3 Idiots Released Date- 24 Dec 2009

Superb Movie Yaro.....................
The moment name Aamir Khan is seen in the credits, the word 'quality' comes naturally. Such has been the brand value Aamir has made around him that everything else, whether it is the director, composer or the co-star, comes secondary. Of course with names like Rajkumar Hirani, Kareena Kapoor and Vidhu Vinod Chopra involved, one can't discount the overall package affair that 3 Idiots turns out to be. Still, when it comes to the music of the film, one can't really claim to have huge expectations. Reason being that the composer at the helm of affairs is Shantanu Moitra who hasn't had a single commercially successful album other than Parineeta. Yes, he has been critically acclaimed but due to the kind of music he has created and the genre he has explored, mass acceptance has still eluded him. Even a Lage Raho Munnabhai showed some good sales once the movie turned out to be hugely successful at the box office. This is the reason why one plays 3 Idiots (that has lyrics by Swanand Kirkire) with reasonable, rather than extraordinary, expectations in place - Aamir Khan notwithstanding.

MUSIC

Write your own music review of 3 Idiots

It's a gradual beginning to 'Aal Izz Well' that gives a clear indication of what the film is all about. Arriving with the theme of 'care-a-damn' attitude, 'Aal Izz Well' is completely different from dozens of campus tracks that have been heard over the years. Swanand Kirkire's lyrics make an instant impression while Shantanu's rhythmic treatment ensures that the song would be played in many a campus festivals and student get togethers from here on. Catching the pulse of youth, whether from today, yesterday or tomorrow, this Sonu Nigam and Shaan sung track, which also appears in a deserving 'remix version', belongs to chartbuster variety. One wonders though that why did Shanatanu have to croon like Anu Malik for an interspersing piece?

Only song in the album featuring a female voice comes in the form of 'Zoobi Doobi'. The chosen one here is the obvious name without whom not a single A-list album gets completed today - Shreya Ghoshal. A song-n-dance affair that almost spoofs the conventional rain tracks that have been heard and seen in Bollywood over the decades, 'Zoobi Doobi' combines melody with rhythm with Sonu Nigam joining the show. Belonging to the 50s and 60s variety in the way it has been composed, 'Zoobi Doobi' (which too has a 'remix version' for itself) is good though its longevity would depend upon the way it has been choreographed and the extent to which the film succeeds.

From this point on, the album takes a situational turn, as visible in 'Behti Hawa Sa Tha Woh' which comes next. Starting on a pensive note, the number is about a couple of friends (Madhavan and Sharman Joshi) who are searching for their lost partner (Aamir Khan). The number has a distinct Bengali music touch to it, whether in terms of the way it has been orchestrated, arranged and even sung. With minimal instruments in the background, this number sung by Shaan and Shantanu Moitra describes the character played by Aamir and how he carried a carefree and lively persona. With a hint of sadness to it, 'Behti Hawa' is primarily for the screen.

Just like it's predecessor, 'Give Me Some Sunshine' too has a slow beginning with Sharman Joshi narrating a line about youth being allowed to live life the way they want. Soon after Suraj Jagan starts singing this track about how kids are deprived of their innocence in the world of education that dictates what they should be doing rather than them making a choice. Meanwhile, Sharman keeps interspersing the song with anecdotes from the childhood (experimenting with chemistry, forced to get 99% marks etc...). Yet another campus track, though softer in mode and tone this time around, the song has its high point every time the line 'Give Me Some Sunshine' comes on the forefront.

The finale is interesting with Sonu Nigam coming up with one of his best renditions in recent times. He changes the pitch of his voice extraordinarily well in 'Jaane Nahin Denge Tujhe' which again appears to be the set in a mood where the friends are rooting for each other and making sure that they don't fail in their pursuit for a better life ahead. After singing two popular tracks 'Shukran Allah' [Kurbaan] and 'Don't Say Alvida' [Main Aurr Mrs Khanna], this is yet another quality outing for Sonu Nigam who hits just the right notes. Special mention to Swanand for his words that should make a definite impact in the film's narrative.

OVERALL

3 Idiots is a good quality album that has two super strong tracks - 'Aal Izz Well' and 'Jaane Nahin Denge Tujhe'. Both are poles apart though because while former is for mass audiences, latter should find a perfect placement in the film's narrative. 'Zoobi Doobi' is nice while 'Behti Hawa' and 'Give Me Some Sunshine' would be known more after the film's release. Immense curiosity value around '3 Idiots' would ensure that in the initial days, the album disappears quite quickly from the music stands. After that, it would be the strength of the film and its run at the box office that would do the talking for the album as well.

World Cupp 2011 Release Date 18-Dec-2009

Cast

Ravi Kapoor, Suresh Oberoi, Zakir Hussain, Ehsan Khan, Manisha Chatterjee, Saba Karim, Nikhil Chopra

Movie Report

World Cupp 2011 is a film by debutant director-actor Ravi Kapoor. The film is based on cricket and it also exposes the links between underworld and cricketing world. Director Ravi Kapoor seems confused to pack in too many genres into one.

The film reveals the story of Indian cricket team's captain Ravi Indulkar (Ravi Kapoor), who gets lured by the bookie lord Shobhan's (Zakir Hussain) huge bribe during the World Cup game against Pakistan in 2007.

Ravi, along with his four team mates - Rajpal, Hiten, Irfan and Balwinder, ends up throwing the match away resulting in India's loss. They are however later exposed by a journalist, which leads to the Indian Cricket Board ousting them all for four years from cricket. Ravi's girlfriend, Soha (Manisha) dumps him and he also faces his father's death.

But Indian team's cricketing coach (Suresh Oberoi) gives one more chance to the black listed Ravi and his four other banned team mates. Its then an India v/s Pakistan final and what happened in that match forms the rest of the film.

Performance wise, Ravi Kapoor is just okay, he has a long way to go in acting field. Manisha is all right. She does not get much scope but may be in coming films she will do batter. Zakir Hussain and Suresh Oberoi are impressive. Former Indian cricketers Saba Karim and Nikhil Chopra do a good job on screen as commentators.

On the whole, World Cupp 2011 is good film with a good concept but the bad execution and a weak script makes it disappointing.

Viewer's Review

An average film

by Amit Vashisht (posted on : 19-Dec-09) Rating: (Average)

Overall World Cupp 2011 is just an average film. The film has right intention but it falls flat because of weak script. Positives: 1. Ravi Kapoor and Manisha have good on screen presence. 2. Aadesh Srivastava's music is okay. 3. Technically the film is good. Negatives: 1. The script is very weak. 2. Writing is amateurish. 3. Suffers from bad execution.

Rocket Singh - Salesman Of The Year Release Date 11-Dec-2009

Film: “Rocket Singh - Salesman Of The Year”; Cast: Ranbir Kapoor, Manish Chaudhary, Shazahn Padamsee, Gauhar Khan, Mukesh Bhatt, Prem Chopra; Director: Shimit Amin; Rating: ****

If cinema to you is just a vehicle to indulge in mindless diversion, then “Rocket Singh - Salesman Of The Year” is not your cup of tea.

If cinema as a popular work of art is meant to make viewers reconsider the quality of their lives, then plunge into the mundane world of Punjabi munda Harpreet Singh.

Like in “Wake Up Sid”, Ranbir Kapoor plays a somewhat aimless guy who’s just out of college wondering what to do next. That’s the moment when we jump into the lives of Sid and Harpreet, so similar in their soporific world-view and yet so different in their journey from premature jadedness to premature wisdom.

Shimit Amin’s earlier inspirational work “Chak De! India” was far more aggressive in its aspirations. “Rocket Singh” is a more gentle and non-cynical work. Its opinion on contemporary corruption is tinged with warmth, humour and a subtle regard for office politics seldom seen in our films.

Some may perceive “Rocket Singh” as a niche film on the politics of computer hardware. This is as shallow a reading of Shimit’s cinema as looking at “Chak De!” as a hockey film.

People habituated to being spoon-fed emotions by filmmakers who think masala is what makes entertainment palatable, may find Shimit’s approach to Harpreet’s tale almost arrogant in its self regard and disdain for the qualities that make socially-purposeful cinema engaging to the man in the backseat.

Outwardly Shimit and his brilliant writer Jaideep Sahni, whose words move effortlessly from stinging social comment to conversational candour, don’t seem to care whether the audience joins them in their scathing often frustrating sometimes humorous search for a centre to Rocket Singh’s life.

But make no mistake. This film really cares about the environment of indolent debauchery that has crept into the working-class lifestyle. The office details are so dead-on in recreating the deceptive dynamism of an office-going entourage, you wonder if Ranbir, the writer and director spent quality time in a slothful hierarchy-motivated office.

Ranbir’s journey from professional disgrace to redemption echoes Shah Rukh Khan’s voyage from the damned to the extolled in “Chak De”. Except that Ranbir’s playing field is more in his mind and soul.

As the protagonist gathers together his dignity to pursue a path of honesty in his business transactions, we witness the portrait of a detoxicated working-class hero.

Ranbir brings to his part a lot of earnestness and heart. His natural and utterly contagious exuberance seen in “Wake Up Sid” and “Ajab Prem Ki Ghazab Kahani” is effortlessly curbed here. What we see on screen is a Sardar not quite like any of our movies have shown so far.

Harpreet, who later becomes Rocket Singh because his colleagues throw paper rockets at him, doesn’t become a larger-than-life figure of aggressive sales-pitch. Ranbir plays the loser who turns the zero on his life’s calling-card to his own advantage with the kind of unspoken wisdom that actors acquire after decades of experience.

The supporting cast of Mukesh Bhatt as the office peon, P. Santoshi as the lazy porn-addicted colleague, Gauhar Khan as the commodified office receptionist and Naveen Kaushik as the crucial link in Harpreet’s work place, boost Ranbir’s central presence with their ingrained sense of belonging to the world Shimit and Sahni have created.

“Rocket Singh” works on many levels beyond Ranbir’s astonishing performance. It is a momentous piece of cinema for its writing and its indifference to the dynamics of conventional storytelling.

Sahni’s words are often so laconic that they make their point without our being conscious of their importance to the given context of working-class inertia.

While urging the sexy office receptionist to join him in his audacious entrepreneurship, Harpreet warns Gauhar: “Otherwise I’ll remain the joker Sardarji and you the item girl.”

The film’s main conflict is between Harpreet and his unscrupulous boss played by the aptly over-the-top Manish Choudhary. The two finest sequences are written as muted acidic confrontations between Ranbir and Choudhary. The final encounter in a supermarket where the boss surrenders to Harpreet’s integrity is the trickiest part of the narration.

“Rocket Singh” stands tall despite its flaws. On the surface it has a uni-focussed sameness to its narration, as though the story was being told in one breath.

The lack of drama in a situation simmering with emotional dips and curves gets the audience fidgety. But soon we realise the absence of expendable energy is the narrative’s primary virtue.

You can’t miss the writer and director’s concern for a growing middle-class that worships wealth and success at the cost of more valuable assets. Most of all you can’t miss Ranbir as the understated Sardar riding his cherry-red scooter gifted by his grandfather (Prem Chopra) cringing at the red light when a swanky motorbike rides up alongside.

But Ranbir’s portrayal of the loser’s rise from shame to name is a journey we’d any day undertake even on a cherry-red scooter.

Paa Release Date 4-Dec-2009

Movie Review: Paa; Star Cast: Abhishek Bachchan, Vidya Balan and introducing Amitabh Bachchan; Director: R. Balki; Rating: **** - Wins your heart.

Auro (Amitabh) is a 12 year progeria infected kid living with his gynecologist mother Vidya (Vidya Balan) and her mother (Arundhati Naag). Extremely witty Auro happens to win an award in his school from a young politician, Amol Arte (Abhishek). On the same night when Vidya watches its telecast, she realizes that Auro actually met his father for the first time. During her student days abroad, she was in a relationship with Amol but had broken off with him over their decision whether to keep the child or not. Amol wanted it aborted and not commit for marriage as he wanted to pursue his political ambitions. Progeria affected children don’t happen to live beyond 13-14 years so when Auro collapses and she fears he is nearing his final stages of his life, she reveals to him that Amol is his father. What follows next and how Auro is instrumental and getting his estranged parents back together forms the rest of the film.

Paa is R. Balki’s next after the immensely lovable Cheeni Kum (2007). Balki had showcased glimpse of his brand of sarcastic humor in his debut film and with Paa he has completely established it. The film has been intelligently narrated cutting away from unnecessary melodrama. The pacing is just perfect. The selection of child actors (including Mr. Bachchan) deserves special mention. They act their natural self and are extremely hilarious. Paa has plenty of wonderfully written and enacted sequences like Auro’s conversations with his best buddy in school Vishnu, Auro’s sequences with his stuffed toy King Kong, Amol – Vidya’s argument over whether to keep their child or not, Amol exposing his detractors on live national television, Auro and Amol’s chilling out all day in Delhi, Amol realizing Auro is his own child and finally of course the climax.

With his Auro act, Amitabh Bachchan yet again proves he is the Paa of all his contemporaries where acting is concerned. The effortless manner, in which he has carried out such a challenging act, deserves a long standing ovation. He is definitely bound to win all the acting awards for this one. Abhishek Bachchan has put up a very mature act. In fact you may want to hate his character in the film initially, but full credit to him for making it very likeable. Vidya with her body language succeeds in communicating her single mom turmoil. She is effortless natural as well and looks wow. Arundhati Naag is very good. Paresh Rawal in a short role as Abhishek’s father is well restrained.

The film scores very high in the technical department. Music maestro Ilaiyaaraja’s music is melodious and perfectly interwoven with the film. His background scrore is super fresh. Anil Naidu’s editing and PC Sreeram’s cinematography are top notch.

Watch Paa with your Maa and Paa and one can confidently say that it is definitely bound to be an experience which you will remember for a long time. Paa will leave you with a tear in your eye but also a smile on your lips.

Radio Release Date : 03,Dec 2009

Director Ishaan Trivedi
Producer Ravi Agarwal
Starring Himesh Reshammiya, Shehnaz Treasurywala, Sonal Seghal, Zakir Hussain, Rajesh Khattar
EXPECTATIONS

In the last couple of years, Himesh Reshammiya has been lying low when it comes to composing music. The same man who once gave more than three dozen chartbusters in a row had just one major soundtrack releases last year in the form of Karzzzz, the music of which did become immensely popular. Meanwhile, Himesh got selective in his assignments and worked only on those films where he came up with a package deal of an actor, composer and singer. It's the same package deal in the offering with Radio. One change though - instead of Sameer being his partner as a lyricist, it's Subrat Sinha who has been roped in.

How does the album turn out? Well, it's as simple as this - One can't take the composer out of Himesh Reshammiya. He surprises, and how, with an altogether different approach to music that he takes with Radio. He was a trendsetter 4 years back; and now he may well create a new trend if the songs of Radio are any indication.

MUSIC

A much sober and subdued Himesh is heard in 'Mann Ka Radio', the opening track of the film. In the first listening, all one ends up focusing is on lyrics that go as 'Mann Ka Radio'. Frankly, it's hard to digest. However, as one gives the number a few repeat hearing, it's the music and the singing (in Himesh's new voice) that takes centre stage. What further impresses is the overall soft mood of the song that does the trick. Once the song reaches it's 'antra' portion, one gets to hear a little of Himesh in his vintage style as well. The 'remix version' only elevates the song further as it heads straight for the club. A good beginning.

It's a Western bhangra fusion feel that 'Zindagi Jaise Ek Radio' carries. Based on the folk flavor of Punjab and carrying a similarity feel to it, 'Zindagi Jaise Ek Radio' is high on rhythm with the 'dhol' beats ensuring that the 'bhangra' mood is set right away. Himesh gets into his full throated rendition with this number (which also appears in a 'remix version') that does come with a sense of deja vu but one doesn't mind that due to it's foot tapping ability.

The real album begins though from this stage on as there are six straight songs that bring that side of Himesh that hasn't been heard in the present times. It's the sound of guitar strings which begin 'Jaaneman', a soothing number that is sung in almost an unplugged manner. A brilliant track that announces loud and clear the melodic mood that the album develops from here on, 'Jaaneman' has minimal instruments in the background with Himesh holding centre-stage. His voice too sounds all smooth-n-silky which makes 'Jaaneman' an ideal number for a candle light dinner. Shreya Ghoshal joins Himesh in this romantic outing and makes sure that 'Jaaneman' turns out to be one of the best songs to have arrived this year.

Looking at the lyrics of 'Piya Jaise Ladoo Motichur Wale', one would have imagined this to be a celebration number. However, there is a pleasant surprise in store as it turns out to be a semi-classical track which has Rekha Bhardwaj beginning the proceedings. A love song which again has just Rekha's voice on the forefront with emphasis on the quality of rendition rather than any musical instruments bringing on the beats, 'Piya Jaise...' too demonstrates Himesh's stranglehold over classical music. One wonders where was this aspect of Himesh lost over the years?

In fact Himesh even curbs himself as a singer and only brings him on the scene a couple of times while allowing Rekha to hold centre-stage. Yet another excellent track which only makes one start expecting a lot more from Radio. In fact 'Piya Jaise...' would be the last to warrant a 'remix version' but Himesh Reshammiya and Akbar Sami make it happen and present it in a format that would make an entry into the lounges and clubs.

Feeling of some pure and unsaid love continues with 'Koi Na Koi Chahe' and by this time one gets to know that all the beats and the musical instruments were reserved for the 'bhangra' number in the start - 'Zindagi Jaise Ek Radio'. That's because from that point on, none of the songs had focus on anything other than the vocals, something that shows in 'Koi Na Koi Chahe'. A 'raaga' based love song, this Himesh Reshammiya and Shreya Ghoshal track goes perfectly well with the mood that has been set in Radio so far.

The sound of piano marks the beginning of 'Teri Meri Dosti Ka Asmaan' and one knows there and then that Himesh has indeed set his heart in for creating the soundtrack of Radio. If one liked the music of his last brilliant album Ahista Ahista then one is bound to grab Radio too with both hands, courtesy a song like this which continues the unadulterated feel of the album. Subrat Sinha too spins some interesting lyrics for this number that has Shreyal Ghoshal getting that little girl act well with Himesh giving her company in a full throated rendition.

It isn't every day that another male singer makes an appearance in a Himesh Reshammiya album; let aside sharing the stage with him. Well, impossible happens in case of 'Damadji Angana Hai Padhare' where Kailash Kher gets this opportunity. A number that has a folk base to it, 'Damadji...' has Kailash beginning the proceedings. However, two minutes into the song and Himesh enters the scene while bringing a different pitch and momentum. Yet another number that is attached to the roots and stays Indian throughout, it should make for a good situational outing.

It's back to a romantic duet with Himesh and Shreya coming together for 'Shaam Ho Chali Hai'. After 'Janeman', this is the love song that impresses most and deserves to be promoted to the hilt. With a touch of wait and sadness to it, this one too carries a certain 'pure' feel to it and stays unconcerned about any commercial trappings. Carrying the kind of sound (that does remind of 'In Dino Dil Mera' - Life In A Metro) that is bound to work well with the youth of today who are looking at hearing something different from the usual club outings that are being presented in many a album in recent past, 'Shaam Ho Chali Hai' deserves a repeat hearing.

Before the album concludes, Himesh presents himself a solo in the form of 'Rafa Dafa Kiya Nahi Nahin Jaaye'. A number about moving on in life, this one is a good attempt by Subrat Sinha as he pens something different from the 'dard-e-tanhai' genre that has been beaten to death. A slow moving track that is primarily for situational appeal, it doesn't harm the overall flow of Radio which ultimately turns out to be much more than just a satisfying album.

OVERALL

Radio, in one word, is 'brilliant'. In three words, it can be described as 'Himesh is Back'. And in one sentence, it would be right to say that 'Himesh creates something that what he is capable of doing so'. One wonders whether he too was aware of this fact that he had it in him to compose and sing songs like 'Janeman', 'Piya Jaise', 'Shaam Ho Chali Hai' and 'Koi Na Koi', all in one single album. He makes a huge impression with Radio that is sure to hit the top spot in the charts in quick time. Strongly recommended!

De Dana Dan Release Date : 27,Nov 2009

Cast: Akshay Kumar, Sunil Shetty, Neha Dhupia, Ratan Jain

Direction: `Filmed’ by Priyadarshan

Chloroform is his norm. This hired killer places a wet napkin under his victim’s nostrils but knocks himself out, too, in the process. Distress. Johnny Lever, popping his eyes out of their sockets, has just goofed up the to-be-killed-guy’s photo docket. Haw haw.

A five-star’s waiter helps himself to the whisky tumblers and savoury starters to be delivered for room service. Rajpal Yadav he, and quite tee hee.

And a goldie oldie, with his sexy wife, is pretty boldie. Paresh Rawal goes pant-pant, huff-huff. Hyuk nyuk.

In fact, Lever-Yadav-Rawal keep the kinky kettle boiling for director Priyadarshan’s reunion of the male leading cast of Hera Pheri. No sequel, prequel or postquel, quite curiously De Dana Dan doesn’t assign sufficient footage to either Akshay Kumar or Sunil Shetty. Thank the lord, for the latter’s minimalism actually. He continues to be strictly oak. Eesh.

Sneeze aachhoo a couple of times and you might even miss out on Katrina Kaif, there only to exude the bimbettni quotient. Instead in the vein of the director’s Malaamal Weekly, this one goes ananas over its seasoned supporting players, even shoving the rarely seen thespian Vikram Gokhale (looking humungous, alas) into the fold. The less carped about the incorrigibly lechy Shakti Kapoor, the better. No zing in his stings.

As it turns out, DDD is a punishing snoozefest in the first-half its excessive length of some two-hours-40-minutes. Indeed you have to pinch yourself hard to keep your eyes half open in the pre-interval section. Totally Zzzzz-grade.

In the event if you’re late, very late, for this situational com-pom, not to worry. You won’t have missed much except 400 winks maybe. Mercifully, the tempo picks up halfway in this mix-yap-yap located in a Singapore “Hawtel” (pronunciation theirs). Zounds, its logo is shown constantly, presumably for discounted location rent – but honestly after witnessing the malarkey, only a miracle would entice you to check in there. Despair.

Anyway, count some 12 characters on the scene who are literally toppling over one another, once even as- four-men-on-top -of-one another to evoke a chhee-chhee Dostanasque comment.

Such asides apart, it seems the reason for the ceaseless farce is Akshay Kumar’s urgent need to get away from his tormentful boss (Archana Puran Singh, writhing, wriggling). She kicks butt (his), loves her dog ‘Mulchandji’ perversely and reduces Butt Boy to a nattering ninny. In collusion with Sunil Shetty, Butt seriously kidnaps the dog, and expects a huge pay-off. Oof.

The plot is incomprehensible beyond that point, cutting to the discounted hotel where a sangeet ceremony is on for..gasp..a dehydrated Chunky Panday and sulky Sameera Reddy. They seem quite remade for each other, but the screenplay sends the senior cast into a right royal tizzy . That’s fizzy only occasionally, at long last leading to a climax that’s a combo of the Titanic and The Poseidon Adventure. All the cast has to swim, drown, gulp, slide through corridors, look more distraught than all the loonies of It’s a Mad Mad Mad World and Kate Winslet-Leonardo Dicaprio bundled together. What to do? Some love stories have flood on them.

Admittedly, the water-gush scenes are technically skilful, far more detailed and impressive than the ones endured lately in Tum Mile.

In effect, then, the finale and the stray funny moments here amount to some 10 to 15 minutes which are worth a ticket-le-ke-dekko.

Yet, you can’t help wondering about the number of small, sensible films that could have been made on the kind of budget that must have been squandered here. Priyadarshan would vouch for that himself after the issue-centric Kanchivaram which is more than likely to be remembered as a far more momentous achievement in a career stretching over 25 years.

Pritam, yeah Pritam again, hammers out an ordinary score. Sabu Cyril’s set deco is uneven. The cinematography is overlit. Some shots have distracting elements like a girl fiddling around with a cellphone in the foreground. And the dialogue is cornball; Vikram Gokhale as a diplomat is equated to the good old sturdy Ambassador car. Puhlease!

Of the cast, Venus producer Ratan Jain fetches up to look more nervous than a struggler before an audition camera.Akshay Kumar evidently needs a break from such goofball gambols.

Of the heroines, Neha Dhupia as a couldn’t-care-a-damn call girl is the best of the female population here. Lever-Yadav-Rawal do go over the top. All of them are repetitive but at least they do it competently.. which is more than what you can say about De Dana Dan, a comedy in search of a hocus focus.

Kurbaan Release Date : 20,Nov 2009

Cast: Saif Ali Khan, Kareena Kapoor, Viviek Oberoi, Om Puri, Kirron Kher

Director: Renzil D'Silva

Post 9/11, there's anger, distrust, suspicion, uneasiness all around. Not a day passes when you don't hear of terrorists killing civilians in the name of religion.

Many storytellers have, in the past, narrated stories about terrorists and their nefarious and despicable plans. But let me state one thing categorically. You haven't watched a more profound, a more thought-provoking, a more dramatic story on this subject before KURBAAN. It's not just the most powerful film to come out of Dharma Productions, it's the most powerful film to come out of the Hindi film industry this year, thus far.

KURBAAN tries to penetrate into the psyche of not just the terrorist, but also someone who has been a helpless spectator all this while. This film is sure to spark off discussions and debates, although it must also be noted that it doesn't take sides or gets preachy.

Rensil D'Silva has chosen a burning issue for his directorial debut, which is a complete departure from Karan Johar's earlier films. For some inexplicable reasons, parallels are being drawn with FANAA [Aamir Khan, Kajol] and NEW YORK [John Abraham, Neil Nitin Mukesh, Katrina Kaif], but the fact remains that barring the backdrop of terrorism, there's no similarity with those films.

I've often felt that certain films are beyond box-office. Movies are not meant to merely entertain, but enlighten and educate as well. They need to prick your conscience and in the process, make an attempt to make this world a better place. KURBAAN does just that and for this very reason, it deserves a double thumbs up.

Final word? Drop everything else you're doing to watch KURBAAN. Movies like these need to be made, encouraged and lauded.

Avantika [Kareena Kapoor] is a teacher at a university in Delhi. She has come back from New York where she teaches, because her father [Aakash Khurana] has suffered a heart attack. During this period, she meets a Professor called Ehsaan Khan [Saif Ali Khan]. Soon, they begin seeing each other and love blossoms.

A few months later, Avantika receives a call from her university in New York, asking her to come back. Avantika breaks the news to Ehsaan. He, in turn, tells her he doesn't mind coming to the States with her. But first they need to get married.

Soon after the marriage, they leave to start a new life in New York. They buy a house in an Indian neighbourhood and move in. Just as they are setting up home, their conservative Muslim neighbours invite them over for dinner. The next morning, Salma [Nauheed Cyrusi], one of the women Avantika met the night before at the dinner, visits her under the pretext of gifting her sweets.

When Avantika invites her in, Salma tells her that she is in grave danger. Nothing is what it seems. Salma pleads with Avantika to help her. What follows next is a series of incidents that sucks Avantika into a vortex of danger and intrigue. As her life spirals out of control, Avantika realizes that she is a pawn in a huge game.

KURBAAN has two stories running concurrently - the love story between Saif and Kareena and the story of Islamic terrorists. Rensil sets the stage in the initial 15 minutes itself, after which there's a twist in the tale every 15-20 minutes, which catches you completely unaware. Rensil doesn't borrow from the past, which makes the proceedings thoroughly captivating.

The highpoint is the 35-minute climax, which leaves you spellbound. The culmination to the story shakes you completely, largely because it's pragmatic and has been executed most logically as well. In fact, filming the climax at the various underground tube stations must've been the toughest challenge for the director.

On the flip side, KURBAAN caters more to the intelligentsia or the thinking viewer and might not be lapped up whole-heartedly by those who survive on the staple diet of hardcore masala fares.

Some of the finest technicians in the business are associated with KURBAAN. Hemant Chaturvedi's cinematography is super. The film bears an international look all through. Salim-Sulaiman's music is well integrated in the narrative. At least two tracks merit a mention - 'Shukran Allah' and 'Ali Maula'. Anurag Kashyap and Niranjan Iyengar's dialogue are superb. The lines enhance the impact of several sequences. Thrills are, again, in sync with the mood of the film.

KURBAAN is embellished with superlative performances. Saif is extra-ordinary in a role that only proves his versatility once again. If he won your heart with a winning performance in LOVE AAJ KAL a few months ago, you need to watch this supremely talented actor underplay his part so beautifully in KURBAAN. As for Kareena, KURBAAN reiterates one fact yet again: She's the best in the business. No two opinions on that! Watch her get those emotional sequences right, it's incredible. Here's a performance that truly merits the highest praise and admiration, besides fetching her awards and accolades.

Vivek Oberoi is fantastic. Matching Saif and Kareena at every step, KURBAAN should be the turning point in Vivek's career. It's a difficult role to portray and only an actor with a wide range could've portrayed this part so effectively. Om Puri is top notch and so is Kirron Kher. Kirron is marvellous, especially in the penultimate scene. Dia Mirza, Nauheed Cyrusi and Kulbhushan Kharbanda lend credibility to their brief roles.

On the whole, KURBAAN is the most powerful film to come out of the Hindi film industry in 2009, so far. The film has a captivating plot, gripping screenplay, super performances and a climax that shakes you up completely. Watching this movie should be on top of your agenda this week.

Marega Salaa Release Date : 20,Nov 2009

Marega Salaa music is directed by Daboo Malik. Marega Salaa music director, Daboo Malik already has sing songs for 3 Nights 4 Days music and Kisaan music. Marega Salaa movie is coming in the direction of Devang Dholakia. Producer of Marega Salaa movie is Hema Hand. Recently, Saregama Music Company launched the music of Marega Salaa movie. Marega Salaa music has total 8 songs.

First song “Tu Hi Hai (Remix)” of Marega Salaa music is sung by Sunidhi Chauhan. The song begins with rap music. The song tunes on band and rap music. There is very bold blinking music also in the song. The song introduces club music. Instrumental music is very vocal in the song. Lyric of the song is also very bold.

“Tu Hi Hai” song of Marega Salaa music is sung by Daboo Malik. The song is original version of “Tu Hi Hai (Remix)”. There is not much difference between original and remix version of both songs. “Tu Hi Hai” song has also introduced rap music. The song is influenced by western music.

“Parde Wali Baat” song of Marega Salaa music is sung by Alisha Chinai. Singer of the song has sung the song in her style. The song also begins with rap music. Lyric of the song is very sweet and bold. The song tunes along with rap music and very bold instrumental music. This is situational song of Marega Salaa movie.

“Parde Wali Baat (Remix)” song of Marega Salaa music is also sung by Alisha Chinai. The song begins with blinking music. There is very bold band music. The song music is very similar to club music. Lyric of the song is also very fast. The song is very similar to “Kajra Re Tere Kare Kare Naina” song of “Bunty Aur Babli” movie.

“Sehra Sehra” song of Marega Salaa music is sung by Sunidhi Chauhan. The song begins with blowing music. Lyric of the song is very bold. Music of the song is not very new. You can feel rap music in this song also. This is item song of the movie.

“Sehra Sehra (Remix)” song of Marega Salaa music is also sung by Sunidhi Chauhan. Music of the song is also not much different. The song also begins with a long instrumental music. Lyric of the song is also very similar to original version of the song. Sometimes, lyric goes ups and downs with fast-paced music but you can’t differentiate a big line between original and remix version.

“Tu Hi Hai (Female)” song of Marega Salaa music is sung by Sunidhi Chauhan. Music of the song is also not very new. The song also has introduced rap music. This is rocking song of the movie.

“Aankhein Tumhari” is the last song of Marega Salaa music which is sung by Sonu Nigaam and Shreya Ghoshal. The song is very different from all songs of Marega Salaa music. Lyric of the music is very sweet. The song is very poetic. This is a meaningful song of the movie. The song is new version of “Thoda Sa Pyar Hua Hai” song of “Maine Dil Tujhko Diya” movie.

Overall, music of Marega Salaa is not new. You can listen to many bollywood movies’ songs which are similar to the Marega Salaa song. Music director, Daboo Malik has introduced only rap music in all song to make them different. English rap also has been introduced but all the song is on the same track. There is not uniqueness in the song of Marega Salaa music.

One of the largest music archive in India Saregama Music Company launched the music of film “MareGa Salaa”. The film is produced by Hema Handa and Directed by Devang Dholakia. The Lyrics and Music is composed by Daboo Malik. The music album of “MareGa Salaa” features artists like Sonu Nigam, Sunidhi Chauhan, Shreya Ghoshal, Alisha Chinai and Daboo Malik.

“MareGa Salaa” comprises of 8 songs. The first song of the album is “Sehra Sehra” by sensational Sunidhi Chauhan. It’s a typical Sunidhi Chauhan song, entertaining and a dance song. Followed my Sehra Sehra is “Parde wali baat” sung by Alisha Chinai is a let down by the popular pop singer. The song lacks the zeal and spirit for a happening dance track. The next song is “Tu hi hai” again sung Sunidhi Chauhan. This song is beautifully sung by the famous singer but the music could’ve been better. The next track is “Aankhein Tumhari “is a duet by Sonu Nigam and Shreya Ghoshal which is the best song of MareGa Salaa. It’s a soft romantic mass appealing song. The 5^th song of the album is a Daboo Malik version of “Tu hi Hai”. The music is good but Daboo Malik is better off as a music composer. The next song is a remix of “Sehra Sehra” by DJ Hash. DJ Hash has also remixed the song “Tu hi hai” which is the last song of the album, both the songs sound much better the remix way. There is a remix of “Parde Wali Baat” by Raamji Gulati and DJ Dev. The original one is a big disappointment but the remix is a good techno song if you don’t pay attention to the lyrics.

All in all, the songs of “MareGa Salaa” are a combination of good and bad songs. The remixes are the best tracks in the album.

Tum Mile Release Date : 13,Nov 2009

In TUM MILE, a couple faces two storms. The storm within, when they come face to face after their breakup. The storm outside, when a natural calamity strikes Mumbai on 26th July, 2005 [unprecedented rainfall devastated Mumbai on this date].

After JANNAT, director Kunal Deshmukh [KD] chooses a love story yet again. It's about an estranged couple, but the wallpaper in TUM MILE is the Mumbai floods. Naturally then, the expectations from TUM MILE are colossal, given the fact that TUM MILE is the first film that attempts to chronicle the natural calamity on celluloid, with seriousness.

Had KD limited himself to narrating the ups and downs in a live-in relationship, TUM MILE may've struck a chord. But if you're attempting a disaster movie [its promotions send out strong signals], you'd be eager to know how KD recreates the horrors of 26th July on celluloid. Let's not forget, the catastrophe is still etched in our memory and has tremendous recall-value.

While KD succeeds in depicting the tiffs between the lovers, it's the disaster aspect that doesn't make much of an impact. That's because you strongly feel that the infamous Mumbai floods should've been given more prominence, instead of using it as a tool to take the story forward.

26th July, 2005 rang an ominous bell for most, but amidst all the chaos and the tragedy, it re-united two star-crossed ex-lovers.

Two people [Emraan Hashmi, Soha Ali Khan] meet after a hiatus of six years. What starts off as a seemingly innocuous encounter on the same flight back to Mumbai, ends up as a rollercoaster ride through some of the darkest hours of Mumbai, as they see the city get swamped with disaster and loss... and are forced to stick together in this time of crisis.

26th July, 2005 remains etched in your memory and I'm sure, every Mumbaikar would've a story to tell vis-à-vis what transpired with them or their beloved/relatives/friends/acquaintances on that fateful day. TUM MILE also highlights the dilemma of a couple, who once shared a beautiful relationship, but have moved on in life after they split, till they meet again on 26th July.

Opposites attract and so do Emraan and Soha in TUM MILE. Although their story goes back and forth several times, the narrative doesn't confuse the viewer one bit. So far, so good.

But the problem lies in integrating the natural calamity with the love story. Even if you're a non-Mumbaikar, you'd vividly recall the images that were flashed on news channels continuously or perhaps, you may've watched the footage on internet. But in TUM MILE, the nature's fury doesn't come across strongly or effectively. In a few scenes, yes, you do draw parallels with real life, but the impact it ought to make is just not there. Something is amiss!

KD has handled the love story very well. The tiffs between Emraan and Soha are so identifiable. The 'Dil Ibaadat' song in particular completely moves you. But how one wishes the film would've focussed more on the characters' attempts to escape or cope with the disaster or its aftermath.

Pritam's music is melodious to the core. The cinematography does justice to the beauty of South Africa [romantic portions] and also during the flood sequences. But the usage of stock footage, at places, doesn't work. The computer graphics could've been better and more effective.

Emraan takes giant strides as an actor. He continues to surprise in film after film. Grossly under-rated despite having delivered competent performances in the past, here's hoping that people wake up to this talented actor after TUM MILE. Like Emraan, Soha too has evolved into a truly fine actor and TUM MILE proves it. The best part is, Soha is extremely natural and that's what makes her sequences so believable.

Sachin Khedekar is there for just one sequence. Mantra, as Emraan's friend, is confident.

On the whole, TUM MILE caters to the youth mainly. At the box-office, the Vishesh Films - Emraan Hashmi combo has cultivated a strong fan-base over the years and coupled with good music, which is also very popular, the film should find itself in the comfortable zone. However, the super-strong opposition in 2012 [also highlighting a disaster on celluloid and which has had a wide release in India] might eat into its business at places.

Aao Wish Karein Release Date : 20,Nov 2009

Every kid imagines what it would be like to be an adult. He wishes he could grow up quicker. Of course, once he grows up, a small part of him wishes he could go back to his childhood days. Quite an irony, isn't it?

There's a line in AAO WISH KAREIN that goes, 'If you want to be a part of a fairy tale, it's important that you believe in it [fairy tale].' The statement is applicable for everyone desirous of watching AAO WISH KAREIN.

In terms of concept, AAO WISH KAREIN bears a striking resemblance to the Tom Hanks starrer BIG [1988]. A decade-and-a-half ago, the Salman Khan - Sridevi starrer CHANDRAMUKHI also tackled a similar theme. In that respect, the concept isn't alien at all.

It's not sacrilegious if a film bears an uncanny resemblance to another film [it could be a coincidence], but films like these need to be well-structured and most importantly, supported by incredible actors who can make you believe in fairy tales. Also, the makers ought to take a stand at the very outset: Should it be targeted at kids or youth? You just cannot sit on the fence. In this case, you don't know if AAO WISH KAREIN is aimed at the kids or is it a breezy romantic flick, targeted at the youth.

All said, AAO WISH KAREIN has some endearing moments, but not enough to salvage it.

12-year-old Mickey's life was almost like a fairy tale: A beautiful family, best buddy Bonnie and his angel on earth - Mitika [Aamna Sharif]. One fateful day, Mickey's fairy tale is shattered into a million pieces. He realizes he's an adopted child and his 23-year-old angel Mitika too calls him a kid. A heart-broken Mickey sits all by himself until Hitchcock [Johny Lever] appears.

Mickey hopes for a miracle to happen. He wishes to become big. To his astonishment, he wakes up next morning and realizes that his wish has been granted. He has indeed turned big. But was this miracle a blessing or a curse in disguise?

The choice of the subject is perfect. But there's an inherent flaw in the story and that is, the 12-year-old kid seems to be in love with the pretty woman, but the moment his wish his granted and he transforms into a grown up man overnight, he continues to behave like a kid. Romance, therefore, just doesn't exist and even if it does, it's far from exciting.

Ideally, the writing would've worked had the kid-turned-grown up behaved like a grown up.

The culmination to the story is well penned, but, again, it might not work in entirety. The writers could've run their imagination wild, given the fact that they were writing a fairy tale, instead of taking the safe route here.

Director Glen Barretto has handled a few individualistic scenes well, especially the ones between Aftab and Johny Lever. Music is soothing to the ears, but the non-promotion or lack of popularity will make the effort go unnoticed. At the same time, there are too many songs in the second hour, which weren't required frankly. Keshav Prakash's cinematography is top notch. The locales of Himachal Pradesh and Goa are well captured on celluloid by the DoP.

Aftab pitches in a sincere performance. He looks the character. Aamna is easy on the eyes, although the role doesn't demand histrionics. Johny Lever is first-rate. Rati Agnihotri is good. Yatin Karyekar is alright. The kids are full of energy. Riteish Deshmukh makes a brief appearance towards the end.

On the whole, AAO WISH KAREIN is engaging in parts, but how one wishes the film would grab your attention in entirety. The wish of striking a chord and hence, succeeding at the box-office won't come true for this reason.

Ajab Prem Ki Ghazab Kahani Release Date : 06,Nov 2009

Cast: Katrina Kaif, Ranbir Kapoor, Salman Khan (Special appearence) Director: Rajkumar Santoshi


Ajab Prem Ki Gazab Kahani, a comedy set in a comic book universe, is a frustratingly uneven film. Some of it is genuinely funny and delightful and some of it is repetitive, and annoyingly tedious.

But even in its most limp moments, what keeps the film from derailing is its lead pair: Ranbir Kapoor and Katrina Kaif. There is such sizzle and beauty and unadulterated charm here that you really can’t look away.

The story, co-written and directed by Raj Kumar Santoshi, is set in a picturesque little town, which seems like a cross between Goa and Ooty.

Specifics are irrelevant because Santoshi isn’t aiming for realism here. This is a cheerfully artificial world, in which Prem, played by Ranbir, lives with his parents.

Prem is a 9th standard drop-out whose main job is being the President of the Happy Club. The happy club hopes to make people happy but mostly its members boast about doing nothing.

Enter Jenny, played by Katrina, a lovely lady with a slightly troubling back-story: she is an orphan and the parents who adopted her are now forcing her into marriage with an obnoxious boy only because he is rich.

Jenny and Prem, who both have a tendency to stammer when they are emotionally wrought, become friends. And Prem, who can’t bring himself to tell her that he loves her, finds himself in the uncomfortable position of trying to get Jenny away from her own wedding so she can get together with her boyfriend, Rahul, who has issues of his own.

In its best moments, Ajab Prem is crackling comedy.

Santoshi keeps it light, fluffy and fun. There is a real sweetness in the scenes in which Prem and Jenny first discover that the other also stammers.

Some of the dialogues sparkle. The trouble is that the film cannot maintain this tone and energy. So, the humour dips and the gags become forced.

At times, the film strains so hard for laughs that it almost feels like the director is beating you with a stick and ordering you to enjoy it. But even here, Ranbir and Katrina don't let up. Of course, he carries the bigger burden.

Ranbir, as the bumbling nerd, is in almost every frame. Watch him in a ball room scene, in which his body won't stay still or at a cop station, hesitantly declaring his affection for Jenny.

Hopefully someday, Ranbir will find a script that matches his talent.

Ajab Prem isn't it. But the film is engaging enough, as we say in Mumbai, time-pass. Go for it.

Jail Release Date : 06,Nov 2009

Film: Jail
Director: Madhur Bhandarkar
Cast: Neil Nitin Mukesh, Manoj Bajpai, Mugdha Godse, Arya Babbar, Rahul Singh, Chetan Pandit

Madhur Bhandarkar is synonymous with thought-provoking, hard-hitting films. Right from CHANDNI BAR to FASHION, the expert storyteller has made movies that hold tremendous shock-value. In turn, Madhur has cultivated a rich fan-base for his films.

With JAIL, Madhur not only makes you visit a prison, but also makes you peep into the psyche of a prisoner. In the recent past, Sriram Raghavan's EK HASINA THI [2004; Saif Ali Khan, Urmila Matondkar] and Nazim Rizvi's UNDERTRIAL [2007; Rajpal Yadav] narrated the travails and anguish of innocents who were falsely implicated in a case. Besides, Nagesh Kukunoor's TEEN DEEWAREIN [2003; Naseeruddin Shah, Jackie Shroff, Nagesh Kukunoor] too narrated the story of three convicts. But JAIL is different from the above-named films.

Besides watching a thought-provoking story on celluloid, one has also come to expect incredible performances in a Madhur Bhandarkar movie. And JAIL too is embellished with superb performances from its key actors.

JAIL transports you to a hitherto unknown world that most of us haven't seen and if this is its USP, it's also something that might go against it. Irrespective of how strong its merits are, a section of moviegoers [read families/kids], who generally tilt towards feel-good/sunshine/entertainment-filled cinema, might skip this film due to its dry [and at times depressing] theme.

In a nutshell, JAIL mirrors a reality in true Madhur Bhandarkar style. It's hard-hitting, it's compelling, it's thought-provoking. The efficient storyteller has the courage to speak a new language in every film and for that very reason, JAIL should be on your agenda.

Parag Dixit [Neil Nitin Mukesh] is living a dream life -- a great job and a loving girlfriend [Mugdha Godse]. However, things take an ugly turn when, after a series of unfortunate events, he suddenly wakes up in jail. Parag is perplexed. The only salvation he finds is in Nawab [Manoj Bajpayee], a convict, who believes that Parag is innocent.

Soon, Parag is left with a choice, to either live a life with hordes of broken hearts and shattered souls amidst the prison walls or hope to see freedom some day.

JAIL involves you from the very start. The inmates, their crimes, their individual stories... you get drawn into a world that's very real. So real that you feel it's happening right in front of your eyes.

Madhur has a knack of narrating stories and he narrates the story of Parag Dixit with razor-edge sharpness. Besides, JAIL also enlightens you of the legal process, which also acts as an eye-opener.

At the same time, the legal procedures and also the behavioural pattern of the inmates tend to get repetitive after a point and that's when you start feeling restless. Nonetheless, the post-interval has some interesting twists-n-turns, like the convicts' escape from the police van; prior to that Neil and Manoj exchanging stares before Neil perches himself in the van; Neil getting thrown in a dark cell, spending the next few days in solitary confinement; a convict using the garbage van as the means to escape; another convict realising that his wife is now a cop's mistress. Also, the climax is touching and moves you.

Madhur hits the right note yet again. Madhur, Manoj Tyagi and Anuradha Tiwari's script involves you in most parts. Raghuvir Shekhawat's dialogues are true to life. There's no scope for music in a film like JAIL, but the three songs are smartly integrated in the storyline. Kalpesh Bhandarkar's cinematography is top notch. Special mention must be made of Nitin Chandrakant Desai's prison set, where the film is entirely shot.

Not only does Neil Nitin Mukesh deliver his finest performance to date, but the performance would easily rank amongst the finest this year. He conveys the pathos and helplessness that this character demands with amazing understanding. He deserves all praise for his extra-ordinary portrayal.

Manoj Bajpayee pitches in a memorable performance. In fact, the supremely talented actor is in form after a long, long time. He's subdued all through, which only goes to prove that he knows the craft so well. Mugdha Godse underplays her part beautifully. Also, she carries the non-glam look well.

Aarya Babbar is fantastic. This film should make people sit and notice this young actor. Chetan Pandit is first-rate. Rahul Singh is excellent, especially in the sequence when he confronts his wife. The actor who plays the part of Joe D'Souza is effective.

On the whole, JAIL is a well-made film from an expert storyteller. At the box-office, the film will appeal to those with an appetite for hard-hitting, realistic fares, but its clash with AJAB PREM KI GHAZAB KAHANI will affect its business to an extent.

London Dreams Release Date : 30,Oct 2009

London Dreams has a lot going for it. Two big ticket stars, Ajay Devgn [ Images ] and Salman Khan [ Images ], a successful producer-director, Vipul Shah, who has delivered hits like Namastey London and Singh is Kinng [ Images ], brilliant music by Shankar Ehsaan Loy and a matching background score by Salim Sulaiman.

But the technical flourish and the lavish canvas fail to deliver what's promised. Neither does London Dreams [ Images ] have the subtle, nuanced play of emotions of Abhimaan, nor does it have the edge and soul of Rock On, two of the finest films on music and musicians in Bollywood from two different generations.

And while London Dreams may have liberally borrowed from the classic Amadeus (Milos Forman's take on Mozart [ Images ] and Salieri's lives), it comes across as one of those 'Made-in-China' copies. There's nothing inside.

The film is a story about two boys in Bhatinda, Punjab [ Images ], who are the best of friends but two very different kids. And who grow up to be the perfect opposite of each other.

Ajay Devgn is passionate about music and follows it with disturbing ruthlessness. Salman Khan is the reluctant talent who does not realise his own genius. Things are fine until Devgn brings Salman to London to join his band London Dreams. Devgn's life turns upside down when a well-meaning Salman unknowingly steals his thunder and his girl. What happens after that forms the rest of the story.

Sounds delicious, and it could have been a gourmet treat, had the chef mixed the ingredients right.

Devgn is supposed to be this dark, intense, aspiring "Mai Ka Lal Jai Kishen" (that's Michael Jackson [ Images ] for a lot of Indians), but his character is extremely sketchy and unrealistic. For example, his oath of celibacy to pursue his dream of performing at Wembley stadium, or his self-flagellation (yes, he actually whips himself with a belt because he falls in love with a girl), will have you laughing. It may have worked in an 18th century European setting for Amadeus but this is London, 2009 guys!

His emotional outburst to a 90,000-strong crowd that demands to see his buddy Salman on stage, is another crucial scene that fails. At a moment when his most cherished dream crumbles and his credibility is at stake, he is given with some rather lame lines.

And the climax comes a bit too early, with the tail end of the film dragging on for an eternity.

Salman, as Devgn's rustic but fiercely loyal friend who is a womaniser with a heart of gold, actually steals Devgn's thunder, by design and otherwise. He gets the funniest lines, the best song visualisations, and the best character graph. His signature buffoonery, his emotional outbursts, his swagger, and his outrageous styling -- everything comes together to endear him to the audiences.

The biggest problem with London Dreams is that in a film about music and its lessons in humility, the most crucial musical moments are handled amateurishly, which makes it all look unconvincing.

The band's spectacular rise is as hurried and implausible as Devgn's growing up in an alien country on his own by playing flute at street corners.

The film is about an aspiring pop star (and his band London Dreams) but we do not know how every pretty young thing in UK becomes an overnight fan of a Hindi pop band, willing to sleep with the band members at every opportunity. There are two random guitar-toting flunkeys -- Aditya Kapoor and Rannvijay -- who literally jump around like boys with a toy gun.

The way Devgn's band is formed is quite ridiculous too. He begins singing at London's Trafalgar Square and suddenly Aditya Kapoor (with an acoustic guitar) and Rannvijay join him on the stage and begin jamming to an electronic number. By the time they get off the stage, the band is in place, and Devgn is ordering them around as the 'band leader.'

Asin [ Images ], lovely to look at, is but a bizarre cross between a cheerleader and a groupie, whose talent lies in doing variations of the belly dance on stage. She joins the band at a make-or-break audition after this conversation: "Main kya karun?" she asks Rannvijay. "Just go with the flow," he answers. So, she shimmies and shakes a bit to impress the judges.

You have no idea what "hunar" (talent) Devgn is talking about when he urges Asin's conservative father to let her join the band on a world tour. "It is a fantastic opportunity for your daughter", Devgn tells Asin's father with all sincerity. And so she gets to tour Rome, Paris, Amsterdam with the boys, stay in palatial suites. And, once in a while, dance with the firang extras in the background.

You can see where Vipul Shah's strength lies. The rustic scenes, the earthy humour, the emotional bonding, the comic sequences. He falters when it comes to the band, the music.

Besides, Devgn, a fine actor who has fit into comic roles with remarkable ease, fails to connect with you as a musician. His anguish and his intensity is all there, but even if was a deep-sea diver instead of a musician, it would not make any difference to his story.

Sejal Shah's cinematography is commendable. Some of the songs by Shankar Ehsaan Loy leap out from the screen, thanks to the refreshing choreography. The film benefits hugely from both. The Bhatinda-at night scene, where Devgn and Salman drink under a starlit sky, is absolutely dreamy, while some of the concert scenes where the devil in Devgn's rears its head, are deftly handled.

But London Dreams belongs to Salman. And though this becomes a problem for Devgn in the film and he plots to ruin him, there is precious little he can do about it in the theatres. One of the characters say about Salman in the film, "He's not a better talent, he's got adaa (style)". And that kind of sums it up.

You may like London Dreams for its beautiful frames, some paisa-vasool moments between Salman and Devgn, a good background score and catchy songs. For the rest, you need willing suspension of disbelief. And large doses of it.

Aladin Release Date : 30,Oct 2009

“I am still a teenager”, says Amitabh Bachchan right at the beginning of “Aladin”, setting the mood for the film to follow. Young at heart and fresh in treatment, “Aladin” wouldn’t have been possible without him.

Playing Genius - The Genie could have gone either way since he is expected to be whacky, quirky, a little eccentric, a bit mad and hugely lovable.

The narrative is clearly divided into two sections. If the first half is more children friendly, the second half has a lot going for teenagers and above.

There is some fun in store for children with a donkey’s head replacing Riteish’s, his guitar turning into a frog and him being thrown in the air after being turned into a balloon. The funny antics that follow may not have grown ups rolling with laughter, but should surely keep the smiles on.

Amitabh’s ‘Yo dude’ act keeps the fun going. He adopts a completely different body language as the flamboyant genie, who is happy moving on with the times, and could give the younger generation a run for its money.

Meanwhile, Sanjay Dutt’s Ringmaster character makes on and off appearances, though one would have expected to see more of him.

The entire past about Aladin and the Genius gets a little confusing.

The real fun begins in the second half with the battle between good versus evil. Sanjay becomes more prominent on screen, the past is unearthed, action and thrills take centrestage and the best of VFX is unveiled.

The visuals belong to the never-seen-before variety, especially the ones where Big B is shown repenting about his misdeeds. The flashback sequence is extremely well done too.

Sujoy Ghosh does well in conjuring the imaginary world of ‘Khwaish’ that gives the film a visual appeal. This is further enhanced by the presence of newcomer Jacqueline Fernandes. Riteish is likeable as the young man who gets superpowers towards the film’s end, hence keeping an option for a sequel.

Sanjay is good but how one wishes that he had at least a couple of dramatic scenes with Amitabh.

However, the film completely belongs to Amitabh who totally steals the show. Watch him in “Genie Rap” and you’ll know why.

The story of “Aladin” is legendary and Genie and Jasmine are known worldwide. This is why it requires courage for a filmmaker to set the film in contemporary times and come up with his own take on a well loved tale.

Ghosh does exactly that as he lets his imagination go wild and spins a tale that ends up relating the past, present and future of these characters. This VFX filled entertainer is just the right recipe if one is looking for a family entertainer.