Musical Train Journey

I have heard people say that music has no language although I always doubted it. In 2001, when I boarded a train for Jaipur from Mumbai Central station, I didn’t have an iota of idea that I would start believing in the saying. Many a times some pleasant experiences have happened with me in the most unexpected situations. This was one such instance.

When our train entered the territory of Rajasthan, I was all excited and eager to reach Jaipur. Just an hour or so before reaching the final destination, an usual sound startled me when I was busy appreciating nature during the journey. Initially it irritated me as I don’t like being disturbed when my eyes are fixed outside the window during a train journey. I saw it was some small time performer playing a musical instrument in order to raise money (I will never call him a beggar).

After half a minute of or so, I realized I started liking the sound. Then came the big splash! The man playing the musical instrument started singing. Within seconds my whole attention was hooked onto him as I was damn impressed by his voice and style.

The passion with which he sang, the pain and anguish in his voice, his dedication, all sent me… (to read the remaining part of the article, please click on this link – http://www.mumbai-localtrains.com/2011/01/guest-article-music-on-rails.html)

My Blog’s Performance in 2010

The stats helper monkeys at WordPress.com mulled over how this blog did in 2010, and here’s a high level summary of its overall blog health:

Healthy blog!

The Blog-Health-o-Meter™ reads Wow.

Crunchy numbers

Featured image

 

In 2010, there were 33 new posts, growing the total archive of this blog to 57 posts. There were 135 pictures uploaded, taking up a total of 11mb. That’s about 3 pictures per week.

The busiest day of the year was November 22nd with 83 views. The most popular post that day was In a Civilized Society… .

Where did they come from?

The top referring sites in 2010 were facebook.com, en.wordpress.com, orkut.co.in, google.co.in, and twitter.com.

Some visitors came searching, mostly for male and female symbols, male female symbol, male female symbols, female symbol, and sindhutai sapkal.

Attractions in 2010

These are the posts and pages that got the most views in 2010.

1

In a Civilized Society… December 2009
7 comments

2

Haapus (Marathi Movie) Review June 2010
10 comments

3

Mee Sindhutai Sapkal Review November 2010
6 comments

4

Zenda (Marathi Movie) Review January 2010
2 comments

5

Ringa Ringa (Marathi Movie) Review March 2010

Tees Maar Khan Review

 

Tees Maar Khan Movie Review

Rating: * *

Cast: Akshay Kumar, Katrina Kaif, Akshaye Khanna, Raghu Ram, Rajiv Laxman, Ali Asgar

Director: Farah Khan

Music: Vishal-Shekhar, Shirish Kunder

Producers: Hari Om Productions, Three’s Company, UTV Motion Pictures

 

After Main Hoon Na and Om Shanti Om, director Farah Khan is back with another masala entertainer in the form of Tees Maar Khan and that too at a time when only such genre is clicking with the audience as well as the box-office. Plus, the promos promised lots of entertainment and dhamaal in Tees Maar Khan especially the track and video of Sheila Ki Jawani. But unfortunately the promise isn’t fulfilled because of a story and situations that are too unconvincing to digest.

Tabrez Mirza Khan aka Tees Maar Khan (Akshay Kumar) is an expert conman who always manages to free himself from the police authorities if he is caught. One day he gets to lay his hands on the biggest heist of his life by helping twin conmen Johri Brothers (Raghu Ram and Rajiv Laxman) recover their loot from the police. TMK hatches a plan by involving an Oscar-hungry superstar Aatish Kapoor (Akshaye Khanna) in their mission and by also fooling the whole of Dhulia village.

Farah Khan tries very hard to make TMK a non-stop entertainer but the screenplay handicaps her. The first half appears interesting though when TMK is introduced and his con acts displayed. This portion also produces some good funny moments. However, the build up to the robbery (second half), the actual robbery and its consequences just fail to impress or amuse. In fact, the goings appears quite idiotic at times courtesy of too much mindlessness and some non-funny humour. And on top of that, a weak and forced ‘happy ending’ make matters worse.

Vishal-Shekhar and Shirish Kunder’s music relies heavily on Sheila Ki Jawani as the rest of the songs fall just in the average territory. Cinematography is good while the background score plays too much of the title song.

TMK rests on Akshay Kumar’s shoulders and he carries the responsibility with an aura. However, too much of self-boasting and loudness hampers his performance a bit. Akshaye Khanna on the other hand plays a crazy character superbly. He is truly likeable in a never-seen-before avatar. Apart from shaking her leg on Sheila Ki Jawani, Katrina Kaif purely irritates!

Ali Asgar and Akshay’s other two comrades suit perfectly in their roles. Murli Sharma and Aman Verma display good comical acts and so do Sachin Khedekar and Vijay Patkar. Raghu Ram and Rajiv Laxman are average while rest of the characters including Apara Mehta and Arya Babbar give good support.

All in all, Tees Maar Khan is far away from Farah Khan’s earlier two attempts. Because of the huge hype and publicity, the film will surely earn profit at the box-office in the first week. But the collections will be doubtful after that.

Khelein Hum Jee Jaan Sey Review

Rating: * * *

Cast: Abhishek Bachchan, Deepika Padukone, Sikander Kher, Vishakha Singh

Director: Ashutosh Gowariker

Music: Sohail Sen

Producers: Ashutosh Gowariker Productions, PVR Pictures

Films based on the freedom movement have been a regular feature in Bollywood.  Right from the black and white era (Shaheed, Anand Math, Haqeeqat) to the current decade (23rd March 1931 Shaheed, Legend Of Bhagat Singh, Mangal Pandey-The Rising) a number of films on the freedom struggle have hit the screen. Because of this very reason, Ashutosh Gowariker’s Khelein Hum Jee Jaan Sey becomes just a one-time-watch affair as it lacks the true patriotic fever like the number of patriotic films of the past.

The biggest achievement of KHJJS is that it tells the tale which is never told before in Indian cinema – the Chittagong (Chattogram) Uprising, a chapter lost in history. Surjya Sen aka Surjyo Da aka Master Da (Abhishek Bachchan) leads a group of revolutionaries to attack various British establishments in Chittagong. Kalpana Dutta (Deepika Padukone), Pritilata (Vishakha Singh) and a group of teenagers join hands with Surjya in his mission.

Gowariker once again shows that he is one of the masters of period dramas in Bollywood as he takes care of every minute detail while presenting Manini Chatterjee’s novel Do And Die on celluloid. He succeeds in creating the intenseness and at the same time getting top notch performances from every actor. However, he is hampered by a lengthy screenplay.

Art director Nitin Desai deserves plenty of applause for recreating the 1930s era with utmost perfection. He is aptly supported by Kiran Deohans’ artistic cinematography.

Although not one of his best performances, Abhishek Bachchan excels in the role of an unruffled and serious revolutionary Surjya Sen. He suits very well as the leader of the revolutionaries. Deepika Padukone plays the challenging role of Kalpana Dutta with maturity. She shows she can do well in serious de-glam roles as well. Sikander Kher leaves an impact mostly in the second half.

Samrat, Maninder and Firoz Wahid Khan make their presence felt with heroic and heart-warming performances. However, it’s the group of teenagers that move you by their determining and courageous efforts. In their acts, they don’t appear like teenagers at all.

Because of the minus points mentioned above, Khelein Hum Jee Jaan Sey falls short of becoming an extra-ordinary effort although it deserves a watch because of the efforts taken to tell a story which is lost in history. At the box office, the film will struggle to succeed.

Rakht Charita-II (Part 2) Review

Rakht Charitra-II Review

Rating: * * * ½

Cast: Vivek Oberoi, Suriya, Shatrughan Sinha, Priyamani, Madhura Apte

Director: Ram Gopal Varma

Music: Dharam Sandeep, Kohinoor Mukherji, Imran, Vikram, Sukhwinder Singh, Amar Desai

Producers: Vistaar Religare Film Fund, Cinergy

Rakht Charitra-I, the first part of the biopic on the life of the late Andhra leader Paritala Ravi, ended in way that built excitement and eagerness for its second part. And after watching the second part, one can conclude that the wait and eagerness for it was worth enough. In fact, Rakht Charitra –II is more dramatic and interesting than the first part and even the level of violence is a bit less.

In the end of the first part, Pratap Ravi (Vivek Oberoi) becomes a successful politician and ends gundagardi (hooliganism) in the state. The part 2 begins when Surya (Suryanarayan Reddy aka Suriya) tries to kill Pratap as he believes Pratap is responsible for the death of his family. From here on, an explosive game of cat and mouse erupts between Pratap and Suriya which also takes a huge political angle leading on to an earth shattering climax.

The first 30 minutes of the movie show an edited version of the first part. This will certainly help those who haven’t seen part one but it gets tedious and boring for those who have seen. Hence, that recap portion should have been shortened.

Director Ram Gopal Varma presents the story in the same interesting manner as in the first part. His passion for this subject can be felt throughout. Unusual and creative camera angles, use of explosive background score and songs and a fast, unpredictable and dramatic narrative (screenplay) make the proceedings enjoyable and interesting. The witty dialogues are another plus point. The movie ends promoting a message of non-violence.

Vivek Oberoi continues from where he left in the first part. He shows the same maturity and maintains a high standard throughout. But, it is the southern superstar Suriya who takes the movie by a storm by an astonishing performance in his Bollywood debut. He literally sets the screen afire while showing vengeance. At the same time, he excels in the scenes where he needs to underplay his character. He surely deserves more films in Bollywood.

Priyamani and Madhura Apte play their part very well. Shatrughan Sinha doesn’t get much footage in the second part although he continues his good act from the first part. The rest of the supporting cast and side actors provide excellent support.

Because of the nature of the subject, the film will find it tough to succeed at the box-office. It relies largely on word-of-mouth. However, it should do well in single screens.

Guzaarish Movie Review

Director: Sanjay Leela Bhansali

Screenplay: Sanjay Leela Bhansali and Bhavani Iyer

Cast: Hrithik Roshan, Aishwarya Rai Bachchan, Aditya Roy Kapur, Shernaz Patel

Music: Sanjay Leela Bhansali

Producer: SLB Films and UTV Motion Pictures

Rating: * * ½

 

Guzaarish For More Impact?

The debate about euthanasia or mercy-killing in India is not a new one. Sanjay Leela Bhansali takes a bold stand by highlighting the importance of mercy-killing (euthanasia) in his latest venture Guzaarish. However, because of the slow pace and the overuse of artistic methods in narrating a simple tale, the film caters only for the classes and not for average moviegoers. Plus, the script leaves few questions unanswered.

Ethan Masceranhas (Hrithik Roshan) was once a world famous magician who became paraplegic after suffering a near-fatal accident. Today, since fourteen years, Ethan is living in a miserable paraplegic condition. Although he is a cheerful lad who motivates others, through his radio show, to live life to the fullest, he files a petition for his own mercy-killing as he feels he has had enough of this paralytic life. But will he succeed in challenging the law which doesn’t allow a thing like euthanasia?

Bhansali executes some creatively touchy moments surrounding the central character but his and Bhavani Iyer’s screenplay strives too much to make a visual treat out of the subject. Although the art looks brilliant, it gives rise to a number of scenes that stretch the movie. Hence, the going becomes unfocussed and tedious which tests audiences’ patience.

Bhansali makes his debut as a music director with this film but apart from the song Udi, there isn’t much in the music department to talk about. Visually stunning cinematography and an apt background score act as big saving graces.

Hrithik Roshan deserves applause for agreeing to play a paraplegic character and essaying it in a manner that will move the audience. Easily one of his finest works till date. Aishwarya Rai Bachchan too displays her talents in a delightful manner by playing Hrithik’s nurse. But in spite of Hrithik and Aishwarya’s presence, Aditya Roy Kapur impresses with a lovable act. He is surely a lookout for the future. The rest of the cast also chips in with good performances.

Despite a big starcast, a well-known director and a number of heart-touching moments, the film will have a moderate run at the box-office because of the reasons already mentioned. Will only attract urban multiplex audience.

Mee Sindhutai Sapkal Review

When Tears Stop, A Revolution Begins…

Ratings: * * * ½

Director: Anant Narayan Mahadevan

Production: Siddhivinayak Cine Vision

Story: Sindhutai Sapkal

Screenplay: Anant Narayan Mahadevan and Sanjay Pawar

Cast: Tejaswani Pandit, Jyoti Chandekar, Upendra Limaye, Suhas Palshikar

 

Women empowerment or women triumph isn’t a new topic for Indian cinema. The theme is explored in almost all Indian languages ever since the inception of cinema in the country. Despite this, Anant Narayan Mahadevan’s Mee Sindhutai Sapkal stands apart from all other pro-women films because of the heart-warming story of Sindhutai Sapkal and the interesting way in which the tale is narrated.

Based on Sapkal’s book Mee Vanvasi, the film tells the story of 12-year old Chindi who is married to a middle aged man (Upendra Limaye) and is later (when she reaches 26) abandoned by her husband and family as she is wrongly accused of infidelity. Things get worse for Chindi as even her own mother refuses to give her shelter fearing the society. It is from here on that Chindi’s real journey begins. She abandons her image of Chindi and becomes Sindhutai, a social reformer and a shelter for all homeless children.

Mahadevan and Sanjay Pawar’s screenplay is the biggest winner. Adapting a biography on celluloid can be a daunting task which the duo completes with maturity. Especially the mixture of flashback with the present scenario makes the goings special. Special mention should be made of those pre-interval sections where Sindhutai’s mind shifts to the past because of the small incidents that take place during her plane journey. Very creative indeed! And the way the importance of a mother is highlighted is highly touching. Cinematography and background score are apt for the subject.

As a director, Mahadevan continues from where he left in his last brilliantly conceived Red Alert-The War Within.  He achieves utmost perfection in narrating the tale, capturing the location and bringing the best from his cast hence providing a number of brilliantly executed scenes. His first foray into Marathi cinema will be remembered for a long time.

Having said that, the film might not be admired by the commercial cine-goers who are looking for non-stop entertainment.

The efforts of the script writers, dialogue writer (Sanjay Pawar) the director wouldn’t have looked so impressive if Tejaswini Pandit hadn’t played the central character so wonderfully. Her performance is sure to touch you from start till the end as she gets into the skin of the character. In fact, she will be a contender for a National Award. Jyoti Chandekar’s portrayal of the older Sindhutai is equally lovable as one is forced to respect and admire her. The rest of the cast, especially Upendra Limaye leave an impact too. Neena Kulkarni is impressive in a cameo.

In a nutshell, Mee Sindhutai Sapkal is a must watch saga, which will move, inspire and motivate every human being irrespective of his/her gender who is eager to achieve something against all odds. The film should enjoy good collections at the box-office because of the strong word-of-mouth it’s receiving.

Rakht Charitra (Part 1) Review


Bloody Affair!

Ratings – * * * ½

A man is murdered in the most gruesome of manners right in front of Mahatma Gandhi’s statue. This first scene from Ram Gopal Varma’s Rakht Charitra (Part 1) makes it clear as to what to expect in the biopic on the late Andhra Pradesh leader Paritala Ravi. In fact, as the film progresses one will have no doubt that this is the most violent film ever made in the history of Indian cinema.

In spite of that, Varma’s biopic is a powerful and hard hitting saga of revenge and power which, if you are able to excuse the violence, is also highly enjoyable because of the style of narration and top notch performances right from the lead actor to the support cast to the extras.

Pratap Ravi (Vivek Oberoi) returns to his village in Andhra Pradesh after his father (Rajendra Gupta) and brother (Sushant Singh) are killed by their own political party member after a conspiracy by the left hand of a party leader Nagamani Reddy (Srinivasa Rao Kota). Hence, a soft-hearted and non-violent person like Pratap is forced into the gruesome world of revenge.

From here on, it was no turning back for Pratap as he becomes the most feared person in the state by everyone but Reddy’s son Bhukka (Abhimanyu Singh), a devilish creature who is hell bent in settling scores with Pratap. During this time, Pratap gets an offer to enter politics from a filmstar turned political leader N T Rama Rao (Shatrughan Sinha).

Rakht Charitra is easily Varma’s better made films till date. He executes some out-of-the-box scenes, makes his actors deliver brilliant performances and most importantly makes sure that the focus and thrill doesn’t diminish even for a second.

Varma is highly blessed with a watertight screenplay, which not only keeps the audience hooked to the screen but also narrates the tale while giving enough importance to the numerous characters. In addition, some powerful and impactful dialogues and unusual camera angles (so typical of RGV) create further impact. However, the background score deserves special mention which creatively gels with different types of scenes making the viewing more interesting.

Contrary to the subject, the film is rich in terms of music as well. Songs Khaul Khaul Ke and Sar Jo Uthega (both title songs) suit the mood of the film perfectly because of the lyrics and the powerful sound. The songs definitely have a repeat value.

The only drawback is the overuse or abuse of violence which could have been limited. People are killed in a manner never seen before on the Indian screen. In fact, some scenes (in the first half) might well twitch your belly muscles. This will clearly limit the film’s reach to a wider audience.

With Rakht Charitra, Vivek Oberoi proves he is one of the most talented young actors around. His portrayal of the central character forces one to applaud a magnificent effort that will surely increase his fan following. Easily one his best performances (if not the best).

If Vivek delights, Abhimanyu Singh shocks with a stellar act. In my personal opinion, I have never loved to hate a bad guy this much before. It is just unbelievable how a human can play a monster so effectively. As stated earlier, the rest of the supporting cast (Sushant Singh, Shatrughan Sinha, Srinivasa Rao Kota, Zarina Wahab, Ashwini Kalsekar, Radhika Apte, etc) aren’t behind either.

Despite a large number of plus points, the film will have a limited success at the box-office because of the subject and the overuse of violence. However, the way the film ends, it surely builds up excitement for its next part.

Aakrosh Movie Review


Hard Hitting Tit-For-Tat Saga

Ratings – * * * 1/2

Director Priyadarshan is considered a specialist in rib-tickling comedies or light entertainers as the filmmaker has churned out a large number of such genre of movies successfully in the past decade viz; Hera Pheri, Hungama, Garam Masala, Malamaal Weekly, Chup Chup Ke, Bhagam Bhaag and De Dana Dan to name a few.

However, he opens an altogether new chapter with Aakrosh. Although the director has provided some hard-hitting sagas in the past both in Bollywood, but this is the first time he has tried his hand in serious issue-based drama and has made an action thriller out of it. So does he succeed in the new venture? The answer (according to me) is positive as the film succeeds in generating thrill, throwing light on the issue of caste differences and caste politics and in giving a message of equality.

The intenseness develops right from the start when three Delhi University students go missing in the village of Jhanjhar. An ex-army officer Pratap Kumar (Ajay Devgan) and CBI officer Siddhant Chaturvedi (Akshaye Khanna) are handed over the task to investigate the case of the missing students after it becomes a national issue. Soon, Pratap and Siddhant realize their helplessness in a lawless land governed by the hooligan inspector Ajatshatru Singh, his comrades and local politicians. How Pratap and Siddhant, both diagonally different from each other, handle the investigation amidst a hopeless situation forms the rest of the story.

The biggest plus point for Aakrosh is Robin Bhatt’s screenplay, which keeps the audience glued to the screen throughout. The action sequences add thrill and gel well with the goings. Even Bipasha Basu and Ajay’s love story fits well without disturbing the continuity or dislodging the hard-hitting nature of the film. Overall, it’s the screenplay and the dialogues (Aditya Dhar) that make Aakrosh what it is.

Despite a number of plus-points, the film appears dry (especially to the entertainment hungry audience) in some portions. Some heroic deeds in between and some more punch dialogues by the two male leads would have added more mazaa for the audience.

The subject of the movie makes Pritam’s music go unnoticed. Sameera Reddy’s item number Tere Ishak Se Meetha is noticeable but because of the situation.

Ajay Devgan once again proves why he is a master in portraying serious and intense roles. It’s a pleasure to keep your eyes on him whenever he appears although he doesn’t mouth too many dialogues and speaks more via expressions and eyes. A real treat for Ajay’s fans. Akshaye Khanna was required to underplay his character and he does that exceedingly well. Although he plays second fiddle to Ajay, he shows his class in a number of sequences.

After playing a comic guy in a number of Priyadarshan’s flicks, Paresh Rawal this time plays a hardcore, ruthless and corrupt police officer and does that with utmost perfection. One just loves to hate him in this role where he also keeps his comic avatar intact. Bipasha Basu and Reema Sen also do well in supporting roles. Amita Pathak acts well in a cameo.

This hard-hitting saga by Priyadarshan surely deserves a watch. However, the film’s box-office collections do not look healthy as is the case with almost all serious films these days (when will the audience come out of the hangover of mindless comedies and romantic films?). Hence, this well made effort relies on word-of-mouth to succeed at the box-office, which looks unlikely looking at the box-office records of films released in last year or two.

Celebrating Festival or Hooliganism?

By: Keyur Seta

A ruthless bunch of people playing drums at an insanely high level, their fellows bursting noisy crackers one after the other while spoiling the air as well as littering the roads, drunkards eve teasing the ladies. All this while the traffic is simply unmovable because of these ghastly acts. Hence, the common man is forced to stay indoors. Those suffering from illness and the students trying hard to study are helplessly forced to keep quiet about the terrible situation.

Picture Courtesy – mumbaichaganpati.blogspot.in

After reading the above description one might wonder if this is a scene from a party thrown by an underworld don for his gang. No; this is how Mumbai welcomes and bids farewell to arguably its most loved God – Lord Ganesha. Can there be a more insulting way to welcome, respect and bid adieu to the most adored almighty? The origin of the celebration of Ganesh Chaturthi dates back to the pre-independence era when the great leader Lokmanya Tilak advised everyone to celebrate this festival in order to show unity against the British.

I bet today’s mischievous monsters don’t have an iota of idea about this. Or else why would they play sleazy item numbers in Ganesh Pandals? One friend of mine had to shut her windows this year since the Pandal near her house was ‘continuously’ playing Munni Badnaam throughout the day. And they call it a religious festival!

There are a number of pro-Hindu groups projecting themselves as the saviors of the Hindu religion and are always up in arms whenever they believe someone is hurting Hindu sentiments. Sadly and annoyingly, not a single person from any of these groups has ever raised a voice or protested against such acts; forget trying to make a difference. And needless to say, the problems with Ganesh Visarjan are much larger than mentioned above.

Picture Courtesy – mumbaichaganpati.blogpost.com

The fact that these groups are turning a blind eye on the situation, invariably rubbishes the logic behind their formation and existence. It seems they become active or their only purpose is to rubbish, criticize or ridicule ‘other’ religions or people from ‘other’ religions. If my accusation isn’t true, why are they ignoring such insulting acts against one of the most celebrated Gods?

We always pray to God to get ourselves out of a mess. Now, we need to pray to Him to save nobody but Himself from this mess!