Saturday, October 23, 2010

Rakht Charitra - I Release Date : 22,Oct 2010

Producer Sheetal Vinod Talwar, Madhu Mantena
Director Ram Gopal Varma
Music Sukhwinder Singh, Bapi, Tutul
Writer Prashant Pandey
Lyrics Sarim Momin, Vayu, Shabbir Ahmed, Prashant Pandey
Release Date 22-Oct-2010

Welcome to the law of the jungle. Where there're no rules. Where the life of a human being is not worth a penny. Where goonda raj reins supreme. Where men are butchered and women abducted and raped. Where the police obey the orders of the goons. Where guns, swords, bombs, knives and sharp weapons are a man's best friends. Welcome to Rakta Charitra, based on the true story of Paritala Ravi.

Ramgopal Varma is known for dark and gritty cinema and Rakta Charitra is not just the film-maker's, but also Hindi cinema's most violent film so far. Be forewarned, Rakta Charitra is not for the lily-livered. Nor is it for those who love to visit cineplexes with their families, weekend after weekend, to watch that perfect family film. This one has just one song (not needed, actually), no romance, no comedy/humour, no phoren locations, no good looking faces, no family gatherings and no striking sets that are mandatory for escapist cinema. RGV is a rebel, he likes to make movies he believes in and Rakta Charitra proves it yet again.


Let me add, Rakta Charitra is not one of RGV's most accomplished works. Perhaps, one of the reasons could be because he's now churning out gangster and crime-based films with amazing regularity and obviously, there's not much he can explore due to the limitations of this genre. But, yes, Rakta Charitra has a fascinating story to tell and even if you aren't acquainted with Paritala Ravi, you might identify with Rakta Charitra because the essence of the film is revenge.

Final word? With a title like Rakta Charitra and all the blood and gore in the film, it's certain that the film holds appeal for those who like to watch brutality in cinema, which, in turn, cuts off a sizeable section of the audience (ladies and kids). However, from the content point of view, I'd say that Rakta Charitra is the best bet of this week.

Rakta Charitra deals with emotionally volatile people and is set in a rural environment. It tells the story of Paritala Ravi (Vivek Oberoi), a soft-spoken person, who took law in his hands to avenge the murders of his father (Rajendra Gupta) and brother (Sushant Singh). Paritala Ravi's name sent shivers up the spines of not only his rivals, but even the law enforcement agencies. He rose to become a minister eventually. The first part ends with his undertaking a mission to end goonda raj in the state.

By now we've come to expect zany camera angles, tight close ups, a raging background score, power-packed performances and abstract stories from RGV's films and Rakta Charitra is no different. Expect all this and more [read bloodshed] in Rakta Charitra. Since Rakta Charitra is based on a true story, there's not much one can comment on it, but the manner in which the incidents unfold keep you hooked. Of course, it's a vendetta fare, yet one is keen to fathom what essentially provoked a soft-spoken individual to transform into a killing machine.

Barring the incidents in the initial reels, there's not much movement in the story in the first hour. In fact, there are killings and more killings. But the story gathers momentum when an iconic actor turned politician enters the scene and takes Paritala Ravi under his wings. The sequences between Shatrughan Sinha and Vivek are, frankly, the preeminent and most excellent parts of the enterprise. The post-interval is different because the killings reduce and Paritala now fights his opponent from the corridors of power.

Rakta Charitra gets lengthy in its second half and one genuinely feels that RGV should've curtailed the length of the film by a few minutes, although the introduction of Suriya's character at the end only raises the curiosity for the second installment.

RGV has handled a number of sequences brilliantly, but the film leaves you with a sense of deja vu off and on. Glimpses of films like Sarkar and Sarkar Raj, besides Satya and Company, though not remotely similar to Rakta Charitra, flash across your mind. It's a little intricate to encompass all incidents in the screenplay, but writer Prashant Pandey makes a sincere effort. Cinematography (Amol Rathod) catches your eye. Action scenes are true to life. Background score compliments the mood of the film.

All RGV films are embellished with powerful performances and Rakta Charitra is no exception. Vivek Oberoi breathes fire and venom and comes across as the most appropriate actor to infuse life into the character he portrays. He's super efficient and his act in Company and Shootout At Lokhandwala pale in comparison. Shatrughan Sinha is remarkable. A powerful personality could've only been portrayed by a powerful actor and the veteran enacts it with amazing ease. Abhimanyu Singh is superb as the opponent. You hate him for being so evil and that only goes to prove how effective he is. Radhika Apte is good. Zarina Wahab is first-rate. Ashwini Kalsekar is excellent. Ashish Vidyarthi, Rajendra Gupta, Anupam Shyam, Sushmita Mukherjee, Vishwajeet Pradhan and Kota Srinivasa Rao shine in their respective parts. Sudeep and Darshan Jariwala get no scope.

On the whole, Rakta Charitra is not for the faint-hearted or the lily-livered. The violence, the blood and gore depicted in the film will shock and disconcert you, which only goes to establish as to how proficiently the subject material has been treated. The film is targeted mainly at those who love to watch aggression, violence, bloodshed, brutality and massacre on the silver screen, but a chunk of the movie-going audience (ladies and kids) will choose to stay away from this scene of carnage. The business in Telugu and Tamil versions is expected to be excellent, due to the strong identification with the subject material.

Dus Tola Release Date : 22,Oct 2010

Producer Kunwar Pragy Arya
Director Ajoy
Music Sandesh Shandilya
Lyrics Gulzar
Release Date 22-Oct-2010

As a kid, one of my favourite shows on TV was 'Malgudy Days'. It left an indelible impression on my mind, memories that I cherish to date. When I watch films set in a hamlet with assorted characters that seem straight out of life, memories of 'Malgudy Days' come alive instantaneously. That's precisely what I felt while watching Dus Tola.

Having a similar storyline as the Malayalam film Ponmuttayidunna Tharavu, Dus Tola has an interesting plotline and boasts of a few endearing moments, but the outcome is plain and simplistic. Also, the writing is quite erratic; it involves you at a few places, but is yawn inducing at most times.


Final word? Lacks the glitz and sparkle!

Shankar (Manoj Bajpayee) is the much loved goldsmith of a quaint coastal town Sonapur. Shankar is head over heels in love with the town beauty, his cunning astrologer neighbour's daughter Suvarnalata (Aarti Chhabria). Needless to say, Shastri (Dilip Prabahvalkar), Suvarna's father, is opposed to the budding romance.

Suvarnalata cooks up a fool-proof plan to manipulate her father into accepting the alliance. She convinces a smitten Shankar to make a necklace of not one tola, not two tolas, but ten tolas of gold so he can show Shastri that he can take care of his daughter and he is a suitable husband for her. Shankar puts everything he has at stake and slogs day and night to make a necklace for his beloved.

A shocking turn of events leaves Shankar flabbergasted. He feels cheated, but the truth is out soon.

What goes around comes around - this is the message that Dus Tola attempts to send across. But director Ajoy and the writer take their own sweet time to convey the message. The numerous stories and parallel tracks running concurrently divert and deflect you attention, driving you away from the main plot. These include the romantic track between Manoj and the dance teacher (drab), Govind Namdeo and his third wife's story (forced) and Manoj's father's scenes (in poor taste). Even the climax is ridiculous. If the writing is patchy, the direction is equally inconsistent. The songs gratuitously adjoin to the length of the film.

Manoj Bajpayee is completely miscast. A younger lead man would've looked more convincing in this role. Aarti Chhabria doesn't look convincing either, though she puts in every effort to look the character. Siddharth Makkar is fairly good. Amongst the plethora of actors, Dilip Prabhavalkar and Ninad Kamat seem real.

On the whole, Dus Tola will go completely disregarded and eventually fall into the category of those films that arrive without a bang and leave without a whimper.

Director: Ajoy
Cast: Manoj Bajpayee, Aarti Chhabria, Siddharth Makkar, Pallavi Sharda, Govind Namdeo, Asrani, Dilip Prabhawalkar

Hisss Release Date : 22,Oct 2010

Producer Vikram Singh, Govind Menon, William Sees Keenan
Director Jennifer Lynch
Music Anu Malik, David Kushner, Panjabi MC, Alexander Von Bubenheim, Craig Nobles, Jul
Release Date 22-Oct-2010

A lot of us, who have grown up on masala cinema of 1970s and 1980s, will vividly recall two films made on ichhadhaari naagins - Rajkumar Kohli's Nagin (1976) and Harmesh Malhotra's Nagina (1986). Can we ever forget the revenge of the naagin? Can we ever forget the gripping plot, the spellbinding drama, the lilting music and of course, the unforgettable performances by Reena Roy and Sridevi, respectively?

When a film-maker attempts to make a film on an ichhadhaari naagin in 2010, the viewer expects to watch all of the above, besides great visual effects of course. More so because Hisss is helmed by a Hollywood director - Jennifer Lynch. But, to put it bluntly, Hisss is a nightmare. The film has absolutely nothing to offer - no story, no screenplay, no songs, no performances… Even the making is so tacky.


Final word? If there were Razzies in Bollywood, Hisss would win hands down.

The story is about the vengeance of an ichhadhaari naagin. George (Jeff Doucette), a ruthless American, travels to the jungles of India and captures her mate. She transforms into a woman (Mallika Sherawat) with absolutely no clue about contemporary civilization or the ways of mankind, and ventures into the city in desperate search for her lover with vengeance on her mind and venom in her fangs.

Vikram (Irrfan Khan) is entrusted the responsibility of solving the murders and tracking down the mysterious killer.

Films like Hisss make you realize what's going wrong in Bollywood today. On one hand, we celebrate the new stories being told in our movies and on the other, we churn out a Hisss, which is badly scripted, poorly enacted and carelessly directed. Believe me, it's easy to solve the crossword puzzle in newspapers than it is to understand what exactly is going on in this film.

As for director Jennifer Lynch, she needs a crash course in film-making pronto. The visual effects seem straight out of a B-grade Bollywood film.

Actors often tell me that they choose films based on the script, so what exactly did Irrfan Khan see in Hisss? Mallika has no dialogue all through the film, she changes lenses, then changes into a snake outfit and also goes full monty. That's it! Divya Dutta is wasted. Raman Trikha is passable. The actress enacting the role of Divya's mother is okay.

Jhootha Hi Sahi Release Date : 22,Oct 2010

Producer Madhu Mantena, Abbas Tyrewala
Director Abbas Tyrewala
Music A. R. Rahman
Writer Pakhi
Lyrics Abbas Tyrewala
Release Date 22-Oct-2010

After watching Anjaana Anjaani and Jhootha Hi Sahi in quick succession, I’ve come to the conclusion that if a Hindi film begins with a lead character attempting suicide and not succeeding, then viewers are in big trouble.

Because the next two hours are invariably spent in watching the character discover the value of life, usually by falling in love. He or she goes from depressed and weepy to giddy and happy.

Like in the earlier film, here too this emotional journey is agonizingly boring.

Anjaana Anjaani was careless to the point of cynicism. The makers didn’t try at all. Here director-lyricist Abbas Tyrewala and his wife, lead actress-writer Pakhi try too hard.

Set entirely in London, the film is about a set of friends, who, like in the American television serial, are each other’s sole support. They are neighbours and work together. For variety, we have a Pakistani brother and sister and the token gays.

John Abraham plays Sid, a nerdy bookstore owner who inexplicably has a hot stewardess girlfriend but stammers in the presence of beautiful women. By mistake, his number gets printed as a suicide hotline and he connects with Mishka, played by Pakhi, who is desperate to kill herself.

The rest of the film is about how Sid, in two avatars, as himself and as Mishka’s suicide hotline friend, helps her to live and love again. Of course Mishka spends most of her time either with Sid in person or with Sid on the phone but never wonders why both sound exactly the same. But that is the least of this film’s problems.

There is a sliver of a story here but Abbas has translated it into a clumsy film that never gets off the ground. The scenes have a strange, stagey awkwardness, almost like a bad television serial.

John working every acting muscle in his body makes Sid endearing but the chemistry between him and Pakhi is flatter than his washboard abs.

Almost every hetrosexual character in the film has a crush on Mishka, including the neighbour’s adolescent son but it’s not clear why this is so. As she herself says: aaj kal main hi achhi company nahin hoon. So much of the film is about friends and the support system they provide but the characters are so poorly etched that none leave an impression.

The nurturing Pakistani sister is pregnant but refuses to marry her loving boyfriend. Why? I couldn’t tell you. It’s all about surface coolness so the book store they run is called Kagaz Ke Phool and carries a sign that says: We don’t do Deepak Chopra.

Likewise, Jhoota Hi Sahi doesn’t do romance or friendship.