ROAD,MOVIE

roadmovie1Much like the ramshackle truck that the ’s protagonists make their journey in, ROAD MOVIE directed by Dev Benegal, is a slow and rickety ride that tires you out by the time it reaches its destination. A visually stunning but emotionally hollow adventure, packed with tired stereotypes, the is an unsatisfying watch even at running time of 90-odd minutes.

Abhay Deol stars as Vishnu, the reluctant heir of his family’s hair-oil business who agrees to drive his uncle’s antique Chevy truck across the desert where it has been sold to a museum. Once a traveling cinema fitted with a projector and several cans, the truck itself is a monstrosity that is a challenge to keep running. Along the way, Vishnu picks up three fellow travelers – a runaway urchin boy (played by Mohammed Faizal), a garrulous old mechanic (played by Satish Kaushik), and a sultry gypsy girl (played by Tannishtha Chatterjee).

During the course of their journey this oddball group encounters corrupt cops and local dons, and when their lips are parched for water, or they need to keep dreaded goons away, they unpack the projector and get the cinema running to screen classic movies for the rural folk who embrace the entertainment.

Directed with a light hand, ROAD MOVIE doesn’t succeed in getting you to care for its characters or to sympathize with their situation because, quite frankly, there’s never a sense of real danger. When our protagonists are captured by a feared water-lord for trespassing on his property, the situation is resolved by resorting to that convenient script tool — a sly parody!

But to judge the purely for what you see on screen, would be unfair in this case. The clearly intends for his to work as a lyrical tribute to the magic of movies — his very own “Cinema Paradiso” if you like. Unfortunately, apart from a few striking visuals and a handful of delightful moments — like the one in which Satish Kaushik’s character decides to snip a boring scene out of a , and splice it with a popular song from another ROAD MOVIE lacks the character depth or the sheer originality of narrative that was required to turn it into an enjoyable celebration of the movies.

Michel Amathieu’s dazzling cinematography is easily the ’s strongest asset, even when he’s capturing nothing but vast expanses of salt or sand. Satish Kaushik as the upbeat repairman steals the from his co-actors with a warm, endearing performance, and some of the ’s smartest lines.

Unpredictable and occasionally charming, ROAD MOVIE has its moments. But in the end it feels too long, a tad boring, and pretentious even. I’m going with two out of five for Dev Benegal’s ROAD MOVIE . If you do decide to watch it, go armed with patience. Lots of it.road050310_1

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Chetan Bhagat hits out at 3 Idiots team

DesktopAll Chetan Bhagat fans felt hurt when the renowned writer wasn’t duly credited by Raj Kumar Hirani and Vidhu Vinod Chopra for the blockbuster 3 Idiots. Chetan has finally broken his silence in the issue in his personal blog and hit out at the 3 Idiots team which claimed that the was ‘loosely’ based on the book Five Point Someone. Although people who have read the book found 3 Idiots as its screen adaptation, the , producer and the stars have shied away from crediting Bhagat for the .

In his blog Bhagat wrote “ The only reason it has surfaced after the ’s release is because Five Point Someone has a few million readers, and when you copy a popular claiming it as ‘original’ and ‘completely different’, people are going to find out” He added “The case is as simple as the makers claiming the as their own, and clearly it is not. Pre-release, the makers made press statements like the is only ‘very loosely’, ‘2%-5% inspired by the book’. After release, those who have read the book and seen the find the to be an adaptation of Five Point Someone. The setting, characters, plotline, dramatic twists and turns, one-liners, theme, message – almost all aspects that make up the are from FPS”

An upset Bhagat added “ I, frankly, was shocked to see this. This is because I was also fed ‘this is an original ’ line a lot. I wanted to see the final script – it was never shown to me. I wanted to see the before release – it was not shown to me (even though trials had been done for people). What’s more, the makers had called me to their office and pressured me several times to withdraw my ‘Based on a novel by’ credit, which was by contract. They told me they’d replace it with something like ‘initiated by’ – a credit that doesn’t exist anywhere in the world. I still told them that if the is indeed original, I’ll happily withdraw the credit, but somehow the promos don’t tell me so. I asked them to show me the and they fell silent”

“The plot line was same – people meet at ragging, the first class with definition of machine, the friends separate, Alok (Raju) moves with Venkat (Chatur), Ryan (Rancho) helps Alok’s father, Alok rejoins group etc etc. From Alok (Raju) jumping to stealing the papers and calling out from Cherian (Virus’) office – the book came alive on screen. I was surprised and happy that FPS has made it in such a grand way. However, my family had not spotted my credit in the beginning (there was none) and they were feeling let down. A screenplay associate credit to VVC had a prominent upfront placement. The credit was not shared with me. And yes, all the office talk of a ‘king treated like king’ was a white lie”

// <![CDATA[// Knowing the drastic consequences of taking on the bigwigs in the industry he writes “ Some people have told me that I should keep silent. I did try to be silent but didn’t work. Also, people say this is how Bollywood works. Sorry, I disagree. Not all Bollywood works like this. There are a lot of good people too. And every event like this helps change things for the better. And that is what I am all about anyway. Like I said, I don’t need anything. Even if I have no more movies made on my stories or nobody wants to read my books and columns, I’ll happily join ISKCON and dedicate my life to Krishna. But I will not shy away from the truth – ever”

Raj Kumar Hirani, Vidhu Vinod Chopra and Aamir Khan will have to do a lot of answering on the issue.

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ISHQIYA

Desktop3Ishqiya, the much-awaited debut by Abhishek Chaubey, nurtured by Vishal Bhardwaj of Kaminey fame, is being re-shot, after a focus group gave it a thumbs down for too much abusive lingo. The medium-budget flick, starring Arshad Warsi, Naserrudin Shah and Vidya Balan in lead roles, made female audiences at a focus group screening uncomfortable. As a result, parts of the are being re-shot, keeping the reactions in mind.

A well-placed source has confirmed, “Yes, the is being reshot. It was shown to a focus group recently. As usual, there was an equal number of women watching the . These women were distinctly uncomfortable with the abusive language in the . As a result, the is currently being re-shot, keeping in mind how the focus group has reacted to the .”

Due to the re-work required, the producers are deciding on a date around mid-2010,” the source adds. However, the ’s publicist insisted that the is complete and its release date remains unchanged from Jan 22, 2010.

Focus groups are a new phenomenon in Bollywood, but have been the norm in Hollywood for many years. For instance, Fatal Attraction (1987), with its heavily sexualized plot, had two endings. Audiences baulked when Michael Douglas playing the repentant adulterous husband eventually gets arrested for what is actually Glenn Close committing suicide. Audiences rejected this ending since it betrayed the American dream of the ideal home. As a result, Fatal Attraction was reshot a year after it had been shot and edited with a new ending. It moved on to becoming a smash hit.

Ishqiya is about two bandits on the run, who fall for a sensual widow, played by Vidya Balan, and the deadly repercussions of this obsession.

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De Dana Dan – Review

de dana danLocal news papers promotes De Dana Dan in a very different way, giving a new statement  like ” 5 stars mat dheko – Great entertainment dheko “.

The performance of Akshay leads the laugh riot from the front. But he’s suddenly pushed to the back, much to the detriment of the . Sadly, Katrina too looks completely out of sorts for most of the . Just one question: Did someone else dub for her? Amongst the others, it’s Paresh Rawal, Johnny Lever and Suneil Shetty who manage to hold your attention; the rest are too loud, specially Manoj Joshi.Dialogs are mostly silly, hardly funny.

Priyadarshan’s plot is too loose, too long, too scattered to hold your attention. Most of the comedy is slapstick and stems from situational goof-ups.

Pritam’s music isn’t inspired this time. None of the songs have shelf life. The only one which mildly moves you is Paisa, the Katrina-Akshay duet belted by a Punjabi pop band.Unimpressive dance moves by Ganesh Acharya.The fashion aesthete is forgettable too. The girls look ordinary in their dresses and the guys sport the boy-next-door look.

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KURBAAN review

SaifKurbaan-Movie1258714550 and kareena played roles of professors in Delhi  and they fall in , get married and they goto america. After going there kareena get to know that her husband is linked with terrorist and what she does after is the line.

This is like any other on terrorism but with US backdrop. The Newyork, The Wednesday, Mani Rathnam’s Roja etc fall in this genre but every thing has its own convincing line of narration with set-characters. Kurbaan is one such .

The main drawback in this is it has got no much energy in narration and less thrilling moments as it’s quite predictable for audiences those who have used to this kind of films. The plus side in this is that t has got horripilate background score that pulls audiences to screens with pin drop silence.

There is a message in this for girls especially- ‘Don’t blindly allow your new found lovers to fly along with you to any country as dependant. Your life may get screwed!!!”

On a whole, the commercial quotient in this is meager although it has got a hot nude song, that pulls a set of crowds. Otherwise, it is a good with no great features.

BWC rates it  2/5.

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Tom Hanks inspired “Aao Wish Karein”?

Aao Wish Karein is a cute , but it could have been better. The narrates the tale of Mickey (Aftab) a 12 year old kid. He is left heartbroken on realizing he is an adopted child and that the girl he fancies as his angel, the 23 year old Mitika (Aamna) calls him a ‘Kid’. Cajoled by the local street side clown Hitchcock (Johnny Lever), Mickey wishes for a miracle. Voila, it takes place and the next morning when he gets up he turns into a young man! Mickey first has a hard time convincing his best buddy Bonnie that it is no one else but him himself. The best thing about getting older so quick for Mickey is that he gets a chance to come closer to his big crush Mitika. He tries to impress her and she eventually falls in with him. But things get further complicated as she gets ready to marry him. What happens next forms the rest part of the . Clearly inspired by Tom Hanks blockbuster “Big” (1988), “Aao Wish Karein” however is a cute that somehow fizzles out in the last few moments. Turning producer as well as writer with this , Aftab Shivdasani has interwoven some really heartwarming moments in the screenplay. Aftab trying to woo Aamna has come out really endearing. The scenes between Mickey and Hitchcock are very good too. The kiddie portion however could have been shorter in length, and probably should have been left on the cutting room floor. The only problem that faces is once the romance between Aamna and Aftab gets established there is barely any conflict left to keep you engaged. Aftab is very good in his act and never resorts to unnecessary hamming trying to act like a kid locked up in an adult body. Aamna Shariff has great screen presence and shows a lot of improvement in her acting since her debut act in “Aloo Chaat.” Johnny Lever is fun whenever he is on screen. The kid playing Bonnie is quite good. Director Glen Baretto who had earlier co-directed “Jaane Hoga Kya” which also featured Aftab, does a fair job in here. He has succeeded in giving the a very soft romantic feel within a fairy tale setting. The music of the credited to three music directors – Ankur Tewary, Xulfi and Mickey McCleary is a pleasant surprise. The best number of the lot being Ankur Tewary’s Sabse Peeche Khade which was incidentally, seen earlier in “Let’s Enjoy.” The choreography by Longine Fernandes of “Slumdog Millionaire” fame is very imaginative. “Aao Wish Karein” is a cute clean romantic but lack of imaginative writing towards the climax brings the graph down a bit. However, it makes for a decent watch and is probably worth a Sunday afternoon at PVR.

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Wake Up, Sid

I very much liked “Wake Up, Sid,” a great Bollywood . It was refreshing to watch such a among the other cliched stories. The character of Sid was one we could all identify with. Konkona Sen-Sharma as usual acted brilliantly, and could be reason enough to see this . The portrayal of the city of Mumbai was one of the fine points of this . The city seems to have a life of its own, which even someone like me has not yet lived in Mumbai could understand and fall in with. Even the side characters in the are very well-etched, with much character development and feeling. The dialogues, the cinematography, and the feel of the which is very reminiscent of “Dil Chahta Hai” is very pleasing to watch, and leaves a good feeling even days after you’ve watched the . All in all, a good , and quite worth the watch.

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