Tees Maar Khan Release Date : 24,Dec 2010

Producer Shirish Kunder, Akshay Kumar, Farah Khan
Director Farah Khan
Music Shirish Kunder, Vishal Dadlani, Shekhar Ravjiani
Writer Ashmith Kunder, Shirish Kunder
Lyrics Shirish Kunder, Vishal Dadlani, Anvita Dutt Guptan
Release Date 24-Dec-2010

Farah Khan knows exactly what she wants (rather what she can get) from her cast and employs them to that effect. With her trademark film-inside-film setting, when she wants someone to play the role of a boisterous, atrocious and artificial actor in her film, the natural choice is Akshaye Khanna.

Katrina is cast as the quintessential Bollywood actress who has to wear more makeup and less clothes and do practically nothing in the film. The biggest novel (rather navel) factor she brings to the film is her super-sexy midriff and her hip-hot gyrations. With Akshay Kumar coming into picture, Farah seems to leave behind her Manmohan Desai masala method and adapts her film to brother Sajid Khan’s slapstick sensibilities.

Ten minutes into the film and Tees Maar Khan (Akshay Kumar) is introduced in the league of two other chindi chors, though he makes claims of being an international crime master. His latest assignment is to loot a locomotive loaded with valuables worth crores. Since the booty is in bulk, he would need help from many hands.

Khan hatches a plan to shoot a fictitious film in a village from where the train passes and use the oblivious villagers to rob the train. He lures superstar Aatish Kapoor (Akshaye Khanna), who aims for an Oscar Award, into his mock movie and casts his wannabe-actress girlfriend Anya (Katrina Kaif) as the leading lady.

Remade from Vittorio De Sica’s 1966 film ‘Caccia Alla Volpe’ (After the Fox) starring Peter Sellers, the only major innovation that Tees Maar Khan shows is to shift tracks to train theft from the ship in the original. While the climactic train heist could have worked as a smart suspense element in the favour of the film, the entire fabricated film formula is revealed at the very onset, leaving nothing to your imagination.

Also it appears too far-fetched that a filmstar like Aatish Kapoor won’t comprehend that this one-take shoot, filmed by a single handheld camera is a hoax for heist. Unfortunately the audiences are not as gullible as the villagers in this film.

The Academy Awards and its Bollywood aspirants (from Aamir Khan to Anil Kapoor) seem to be the butt of most jokes here. The film emphasizes and also employs the widespread sentiment of how a poverty-stricken India has become a perfect recipe for Oscar wannabes.

Farah however takes things a little too far with a literal Oscar Award setting in the final reels. Also this time around Farah Khan seems to have gone slack on her signature spoofs, which were a highlight of both Main Hoon Na and Om Shanti Om. Even her trademark end credits are not much inventively conceptualized or different from her earlier attempts.

On the contrary, the film retains a more fervent feel and flavour of Akshay Kumar brand of loud and slapstick comedy. Akshay’s gags are dreary and add to it the other Akshaye’s antics are deafening. And if that is not enough there is a recap of all these histrionics in the climax as a part of the film inside the film setting.

Akshaye Khanna could win the Ham Scene of the Year award for getting possessed by his character in the bank robbery sequence. Then there’s a headless horseman’s anecdote which could make you feel ‘sleepy’ for its ‘hollowness’.

The dialogues written by Shirish Kunder and Ashmith Kunder in synchronized stanzas try too hard to be funny but fall flat at most instances and are repeated too often without much repeat value. Vishal Shekhar’s music has mass appeal. Farah Khan’s raunchy choreography to Sheila Ki Jawani has Katrina Kaif at her sexiest best. One expected some action in the train robbery sequence but there’s none over here.

The role is custom-made for Akshay Kumar and while he plays it effortlessly, he is clearly getting repetitive in his comic act. Katrina Kaif is categorically hired for her sex-appeal and she exudes loads of it. Akshaye Khanna is expected to act terribly and he does that with such perfection that it gets on your nerves.

Apara Mehta makes up as a cheap imitation of Kirron Kher. Arya Babbar gets no scope. You never get to know whether Avatar Gill’s character is a spinoff on A K Hangal from Sholay or he plays a blind man for no good reason. Aman Verma hams. Salman Khan invites whistles and claps in his cameo.

To sum up in Tees Maar Khan’s trademark style of dialogue delivery, Akshay Kumar se zara hatke comedy expect karna aur Akshaye Khanna se kuch bhi expect karna bekaar hain. Tees Maar Khan doesn’t even guarantee thirty good laughs in its three hour runtime.

Toonpur Ka Superrhero Release Date : 24,Dec 2010

Producer Kumar Mangat, Krishika Lulla
Director Kireet Khurana
Music Anu Malik
Writer Raagi Bhatnagar, Kireet Khurana
Lyrics Munna Dhiman
Release Date 24-Dec-2010

Toonpur Ka Superrhero is not only India's first live action full-length animation feature, made on a lavish budget, it also has all the matinee masala that the other Friday offerings do. There's a hero, a heroine, a bunch of virtuous as well as wicked characters, a femme fatale and a baddie. The only difference is that this film has flesh and blood characters intermingling with animated characters.

Twenty-two years ago, Robert Zemeckis gave moviegoers Who Framed Roger Rabbit, which is talked about to this date. It was one of the initial motion pictures that depicted animated film characters interact with human beings. But it took years of development, preparation, research and homework for the makers of Toonpur Ka Superrhero to integrate animation with live action. Thankfully, the effort is worth it.

The motive of animation films or films like Toonpur Ka Superrhero is to entertain the entire spectrum of audience, from kids to adolescents to adults. So far, the target audience for our animated films has only been kids. But, hopefully, Toonpur Ka Superrhero should change the attitude and outlook. It's a film for kids and adults alike, who may take away different things from the experience, but who will be united in their sheer excitement of this visually exciting experiment. Of course, the film lacks finesse at places, but at least director Kireet Khurana and the technicians who worked on the film have made an effort to charter a new path, which, in my opinion, is worth acknowledging.

Final word? Toonpur Ka Superrhero blends inventive animation with old-fashioned values to deliver a decent family adventure. This one's an underdog!

Bollywood actor Aditya Kumar [Ajay Devgn] leads the perfect life: He has a doting wife in Priya [Kajol] and two adorable kids. But his children want him to be their hero not just on screen, but in real life as well. He can't do any of his own stunts, that's why gets stunt doubles, but he has to find a way which will make him look like a real-life hero in front of his children. Aditya finds an opportunity to become his kids' hero when he somehow lands in his kids' favorite cartoon show, Toonpur, where he must work with the Devtoons [good guys] to fight the Toonasurs [bad guys].

One doesn't take to Toonpur Ka Superrhero initially. Right from the lifeless and flat commentary [by Sanjay Dutt] at the very commencement of the film, to the sundry animated characters one is introduced to, to the conflict that Ajay has with his kids, Toonpur Ka Superrhero fails to take off the way one expects it to. But, gradually, the proceedings start making sense. Slowly and bit by bit, one gets a hang of things, although the impression that you hold at the intermission point is strictly okay.

It's the post-interval portions that do a complete turnaround. In fact, the film actually takes off in this hour and I must add, it has several moments that keep your attention arrested. For instance, the song with Rubdoot is appealing and so is the confrontation with the villain, Jugaro. The climax leaves you with mixed feelings. It holds your interest in bits and spurts, not in entirety.

Toonpur Ka Superrhero could've been an invigorating experience from start to end if it was backed by a watertight screenplay. The writing just doesn't complement the animation, which, in my opinion, is path-breaking by Indian standards. The visual excellence aside, the film doesn't engage you in entirety and that's a shortcoming. The music [Anu Malik] is pleasant and easy on the ears. 'Jeetoge Tum' stays with you; it's a motivational track. However, the picturisation of the songs is better, with a good integration of live with animation.

VOTE: BEST OF BOLLYWOOD 2010

Ajay dares to accept a challenge yet again. It must've been most tough for this intense actor to don a character which involves working with imaginary creatures in an animated film. To act with cartoon characters is extremely challenging because it's almost like attempting a soliloquy or a monologue. He must have had no actor across for the action-reaction custom. But he delivers a convincing and credible performance yet again.

Kajol doesn't really get scope, but she handles her part well. Veteran Tanuja appears in one sequence. Child artiste Amey does well. The animated characters, especially Bolly, Guppy and the villain's moll, are most noticeable.

On the whole, Toonpur Ka Superrhero is a delightful and endearing kiddie movie. It has an engaging narrative [second half mainly], neat performances and adorable animated characters. The real stars are the technicians [who created the animated characters], the director [Kireet Khurana] and of course, its lead man [Ajay Devgn] who pulled off a technically remarkable achievement of having humans and animated film characters interact with each other. Revisit your childhood while watching this one!

PayBack Release Date : 17,Dec 2010

Producer Sarosh Khan
Director Sachin P. Karande
Music Dev Sikandar
Writer Upendra Sidhaye
Lyrics Irfan Ibrahim
Release Date 17-Dec-2010

All he wanted to do was to payback one good deed with another. But Kunal's simple desire turns into a nightmare as he gets sucked into hitman Raghu's heartless world. His attempts to payback do not end with an awkward thank you over a cup of tea, but carry on relentlessly as he saves the killer from bullets and bash-ups by the rival gang, headed by Mukesh Tiwari.

The film maybe a small timer, but it scores in terms of its unusual story and the gritty twists and turns that hold your attention as the film poses an important question: how far would you go to express your gratitude for a good deed. Also, the film may explode violently in places, but it celebrates the basic goodness of man that lies hidden somewhere deep inside, despite the wicked ways of the world. Watch out for a winning performance by Zakir Hussain and Mukesh Rishi in this simple uncluttered film which has a different appeal. With a bit of polish and better performances from the other players, it could have been a winner.

Mirch Release Date : 17,Dec 2010

Producer Reliance Big Pictures
Director Vinay Shukla
Music Monty Sharma
Lyrics Javed Akhtar
Release Date 17-Dec-2010

Now when was the last time you saw a Bollywood film dissecting female sexuality without being apologetic about it? Can't remember, can you? Bollywood has mostly turned its back to the sensual woman as a protagonist. Typically, there have been just two ways mainstream cinema has viewed female eroticism. By and large, the Indian film heroine is represented as a romantic, albeit asexual creature, who is terribly low on oestrogen. And in case she doesn't have an hormonal imbalance, she is straight-jacketed into the whore and vamp category. The Sex And The City sisterhood has still to find a place in Indian cinema.

Vinay Shukla tries to undo this lapse by delving into four tales where the woman seeks out sexual satisfaction on her own terms. Having earlier made Godmother, another woman-oriented film, the director does seem to have an adequate understanding of the female psyche. All his four stories have a delightful and cheeky charm to them. Two of the stories feature Raima Sen as the protagonist as she enjoys a bit on the side, first as a carpenter's (Raghubir Yadav) wife and then as a modern woman who finds a lover, just to spite her suspicious husband (Shreyas Talpade). The other two focus on Konkona Sen Sharma's naughty escapades, first as an unsatiated young queen of yore and then as a shrewd wife of a philandering husband (Boman Irani). Add to this the turbulent romance between the scriptwriter and his girlfriend (Shahana Goswami) and you have a film that holds your attention. But not completely....

The garbled end and the misconstrued tenor of the film do act as a deterrent. Even as the women seem to be enjoying themselves with their unbridled expression of their sexual needs, the film tends to view them as the traditional not-to-be-trusted temptress. Overlook that and you can enter a world where women indeed are full-bodied flesh and blood characters. Both Raima and Konkona are a treat.

No Problem Release Date : 10,Dec 2010

Producer Anil Kapoor, Dr Bhupendra Kumar Modi, Rajat Rawail
Director Anees Bazmee
Music Pritam Chakraborty, Sajid Wajid, Anand Raj Anand
Writer Anees Bazmee
Lyrics Shabbir Ahmed, Kumaar Anand, Raj Anand
Release Date 10-Dec-2010

The one thing I've observed in Anees Bazmee's movies is that the plotline may be bizarre and outlandish, but each of his films has stood tall on the entertainment quotient. Perhaps, that's one of the reasons why his movies have struck a chord with a big chunk of moviegoers [read the hardcore masses]. The heroic triumph of No Entry, Welcome and Singh Is Kinng endorses this statement.

The most difficult thing is to make people roll with laughter and that's precisely what Bazmee does in film after film, for viewers of all ages. Follow these three mantras religiously, while watching an Anees Bazmee film: Don't seek logic, don't ask questions and just keep your thinking cap outside the theatre. You need to follow these rules while watching No Problem as well. Unfortunately, Bazmee's latest outing is so mind-numbingly dull that you wonder how could he come up with such a soulless and charmless film.

No Problem doesn't have a smart plot, theek hain, No Problem. But the bigger problem is it doesn't have those genuinely funny sequences and crackling dialogue either that you associate with the accomplished director's films. Honestly, I never expect to watch a path-breaking story in his films, but I do expect them to deliver hearty laughs, which No Problem doesn't. In the past, in films like No Entry, Welcome and Singh Is Kinng, Bazmee had handled the multiple characters with aplomb, but the writing is so inconsistent this time that one has to actually struggle to stay attentive.

Final word? No Problem is meant to be a crowd-pleaser, but, sadly, it lacks those clever one-liners, bursting-with-energy sequences and amusing goings-on to make your two hours in the cineplex worthwhile. No Problem has a huge problem: It fails to entertain!

Yash [Sanjay Dutt] and Raj [Akshaye Khanna] are small-time crooks and childhood buddies. Raj wants to lead an honest life, but Yash always manages to do something that jeopardizes Raj's chances of turning over a new leaf. When Yash robs the First Village Bank, the innocent bank manager, Zandulal [Paresh Rawal], also falls under suspicion, just because he had sheltered Yash and Raj under his roof.

In Durban, Arjun [Anil Kapoor] is a bungling cop, married to Kajal [Sushmita Sen], the daughter of the Commissioner of Police [Shakti Kapoor]. Kajal has a split personality -- one moment she's a loving wife and mother, who, for 10 minutes every day, transforms into a terrifying maniac intent on murdering her husband.

Diamonds worth millions have been stolen from the International Diamond Centre by the gang lead by Marcos [Suniel Shetty]. Arjun is as determined to find these ruthless robbers, as Zandulal is to find the two crooks who robbed his bank. Yash and Raj try to avoid Zandulal, who does not realize that they are his neighbours.

Meanwhile, Raj falls in love with Sanjana [Kangana Ranaut], Kajal's younger sister. But just before the engagement, Zandulal threatens to expose Yash and Raj unless they return the money they stole from his bank. Cornered, Raj and Yash agree to commit one last robbery. They rob a minister's house, minutes before Marcos arrives. The minister is tortured and killed, because Marcos cannot find the stolen diamonds.

Now starts a game of hide and seek, as Arjun goes after Yash and Raj, the prime suspects in the minister's murder and Marcos also hunts them down because he's figured out that they have the diamonds. Yash and Raj must prove their innocence and also somehow or the other pay back Zandulal.

No Problem has an outrageous plot, exaggerated and overstated scenes, but unlike Bazmee's previous films, this one tries too hard to make you laugh, but fails miserably. You expect the gags and punch lines to hit you from all directions and you also expect to break into guffaws, but barring a couple of scenes, which do bring a smile on your face, you just don't react to the goings-on. In fact, the writing is the weakest link of the enterprise. It lacks in drama, it lacks in unadulterated humour and everything seems to fall into place too easily. It jumps from one sequence to another and often forgets what's tackled before, in the previous sequence. The continuity jerks are evident at a number of places, frankly.

Bazmee is flogging the age-old formulas over and over again. It worked in the past because those films were rich as far as the entertainment quotient was concerned, but it doesn't work this time around. The music is functional, with 'Mast Punjabi' being the most energetic track of the enterprise. Cinematography is eye-pleasing and the locales of South Africa are eye-filling.

Bazmee's movies bestow its actors ample scope to push their comic boundaries, but No Problem doesn't. Of the central cast, Sanju tries hard to carry off his part, Akshaye is just about okay, while Anil hits the right notes and Paresh, as always, stands out. He delivers in every sequence. Kangana is wasted, but Sushmita shows a flair for comedy. Suniel Shetty is as usual. Neetu Chandra doesn't get much scope. Shakti Kapoor is funny. Baby Saloni is okay. As for Vijay Raaz, what is he doing in this film?

Oh yes, there's a family of gorillas as well as a shoal of fish in a mini aquarium - yes, they form an integral part of this story. The gorillas appear from nowhere and save the heroes in the climax, while the fish swallow the diamonds before these gems reach the villain's hands.

On the whole, No Problem has some funny moments in the first half, but gets agonizing towards the second half. It has several problems: It lacks a cohesive screenplay, it lacks in entertainment and most importantly, the humour falls flat. No Problem is full of problems.

Band Baaja Baaraat Release Date : 10,Dec 2010

Producer Aditya Chopra
Director Anees Bazmee
Music Salim Merchant, Sulaiman Merchant
Writer Maneesh Sharma
Lyrics Amitabh Bhattacharya
Release Date 10-Dec-2010

After Lafangey Parindey failed to take off at the box office, the Chopras appear to have decided not to tread untested grounds, and to return to their well-tried (oh so well tried) concoction of lavish weddings in the backdrop of north-Indian cultural revelry. The result is a frothy, feel-good movie, though not with much substance.

Shruti Kakkar (Anushka Sharma) has her eyes set on becoming a wedding-planner. Armed with a 3-year part-time experience, she has the blueprint of her company "Shaadi Mubarak" ready, with one golden rule in it: "Jisse vyapaar karo, usse kabhi na pyaar karo." In comes Bittoo Sharma, who, after a failed attempt at hitting on Shruti, decides to pair up with her in business instead, to escape from his father's not-so-grand plans for him – becoming a farmer.

The duo hits it off in the wedding business with their smart networking skills, and with Bittoo's talent for manufacturing cheesy lines spontaneously winning over clients. What follows is a one-track, vibrant and boisterous tribute to the great Indian wedding, replete with songs, dance, choruses and the works.

In the midst of all the bonhomie, it's Shruti who goes astray and ends up sleeping with Bittoo, and eventually falls in love with him, too. Bittoo, not liking the emotional twist in business, starts acting weird, and before long, Shruti realises that it was just a one-night stand for him. She feigns normalcy for sometime, but soon her hurt feelings raise their hood, and she starts snapping at Bittoo for almost everything.

After some cat-dog fight sequences in which the two snarl and pounce at each other, they split their business, and Bittoo starts his own company, "Happy Wedding".They soon realise that their magic was in their team, and after ruining a few marriages, they decide to come together for the big wedding of the daughter of a business magnate.

Anushka Sharma impresses as the confident and spirited creative head, and Ranveer Singh arrives as a full-fledged actor in his debut film. With his craggy looks, he suits the role of the uncouth, happy-go-lucky hero to a T, whose poor mastery over English does not come in the way of his running a successful "bijness".

Whether they are mouthing quick repartees or hurling abuses at each other, the lead pair have their chemistry shine through, and provide the best moments in the film. The mature Shruti with a responsible business sense makes a perfect foil for the impulsive Bittoo.

Though supported by an able cast and good writing, Band Baaja Baraat is unlikely to set the cash registers ringing because it just presents old wine in a new bottle. In an age when film-makers are going the extra mile to dig up novel concepts to feed to an increasingly choosy audience, the movie invokes memories of numerous films from the Chopra camp itself. Also, the film lacks the starpower of a Shahrukh or a Rani which would have drawn fans to the theatre.

The music by Salim-Sulaiman is strictly average, and the songs stay with you only when they are being played on screen. Aseem Mishra's cinematography, however, is top-notch, bringing to life the colour-palette and flamboyance of Indian weddings in every frame.

If you are in the mood for a no-brainer entertainer with a pretty heroine and a street-smart hero, and have not received enough marriage invitations this season, you can kill a couple of hours watching this.

RakhtCharitra - 2 Release Date : 03,Dec 2010

Producer Ram Gopal Varma
Director Ram Gopal Varma
Music Dharam Sandeep, Kohinoor Mukherji, Imran (1), Vikram (1), Sukhwinder Singh, Amar
Lyrics Roop, Shabbir Ahmed, Vayu, Abhishek Chatterjee, Sarim Momin
Release Date 03-Dec-2010

This is perhaps the first time in Bollywood that a single story is broken into two parts (RAKHT CHARITRA and RAKHT CHARITRA 2) by the same director. And both parts have released in quick succession, which is a laudable effort indeed. Ram Gopal Varma's PHOONK 2, which was a sequel in true sense, carried the same story of PHOONK ahead, but there was a decent gap between the two films. On the other hand, GOLMAAL, DHOOM and MUNNABHAI series had completely different stories and there was a sufficient gap between two parts. Barring the main characters, there wasn't anything similar between the installments.

RAKHT CHARITRA 2 marks the entry of Surya in Bollywood. He wasn't part of RAKHT CHARITRA. A humongous name down South, he starred in the Tamil version of GHAJINI in 2005. Aamir Khan starred in its Hindi version in 2008.

Ram Gopal Varma continues the revenge saga in RAKHT CHARITRA 2 that he started in RAKHT CHARITRA. In case you missed the first part, fret not. RAKHT CHARITRA 2 starts off with approximately 25 minutes footage from the first part.

The films trace the life of Pratap Ravi (Vivek Oberoi). While the first part was about his rise, the second part is about how his enemy Surya (Surya) takes revenge. What Pratap did to Surya that makes him want to kill him is what RAKHT CHARITRA 2 is all about. Bhawani (Priyamani) plays Surya's wife. All the other characters are the same as the first part.

RAKHT CHARITRA 2 is not a bad film. It's disappointing because it falls in comparison with the first part. Although there is bloodshed, violence and gruesome murders that take place, RAKHT CHARITRA 2 is definitely not as gory as the previous part. Ramu doesn't carry on the momentum and tautness that he had established in RAKHT CHARITRA. It even lacks the drama which was the highpoint of RAKHT CHARITRA.

Phas Gaye Re Obama Release Date : 03,Dec 2010

Producer Ashok Pandey
Director Subhash Kapoor
Music Manish J. Tipu
Writer Subhash Kapoor
Lyrics Shellee, Gopal Tiwari
Release Date 03-Dec-2010

Movie Review: If you can connect the crumbling of Wall Street to the `vela' (idle) gangs of moffusil India, you got to be smart. And if you can translate Obama's `Yes We Can' anthem into a bunch of small time hoodlums' war cry, then you got to be extra smart. And that's what smarty-pants director Subhash Kapoor manages to do with his smart-alec cast of actors who bring to life a roll call of characters that make you chuckle with glee.

From the Big Apple to the backwaters of small town India, this comedy of errors lives and breathes fire through its colourful characters and its witty screenplay. Unlike the usual run-of-the-mill comedies which Bollywood thrives on, Phas Gaye... makes you laugh because of its zany situations, rather than elicit canned laughter by making people slip over banana peels, go scatological or hit and pinch each other insanely. If Om Shastri is a conniving wheeler-dealer from Amreeka, then Bhaisaheb (Sanjay Mishra) is the local dada who is bogged down by the `mandee' (recession) in his business of extortion and kidnapping. Yeh mandee aaye kahan se? (Where has this recession come from) he asks his cronies. From Amreeka, they reply and manage to connect their crime and punishment graph to the going-ons in world politics: the trauma of Obama, the fate of Saddam, the goof-ups of Bush. And it isn't Bhaisaheb alone but his entire biradari (brotherhood) of bhai-log (small-timer Manu Rishi, Lady Gabbar Neha Dhupia, crooked politician Amol Gupte) who seem to affected by the economic meltdown in Obama's regime.

Terrific performances, ticklish humour and a trick-and-treat plot line: Phas Gaye Re Obama is a delightful end-of-the-year surprise package. After gargantuan disasters like Chandni Chowk to China, Warner Inc seems to have realised that small -- yet smart -- is truly beautiful. Remember Atithi Tum Kab Jaoge?

Khelein Hum Jee Jaan Sey Release Date : 03,Dec 2010

Producer Ajay Bijli, Sanjeev K. Bijli, Sunita Gowariker
Director Ashutosh Gowariker
Music Sohail Sen
Writer Raoul V Randolf, Ashutosh Gowariker
Lyrics Javed Akhtar
Release Date 03-Dec-2010

Movie Review: Ashutosh Gowariker may have hit the headlines with films like Lagaan and Jodhaa Akbar, but there is one film of his which looms large in terms of cinematic excellence. And that is the less successful Swades which peddled patriotism as the need of the hour; but it did it ever so softly, subtly andsensitively...Still remember it! Khelein Hum Jee Jaan Sey echoes a similar theme in a similar tenor. It celebrates the sentiment of desh-bhakti, yet once again with a sense of refinement.

The high point of Gowariker's film is the fact that it combines high-octane drama with a high degree of restraint. The film unfolds like a relentless thriller with loads of action involving the band of revolutionaries as they go about their bloody business. Yet no one hollers the national anthem at youor grows hysterical with patriotic pulp. Instead, the director gently salutes the spirit of nationalism in a seminal scene where the bunch of teenage revolutionaries discover the hypnotic allure of a hymn like `vande mataram' while resting under the shade of the trees in their village. And the fact that it all begins with a bid to get back their football field makes the teenage uprising even more endearing.

The film has an interesting ensemble cast of young boys who enlist in their local school teacher's (Abhishek Bachchan) desi army. Abishek's Bachchan's Surjya Sen is simple, uncluttered and played straight from the heart as are Deepika Padukone's Kalpana Dutta, Vishakha Singh's Pritilata Waddedar and Sikandar Kher's Nirmal Sen. Like the revolution, the romance too is underplayed and both Deepika and Vishakha create a smouldering, yet silent ardour on screen for their respective heroes. For there isn't much time -- and opportunity -- for love under the shadow of the bullet and the bomb, is there? The film maker has tried to recreate the 1930s Chittagong in Goa, but the authenticity of the period piece doesn't suffer. Both the styling and the cinematography of the film exhibit an eye for detail. But it is the director's narrative style and his attempt to re-tell history through a racy-pacy tenor that gives the film its movement and manages to drive the message home.

Khelein Hum Jee Jaan Sey helps you rediscover forgotten heroes -- and a forgotten sentiment -- at a time when a scam-tainted nation needs to celebrate the national sentiment the most.