arrest of S Sreesanth, Ankeet Chavan and Ajit Chandila on charges of spot fixing (or match fixing) doesn’t really come as a surprise. It is believed that money is the root cause of all evils. So when the amount of money involved is abnormally high, evil surely can’t be kept away.

Coming to the topic of banning IPL, I know it might sound outrageous to some. To put forth my point, I would like to list the following changes that have taken place in the cricket world after the emergence of the IPL: -

•     Every season of the IPL is started in the most shocking manner with the auctioning of players where they are literally sold as if they are just commodities.

•     Due to the absurd amount of money being paid to the cricketers, even for just warming benches, a number of players are more interested in playing for their IPL franchises rather than their country. In fact, Albie Morkel and David Hussey have gone on record in saying they aren’t interested in playing for their respective countries. Virendra Sehwag’s shocking decision of skipping India’s England tour in 2011 instead of the IPL (which was before the England series) to undergo an operation for a shoulder injury is still fresh in cricket lovers’ minds.

•     To spread the so-called game, the makers have also gone the Bollywood way of objectifying women, not just with those sleazy cheerleaders but also in the form of TV presenters, who are chosen just for their looks rather than an iota of cricket knowledge.

•     Players are asked to launch their respective team’s clothing. They are also forced to walk on the ramp (which they do it embarrassingly). And the worst of all – those ‘after match wild parties’. So we have product launches, ramp walks, skimpily clad cheerleaders (for lusty men who aren’t much interested in cricket), glamorous TV presenters and high octane parties. Can we have some cricket too?

•     We do have but it is just a bang-bang version with batsmen only wanting to hit over the ropes and bowlers just praying for a false shot from them. No, I am not completely against the T20 format but there has to be some regulation since the format just takes away the actual cricket skills from players. If you have 80 or more matches in a span of less than two months, there will be constant deterioration of skills. This is visible from the fact that hardly any batsman is capable of playing a long, fighting innings in Test Matches these days. Bowlers too are losing the threat and skills required to outplay the batsmen in the longest format since they have started relying on batsmen’s mistakes.

And now, we have the mother of all disgraces – spot fixing scandal involving Sreesanth, Ankeet Chavan and Ajit Chandila. (Even last year, five players were caught in a similar scandal in a TV sting operation.) Personally, I am not at all surprised after hearing some inside stories about the IPL. Unfortunately, I can’t write about it since the people, who revealed this, don’t want to be quoted. But even if we put your common sense into work, don’t we find it weird how a large number of matches go till the last ball or last few balls only in IPL and not any other tournament?

Although there are talks that the arrests are just the tip of the iceberg and many more shocking details and arrests are soon to follow, I tend to disagree. The IPL body and BCCI won’t let it happen simply because it will get all the big names exposed which in turn would ruin the prospects of earning unthinkable amounts from the so-called cricket series. Ideally the tainted cricketers should be thrown in jails like other criminals. But the BCCI and IPL authorities will just sweep the dust under the carpet by just banning the players, which is equal to rewarding them.

Coming to the original question, isn’t it the need of the hour to just ban IPL considering the high level of disgrace it has brought to our dear game of cricket? But as said earlier, the people controlling cricket won’t ruin ‘everyone’s’ prospects of earning enormous bucks. There is, however, a chance of it happening. How?

It is we the people who have let something as shameful as IPL ruin the cricket by investing our huge amounts of money and our precious time in following it. IPL would have been nothing without such high level of public participation. So the power of bringing this polluted version of cricket down also lies with us.

What happens when people don’t turn up in cinema halls to watch a particular movie? It just gets removed ASAP. The same thing can happen with IPL if we just give a cold shoulder to it. If people don’t turn up in the stadiums and don’t turn on their TV sets, it will generate huge amounts of loss in terms of ticket and advertisement revenue, which will throw a clear message to the authorities. (Personally, I find it weird to think people still spending thousands even after such shameful cases coming to the forefront.)

So all those who have always loved or even worshipped cricket, it is time to show your love for the game by simply ignoring the pollution called IPL. Let us join hands to rescue our dear game!

Director: Mahesh Vaman Manjrekar

Producers: Aniruddha Deshpande and Medha Manjrekar

Writers: Mahesh Manjrekar and Sanjay Pawar

Cast: Sachin Khedekar, Sonali Kulkarni, Rohan Talwalkar, Vaidehi Parshurami, Upendra Limaye, Jitendra Joshi, Vidyadhar Joshi

Music: Akshay Hariharan

Genre: Drama

Rating: * * ½

Story Outline: Kokanastha is the remake of Mahesh Manjrekar’s own Hindi film Viruddh (2005). The story focuses on Ramchandra Gokhale (Sachin Khedekar) and his wife’s (Sonali Kulkarni) fight for justice for their deceased son Rohan (Rohan Talwalkar), who was killed by the son of the Home Minister.

(Review taken from the website Halti Chitre.)

Review: Amitabh Bachchan starrer Viruddh is considered one of Mahesh Manjrekar’s better Hindi films. Since Kokanastha is a complete remake of the Bachchan starrer, it also turns out to be a moving saga of an aged couple who have lost their young son. However, the Marathi version falls short of the original due to few reasons, which includes the forced casteism and Rashtriya Swayamsevak Sangh (RSS) angels.

In fact, both angels turn out to be smart PR and marketing strategies. Firstly, the title has nothing to do with the plot and ... To read further, please click HERE.

Although Sanjay Gupta’s Shootout At Wadala fails to impress much (read the review here), the movie can boast some of its creatively witty dialogues by Milap Zaveri. Of course, there are loads of cringe-worthy cheap lines and gaalis but in between, there is some praiseworthy stuff as well which is worth sharing.

• Gunehgar maa ke pet mein nahin, police station mein bante hain.

• Aadmi ko insaan ban ne se pehle, jaanwar ban na padta hai.

• Police se zyada morale hijadon ka hai. Woh toh phir bhi kudrat ke mare hain, aapka kya bahana hai?

• Jail se aane ke baad tu sudhar sakta tha, lekin jo maza bigadne mein hai woh sudharne mein kahan?

• Sabko hero ban na hai. Amitabh Bachchan ne sabki ma t*** di hai.

• Yahan suhagraat manane ke liye shaadi nahin karni padti.

• Jo maut dost ki umar badhaye, woh maut sar aankhon par.

• (BEST of all) Baadshah ki gali mein aake uska pata nahin poochhte. Ghulamo ke jhuke hue sar khud ba khud raasta bata dete hain.

(For Chashme Baddoor dialogues, click HERE.)

Director: Sanjay Gupta

Producers: White Feather Films and Balaji Motion Pictures

Writers: S Hussain Zaidi, Sanjay Gupta and Milap Zaveri

Cast: John Abraham, Anil Kapoor, Sonu Sood, Manoj Bajpayee, Tusshar Kapoor, Ronit Roy, Kangna Ranaut

Music: Anu Malik

Genre: Action/ Drama

Rating: * *

Story Outline: Based on a chapter from S Hussain Zaidi’s book Dongri To Dubai, the film is about an honest, lower-middle class man from Mumbai called Manohar Surve (John Abraham). After being wrongly framed for a murder, an innocent Manohar transforms as the dangerous gangster Manya Surve.

Review: Distorting facts from real accounts while making a commercial caper is alright if the end product turns out to be a convincing as well as gripping affair. Sadly, that doesn’t happen with Sanjay Gupta’s Shootout At Wadala due to its age old gangster story, weak narration and some unforgivable vulgarity in various forms. The film can best be enjoyed if you are a part of a rowdy crowd.

First, the positives. The film has some extra-ordinarily written witty lines by Milap Zaveri. There are a number of praiseworthy and seeti-bajao moments for hardcore masses. The action scenes are also a treat on some occasions as they are smartly captured and presented.

These positives are certainly not enough to overshadow the various negatives. The film has the tiresome, tried and tested gangster story with the same kinds of gang wars that have done the rounds of Hindi cinema innumerable times ever since Ram Gopal Varma’s Satya released. On top of that, the screenplay just lacks proper focus and its long length just makes things worse.

Anybody who has read Manya’s chapter in Dongri To Dubai will realize the too much distortion of facts. As mentioned earlier, it is completely fine in a mass oriented feature film but over here, it looks unconvincing and at times, silly. For instance, the Pathan Gang is called Haji Mastan’s gang while the character of Haji Mastan is called Haji Maqsood. Even the fiction added in the climax appears questionable. (Purposely not mentioning various other points to avoid spoilers.)

But what hurts the most is the level of cheapness that the film crosses. The regular flow of cuss words and vulgar references get onto your nerves. Although violence is necessary in such films but over here, there is just an overdose of gore that make you cringe regularly. They have even gone onto show a rape scene in a disturbing manner.

There is more vulgarity in store in the form of two item numbers (out of three). This film will trigger more amount of wrath against Hindi cinema for portraying women as sexual objects and it definitely should! The industry surely needs a reality check when it comes to portrayal of women!

The technical areas (cinematography, background score, editing and action) can hold their heads high. From Anu Malik’s music, only ‘Aala Re Aala’ turns out to be decent. The rest of the songs just add up to the length. Having as many as three item numbers is a terrible idea!

John Abraham has the perfect physique and attitude needed to play Manya Surve but he certainly lags behind when it comes to acting. At the most, he is just average. An actor with more acting talent was the need of the hour. Anil Kapoor’s act is the saving grace. The veteran actor still doesn’t appear as a veteran.

Tusshar Kapoor doesn’t suit as Munir Sheikh at all! He even turns out to be a laughing stock on few occasions. Kangna Ranaut falters with her dialogue delivery yet again. The supporting cast - Mahesh Manjrekar, Ronit Roy, Siddhant Kapoor and Karan Patel – give decent performances.

Overall, Shootout At Wadala turns out to be unimpressive due to various reasons. It is sad that such a film released on the day when Indian Cinema completed 100 years! The initial hype and the fact that it is a hardcore commercial product will help the film at the box office in the first week.

Director: Sanjay Gupta

Producers: White Feather Films and Balaji Motion Pictures

Writers: S Hussain Zaidi, Sanjay Gupta and Milap Zaveri

Cast: John Abraham, Anil Kapoor, Sonu Sood, Manoj Bajpayee, Tusshar Kapoor, Ronit Roy, Kangna Ranaut

Music: Anu Malik

Genre: Action/ Drama

Release Date: May 3, 2013

Analysis:

Star Value: With an ensemble star cast of John Abraham, Anil Kapoor, Sonu Sood, Manoj Bajpayee and Kangna Ranaut, it is needless to say that Shootout At Wadala is high on star value.

Hype: There has been a very good amount of hype for the movie ever since its first promo was released. It is the character of Manya Surve that created ripples among the masses. Later on, some smart promotional strategy and including Sunny Leone for a song has only helped increase the excitement.

Music: The song ‘Aala Re Aala, Manya Aala’ has helped in popularizing the movie and creating further excitement. The track ‘Laila’ has also managed to make heads turn due to Leone.

Prediction:

Shootout At Wadala will surely get a very good opening at the box office. Being a hardcore commercial product, it will set the cash registers ringing at the single screen theatres. But it also has a chance of opening well at multiplexes.

If the initial response turns out to be positive, there is no doubt that the film’s name will be included in the blockbusters of 2013 and it might also earn Rs 100 crore. If it doesn’t impress initially, Shootout At Wadala will still garner average returns due to the genre and the hype.

Director: Gajendra Ahire

Producer: Trupti Bhoir

Writer: Gajendra Ahire

Cast: Trupti Bhoir, Subodh Bhave, Kishore Kadam, Chinmay Sant, Suhas Palshikar, Milind Shinde

Music: Ilayaraja

Genre: Drama

Rating: * * * *

(For more reviews, previews and news about Marathi Cinema, visit our main website by clicking HERE.)

Story Outline: The film throws light on the culture of touring talkies - film screenings inside tents (tamboo), which is slowly dying. Chandi’s touring talkies is one of the rare ones still surviving in Maharashtra.  She and her brother Babya (Chinmay Sant) take great pride in showing films in their tent, which has been their family business since decades.

But their business is threatened due to some foolishness by Chandi’s drunkard father Babu (Suhas Palshikar). Chandi sees a ray of hope when filmmaker Avinash (Subodh Bhave) arrives in their locality to screen his film in the tents.

Review: With Gajendra Ahire’s Touring Talkies, Marathi Cinema can boast of paying tribute to Indian cinema in its centenary (100^th) year in such a heartwarming manner that the cinema chya keeda inside you will feel mighty proud. The experience becomes even greater when you watch the movie in a tent (like I did).

Ahire does the painstaking task of presenting every minute detail of tent culture cinema with remarkable ease. The viewer gets quickly involved with the proceedings with one amusing moment following another. But despite that, the film stays miles away from being a documentary. The characterization and narration with the use of simple conflict elements make sure you instantly feel for the characters and their struggle to keep cinema alive in their tent.

What also strikes you is how Ahire has managed to present even the dishonest activities of the group in an innocent manner. For example, you really don’t mind when Chandi renames Avinash’s film as Gela Haath Cholit or even when Babya mixes few porn film reels with the reel of Avinash’s film. The characters’ unique style of film promotions to lure audiences will also keep you smiling and so will the scene where Chandi stops Babya from tearing off film posters.

From the flipsides, there comes a moment in the second half when the film threatens to be a drag. It is also strange to see Avinash’s ‘art film’ getting accepted in a place where only hardcore commercial films are acknowledged, despite the special offers for the audience. But these points won’t hurt you due to the delightful climax and the overall heartwarming nature of the film.

The soulful background score and Amol Gole’s artistic camerawork provide apt support. Ilayaraja composed English tracks suit the subject but there definitely was scope for a Marathi song considering it’s a Marathi film. But special mention should be given to the art director for bringing the touring talkies culture alive.

Trupti Bhoir displays an example of complete dedication and hard-work in her performance. She shows the tough as well as emotional side of the character brilliantly. Subodh Bhave perfectly fits in the shoes of a realistic filmmaker and gives a mature act.

An unusually hilarious performance is presented by Kishore Kadam. It’s a pleasure to see him announcing even unimportant details. After Jana Gana Mana, Girish Sant once again gives a smile-producing performance. Milind Shinde and Suhas Phalshikar provide perfect support while Neha Pendse shines in a cameo.

Overall, Touring Talkies will touch the hearts of all those who are fascinated by the magical world of cinema. The film desperately deserves some rapid word-of-mouth to succeed at the box office. It is highly recommended to see the film in a tent.

Director: Mrinal Kulkarni

Producers: Bhupar Bodar Enterprises, Pravin Thakkar and Amol Production

Writers: Mrinal Kulkarni and Manisha Korde

Cast: Sachin Khedekar, Mrinal Kulkarni, Pallavi Joshi, Sunil Barve, Suhas Joshi, Mohan Agashe

Music: Milind Ingle and Surel Ingle

Genre: Romance

Rating: * *

(For more reviews, previews and news about Marathi Cinema, visit our main website by clicking HERE.)

Story Outline: Anushree (Mrinal Kulkarni) is going through a troubled marriage with her husband (Sunil Barve), although the couple isn’t divorced. Suddenly, she is bestowed with an air of happiness after Dr Prakash (Sachin Khedekar), a divorcee, enters her life. Circumstances bring Prakash and Anushree together and they soon start develop feelings for each other. But soon, things become complicated for both.

Review: Is it possible to find love again after a broken marriage? This question was sensibly and heartwarmingly explored recently in Satish Rajwade’s Premachi Goshta. Mrinal Kulkarni’s directorial debut Prem Mhanje Prem Mhanje Prem Asta explores the same issue but in doing that, it also uses the exact storyline, including the twists and climax, which Rajwade used in his film.

But even after ignoring its similarities with the Atul Kulkarni starrer, the film still fails to either move or entertain, barring few moments, due to a weak script. The story takes time to develop at the start and it doesn’t take time for you to realize the amateurish screenplay and dialogues. However, there is a lot of hope and promise in store after a relationship starts developing between the two characters with the alarming interval point further generating interest.

That point, however, is hardly exploited in the post-interval portions. Instead of taking the story and drama to a higher level from that moment, the writers present a series of unappealing and uninteresting sequences that you eventually lose interest after a point of time. What’s worse is that some tear-jerking moments turn out to be unintentionally hilarious. Although the climax does include a couple of touchy moments, it isn’t entirely satisfying. Not to mention your experience before that.

As mentioned earlier about PMPMPA’s similarities with Premachi Goshta, it comes as a strange surprise because the former went on floors much before the latter released. And needless to say, if you have seen and loved Rajawade’s film, you won’t be impressed with PMPMPA.

From Milind Ingle and Suresh Ingle’s compositions, ‘Mann Bavarate’ is impressive. The fun title track at the end is not only against the subject, it also appears as a forceful attempt to be ‘cool’. From the technical areas, the camerawork is adequate while the background score should have been used more.

Apart from few moving moments, Mrunal Kulkarni’s sincere performance is the saving grace. She perfectly gets into the skin of the character and gets every emotion right. She surely deserves to do more films. Sachin Khedekar also impresses but he doesn’t get much scope to be at his best.

Pallavi Joshi comeback turns out to be above average. Her diction doesn’t help her cause. Sunil Barve isn’t bad but he too suffers from a weakly written character. This also ensures he becomes a source of some unintentional hilarity. Neha Joshi is impressive as a bindaas girl. The rest of the supporting actors – Mohan Agashe, Suhas Joshi and Smita Talwalkar – fit the bill.

Overall, Prem Mhanje Prem Mhanje Prem Asta suffers because of the writing and presentation. Due to the big names and some hype, the film has a decent chance at the box office. But it is doubtful whether it would be able to sustain at the ticket window for long.

Director: Kannan Iyer

Producers: Vishal Bhardwaj Pictures Pvt. Ltd. and Balaji Telefilms

Writers: Vishal Bhardwaj and Mukul Sharma

Cast: Emraan Hashmi, Huma Qureshi, Konkana Sen Sharma, Kalki Koechlin, Annu Kapoor

Music: Vishal Bhardwaj

Genre: Horror/ Thriller

Release Date: April 19, 2013

Analysis:

Star Value: Emraan Hashmi has, over the years, successfully acquired an image of a quality performer, than just a serial-kisser. Hence, his presence surely adds star value to a film. Ek Thi Daayan not only has another quality performer in Konkana Sen Sharma, it also features Huma Qureshi, who is slowly earning name as a brilliant actor after Gangs of Wasseypur. Therefore, the star value for Ek Thi Daayan is high.

Hype: The first eerie promo of the movie created a good amount of hype. But as the film has neared its release, the excitement hasn’t gone to higher levels, although it is surely there.

Music: The track ‘Yaaram’ is slowly becoming famous and giving a good amount of publicity to the film. The rest of the songs aren’t that known, although they are good melodious numbers by Bhardwaj. It seems the songs will gain popularity if the film attains high success.

Prediction:

Due to the dark subject, Ek Thi Daayan will get a decent to good opening at the box office but only in metros. The film will struggle at the smaller centers and single screens, although its chances are not that negative.

It is very vital for the film to receive thumbs up initially if it has to succeed at the ticket window, else it will struggle to make the producers happy. This will largely depend on the suspense of the climax. If it manages to shock and convince the audience, it is expected to have a good run. The good thing for Ek Thi Daayan is that the big release next week is Aashiqui 2, which shouldn’t be a threat.

The biggest reason for the success of David Dhawan’s Chashme Baddoor is the dialogues. The writer duo Sajid-Farhad has continued their good work after, like they have been doing so consistently since last few years. A large majority of funny lines are given to the character of Omi played so very well by Divyendu Sharma. Here are some outrageously funny lines from the film.

Lines rendered by Omi’s character:

Toh Arz Kiya Hai,
Bhari Mehfil Mein Maine Sher Mara
Bhari Mehfil Mein Maine Sher Mara
Toh Sherni Vidhwa Ho Gayi

Toh Arz Kiya Hai,
Aurat Hoti Hi Aisi Hai,
Kuchh Kaho Toh Mooh Fula Deti Hai,
Kuchh Karo Toh Pet Fula Deti Hai

Toh Arz Kiya Hai,
When You Can’t Change The Girl, Change The Girl

Toh Arz Kiya Hai,
Kashmir Na Koi Le Sakta Hai,
Kashmir Na Koi De Sakta Hai,
Kashmir Mein Toh Sirf Do Raat Aur Teen Din Ka Honeymoon Package Ho Sakta Hai

Agar Tum Safed Sari Mein Lal Bindi Lagakar Aa Jao, Toh Ma Kasam Ambulance Lagogi

Patni Ne Poochha Pati Se Ki Tum Mere Alawa Aur Kitnon Ke Saath Soye Ho,
Pati Bola Soya Sirf Tumhare Saath Hoon, Bakiyon Ke Saath Poori Raat Jaga Hoon

Mere Dost Yeh Woh Seema Hai Jiski Koi Seema Nahin,
Aur Jiske Character Ka Koi Beema Nahin

More lines by other characters:

Ali Zafar: Agar Pyar Pant Hai Toh Dosti Chaddi Hai. Pant Agar Phat Bhi Jaye Toh Chaddi Izzat Bachati Hai. Buddies, You Are My Chaddies.

Siddharth: Bade Buzurg Keh Gaye Hai Ki Paapon Ka Prayashchit Karna Chahiye.
Divyendu Sharma: Lekin Uske Pehle, Paap Toh Kar Le

Siddharth: Main Jay. Sholay Wala Nahin, Bas Naam Aur Personality Wohi Hai.

Rishi Kapoor: Agar Agle Hafte Tak Kiraya Nahin Diya Toh Tere Kapde Utaar Doonga.
Ali Zafar: Chillana Hai Toh Chillao Na, Romantic Kyun Ho Rahe Ho?