Story: Mr. Singh (Naved Aslam) and Mrs. Mehta (Lucy Hassan) are having an extra-marital affair, despite being ostensibly happy with their respective marriages. This causes Mrs. Singh (Aruna Shields) and Mr. Mehta (Prashant Narayanan) to be drawn to each other and seek comfort in each other's company. It's a complicated quartet that tries to cope with the pain of infidelity, love and illicit longing.
Movie Review: Considering that Bollywood has so few adult films to offer, this one's a rare experience. And the fact that it is dealt with a degree of understatement and maturity, with a great music score (Ustad Shujat Hussain Khan and Sharang Dev) to translate the emotional quotient on to the screen, makes it a decent watch. Of course, we would have liked a bit more passion to flow between the protagonists, Mr Mehta and Mrs Singh (Prashant and Aruna) and have definitely liked Mrs Singh to stop falling asleep so often in Mr Mehta's studio, but we are willing to forgive her this accentuated listlessness too. Why? Because when she's not sobbing or sleeping, she's playing a passable wife interrupted, wondering how to cope with her `victim' status, without losing her self-esteem.
But the more interesting -- and complicated -- character is Mr Mehta. An artist by profession, he spends most of his time dabbling with colours in his desolate studio, splashing oodles of paint on his finished and unfinished paintings. Creating and destroying, all at the same time. And when he's not doing this, he's going on long, lonely drives across verdant landscape in search of a muse. Needless to say, he finds the muse back in his studio and it doesn't take long before he is painting piquant nudes of Mrs Singh who also gradually begins to enjoy her naughty dalliance with this rare kinda suitor who is willing to paint her nails, when he's not painting her. The duo begin as the victimised twosome, but soon the lines begin to interestingly blur. Who exactly is the fall guy -- and girl -- in this complicated foursome? More importantly, who is cheating and who is being cheated upon in this film which actually isn't about Mr Singh and Mrs Mehta. It's about Mrs Singh and Mr Mehta who play the game of infidelity with a degree of artistry and subterfuge, adding some strange twists and turns to what would otherwise have ended up as a predictable tale about dangerous liaisons.
Showing posts with label bollywood reviews. Show all posts
Showing posts with label bollywood reviews. Show all posts
Monday, June 28, 2010
Saturday, June 19, 2010
RAAJNEETI MOVIE REVIEW
RAAJNEETI MOVIE REVIEW
Ajay Devgn, Nana Patekar, Ranbir Kapoor, Naseeruddin Shah, Arjun Rampal, Katrina Kaif, Manoj Bajpai, Sarah Thompson, Darshan Jariwala, Shruti Seth, Nikhila Tirkha, Chetan Pandit, Vinay Apte, Kiran Karmarkar, Daya Shankar Pandey, Jahangir Khan, Ravi Khemu and others.
DIRECTION : Prakash Jha
STORY
The plot of the flick has a very large canvas involving a large number of characters much like epic ‘Mahabharata’, and if you want you can easily compare them with contemporary personalities shown in the movie. This all begins with Bhasker Sanyal(Naseeruddin Shah), who is a fiery left leader with a clear conscience and impeccable political integrity.
However, one mistake forces him into self- exile as well as birth of Sooraj(Ajay Devgn). Sooraj grows up in a backward community home and gradually rises to become a fiery political leader much like Bhaskar.
But the problem with Sooraj is the same as was with Karna in ‘Mahabharata’. Sooraj’s loyalty to his friend Veerendra Pratap(Manoj Bajpai)goes against his own real family, and the man is torn between two divided loyalties and continues to fight whole of life with it.
Then there is another character of Brij Gopal (Nana Patekar), who never ran after power in politics and left everything. However, he did not run away from his familial responsibilities and continues to mentor the younger political leaders—Prithvi(Arjun Rampal) and Samar(Ranbir).Another character in this political drama is that of Prithvi Pratap (Arjun Rampal), who is heir to a powerful political family, but his passions are uncontrollable. Though he has a very good heart but his method is all brawn and this creates problems for him as well as others.
On the other hand, Veerendra Paratap (Manoj Bajpai) is Prithvi’s cousin but overambitious and wants power to rule at all cost. However, he is being prevented from realization of his dreams by unfavorable circumstances, but refuses to accept defeat.Then there is a sweet lady Indu Sakseria(Katrina Kaif), being daughter of a rich industrialist she is naturally gorgeous and wants to love her beau for ever. However, circumstances force her to come out of hibernation and take the plunge into politics. She does it successfully and wrests power after defeating several seasoned war horses.
One person from these warring families is Samar Pratap (Ranbir Kapoor), younger brother of Prithvi Pratap who is completely apolitical and steers clear of bloody dirty politics. Sarah Jean Collins (Sarah Thompson) loves him, and both of them hate violent way of politics.
But soon Samar Pratap is sucked into his family political tradition, and seeing no other way out, decides to indulge in the game fully. Gradually, he emerges as the master of this political warfare and successfully protects his family from the rival’s assault.
How Samar Pratap handles the electoral politics in the face of fierce rivals, treachery, deception etc and what happens afterwards to the main characters of this political thriller forms the rest of the story.
PERFORMANCE
Ranbir Kapoor, the handsome hunk of bollywood who plays the character of Samar Pratap in the film, comes out with a brilliant performance. Even before such veterans as Nana Patekar, Ajay Devgan, etc, Ranbir is able to hold his own and comes out a winner. His transformation from apolitical to master of the political warfare is praiseworthy. He enacts the whole thing so smoothly that it’s unbelievable.
Arjun Rampal, who plays the elder brother of Ranbir Kapoor, comes out with a winning performance and the filmmakers should give him more meaty roles now onwards. After his superb performance in Shah Rukh Khan’s ‘Om Shanti Om’ (though negative), here once again Arjun excels.
Manoj Bajpai, who plays the negative character of Veerendra Pratap and cousin to Ranbir Kapoor and Arjun, has come out with rare performance. Every nuance of his character has come out perfectly in his acting.
Nana Patekar, who plays the character of Brij Gopal, looks perfect in the mentoring role of Ranbir Kapoor and Arjun Rampal. He is sharp and curt in his dialogues. He lives up to expectations of the audiences. Naseeruddin Shah, as usual, is brilliant in his small appearance in the film.
Ajay Devgn, who plays the character of Sooraj, is good in the first half. In the second hour of the film, Ajay’s character seems to have been forced to go on the backburner by the director Prakash Jha despite of their excellent working relationship.
Katrina Kaif, the sizzling hot sexy siren of bollywood, is a surprise packet in the film by adopting a deglamorised avatar. However, the beautiful lass has come out with an honest performance in the film and lives her role well. Others provide able support to the main cast of the film.
The direction of Prakash Jha is superb. The director has handled a large number of biggies with ease and extracted out of them the best for the flick. His expert knowledge on the electoral polities of Bihar and other north Indian states must have helped him in this venture.
The unpredictability and constant twist and turn in the story line are its USP and Prakash Jha must be credited for it. In fact, the long movie of three hours does not bore due to these twists and turns and the audience remain interested till the last.The number ‘Mora Piya’ is already popular with the audiences. Dialogues, especially those delivered by Nana Patekar, are superb. The cinematography tries to capture every important moment of this political drama efficiently. Other production values are also good.
VERDICT
Ranbir Kapoor and Katrina Kaif have given superb performances in the flick. However, the USP of the flick remain the constant twists and turns of the plot line and its realistic treatment by filmmaker. The film truly mirrors the electoral democracy as practiced in most of our states by our so called political leaders. However, the film is more inclined towards intelligentsia than hoi polloi. A brilliant realistic flick.
Raavan: Movie Review
Cast: Abhishek Bachchan, Aishwarya Rai Bachchan, Vikram
Direction/Screenplay: Mani Ratnam
Music: AR Rahman
Dialogues: Vijay Krishna Acharya
Cinematography: Santosh Sivan, V Manikandan
Genre: Drama
Release Date: June 18’2010 worldwide
Rating:
Personas are often deceiving. A man who comes across as evil and menacing can be godly in reality, if watched closely and vice versa. Deception rules and dominates the world. Although, once the truth unravels, bad starts seeming good as in the case of Beera (Abhishek Bachchan).
Beera hides in the dense forests of north India from where he orchestrates his criminal activities against the police, a la Veerappan. He ruthlessly kills the policemen and loots their weaponry. Going by Beera’s sharp hunting skills and knowledge of the jungle, even the police is now scared of the dangerous outlaw except for SP Dev (Vikram).
Right after being posted to Lal Maati, Dev finds his wife Ragini (Aishwarya Rai Bachchan) caught in Beera’s clutches as he kidnaps her and takes her to the jungle where he resides. Turns out Beera has been meaning to settle a personal score with the police for a long time. Dev takes the help of a funny forest guard (Govinda) in order to get back his wife. Ragini on the other hand oblivious to Beera’s power, does every thing possible to escape her nightmare.
Mani Ratnam’s modern adaptation of Hindu mythological epic Ramayana with a twist, is a film made with good intention, beautiful music and mind blowing cinematography but unfortunately lacking everything else!
To start with, the story of the film as if on a long pause, just doesn’t move ahead for a good one hour after the film begins.
The scenes seem repetitive with Ash screaming from the bottom of her lungs even when she speaks (in a voice that seems inspired by Vidya Balan’s from Bhool Bhullaiyya, after she is possessed that is) and Abhishek doing some weird jig jig jig...not a dance, but the words he says as he shakes his hands around his head vigorously when either angry or amused.
The two keep staring, screaming at each other when not climbing a rocky mountain or jumping off a cliff as they play hide n seek in the forest for almost an hour. Their chemistry and the dialogues fall short of portraying the angst or the attraction they hold for each other thus making their interaction simply a waste of time.
A brooding Vikram keeps flashing his forehead frown lines and quizzical eyebrows as he hunts for Beera in the forest using minimal dialogues but maximum action & style (His fans will like it).
The only actors who provide good comic relief with their words and bindaas act amidst this insipid chase are Govinda and Ravi Kishen... both wasted to a large extent.
The dialogues are highly uninspiring for a film that intends to tackle a subject of this stature. (Ash asks Vikram: Yeh Beera Robin Hood hai ya Raavan)
Raavan is no Mani Ratnam signature film at all. It in fact looks like Mani attempting a Ram Gopal Verma (in terms of camera angles and direction) or even a Vishal Bhardawaj (feel, setting and twist of the film) while being inspired by Ghai’s Khalnayak (story).
The filmmaker seems inspired by so many things at a time that he forgets to retain his own USP. There is no punch in the script which doesn’t rise above clichés, no tenderness in the love between Dev and Ragini and no depth to Ragini or Dev’s character as they come across as silent spectators to Beera’s eccentric antics. The ten facets of Beera’s personality too doesn’t stand out.
The film moves you only when Abhishek and Priyamani come to picture. Both actors act superbly and infuse soul into this otherwise lifeless drama. Abhishek walks away with the main role and does a good job as he gets into the skin of his character very well. Wish his character would have been written better.
Ash holds one disgruntled expression on her face throughout and so does Vikram.
The film can be watched for its brilliant cinematography by Santosh Sivan and V Manikandan. Jungles, waterfalls, rains...have never looked so beautiful in a Hindi film before nor has a de-glam Ash in an extreme close up.
Music by AR Rahman is mesmerizing. Behne De, Ranjha Ranjha and Beera Beera are tracks that grow on you and are capable of being listed in Rahman’s all-time hits.
Outfits by Sabyasachi go perfectly with the theme of the film.
We assume Mani Ratnam went through a writer’s block this time around which is natural for creative geniuses of his calibre. We hope he regains his brilliance that gave us Roja, Bombay, Guru and Yuva.
source:indiatimes
Beera hides in the dense forests of north India from where he orchestrates his criminal activities against the police, a la Veerappan. He ruthlessly kills the policemen and loots their weaponry. Going by Beera’s sharp hunting skills and knowledge of the jungle, even the police is now scared of the dangerous outlaw except for SP Dev (Vikram).
Right after being posted to Lal Maati, Dev finds his wife Ragini (Aishwarya Rai Bachchan) caught in Beera’s clutches as he kidnaps her and takes her to the jungle where he resides. Turns out Beera has been meaning to settle a personal score with the police for a long time. Dev takes the help of a funny forest guard (Govinda) in order to get back his wife. Ragini on the other hand oblivious to Beera’s power, does every thing possible to escape her nightmare.
Mani Ratnam’s modern adaptation of Hindu mythological epic Ramayana with a twist, is a film made with good intention, beautiful music and mind blowing cinematography but unfortunately lacking everything else!
To start with, the story of the film as if on a long pause, just doesn’t move ahead for a good one hour after the film begins.
The scenes seem repetitive with Ash screaming from the bottom of her lungs even when she speaks (in a voice that seems inspired by Vidya Balan’s from Bhool Bhullaiyya, after she is possessed that is) and Abhishek doing some weird jig jig jig...not a dance, but the words he says as he shakes his hands around his head vigorously when either angry or amused.
The two keep staring, screaming at each other when not climbing a rocky mountain or jumping off a cliff as they play hide n seek in the forest for almost an hour. Their chemistry and the dialogues fall short of portraying the angst or the attraction they hold for each other thus making their interaction simply a waste of time.
A brooding Vikram keeps flashing his forehead frown lines and quizzical eyebrows as he hunts for Beera in the forest using minimal dialogues but maximum action & style (His fans will like it).
The only actors who provide good comic relief with their words and bindaas act amidst this insipid chase are Govinda and Ravi Kishen... both wasted to a large extent.
The dialogues are highly uninspiring for a film that intends to tackle a subject of this stature. (Ash asks Vikram: Yeh Beera Robin Hood hai ya Raavan)
Raavan is no Mani Ratnam signature film at all. It in fact looks like Mani attempting a Ram Gopal Verma (in terms of camera angles and direction) or even a Vishal Bhardawaj (feel, setting and twist of the film) while being inspired by Ghai’s Khalnayak (story).
The filmmaker seems inspired by so many things at a time that he forgets to retain his own USP. There is no punch in the script which doesn’t rise above clichés, no tenderness in the love between Dev and Ragini and no depth to Ragini or Dev’s character as they come across as silent spectators to Beera’s eccentric antics. The ten facets of Beera’s personality too doesn’t stand out.
The film moves you only when Abhishek and Priyamani come to picture. Both actors act superbly and infuse soul into this otherwise lifeless drama. Abhishek walks away with the main role and does a good job as he gets into the skin of his character very well. Wish his character would have been written better.
Ash holds one disgruntled expression on her face throughout and so does Vikram.
The film can be watched for its brilliant cinematography by Santosh Sivan and V Manikandan. Jungles, waterfalls, rains...have never looked so beautiful in a Hindi film before nor has a de-glam Ash in an extreme close up.
Music by AR Rahman is mesmerizing. Behne De, Ranjha Ranjha and Beera Beera are tracks that grow on you and are capable of being listed in Rahman’s all-time hits.
Outfits by Sabyasachi go perfectly with the theme of the film.
We assume Mani Ratnam went through a writer’s block this time around which is natural for creative geniuses of his calibre. We hope he regains his brilliance that gave us Roja, Bombay, Guru and Yuva.
source:indiatimes
Film: Raavan (Hindi)
Rating: 2.25/5
The most talked about movie has finally hit the screens in three languages. With big names like Mani Ratnam, Vikram, Abhishek Bachchan, Aishwarya in the list, the expectations are obviously high.
Story
Ragini (Aishwarya) is the wife of SP Dev Pratap (Vikram) and she gets kidnapped by the most dreaded Beera (Abhishek). Dev begins his hunt for Beera to rescue Ragini. For this, he takes the help of Sanjeevani Kumar(Govinda) a modern day Hanuman, playfully hopping from one spot to another as he joins Dev's mission to search for his wife. On the other hand, Ragini gives a tough time to Beera as she wants to escape. But who is the bad person? Is Dev successful in getting Ragini back? All this forms the rest of the story.
Performances
Vikram looks apt as a cop and his dubbing was also done well. However, he had a grim face throughout so not much of contribution from him in terms of body language or dialogues. His strong screen presence made up for any drawbacks.
Abhishek Bachchan tried his best to look villainous but then he has that baby face which makes it hard to convince. Moreover, not enough power and depth was given to his character which is another setback.
Aishwarya looks gorgeous as ever and she did her bit well. Most of her words were expressed through her sparkling eyes so not much to complain from her end.
Priyamani made her presence felt, Govinda was alright, Nikhil Dwivedi was okay, Ravi Kishan was good, Tejaswini Kolhapure was there to fill the screen that’s all. ‘Big’ choreographer Ganesh Acharya managed to shake his tummy to some extent in a song.
Analysis
The film has arrived with a lot of hype and it must be said that it stands nowhere near the hype. The major failure for the film is the poor content. There is no depth in the etching of the characters and the film proceeds in a mild manner. Entertainment quotient is zero and there is hardly a scene where the audience can connect and flow with the characters.
Mani Ratnam has attempted to portray a tinge of Ramayana in a Ballet mode but the poor background score and just one good song was not much of a help. The film survives only due to two things – exceptional cinematography and breathtaking locations.
It recalls MF Hussain’s ‘Gajagamini’ to some extent while projecting some scenes in poetic-ballet manner.
Editing was alright, costumes didn’t have much work and the art department was natural. If we are to take this as a new age Ramayana then questions will arise on the integrity of Lord Rama’s character. In a way, the villain is shown as the bad man with the good heart while the hero is shown as the good man with a crooked heart so conflict of interest happens.
Weak dialogues and lack of comedy is another setback and to connect to the backdrop of the story could also be difficult. Overall, the film’s only life is its technical values but the narrative or writing are very poor. Mass has nothing to gain from it and other genre audience must have patience to watch it. The openings will be good for the film for obvious reasons but then the chances of film making it to the success mark is very bleak.
Bottomline: Not interesting
Karthik Calling Karthik Bollywood Movie Review
Have you ever received a call from yourself? Is it possible in the first place? There are several theories doing the rounds about the two Karthiks in this movie. So what is it? Is Karthik hallucinating? Does he have a double role? Or a split personality? For most parts of the film, you actually buy the explanation that Karthik does receive calls from, well, Karthik.Let's accept the fact that a concept like this instinctively generates curiosity in the film. But the real test is to make the story work in those 2 hours. Also - this is vital - the identity of the caller should come as a jolt when the film concludes. Karthik Calling Karthik works in parts, but during the penultimate part, when the story shifts from Mumbai to Kerala, the sand castle, so beautifully built by debutante director Vijay Lalwani, gets washed away.
One doesn't want to challenge the behavioural patterns of a person with a certain disorder, but when it comes to the big screen, when you are narrating a story on celluloid, you need to do a lot of spoon-feeding and make it look convincing. In this case, unfortunately, the finale is just not convincing and therefore, acts as a spoilsport.
Meet Karthik [Farhan Akhtar], an introvert by nature and shy by choice. Karthik suffers with huge confidence issues and is miserable at his average job that yields less than average results. His boss [Ram Kapoor] treats him like dirt. Shonali [Deepika Padukone], his colleague, who he secretly loves, doesn't even know that he exists. Karthik is a loser. He knows it. He accepts it.
Suddenly, one night, the phone rings. And Karthik speaks to someone he never thought he would. He speaks to a man who also claims to be Karthik. The man on the phone says he's here to change Karthik's life. Karthik accepts the phone in his life and soon it becomes his guide, his mentor, his friend, his guardian.
Karthik Calling Karthik is a love story as also a suspense fare that teases your mind. Any love story works if the chemistry and also the moments between the on-screen lovers looks real and the chemistry between Farhan and Deepika works well.
Correspondingly, a suspense film works if the viewer keeps guessing what the culmination to the story would be. The mystery only deepens when not only Karthik, but also his girlfriend and psychiatrist are engulfed in this storm. All hell breaks loose when Karthik's life goes upside down and Karthik is back to square one. But from this point onwards, the graph of the film only goes downwards.
Debutante director Vijay Lalwani knows his job well, but he's letdown by his own writing. The second hour not only looks stretched [two songs flow one after the other, with the story coming to a grinding halt], but the pace also gets excruciatingly slow at this juncture. The climax, as mentioned earlier, is a complete downer.
Shankar-Ehsaan-Loy's musical score is an asset. The film has some lilting tunes. Cinematography [Sanu John Varughese] is perfect. Dialogues are simple mostly and at times, very witty.
This is Farhan Akhtar's third film as an actor and it must be said that he takes giant strides when it comes to acting. The story throws several challenges at him and fortunately, he emerges trumps in the most difficult moments. This is, by far, his best work.
Deepika Padukone looks bewitching and acts natural throughout. Ram Kapoor is fantastic. Why don't we see him so frequently on the big screen? Shifaali Shah is excellent. Vivan Bhatena is good. Tarana, Vipin Sharma and Yatin Karyekar are serviceable.
On the whole, Karthik Calling Karthik is a decent product with an unconvincing conclusion. Watch it for the wonderful performances of Farhan and Deepika, if you have to. Caters to the youth in metros mainly.
Atithi Tum Kab Jaoge? Bollywood Movie is entertaining
FIRST CUT: Atithi Tum Kab Jaoge? is entertaining
It's all about loving your elderly guests
Warner Bros production Atithi Tum Kab Jaoge? is based on Sharad Joshi's novel Tum Kab Jaoge Atithi. While going to watch this film, do remember that it is not a madhouse comedy like Priyadarshan's or David Dhawan's. It takes you there slowly and subtly, bringing home the message.
Puneet (Ajay Devgan) is a scriptwriter who's landed a big film project. He has an interior designer wife, Munmun (Konkona Sen Sharma) and a little son.
Life is pretty much routine for them until a relative arrives one day from Gorakhpur, calling himself Chachaji (Paresh Rawal). While friends and neighbours are irritated with guests at home, Puneet and Munmun actually welcome their new arrival.
But right from the moment he enters the building complex, Chachaji causes havoc with his old-fashioned and some very weird and annoying ways. Soon, Puneet and Munmun start looking for ways to get rid of him, but to no avail. This old worldly and simple uncle just doesn't seem to get the hint.
The first half of the film goes in establishing all this, and does a pretty good job of it. There are twists and turns in the second half, all tackled with the help of comic situations.
What scores is that the film does not have slapstick or in-your-face comedy. It is just about loving and accepting your guest, the way he or she is - taking the good things from them and ignoring the bad. However, thefilm does not say whether one should accept and endure guests who are not relatives of the hosts. That could be a different story altogether.
Paresh Rawal is the rockstar in Atithi.... Here is one character actor for whom people flock to the box office.
It looks like Ajay Devgan would continue his successful spree after 2009's All the Best, although London Dreams didn't do that well. The actor is in full form in the scene where he confesses he wouldn't even have tolerated his dad as a guest for more than four days, and that his son would do the same.
Konkona Sen Sharma is a natural as the modern, working wife, mother and daughter-in-law. She looks pretty, too, and adds a freshness to the film.
It's an exciting week for Satish Kaushik, with two films releasing on the same day. He convincingly plays the film producer in Atithi..., as well as the mechanic in Studio18's Road, Movie. The beginning of a good year for the lovable 'Calendar' from Mr. India - who is more successful as an actor than a director.
Writer-director Ashwani Dheer's Atithi Tum Kab Jaoge? almost reminds you of Karan Johar's 'It's all about loving your family' punch in his films - although in the message, not the treatment. But Atithi... is a good eye-opener for today's youngsters who lead a fast life just like Puneet and Munmun, and have no time even for parents. And never does thefilm get boring or sermonic.
But remember, it's not a laugh riot, but displays comedy with the help of dialogues, situations, and parodies (like Beedi Jalailey becomes prayer song Jyoti Jalailey).
Verdict: All in all, Atithi... is a family film, and seems like a best bet this week to watch with one's family, as compared to the other films.
Rating: Good.
Puneet (Ajay Devgan) is a scriptwriter who's landed a big film project. He has an interior designer wife, Munmun (Konkona Sen Sharma) and a little son.
Life is pretty much routine for them until a relative arrives one day from Gorakhpur, calling himself Chachaji (Paresh Rawal). While friends and neighbours are irritated with guests at home, Puneet and Munmun actually welcome their new arrival.
But right from the moment he enters the building complex, Chachaji causes havoc with his old-fashioned and some very weird and annoying ways. Soon, Puneet and Munmun start looking for ways to get rid of him, but to no avail. This old worldly and simple uncle just doesn't seem to get the hint.
The first half of the film goes in establishing all this, and does a pretty good job of it. There are twists and turns in the second half, all tackled with the help of comic situations.
What scores is that the film does not have slapstick or in-your-face comedy. It is just about loving and accepting your guest, the way he or she is - taking the good things from them and ignoring the bad. However, thefilm does not say whether one should accept and endure guests who are not relatives of the hosts. That could be a different story altogether.
Paresh Rawal is the rockstar in Atithi.... Here is one character actor for whom people flock to the box office.
It looks like Ajay Devgan would continue his successful spree after 2009's All the Best, although London Dreams didn't do that well. The actor is in full form in the scene where he confesses he wouldn't even have tolerated his dad as a guest for more than four days, and that his son would do the same.
Konkona Sen Sharma is a natural as the modern, working wife, mother and daughter-in-law. She looks pretty, too, and adds a freshness to the film.
It's an exciting week for Satish Kaushik, with two films releasing on the same day. He convincingly plays the film producer in Atithi..., as well as the mechanic in Studio18's Road, Movie. The beginning of a good year for the lovable 'Calendar' from Mr. India - who is more successful as an actor than a director.
Writer-director Ashwani Dheer's Atithi Tum Kab Jaoge? almost reminds you of Karan Johar's 'It's all about loving your family' punch in his films - although in the message, not the treatment. But Atithi... is a good eye-opener for today's youngsters who lead a fast life just like Puneet and Munmun, and have no time even for parents. And never does thefilm get boring or sermonic.
But remember, it's not a laugh riot, but displays comedy with the help of dialogues, situations, and parodies (like Beedi Jalailey becomes prayer song Jyoti Jalailey).
Verdict: All in all, Atithi... is a family film, and seems like a best bet this week to watch with one's family, as compared to the other films.
Rating: Good.
Katrina Kaif Embarrasses Manoj by Touching His Fee
“It’s very embarrassing for me. Katrina herself has performed so well in the film. I told her, ‘Please don’t embarrass me.’ After that both Ranbir and Arjun lifted me on their shoulders. It was a nice gesture from them as it showed the chemistry we all had during the making of the film.” said Manoj Bajpayee. Incidentally, a similar incident took place around a decade back with Tabu touching his feet and praising him in similar terms after “Satya”.
As far as “Raajneeti” is concerned, I don’t have words to thank the people who have sent me messages and called me since Thursday night. Prakash Jha gave me the role of a lifetime. I am looking forward to work with him in Arakshan.” Bajpayee thanked his audience and his director.
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