Queen Review from BollyWood Hungama!!!

You enjoy a movie even more if it has the unforeseeable factor adjoined to its premise. Thankfully, a number of storytellers in Bollywood are aiming to surprise, shock and charm you with attention-grabbing yarns you haven't witnessed earlier on the Hindi screen. Some get it right, some don't, but what needs to be lauded is the effort to break the mould, to go beyond the stereotype. Vikas Bahl's QUEEN also dares to push the envelope.

The promos of QUEEN bring back memories of TANU WEDS MANU, partly because the protagonist [Rani] seems like a distant cousin of Tanu. But let's get one thing clear: The presence of Kangna Ranaut and North India setting apart, there's no commonality between TANU WEDS MANU and QUEEN. However, one can draw parallels with ENGLISH VINGLISH, since Shashi in ENGLISH VINGLISH and Rani in QUEEN are vulnerable and low on self-esteem, but eventually find their own voice once they resolve to venture out on their own accord.

QUEEN is about a shy and timid girl who travels to Paris and Amsterdam for her honeymoon all alone, when her beau calls off the wedding at the last minute. A quirky concept, yes. But this coming of age story is indeed enjoyable, despite the hiccups.

First, the premise! Rani [Kangna Ranaut] hails from a Punjabi family in Delhi. She has led a sheltered life, having been surrounded by her over-protective, but caring parents, doting grand-mom and younger brother Chintu. Rani is introduced to Vijay [Rajkummar Rao], the son of their family friend. Vijay is attracted to Rani and woos her relentlessly. Eventually, Rani gives in to Vijay's charms.

Vijay and Rani get engaged. Vijay is posted in London, but when he returns to Delhi for the wedding, he's a changed man. He calls off the wedding at the eleventh hour. Rani is heartbroken, her family is shattered as well. Rani resolves to take charge of her life. She decides to go on her honeymoon to Europe. All by herself...

QUEEN starts off as yet another attempt to encapsulate the middle class Punjabi set-up [based in New Delhi yet again!], replete with resplendent song-and-dance spectacle prior to the wedding, but quickly changes lanes as Rani sets out for Paris. Steering away from the conservative route of the woman wallowing in self-pity, Vikas Bahl tells Rani's story with insight and understanding and along with his team of writers [screenplay: Parveez Shaikh, Chaitally Parmar, Vikas Bahl] injects loads of optimism, besides spirited and lively episodes, to portray Rani's emotional rollercoaster journey.

What really works is the way Vikas presents Rani, his lead character. Rani [in her 20s] is no bimbette or abla naari, is stuck somewhere between tradition and modernity, but has a mind of her own. Her experiences outside the comfort zone [on foreign land], the interaction with varied people she encounters in Paris first and Amsterdam later, the atmospherics... the writers unfurl a tale that's utterly believable, besides creating a colorful canvas that's brimming with characters who are *not* cardboard cut-outs. Sure, a couple of episodes may seem quirky, but gel wonderfully in the scheme of things.

Having said that, QUEEN isn't fool-proof either. The bloated run time -- almost 2.30 hours -- acts as a roadblock. Also, the story stagnates in the second half. Besides, there are too many songs, especially in the first hour. As a result, the film feels elongated and also indulgent at times. Thankfully, the film is back on tracks towards the closing stages, when Rani meets Vijay in Delhi. The final act is indeed brilliant!

There seems to be an overdose of songs [Amit Trivedi] here. 'London Thumakda', 'Hungama' and 'O Gujariya' are effervescent compositions, while a couple of tracks only add to the run time. Cinematography deserves special mention. The DoP [Bobby Singh; additional cinematography: Siddharth Diwan] captures the sights and sounds of Paris and Amsterdam wonderfully. Dialogue [Anvita Dutt; additional dialogue: Kangna Ranaut] come across real.

It's hard to take your eyes off Kangna, who captures the nuances of her character spot-on. She's simply outstanding! Even when the goings-on appear stretched, Kangna doesn't miss a beat. The earnestness and sincerity she invests in her performance is for all to see. Additionally, the deglam look and the attire [jeans, kurtas, sweaters, handbag] makes it so believable. It won't be erroneous to state that she turns Rani into the most real woman you've encountered on the Hindi screen lately. Rajkummar Rao sparkles in a role not many actors would've dared to take up, while Lisa Haydon is simply delightful and supremely confident, complimenting Kangna through and through.

Mish Boyko [as Olik], Jeffrey Ho [as Taka], Guitobh Joseph [as Tim] and Marco Canadea [as Marcello] contribute wonderfully to their respective parts. The actors enacting the part of Kangna's parents, especially the grand-mom, are lovely.

On the whole, QUEEN reinvents the genre with its non-formulaic screenplay and skilled direction. A charming little film, this one's made with heart and feeling and it shows. Absolutely recommended! 

Rating:****

http://www.bollywoodhungama.com/moviemicro/criticreview/id/563941

GULABI GANG Reviews From Taran Adarsh(Bollywood Hungama)!

The much-talked-about, much-in-news, mired in controversy movie hits the screens in India. Finally!

A few weeks ago, a documentary called GULABI GANG released at select screens of India. Now Soumik Sen's GULAAB GANG, which throws light on women dressed in pink saris, fighting against the injustice meted out to women in the heartland of India, opens at cineplexes after courting controversy. What also makes the film interesting is its interesting casting [and on-screen face-off] -- Madhuri Dixit-Nene and Juhi Chawla.

Let's enlighten you about the premise of GULAAB GANG, before I move ahead. Somewhere between vigilante and activist, a group of women takes up varied issues -- domestic violence, dowry, rape, electricity, education, et al. The plot thickens when Rajjo [Madhuri Dixit-Nene], their leader, locks horns with a conniving and shrewd politician Sumitra [Juhi Chawla], who uses everyone to her advantage.

Although GULAAB GANG raises a strong voice against years of patriarchal pain and suffering -- one might assume it tilts towards arthouse cinema -- the fact of the matter is, Soumik presents the classic conflict between good and evil like any other masala film, replete with high-voltage drama, song-and-dance routine and of course, action sequences. This time, the protagonist as well as the antagonist are women, the story is set in the hinterland, the issues they tackle pertain to women... while men are merely peripheral characters here. Also, unlike some films set in the hinterland, Soumik abstains from using cuss words/colorful lingo to belittle the oppressors here.

GULAAB GANG sheds light on the plight of women in a particular region, but the message resonates beyond the boundaries of the region it attempts to illustrate. The screenplay packs a couple of nail-biting episodes, which skilfully highlights the vulnerability of women in rural India. The fight against merciless husbands, crooked politicians and government machinery and the conventional and regressive attitude comes across effectively on varied occasions. In short, a number of sequences sting with honesty!

However, you can't turn a blind eye to the blemishes either. Not much happens in the first hour of GULAAB GANG [the writing lacks meat!], after Soumik introduces us to the pivotal characters. Lack of conflict or face-off is also one of the reasons why the first hour never really impresses. Also, Soumik could've avoided the usage of songs [the synchronized steps and the reference to 'Ek Do Teen' in a sequence look out of place], since the focus in a film like GULAAB GANG is on drama primarily. Fortunately, GULAAB GANG is back on tracks in the post-interval portions. The simmering tension between Madhuri and Juhi is captured wonderfully. Besides, a couple of dramatic sequences leave a hammer-strong impact. In addition, the chameleon-like opportunistic character of Juhi catches your eye in the second hour.

A big reason the film never feels contrived is its tremendous cast, especially Madhuri and Juhi. It's a pleasure to watch Madhuri essay the role of Rajjo with flourish. In her three-decade-long career, the actress has worked in practically all genres of cinema, but GULAAB GANG gives her the platform to explore not just the dramatics, but action too. She enacts the part of a righteous woman with supreme understanding and deserves brownie points for a terrific portrayal. Matching Madhuri with a pitch-perfect portrayal is Juhi, who defiantly ventures into an alley she has never sauntered into in her career earlier. The actress displays the evil side without resorting to loud theatrics or attempting to overpower her co-star. You'd love to hate Juhi here, for she lives up to the character of a shrewd plotter and an acute schemer.

Other performances are finely pitched as well and topping the list is Divya Jagdale, who stays in your memory much after the screening has concluded. Priyanka Bose is first-rate. Tannishtha Chatterjee is wonderful.

On the whole, GULAAB GANG is well-intentioned with several powerful moments, especially towards the second half. The game of power and politics is well captured too. Additionally, the bravura performances of Madhuri and Juhi add immense weightage to the film. Watch it! 

Rating:***1/2
http://www.bollywoodhungama.com/moviemicro/criticreview/id/551149 

Bewakoofiyan Review from Bollywood Hungama(Taran Adarsh)!

On face-value, BEWAKOOFIYAAN(Foolishness) may pass off as yet another love story in a middle class setup, with the [tyrannical] father of the girl throwing a wet blanket on their plans. While the subject matter is as old as the hills -- haven't we watched a concerned/over-protective parent opposing his kid's choice of spouse in dozens of films earlier? -- BEWAKOOFIYAAN(Foolishness) also drapes a thorny issue that plagues the world: Recession. However, what could've been a serious take on relationships and economic decline is punctuated with several laugh-inducing moments by Nupur Asthana.

One expects BEWAKOOFIYAAN(Foolishness) to be a joy-ride, since Nupur's big screen debut MUJHSE FRAAANDSHIP KAROGE was padded with intelligent humor, clever lines and charming moments. And Nupur and writer Habib Faisal make sure they give the cliché-ridden plot a new spin altogether.

Mohit [Ayushmann Khurrana], a marketing whiz kid, and [Sonam Kapoor], a financial brain, are a much-in-love couple. They work hard, they party harder. Their belief is simple: You can live on love and fresh air… But there's an obstacle: Mayera's wilful bureaucratic father V.K. Sehgal [Rishi Kapoor].

The obstinate man believes that only a rich man can bring happiness and a mid-level executive like Mohit simply isn't good enough. Who gets the last laugh when recession strikes and the lack of money tests love?

BEWAKOOFIYAAN(Foolishness) brings back memories of Anubhav Sinha's AAPKO PEHLE BHI KAHIN DEKHA HAI and Rahul Dholakia's KEHTAA HAI DIL BAAR BAAR, besides FATHER OF THE BRIDE and MEET THE PARENTS, of course. Having said that, Nupur and Habib pepper the plot with some cleverly penned sequences, but stray episodes apart, the writing maintains a strong grip from commencement to conclusion [the run time -- less than 2 hours -- makes sure the film never overstays its welcome]. Also, the writer slips the after-effects of recession smartly in the proceedings, without deviating from the core issue, that of a love story.

There's a lot to like in BEWAKOOFIYAAN(Foolishness). The makers know well the flavour of humor they wish to peddle to the spectator -- witty and subtle -- shying away from the slapstick and buffoonery one has come to expect in Bollywood comedies. It won't be erroneous to state that BEWAKOOFIYAAN(Foolishness) makes a genuine attempt to entertain beyond tested flavours and it succeeds in evoking genuine laughs at regular intervals. Also, Nupur and Habib invest heavily into the characters and the screenplay to keep the interest alive. Additionally, the film works for two more reasons: Sharp dialogue and spot-on performances by its protagonists.

However, there are hiccups too. The conclusion is foreseeable given the genre of the film, hence Habib should've ensured that the sequences leading to the climax were hatke completely. The soundtrack [Raghu Dixit] is plain ordinary and though it's not right to draw parallels, one misses a 'Paani Da Rang' kind of haunting melody from Ayushmann yet again [that song has become a yardstick, frankly]. Notwithstanding the blemishes, what needs to be appreciated is the chance YRF has been taking lately. While the premier production house is synonymous with biggies like JAB TAK HAI JAAN, EK THA TIGER and DHOOM: 3, they aren't shying away from making 'smaller films' with interesting concepts such as ISHAQZAADE, MERE DAD KI MARUTI, SHUDDH DESI ROMANCE and now, BEWAKOOFIYAAN(Foolishness).

Editing [Antara Lahiri] is crisp, while the DoP [Neha Parti Matiyani] paints a vivid portrait of the capital as well as Dubai.

The film relies completely on three central characters -- Rishi Kapoor, Ayushmann and Sonam -- and the performances are indeed commendable. Especially Rishi, a gifted actor, who's finally getting roles that do complete justice to his talent. Ayushmann is charming, confident and far from shaky in sequences with the veteran Kapoor. That's no mean achievement! Sonam has evolved tremendously as an actor of late. Films like RAANJHANAA, BHAAG MILKHA BHAAG and now BEWAKOOFIYAAN(Foolishness) only cement her status as a fine talent. Also, she goes all out this time around, flaunting the oomph factor quite abundantly. The supporting cast, in limited roles, deserve a special mention too, especially Gurpal Singh [as Gursharan] and Pratap Hada [as Immy].

On the whole, BEWAKOOFIYAAN(Foolishness) springs a pleasant surprise. Watch this wonderful slice of life film for the super performances of Rishi, Ayushmann and Sonam, watertight writing, skilled direction and dollops of humor.

 Rating:****
http://www.bollywoodhungama.com/moviemicro/criticreview/id/576462 

1983 Movie Review from Veeyen!

Reverberating with vibrant voices, Abrid Shine's directorial debut '1983' roots itself resolutely in a vivacious milieu called the game of cricket. The sense of warmth that the film exudes arises out of the upbeat air of hope that lingers around, as a cricketer who had had his dreams razed to the ground, relives his reverie through his gifted son.
Ramesan (Nivin Pauly), one among the thousands of youngsters that remained glued to their television sets as India won the Cricket World Cup in 1983, realizes at that very spectacular moment that cricket will forever remain a part of his life. Fascinated by the game and becoming increasingly obsessed by it, he does emerge a brilliant player, but one who is destined to remain a sensation at local club matches.

1983 Pictures   18 Pictures

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When you hold fast to a treasure in your heart, everything else at times, appears trifling in comparison. Ramesan comes to terms with this vital truth a bit too late, when he watches his childhood sweetheart Manjula (Nikki Galrani), walk by with an affluent looking hubby and a baby in tow. Academics take a back seat as well, and the once diligent boy who was expected to turn out an engineer, ends up helping his disillusioned dad (Joy Mathew) at his lathe.
There is something very special about the characterization in '1983', and the crisp detailing is almost faultless. And this eminence spreads across almost every character in it, be it the namesake Sachin (Jacob Gregory in a side-splitting role) who drops in like a thunderbolt from Mumbai to play a match, or the beautician (Priyanka) who looks like a flustered peacock with a hair job gone all wrong, who decks up Ramesan's bride Susheela (Srinda Ashab) at his wedding.
I should admit I have never been a fierce aficionado of the game, and if Abrid Shine still manages to make my hair stand on its ends in sheer euphoria, it's apparent that the man has delivered a perfect shot. Above everything else, its Abrid's love for the game that drives this film forward with a gusto, making us, in the process fall in love with it as well.
It cannot be left unsaid, that the film itself is a luminous tribute to the greatest batsman ever, Sachin Tendulkar, and Abrid leaves no stones unturned to emphasize how ardent an admirer of the sportsman he is. In a very obvious tirade against Sachin's detractors, Abrid spells out in clear terms through the words of Vijay (Anoopm Menon), as to why he believes they don't make great players like Sachin anymore. Tendulkar, believe me, should be proud.
It goes without saying that this is perhaps Nivin's best performance as yet, and as a forty year old man who stills holds on to the stars in his eyes, he is out-and-out impressive. Nikki Galrani looks refreshingly stunning, while Srinda Ashab delivers a self-assured feat. There is a huge supporting cast that includes such names as Anoop Menon, Joy Mathew, Seema G Nair, Saiju Kurup and Shereej Basheer, and a few amazingly talented child actors as well, all of whom pitch in their worthy bits to this remarkable film.
'Olanjali..' is undoubtedly one of the best melodies that I have listened to in years, and if Gopi Sunder has succeeded in spluttering some exquisite glitter with his remarkable musical score, Pradeesh Varma makes sure that '1983' is a visual delight, with his dazzling frames that further add to the delectable charm of this film.
'1983' casts a spectacular nostalgic spell over a nation that is known to breathe cricket, and in the process gifts us with the first cinematic gem of the year. It does a magic trick that makes you smile, that breaks your heart and that inspires you to the hilt. Match splendidly won, Abrid, and further matches keenly awaited!

Rating:****.

http://www.nowrunning.com/movie/12120/malayalam/1983/4541/review.htm

Om Shanti Oshana Review from NowRunning!!

Girl falls in love with boy. Boy does not reciprocate. Girl persists. Boy relents.
That pretty much sums up 'Om Shanti Oshana' for you. Pooja Mathew (Nazriya Nazim), the sole daughter of Dr. Mathew (Renji Panicker) runs into Giri (Nivin Pauly) at Veegaland, where he rescues her from a bunch of hoodlums who have been busy twisting her hand. She doesn't think twice before deciding that he is the man, and follows him around like a dutiful puppy.
If you ask me about the best scene in 'Om Shanti Oshana', I would say that it's the one that precedes the film. There is the customary statutory warning against tobacco use here as well, and it's way too good. Way too good.

Om Shanthi Oshana Pictures   90 Pictures

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The film kick starts in the late 90's and spans a couple of decades, and the girl transforms into a lovely woman from the gawky, wide eyed teenager that she once was. Her love for the man remains steadfast throughout, and 'OSO' underlines the fact that many an Indian film had emphasized time and again - true love NEVER fails.
The video cassette shops, the contessa car and the Nokia 3310 all suggest those years that were long gone; and yet there are several other things all around that point out without doubt that the year is 2013. The straightened hair, the watches, the swish spectacles, the drapes, the interiors and the slim fit jeans and attire - all are out there as if on an anti-vintage campaign.
The light hearted moments that occur at a regular pace keep you focused on the proceedings, and the young lecturer at the Medical College (Vineeth Sreenivasan in a cameo) is part of quite a few of them. It doesn't require an Einstein brain to find out where the doc has got his sight fixed, and with all those twists and turns that we have been witness to, the observant viewer puts two and two together in a jiffy.
There are a few other characters that grab your attention, David Kanjani (Aju Varghese) being one among them. Pooja's despicable cousin brother who spends more time in exile than otherwise, is a man who brings about a smile to our face, with the antics that he is upto. There is also a beautiful lady by the name of Thennal (an even more beautiful name) floating around, albeit in a few scenes, and Nikki Galrani sashays in and out like a real breeze.
Despite being a film that belongs to its heroine, I should say that it's the male lead who scores big time here, with an assured performance. Nivin Pauly looks every bit the almost ascetic youngster who is way too practical and clear headed to be lured into an unrealistic romance. Nazriya hams it up (especially in the few initial scenes) when she has to be the tomboy, declaring vehemently through her maneuvers that she is way too feminine to be one. But when her Bambi-esque eyes brim up with tears, you forget everything and reach out to her, hoping that everything ends up well in her world. Renji Panicker is a man whom I would love to see on screen more often and the screen dad that he plays is near perfect.
'Om Shanti Oshana' works no wonders when it comes to the tale that it narrates. And yet, if it manages to leave an impression, its courtesy the uncanny moves that it makes in the account, some of which leave you surprised and pleased as punch, and a few stray ones missing the mark by a mile. 

Rating:**1/2

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Happy Journey Review from Now Running!!

'Happy Journey' starts off where the recently released '1983' left off, with a child cricket prodigy named Aaron getting selected to the under-15 state cricket team. The boy and his mom Alice (Lena) dream of a spectacular sports career ahead, when an unexpected accident renders the boy blind.
Boban Samuel's new film tracks the boy's journey into his youth, where he matures into a charming youngster (Jayasurya) who skillfully manages things on his own, despite being visually disabled. And he starts telling his story to a fellow passenger (Aparna Gopinath) in a bus bound for Chennai, and she even ends up writing a book on it!

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Some themes do manage to capture our attention when it comes to the distinctive milieu that they are set on. As someone asks in the course of the film, how many of us have in fact heard of the Blind Cricket team of the country? Or for that matter how many of us have actually watched these blind sportsmen play?

Not many of us, I'm sure, and even then, 'Happy Journey' turns out to be a yawn of a film. There is only the script that does not have any specific purpose or aim that has to be blamed for the miserable state of affairs that the film finds itself in.

The last half hour of the film, in particular, is insufferable, with the audience literally taken for a ride. So when a song spurts out all on a sudden, only to be followed by yet another in quick succession, you realize that the journey isn't half as happy as it claims to be.

There are a few light moments in the first half of the film, and surprisingly they have nothing to do with the central theme as such. They concern Aaron's cousin Freddy (Balu Varghese), who is the sole lively spirit in the entire film. Wait, there is another fellow named Pranchi with whom Freddy is always engaged in a war of words, and together they are a blast.

The 'Chak De' team, that coach Gopikrishnan (Lal) assembles together is indeed reminiscent of the Bollywood film. However the representatives from the different states in 'Happy Journey' make a clumsy group, with none of their identities explored. And when there is the rare attempt to delve into the lives of one or two of them, like for instead the Tamilian (Chemban Vinod Jose), the results are corny and disastrous.a

All said and done, Jayasurya does come up with an endearing performance as the blind sportsman, and its purely on account of the actor's mode of delivery that we patiently sit through the entirety of the film. Of course, there is Balu Varghese as well, who makes you smile, which is saying a lot, when it comes to a film as this.

The interest quotient in Boban Samuel's 'Happy Journey' remains the minimum, and at the end of it, its nothing more than a series of disparate scenes that try their best to hold together. It's a bit sad, since the source material that the maker had in his hands could have evolved into something infinitely better, with perhaps a bit of a shift in perspective.

 Rating:**

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