Bullet Raja Review Taran Adarsh!

Rating:****

In this fast-changing scenario, a majority of stars as well as film-makers are experimenting with characters/plots they haven't embarked upon earlier. Trudging around the unexplored trail seems to be the new mantra for the dream merchants. Spanking new combinations are getting formed. Innovative and ground-breaking concepts are being attempted. The intention is to offer wide-ranging, all-encompassing entertainment to the up to date, insightful viewer. Reaching out to the pan-India audience and magnetizing the Indian diaspora globally also appears to be the objective.

Post SHAGIRD [which was disregarded by cineastes, despite strong merits!], PAAN SINGH TOMAR and SAHEB BIWI AUR GANGSTER franchise, Tigmanshu Dhulia has shaped an indelible impression on the viewer's psyche. Consequently, Tigmanshu's cinema is now anticipated with gusto and zeal by movie aficionados and enthusiasts. However, what raises eyebrows -- and logically so -- is Tigmanshu's teaming with mainstream actors [Saif Ali Khan, Sonakshi Sinha] in his new outing. Furthermore, the gifted director goes all 'commercial' to entice that fragment of audience [masses] that enormously add to the big booty. 

The promos of BULLETT RAJA compel you to visualize that this is yet another gangster film with hi-octane drama and power-packed dialogues designed for the masses. The question is, is it one? If true, can Tigmanshu pull it off? Besides, is BULLETT RAJA Tigmanshu's big ticket break? 

BULLETT RAJA narrates the story of Raja Mishra [Saif Ali Khan], a commoner, who gets transformed into a notorious, care-a-damn attitude gangster. A faithful friend and a loyal lover, living life on his own terms, setting his own rules, commanding respect and fearing no one, Raja, in his true inimitable style, takes on the system that creates people like him. 

BULLETT RAJA takes you back to the cinema of yore. A commoner revolts against the system and sets his own rules, shaking the law makers and entrepreneurs in the process. As he gets more and more commanding and authoritative, the powers that be decide on clipping his wings... and eliminate him. Like several films made in 1980s and 1990s, BULLETT RAJA talks of a commoner who revolts against the very system he once devotedly followed. This is Tigmanshu's take on camaraderie, matters of the heart and sacrifice. 

Tigmanshu's cinema has often existed in the pragmatic zone, besides being entrenched in the heartland/interiors, and BULLETT RAJA is no exception. It's raw, unrefined and harsh, much like Tigmanshu's earlier endeavors. Sure, the protagonist may bring back memories of the characters we've watched over and over again on the big screen, but the fact remains that everything happens for a legitimate, justifiable reason here. Notwithstanding the oft-repeated premise, the screenplay has ample twists and turns and leaves you wondering, what's gonna happen next? In fact, the games people play -- not just the politicians -- only envelopes you into the proceedings. The icing on the cake is the twist towards the penultimate moments. 

BULLETT RAJA also works thanks to the dialogue [brilliant; also penned by Tigmanshu] and of course, the casting. Saif has often stolen the thunder from his contemporaries in varied films [recall OMKARA] and the actor, known for stylish, metro-centric characters, is sure to surprise you yet again. More on that later! 

Hiccups? The film stagnates after a brilliant start. The portions in Mumbai and the song that ensues ['Tamanche Pe Disco'] is a put-off. Also, while the songs match the tone of the film, the soundtrack is plain ordinary. 

Technically, this is amongst Tigmanshu's polished and genteel efforts. The background score is effectual, enhancing the drama at key points. Action sequences are realistic. Thankfully, there are no South-style stunts here! 

Saif slips into the unconventional zone without a glitch. The actor delivers an unblemished performance, dominating every scene he appears in. He seems to have worked hard on getting the diction right, while the body language is impeccable as well. It's a seamless leap to look the character. Jimmy Sheirgill is admirable, essaying his part with absolute understanding. The bonding between Saif and Jimmy is simply splendid. Sonakshi Sinha is charismatic and does very well in the required space. 

BULLETT RAJA is embellished with an exceptional supporting cast and each of them adjoin immense credibility to their respective characters. Vidyut Jammwal is luminous in a cameo. He adds solid muscle to the post-interval portions. Raj Babbar plays the scheming politician with incredible ease. Gulshan Grover is first-rate. Ravi Kissen is in terrific form, enacting the negative part with gusto. Chunkey Pandey leaves an impression in a brief role. Vipin Sharma is super. Deepraj Rana, Vishwajeet Pradhan and Sharat Saxena are perfect. Mahie Gill sizzles in the song and sequence. 

On the whole, BULLETT RAJA is Tigmanshu Dhulia's most 'commercial', mass appealing film thus far. One more superior endeavor after the immeasurably acknowledged PAAN SINGH TOMAR and the vastly admired SAHEB BIWI AUR GANGSTER franchise, all of which belong to completely diverse genres of cinema. Enjoyable, engaging and extremely distinctive, BULLETT RAJA is not to be missed!

http://www.bollywoodhungama.com/moviemicro/criticreview/id/566240

Shahid Review from Taran Adarsh!

 Rating:***1/2

The spectators' gradual acceptance of alternate/indie films has shown a noticeable upswing in recent years. As a matter of fact, borrowing stories from newspaper/television headlines and making realistic fares is fast becoming a norm this side of the Atlantic. The line between mainstream and alternate cinema is slowly getting blurred, since the spectator is getting a choice to relish varied genres. With celebrities backing these projects, a strong word of mouth on social networking sites and smart distribution strategy, these films reach out to a larger audience today.

Some stories ought to be told. They shouldn't be confined to newspaper cuttings or news-reports on news channels merely, forgotten/ignored soon after a new story [or controversy] takes over. And Hansal Mehta takes the brave step of tracing the journey of noted lawyer Shahid Azmi. Hansal, an accomplished storyteller who lost his way in between [read forgettable films], seems back on track as he documents the tale of the deceased lawyer. SHAHID, a mix of fact and fiction, enlightens the spectators of Shahid's journey after being arrested during the riots, right till his assassination in 2010.

A stunning documentation on the life and times of Shahid Azmi, SHAHID is brave, courageous and often disturbing and that's one of the prime reasons why it makes for a fascinating cinematic experience.

SHAHID is based on the story of slain lawyer Shahid Azmi. Accused of terrorist links, he was imprisoned before he went on to become a fearless lawyer.

While the story of Shahid Azmi makes for an interesting read/conversation, Hansal Mehta makes sure he packages the film with abundant drama [the courtroom sequences are spellbinding] in this less-than-2-hour film. But, at heart, SHAHID remains a disturbing film, with Hansal preparing the viewer at the very outset as Shahid witnesses a gruesome act. The events thereafter -- Shahid's training in a terrorist camp and on return, getting picked up by cops and imprisoned amidst hardened criminals -- are chapters that are enlightening.

Hansal tries to be close to reality, filming SHAHID at actual locales -- overcrowded neighbourhoods, congested bylanes and cafes -- which adds a lot of credibility to the goings-on. The subtle romance between Shahid and Maryam, one of his clients, deviates your attention from the heavy drama that dominates the film. But the highpoint of the film are the courtroom sequences, without doubt.

With SHAHID, Hansal takes a giant leap as a storyteller, bringing his creativity out to the fore. By casting the most appropriate names for the parts, Hansal only cements the fact that it's the material that can sweep you off your feet. The only time the film falters is when Hansal doesn't provide details of how Shahid escaped from the terrorist camp and returned to Mumbai safely. The editing [Apurva Asrani] is sharp, with not a dull moment in the narrative.

SHAHID is embellished with superior performances. Raj Kumar portrays the lawyer with brilliance. The sense of vulnerability and helplessness, the uncertain future, the aspirations and just about every emotion that the character encompasses is brought to the fore with ferocious enthusiasm by the actor. Mohd Zeeshan Ayyub, last seen in RAANJHANAA, is incredible as Shahid's brother. Prabhleen Sandhu is exceptional as Shahid's wife. Also, she has a pleasant screen presence. Kay Kay Menon and Tigmanshu Dhulia, cast in brief but significant characters, are wonderful. Vipin Sharma proves yet again that he's a remarkable actor. Prabal Panjabi is effective in a cameo. Ditto for Mukesh Chhabra, who enacts the part of a witness. He's very good. Baljinder Kaur as Shahid's mother is natural. Shalini Vatsa is first-rate.

On the whole, SHAHID is a brave film. Its gripping story, exceptional execution and bravura performances continue to reverberate much after the screening is over. Strongly recommended

http://www.bollywoodhungama.com/moviemicro/criticreview/id/563934 

Rajjo Review from Bollywood Hungama!

Rating:**1/2

 

The getting together of numerous talents in a project instinctively raises the expectations from that film. Have a look at the wonderful talent associated with RAJJO: Kangna Ranaut, Prakash Raj, Mahesh Manjrekar, Jaya Pradha, Upendra Limaye, Uttam Singh [music], Binod Pradhan [cinematography], Muneesh Sappel [production design] and Vishwas Patil [writer; who makes his directorial debut with RAJJO]… Each one of them has proved himself/herself in their respective area of work, besides winning laurels and awards for their meritorious efforts. Expectedly, one hopes RAJJO to strike a chord.

Women empowerment is being stressed upon and women-centric themes are on the rise on the big screen. The Hindi film industry has often mirrored realities and Vishwas Patil's RAJJO, a woman-centric film, attempts to portray the story of a young woman who is pushed into the flesh trade by her near and dear ones, but she puts up a brave fight against the oppressors and emerges triumphant eventually. A well-intentioned film, indeed!

Rajjo is a love story set against the backdrop of the kothas of Mumbai. It attempts to unravel the journey of a nautch girl Rajjo [Kangna Ranaut]. At this juncture enters the college-going cricket champion Chandu [Paras Arora], who belongs to a middle class Maharashtrian family. It's love at first sight for Chandu. Rajjo too gets drawn towards him subsequently and love blossoms.

Begum [Mahesh Manjrekar], a eunuch, runs the kotha. When Begum gets to know of Rajjo and Chandu, she gets them married. Handa Bhau [Prakash Raj], a corrupt politician, desires Rajjo and creates havoc in Rajjo and Chandu's lives. After facing innumerable hurdles, but handling every moment with dignity, Rajjo overcomes the impediments eventually.

RAJJO has an attention-grabbing premise and like I stated at the outset, is well-intentioned too, but the screenplay could've been far more riveting. While the first hour is plain ordinary, the director reserves the best for the post-interval portions. To give the credit where it's due, the second half does boast of several engaging episodes, but the writing tends to get foreseeable at times, which dilutes the impact slightly. Yet, the conviction with which Vishwas Patil has made the film needs to be lauded, since the message he tries to convey is praiseworthy.

Ideally, the music should've been one of the strong points of the film, but barring a track or two, the soundtrack is mediocre. Binod Pradhan's cinematography captures the look of the film right. Muneesh Sappel recreates the red light area of Mumbai with authenticity. Dialogue could've been hard-hitting. Nonetheless, the writers have abstained from using abusive language, cuss words or vulgar content, which is a plus. The director has also stayed away from incorporating titillating visuals or sensuous sequences, which could've deviated your focus from the issue.

Having proved her mettle in films like GANGSTER, WOH LAMHE, RAAZ - THE MYSTERY CONTINUES, ONCE UPON A TIME IN MUMBAAI, TANU WEDS MANU, FASHION and KRRISH-3, Kangna makes a sincere effort to look the character, enacting her part with grace and elegance. Also, she looks lovely in Indian attire. The biggest revelation, however, are her dancing abilities. She scores brownie points in that department. Paras Arora makes a worthy film debut. He's confident and self-assured, despite being pitted against reputable actors like Kangna, Mahesh Manjrekar, Prakash Raj and Vipin Sharma.

Although Prakash Raj does try his level best to portray the evil side, one feels the talented actor is getting typecast in villainous characters. Mahesh Manjrekar is, as always, first-rate. Upendra Limaye shines in the sequence when he narrates his past, while performing an encounter. Swati Chitnis leaves a mark. Vipin Sharma doesn't get much to do. The actor portraying Prakash Raj's sidekick does a commendable job. Veterans Jaya Pradha, Dalip Tahil and Avtar Gill are effective in cameos.

On the whole, RAJJO is a well-intentioned movie made with gracious objectives of drawing one's attention to the genuine issues that plague the society. However, its release timing seems inopportune. The clash with a biggie like RAM-LEELA may sideline this well-meaning film

 

http://www.bollywoodhungama.com/moviemicro/criticreview/id/560699 

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Satya 2 reviews from Taran Adarsh!

Ramgopal Varma has delivered several exceptional gangster films. As a matter of fact, RGV has made the maximum films in this genre, creating a rich repertoire over the years. SATYA and COMPANY stand out as milestone films, which have influenced and motivated a plethora of gangster films over a period of time. It's no secret that these two films, besides RGV's Hindi debut SHIVA, RANGEELA [a different genre, of course] and SARKAR, have propelled RGV as one of the most respected storytellers of our times. Obviously, one eyes SATYA-2 with equal enthusiasm for obvious reasons. But, let me clarify, SATYA-2 merely borrows the title from SATYA, but is no sequel to the trend-setting SATYA.

The promos of SATYA-2 clearly specify that underworld never becomes redundant. It merely changes form. That, in short, is the essence of this film. Let me clarify, SATYA-2 bears no resemblance to RGV's protégé Puri Jagannadh's Telugu film BUSINESSMAN, like a section of the media would like us to believe. The plot is different and RGV makes sure even the screenplay is way different from films of its ilk.

Just when everyone thinks that the underworld is defunct, Satya [Puneet] arrives in Mumbai to reinvent it and re-establish the mafia. His motive is simple: He wants to be the undisputed don of Mumbai. To start with, Satya floats a company based on the mistakes committed by the earlier dons and executes his master plan. He eliminates three influential people to unleash terror: a leading industrialist, the Police Commissioner and a powerful media baron. What happens next?

Unlike the gangster films of the 1980s and 1990s, which integrated gruesome violence in the narrative, SATYA-2 is more about cerebral power, with violence being an offshoot of the conspiracy that the entrepreneur adopts. The protagonist is suave this time -- unlike the earlier Satya -- and uses the mistakes [committed by the earlier dons] to stay a step ahead of lawbreakers and lawmakers. The cops, obviously, are caught completely off guard, since everyone is clueless of the new criminal on the horizon, his strategies and motives.

Like RGV's previous endeavors, SATYA-2 is loaded with style and attitude. The plot too is shades different from the earlier films in this genre, with RGV moulding it in the thriller format and unleashing the screenplay at a feverish pace. The fact that SATYA-2 is not inspired by any of the gangster films attempted earlier keeps you on the edge and heightens the curiosity. But there are hiccups. The inclusion of songs is a blemish you just cannot disregard. Ideally, a film like SATYA-2 would've had a stronger impact if RGV would've avoided the songs. The songs only work as a speed breaker here. Even the one filmed in Kashmir, post Satya's marriage, is an absolute no-no, despite some stunning visuals it has to offer. Similarly, the romantic track between Satya and his sweetheart is far from mesmerizing.

Additionally, the culmination to the story will meet with extreme reactions. It's an open end and while some may like the thought [I think, it's most appropriate], the conventional types may be discontented since RGV maintains the thought with which he commenced the film: Underworld never dies, it merely changes form.

Having said that, I'd like to add that SATYA-2 has several nail-biting episodes that keep you completely hooked. Also, to give the credit where it's due, the writer does not suffer from SATYA hangover, which is a plus. The scenes are innovative, the screenplay is entrancing for most parts and the sequence of events keeps you drawn to the on-screen proceedings. The background score is effectual, while the cinematography captures the tension adroitly.

Puneet Singh Ratn brings RGV's vision to life. He springs a surprise, essaying a complex part with certainty. Furthermore, he looks intense enough for the part. Anaika [as Chitra] exudes vulnerability, but the conviction is lacking in her performance. Mahesh Thakur is top notch. Aradhna [as Special] leaves an impact. Amitriyaan [as Naara] is expressive enough. He does very well.

Raj Premi [as RK] is wonderful, while Amal Sehrawat [portraying his son TK] stands out in the sequence when he persuades his father to defy Satya. Ashok Samarth [as Solomon] is first-rate. Kaushal Kapoor [as Purshottam] delivers a power-packed performance. Mrunal Jain is proficient in a brief role.

On the whole, SATYA-2 may not be RGV's best, but there's no denying that it has the right elements that make a quintessential gangster film. However, the KRRISH-3 wave coupled with the arrival of another Superhero film [THOR: THE DARK WORLD] may affect its business prospects.

Rating:***

http://www.bollywoodhungama.com/moviemicro/criticreview/id/566244 

Singh Saab The Great by Taran Adarsh!

There's a spate of desi entertainers of late. All starring top league actors and helmed by reputable names. Now Anil Sharma, whose body of work consists of desi entertainers like HUKUMAT, ELAAN-E-JUNG, FARISHTAY, TEHELKA, GADAR - EK PREM KATHA, APNE and VEER, helms yet another big ticket film with a desi angle to it -- SINGH SAAB THE GREAT.

When Anil Sharma joins hands with Sunny Deol -- the jodi has delivered one of the biggest hits of Hindi cinema in GADAR - EK PREM KATHA -- one expects the duo to recreate the epic success in their new outing. Clapworthy dialogue, fiery confrontations, hi-octane drama and of course, Sunny's dhaai kilo ka haath to vanquish the oppressors... the mandatory requirements have to be in place. And SINGH SAAB THE GREAT has it all in trademark Anil Sharma style.

SINGH SAAB THE GREAT narrates the story of Singh Saab [Sunny Deol], an honest Collector, who believes in carrying out his duties diligently. However, the crooked and shady Bhoodev [Prakash Raj] falsely implicates him in a case of bribery and gets him imprisoned. Even though Singh Saab is seething with anger, he decides to settle scores with Bhoodev differently, by bringing about change instead of revenge [badla nahin badlaav]. The ground is set for a confrontation between the honest and corrupt forces…

With not much to look to forward to in the storyline, the challenge lies in making the screenplay captivating and spellbinding and Anil Sharma and writer Shaktimaan attempt to package the film with ingredients that connect instantly with the masses. The character portrayed by Sunny is like any other character we may have witnessed in several films, but when Sunny roars, bashes the villain black and blue or pulls a tree with its roots, it appears bona fide. The larger than life character suits him and Anil Sharma and Shaktimaan make sure they capitalize on this actuality.

Anil Sharma's movies, generally, have an undercurrent of emotions. In fact, his biggest victories have stressed on emotions [his directorial debut SHRADDHANJALI, GADAR and APNE in particular] and SINGH SAAB THE GREAT too maintains an iron grip on emotions and sentiments. Like GADAR, the emotional chord is between the couple [Sunny-Urvashi Rautela] and also between the brother-sister [Sunny-Anjali Abrol] this time. But what weighs the film down is the conflict with the antagonist. It's predictable and one feels that the issue of an honest citizen waging a war against the corrupt has been done to death. Sure, a few confrontations are fiery, especially the one when Sunny and Prakash Raj meet for the first time or the one when Sunny throws Prakash Raj in the fire, but the sting operation and the fight to finish towards the climax tend to get monotonous. Besides, the intimate scenes between Sunny and Urvashi look odd after a point.

SINGH SAAB THE GREAT overstays its welcome by a good 10/15 minutes. A crisp, concise edit would've only facilitated a solid punch. The soundtrack tilts heavily towards the Punjabi flavor, with the theme song staying on your lips. It's full of vigour and vivacity. 'Daaru Bandh Kal Se' [which has surprise cameos by Dharmendra and Bobby Deol] is hummable and gels well in the context of things. Dialogue are sure to be loved by the strata of audience they are targeted at [the masses]. In fact, the single screen audience in particular will relish and applaud the jibes and retorts for certain.

Sunny Deol looks most fitting for the part. Also, the certainty and conviction with which he interprets his character is worthy of note. In addition, like I stated earlier, he looks most apt for roles where he has to illustrate muscle power. The masses should go into raptures as he delivers dynamic dialogue in his distinctive trademark style. Enacting the role of a news reporter, Amrita Rao manages to leave a strong impact, despite the fact that the film belongs to Sunny. Urvashi Rautela looks photogenic and though she's a first-timer, she seems confident in several sequences. Post WANTED and SINGHAM, Prakash Raj seems to be getting typecast in similar roles. Not his fault, but I wish to add that the gifted actor enacts his part with gusto and fervor. He matches Sunny at every step. Anjali Abrol does well.

Johny Lever is as lively as ever. Rajit Kapoor, Sanjay Mishra, Yashpal Sharma and Manoj Pahwa don't get much scope to put across their talent. Shahbaaz Khan appears in a cameo. The kid enacting the part of Sunny's nephew is cute.

On the whole, SINGH SAAB THE GREAT is atypical Sunny Deol film that a section of the audience still enjoys. The clapworthy dialogue, the raw appeal, the undercurrent of emotions and of course, the dhaai kilo ka haath should appeal to those who relish desi fares, especially the single screen audience.

Rating:***1/2

http://www.bollywoodhungama.com/moviemicro/criticreview/id/549451