Will Jindal become next Kasab?

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As expected, Pakistan has denied terrorist Abu Jindal, who was captured by India from Saudi Arabia for masterminding the 26/11 attacks, to be a national of their country and have even rubbished off all the proofs that India has against him. BJP leader Yashwant Sinha rightly said that even if you feed proofs in Pakistan’s mouth, still they will not accept it.

What is more surprising is the way Pakistan keeps on denying all terror evidences that India provides against their countrymen while our government fails to do much. For a long time, they even denied Ajmal Kasab being from Pakistan. As this is been happening since years, can’t we resort to some stricter methods while dealing with Pakistan when it comes to terrorism? But all we get is mere statements from the government.

But the bigger question is – Even if Jindal is proven guilty, will he ever be punished? His dear friend and co-terrorist Kasab was seen carrying out terrorist activities by everyone and was even proved guilty but instead of punishing him ASAP, we have kept him as our guest.

Last year the US entered Pakistan by hook or by crook and killed the person who attacked their country – Osama Bin Laden. On the other hand, we have not been able to do any harm to Kasab despite him being in our custody! I won’t be surprised if Jindal becomes India’s yet another special guest after Kasab, even if it indirectly means mocking the 26/11 victims and the people of India!

(This post is against terrorists from Pakistan and the government of that country. I have respect for the common people of Pakistan, some of whom are also my internet friends.)

Mantralaya Fire: How prepared are we for emergencies?

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Apart from the inability of the fire department to combat the Mantralaya fire, we have also been criticizing the authorities for not training their staff to cope with the emergency. But the big question is – Have we – professionals working in various sectors – ever received any training in our organizations to deal with such emergencies? In other words – How many organizations regularly train their staff for such disasters?

After the shamefully tragic incident of the fire, I recalled in the offices I have worked so far, I have never been trained for such a thing. In fact, I can’t even recall anyone even mentioning an emergency like a fire breakout. I even asked some of my friends (mostly working in private sectors) whether they have received any such training. Strangely, all answered in the negative except a friend who works in a bank.

(Article continued after picture.)

Picture courtesy - Ibnlive.in.com

It seems we don’t consider it important since incidents like a fire rarely occur. This is quite understandable as we are only concerned about finishing our tasks before deadlines. But one should remember that at the end of the day, staying alive is the most important thing.

In a city like Mumbai, hundreds of commercial complexes are crammed with thousands of offices. A thought of a serious fire breaking out in these complexes sounds scary considering thousands of untrained staff having no idea how to cope up!

It’s high time we consider the Mantralaya fire as a wake-up call and start mock drills. Let’s not wait for more fires to erupt!

Gangs Of Wasseypur Review

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Director: Anurag Kashyap

Producer(s): Viacom 18 Motion Pictures

Writer(s): Zeishan Quadri, Sachin Ladia and Anurag Kashyap

Cast: Manoj Bajpayee, Piyush Mishra, Richa Chadda, Reema Sen, Jaideep Ahlawat, Piyush Mishra, Nawazuddin Siddiqui, Huma Qureshi

Music: Sneha Khanwalkar

Rating: * * ½

Plot: Set in the lawless land of Wasseypur in Dhanbad, the film narrates the tale of Sardar Khan (Manoj Bajpayee) who is hell-bent to avenge his father Shahid Khan’s (Jaideep Ahlawat) death. Shahid was killed by Ramadhir Singh (Tigmanshu Dhulia) in a battle to lead the coal mafia.

Review: Anurag Kashyap started the genre of unconventionally dark films in Bollywood. Irrespective of whether his films score at the box office, he has always been adamant in sticking to the genre. His latest offering Gangs Of Wasseypur follows the legacy of typical Kashyap films. Its promos triggered high expectations. But thanks to the off-track writing and the filmmaker’s desperate attempt to showcase his unusual style, the final product turns out to be an average fair with few wonderfully conceived moments and great performances.

The director and the writer should be lauded though for some creatively intelligent scenes in the first half. The idea of jumping to the flashback after the initial encounter works very well. A good foundation is laid by the way the story and the warring saga between Sardar Khan and Ramadhir Singh are built up. Some historical events are also smartly woven in the tale. Manoj Bajpayee’s entry adds fuel to the proceedings for it gives rise to a good number of thrilling as well as dark humorous moments. Despite some dullness, the first half provides descent satisfaction.

The post-interval portion maintains stability but soon loses focus. A number of sub-plots and too many characters create complication as well as confusion since they have nothing or very little to do with the main story. In addition, Kashyap’s over-indulgence of his unconventional style further hampers the narration. Obviously, this makes the film painfully lengthy. Although the climax creates some excitement for the second part of the movie, it is not entirely convincing.

But it is difficult to understand why a simple revenge saga needs to be told in five hours (this movie plus it’s sequel)? Considering that the second half of GOW Part 1 has hardly any story to tell, it looks like an adamant decision.

It is necessary to mention that the film is not for the fainthearted. The violence and gore presented is rarely seen before in an Indian film. This can be disturbing and depressing for many, especially since it is used unnecessarily at times.

Sneha Khanwalkar’s music fits the nature of the film perfectly although there was no need for these many songs. ‘Keh Ke Loonga’ and ‘Womaniya’ are the tracks that go well with the narration and bring a smile. Cinematography (Rajeev Ravi) is flawless except in few portions where the hand-held camera gives a documentary-like feel. Editing (Shweta Venkat Matthew) should have been tighter. The witty dialogues and the background score deserve special mention for they keep you engrossed when the script is going haywire.

It can be said that Gangs Of Wasseypur is Manoj Bajpayee’s return to the big league. He brilliantly carries the film on his shoulders as he plays an unusual character in an applaud-worthy manner. Easily one of his best acts till date! But it is Tigmanshu Dhulia who turns out to be the surprise element. The filmmaker, who is making his acting debut, gives a thoroughly mature performance as Ramadhir Singh. He should surely continue acting! Richa Chadda’s amazing act will prove to be a turning point in her career.

Piyush Mishra portrays his flawless acting skills. Reemma Sen showcases the oomph that was necessary and provides a descent act. With a realistically mature performance, Nawazuddin Siddiqui once again proves he is one of the finest young character actors currently. Due to his powerful act, Jaideep Ahlawat is remembered despite the small length of his character. The rest of the supporting actors (Mukesh Chhabra, Rajkumar Yadav, Jameel Khan, Vipin Sharma, Zeishan Quadri and many more!) play their parts with perfection.

Overall, despite being high on performance, Gangs Of Wasseypur suffers from over-indulgence. At the box-office, the film has a chance at the urban metros mostly.

Wanna get noticed? Start abusing!

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Music is something which is considered sacred or divine, especially in the context of Indian culture. Judging by the kind of effect music has on our minds, it can be said that listening to music is a spiritual activity. Needless to say that due to this, like all art forms, music should also be respected. So, when this sacred art form is reduced to a medium of hurling abuses, it becomes disturbing. Very disturbing!

Although songs like ‘Ishq Kameena’ (Shakti – The Power) erupted long time back, there wasn’t really a threat of such songs becoming a fad. Even the abuses used in it weren’t eyebrow-raising.

But the recent development in the abusive genre of songs has left me wondering as to where the hell are we heading! Last year, there came ‘D K Bose’ where the lyricist smartly got away saying that it is just a name! But even a half-intelligent individual can easily guess from the way the name is repeated that the intention was to repeat a foul word again and again. But still, I thought such instances won’t happen regularly.

However, just a couple of days back, a friend of mine gave me a link of the ‘Hunter’ song from Gangs Of Wasseypur. The high level of double meaning behind the lyrics raised a doubt in my mind as to how our so-called Censor Board allowed the song to pass! But there was more shock in store.

I had barely finished thinking about the ‘Hunter’ song when the makers of the movie Jeena Hai Toh Thok Daal released the promotional song of their movie called… hold your breath… ‘Mooh Mein Le’!!! Not just that; the lyrics of the whole song are violently sexist! Now, I started wondering whether there is any Censor Board?

Unable to react much after listening to it, the only question that popped in my mind was how further low these filmmakers can stoop to get their film noticed by polluting music with foul language! Is there any level left? Well, your response and reaction to it will determine that. If the audience continues to welcome such songs like they welcomed ‘D K Bose’, be ready for further pollution of music!

Listen to the songs ‘Mooh Mein Le’ and ‘Hunter’:

 

Teri Meri Kahaani Box-Office Prediction

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Director: Kunal Kohli

Producer(s): Kunal Kohli Productions, Eros International

Writer(s): Kunal Kohli (Story, Screenplay and Dialogues) and Robin Bhatt (Screenplay)

Cast: Shahid Kapoor, Priyanka Chopra, Neha Sharma, Prachi Desai

Music: Sajid-Wajid

Release Date: June 22, 2012

Analysis:

Star Value: Despite acting in some successful films and being a young heartthrob, Shahid Kapoor’s star power has somewhat decreased due to the failure of his last few films. Priyanka Chopra on the other hand is one of the most successful and admired young actresses currently. Since both young actors are cast opposite each other after their alleged real-life break-up, the star value of Teri Meri Kahaani is high.

Hype: The promos of the movie have garnered just an average response. And despite a large number of promotional activities, the hype is not as high as expected. This is very surprising for a Shahid-Priyanka starrer.

Music: Although the film has some decent numbers like ‘Mukhtasar’ and ‘Humse Pyar Kar Le Tu’, the music of the movie hasn’t become that famous.

Prediction:

Teri Meri Kahaani will get an average opening, which is surely below expectations. It is very important for the movie to get a very positive initial response if it has to be a winner at the box-office. If it doesn’t, no need to mention its fate. It will also face a firm opposition from Gangs Of Wasseypur, which has managed some pre-release excitement.

Gangs Of Wasseypur Box-Office Prediction

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Director: Anurag Kashyap

Producer(s): Viacom 18 Motion Pictures

Writer(s): Zeishan Quadri, Sachin Ladia and Anurag Kashyap

Cast: Manoj Bajpayee, Nawazuddin Siddiqui, Piyush Mishra, Reema Sen, Jaideep Ahlawat, Richa Chadda

Music: Sneha Khanwalkar

Release Date: June 22, 2012

Analysis:

Star Value: Although Manoj Bajpayee is remarkable performer, he isn’t the kind of a star who could pull audience to theatrse. Considering the rest of the cast, we can say the star value for Gangs Of Wasseypur is low.

Hype: The quirky promo with witty humour has been appreciated by the audience. The makers have done well in promotions and marketing. This has created good hype for the movie.

Music: Unusually rebellious songs like ‘Jiya Tu’, ‘Womaniya’ and ‘Hunter’ have managed to impress and have helped in publicizing the film.

Prediction:

Gangs Of Wasseypur will surely get a descent to good opening. If the film manages to impress initially, it will once again bring Manoj Bajpayee in the big league. It has a chance at metros as well as small centers. It will face some opposition from Teri Meri Kahaani but that won’t bother the producers much as there is not much hype for the Shahid Kapoor and Priyanka Chopra starrer.

An institute running since 4500 years?

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Over the last few years, it is noticeable how education has become a shoddy business in India. With these coaching classes and the so-called international schools charging a bomb, it has become clear that the primary motto of these institutes is only money! This is proved further when one notices the business-like manner in which they function as well as behave.

Naturally, to make huge bucks, these institutes do everything to attract consumers by making huge claims in their advertisements. But one coaching class ad which I came across today jerked me out of my chair. In the ad, (on the front page of a leading daily) the institute has actually made fun of itself by a claim which cannot be described in words. What else would you say when they claim to have ‘4500 years of teaching experience’?

Yes, you read it right (see picture below). In the rat race to acquire maximum number of students, are they trying to prove that they are running these classes ever since humans came into existence?

 

As I have never seen such a thing before, I decided to call them up. Here’s the audio recording of my chat with them: –

 

And this is the transcription of my chat:-

Me: Today I saw your ad in a newspaper where you have claimed to have more than 4500 years of teaching experience. How is this possible?

Executive: This is possible because there are more than 200 teachers in our institute for the commerce stream. If we total up their teaching experience, it goes up to 45000 (!!!).

(The executive went far ahead than the ad by mistakenly mentioning 45000 instead of 4500.)

Me: But if you mention in this way without any explanation, one might feel your institute is running since the era of Mahabharata.

Executive: Do you have any other query?

Me: No. My query was only about your ad as it has becoming a laughing stock.

Executive: We are just paid for our work. (Said something that sounded like this.)

 

While all this sounds very funny, it’s sad to see the difference between education institutes and publicity-hungry film stars reducing.

Listen to the conversation here:

 

Ferrari Ki Sawaari Box-Office Prediction & Review

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(The prediction of this movie was written before its release. But since this website was down for some days, it wasn’t possible to publish it then. Thank you.)

Director: Rajesh Mapuskar

Producer(s): Vidhu Vinod Chopra Productions

Writer(s): Vidhu Vinod Chopra-Rajesh Mapuskar (Screenplay) and Rajkumar Hirani (Dialogues)

Cast: Sharman Joshi, Ritwik Sahore, Boman Irani, Seema Pahwa, Satyadeep Misra

Music: Pritam

Analysis:

Star Value: Sharman Joshi is a famous name, especially after his act in 3 Idiots. But since this is his first solo hero film, the producers can’t rely on him to get a very good opening. Apart from him, Boman Irani is the only known name. Hence, the star value for Ferrari Ki Sawaari is low.

Hype: The hype for the film has been descent. Although there isn’t too much of pre-release excitement, there is surely some eagerness among the masses to watch the film.

Music: Since Ferrari Ki Sawaari doesn’t have much scope for songs, its music hasn’t been famous. Vidya Balan’s item number ‘Mala Jau De’, the title song and ‘Mara Re Sixer’ are somewhat known.

Prediction:

Ferrari Ki Sawari will get an average opening. It will be the kind of film which, if appreciated initially, will slowly climb the ladder at the box-office. Made at a budget of Rs 20 crore, it should make the producers happy if that happens.

Movie Review:

Rating: * * *

Over the last few years, Vidhu Vinod Chopra’s banner has been highly successful in churning out heartwarming films with good humour. Their latest offering Ferrari Ki Sawari, which, although not as superior as their two mega hits Munna Bhai films and 3 Idiots, is surely another heart-warmer from the banner that surely deserves a watch for its simplicity, both in the story and treatment.

The film has a number of scenes that move as well as delight. Watch out for the scene where Sharman pays a fine for crossing red signal. The brisk pace of the narration is another plus point. But what stops Rajesh Mapuskar’s debut from being an outstanding effort is the way the story gets complicated when it nears the climax.

First time as a solo hero, Sharman Joshi gives an outstanding performance. Debutant child actor Ritwik Sahore amazes with a mature act while Boman Irani is brilliant. The film is wonderfully supported by the rest of the supporting cast.

Overall, Ferrari Ki Sawaari proves that if a meaningful story is narrated in an honest and simple manner, you don’t need the so-called big stars.

(As I reviewed Ferrari Ki Sawaari for a magazine, I can’t post the same on my blog. Hence, I came up with this shortened review.)

Tukaram (Marathi Movie) Review

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Direction: Chandrakant Kulkarni

Production: Sanjay Chhabria, Everest Films

Writer(s): Ajit Dalvi and Prashant Dalvi

Cast: Jitendra Joshi, Radhika Apte, Padmanabh Gaikwad, Veena Jamkar, Sharad Ponkshe, Prateeksha Lonar, Yatin Karekar

Music: Ashok Patki and Avdhoot Gupte

Rating: * * * *

Plot: The film is a biopic on the life of the great Sant Tukaram. As a child, Tukaram Bolhoba Ambile aka Tuka is different than other children with respect to intelligence and curiosity to know about almost everything around him. This enables him to assist his father in his money lending business at an early age. As his elder brother is unable to look after the business due to strange circumstances, Tukaram happily starts looking after his father’s business when he grows up.

But fate has something dark in store for him and his family when his parents pass away in quick succession. If this wasn’t enough, his village is hit by drought. Tukaram is moved by the plight of his family and villagers. These tragedies enlighten him on the true meaning of life and transform a mere money-lender into one of the greatest saints and poets the country has seen.

Review: When you think of a biopic based on a 17th Century saint and poet, chances are you will label it as a film for the classes or the older generation. However, filmmaker Chandrakant Kulkarni proves with Tukaram that even biopics can appeal to all sections of the audience.

But while he succeeds in making his latest offering masses-friendly, what makes the film special is the fact that he doesn’t compromise on the message and teachings of the great saint. This fact coupled by Jitendra Joshi’s mind-blowing performance makes Tukaram a must watch.

The runtime of the movie (162 minutes) might appear lengthy in today’s times but considering the large number of events in Tukaram’s life, it is totally justified. The intelligent script and dialogues (writers: Ajit Dalvi and Prashant Dalvi) keep boredom at bay. You get so engrossed in the simple life of Tukaram’s family that you fail to realize that the story has hardly moved forward in the initial portions. And as the story unfolds after that, you get further impressed by the writing.

(Review continued after picture.)

Picture courtesy - tukaramthefilm.com

Even the tragic scenes are handled in a way that they don’t appear lethargic. Once Tukaram attains enlightenment and subsequently transforms into a saint, it gives rise to a number of scenes that move, delight as well as show the true meaning of life. The scenes where Tukaram rubbishes off something as inhuman as the caste system deserve special mention. Lastly, the makers also deserve full marks for creating a climax that delights you while highlighting the greatness of Sant Tukaram.

If one tries to find the flipsides, one can say that the family life of Tukaram, in the first half, could have been shortened which would have given extra time to focus on the protagonist when he becomes a saint.

Production design (Eknath Kadam), costumes (Poornima Oak) and make up (Vikram Gaikwad) successfully recreate the 17th Century era with realism. Rajan Kothari’s camerawork is a big factor for the film to look an impressive piece of art.

Abhangas were an important part of Sant Tukaram’s life and teachings. Due to this, music becomes an important part of the film’s narration. Ashok Patki and Avdhoot Gupte churn out praiseworthy songs and also recreate the classic abhangas perfectly. They play a vital role in creating an impact. ‘Jagnyacha Paya’ and ‘Sada Maze Dola’ are the ones that stand out.

It was absolutely important for Jitendra Joshi to provide a flawless act. He does exactly that as he brings Tukaram alive on screen by enacting different emotions with ease. Some performances become a talking point for years to come. This is one such performance. Padmanabh Gaikwad is also lovable as young Tukaram.

Radhika Apte does well playing the aggressive second wife of Tukaram. Although she is too loud at times, it was the requirement of the character. Actors playing the rest of the Ambile family Sharad Ponkshe, Pratiksha Lonar, Veena Jamkar, Vrushasen Dabholkar and Smita Tambe play their part perfectly. Yatin Karekar shines in a negative role. Apt support is provided by Vikas Patil, Madhav Abhyankar, Ravindra Mankani, etc.

Overall, Tukaram is remarkable in all departments making it a fitting tribute to the great saint. The film will be a winner at the box-office.

 

 

Shanghai Review

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Direction: Dibakar Banerjee

Production: PVR Pictures

Cast: Emran Hashmi, Abhay Deol, Prosenjit Chatterjee, Kalki Koechlin, Farookh Sheikh, Pitobash,

Writer(s): Vassilis Vassilikos (story), Urmi Juvekar and Dibakar Banerjee (screenplay)

Music: Vishal-Shekhar

Rating: * * * ½

Plot: Leader of a political party (Kiran Karmarkar) supports the project of International Business Park as he, along with his party, considers it as a sign of development of an Indian city. However, social activist Dr. Ahmedi (Prosenjit Chatterjee) is against the project as it will make the poor further helpless.

One day after giving a speech, Admedi gets smashed by a moving tempo. Was this a method used by the political party to deal with Ahmedi? His student and admirer Shalini Sahay (Kalki Koechlin) certainly thinks so. Jogi Parmar (Emran Hashmi), a video shooter drags himself in the issue as he has a vital proof in the form of a video footage. The whole case is handled by IAS officer T A Krishnan (Abhay Deol), who has to play his cards carefully.

Review: Dibakar Banerjee is just four films old but in all of his films he has tried subjects that are utterly different from each other and has also managed to succeed each time. But all of his celluloid efforts have one big similarity: they follow an unconventional method of storytelling making them examples of new age cinema. His latest offering Shanghai is no different, both in execution and result, although the product suits more to the classes.

Being an unconventional film, the story doesn’t unfold in the way you normally see in Bollywood movies. Banerjee uses a unique style of jumping from one sub-plot and set of characters to the other and combining them nicely when the story takes a major turn in the first half. Even the conversation between the characters is short and out of real life but at the same time very interesting and witty. Example – Jogi, while trying to identify a dead body on a dark road, tells the cop, “Kuchh dikh nahin raha. Light nahin hai.” The cop responds, “Jahan light thi wahan marna tha isko.”

The method works well in the second half too. But after a point of time, one realizes there was a scope for few dramatic moments considering the powerful story with good twists. Even the climax would have looked more appealing if the visual medium was used more to conclude instead of making the audience read the text on screen. However, that doesn’t take away Banerjee’s efforts in creating a new age political thriller with maturity.

Nikos Andritsakis’ contribution as a cinematographer is also a major plus point. He has also used a hand held camera in some scenes which adds to the realism. The background score (Michael McCarthy) is purposely not used much. Nevertheless, whenever it is used, it creates a terrific impact, especially in one of the scenes in the finale. Vishal-Shekar’s tracks suit the film aptly. ‘Bharat Mata Ki Jai’ is one song that stands out. The rest are used intelligently in the background.

With every film, Emran Hashmi keeps proving he is one of the finest young actors in Bollywood. He does the same here while playing an unusual character. He creates the right mannerisms, gestures and dialogue styles that were needed. Abhay Deol, playing a sophisticated IAS officer impresses too. He does very well in underplaying his character. Most importantly, he scores well in speaking Hindi with a south Indian accent.

Prosenjit Chatterjee is considered a superstar in Bengal. He displays his terrific acting prowess in a small but substantial role. Kalki Koechlin does well playing an American returned, although she sounds awkward few times. Veteran actor Farooq Sheikh provides a mature act. He should do more films. Pitobash does the same what he did in Shor In The City but one has to appreciate his comic skills. Supriya Pathak and Kiran Karmarkar shine in cameos while Anant Jog plays his part well.

Overall, Shanghai is a well made modern political thriller which had a chance of being superlative. At the box-office, the film has a chance at the metros. It will have a tough time at single-screens and small centers. In the second week, it will have to deal with Ferrari Ki Sawari.