Bollywood’s ‘Ra.One’ - reviews

Reviews of Ra.one:
Salon.com Andrew Hehir: 

Pick of the week: From dazzling dance numbers to post-"Matrix" action, "RA. One" showcases Bollywood's confidence 

hindustantimes.com/Mayank-Shekhar: 2/5 

A year of relentless hustling, hype and expectations inevitably numb achievements, whatever they are, into the obvious. You wish to figure if this was worth this much fuss.
economictimes Gaurav Malani: On the Indian superhero scale, G.One is certainly way ahead of its Krrish counterparts but still miles behind Robot. Nevertheless Ra.One qualifies for a 'one' time watch. 


twitchfilm.com J Hurtado: There was a fear that writer/director Anubhav Sinha had bitten off more than he could chew with Ra.One.  Sinha is a director with a couple of minor successes and a couple of flops on his record, so taking on a project of this magnitude was a big risk for everyone involved. I'm happy to say that in my eyes, he's succeeded in a grand and captivating way.


baradwajrangan.wordpress.com: As I said, this isn’t a film that embraces tomorrow as much as it celebrates yesterday, and its most remarkable achievement may be that, with one foot tentatively toeing the future and one stuck resolutely in the past, it didn’t end up peeing all over itself.


telegraphindia.com Pratim Gupta:Ra.One is one of those lavish five-star buffet spreads where there’s something for everyone but not everything for someone. The game is risky but the playing too safe. The dream’s not dead but it doesn’t flicker back to life as often as G.One’s H.A.R.T. does.


hollywoodreporter.com Kirk Honeycutt: India’s first attempt at a superhero movie is both vigorous and emotionally fulfilling within the context of Bollywood traditions.


ibnlive.in.com Rajiv Masand: 2.5/5 What's missing from 'Ra.One' is a sure-footed director's touch. Anubhav Sinha fails to bring all the elements together, and while this superhero film has plenty sound and fury, it's sorely lacking slickness. I'm going with two and a half out of five for 'Ra.One'. Like the spaghetti and curds concoction that Shah Rukh digs into in an early scene, 'Ra.One' is clearly an acquired taste.


nytimes.com Rachel Salz: But if the storytelling disappoints (shocking!), the film mostly doesn’t. It relies on action and effects and Bollywood’s trump card, star power, to carry the day. This is Mr. Khan’s movie, and once he sheds Shekhar’s droopy locks, he shines as the deadpan, action-hero robot with digital snot and smooth moves on the dance floor.

Gulfnews - Manjari Saxena:
In all, a fun movie to catch and will definitely run full house during the Diwali weekend – making it a very happy Diwali for Shah Rukh Khan.

bollywoodhungama - Taran Adarsh:4.5/5 It's not merely a great looking film, but also has soul, which is so essential to strike a chord with the avid moviegoer. As for the business prospects, RA.ONE is sure to shatter all previous records and set new ones, in India as well as internationally.

emirates247 - Bindu Suresh Rai:  All said and done, Bollywood’s advancement in FX and special effects is a boon for 'Ra.One', which heavily relies on the technical expertise to carry the story forward in the second half. 

economictimes.indiatimes.com: 3.5/5 Here's a movie the Hindi film industry can be proud of. "Ra.One" can be touted as the first Hindi film that blends the elegance of Hollywood with Indian sensibilities. 


supergoodmovies.com: 3.5/5 The movie is completely made in Indian (Desi) style, made on par with Hollywood standards. If you are expecting something like Transformers or Inception then, the movie is not for you.  Go watch it as a common Indian who usually stays away from Hollywood movies.


bollywoodchaska.com: 4/5 RA.ONE is the most ambitious, most expensive and the most technologically complex Hindi film ever made. It pushes the envelope further. It's not merely a film, but an experience, an event. It's a film that will rewrite the textbook of computer graphics in Hindi cinema.


timesofindia - Nikhat Kazmi: 3.5/5

Small quibbles, actually, since Ra-One is sure to usher in a crackling Diwali at the box office and give the audience paisa vasool entertainment, with fine performances by both Shah Rukh and Kareena. Even young Armaan is efficient. Go have a blast.

Stardust: 3.5/5 Shah Rukh Khan has done a superb job in the flick in terms of acting and chasing sequences. The film is a visual treat with top notch computer graphics and other use of high- tech gadgetry. The film has raised the bar further for superhero flicks.  It is certainly better than anything bollywood has offered so far and is more in consonance with standards of Hollywood.


deccanchronicle Khalid Mohamed: 4/5 Undoubtedly, the extravaganza belongs to Shah Rukh Khan. He’s ultra- high on energy and on infecting the viewer with his distinctive brand of tongue-in-chic chutzpah. Why the four stars? you may cavil. Answer: why not? Here’s a technical accomplishment with as much heart as hardware.


dnaindia.com Aniruddha Guha: 3/5 As Shekhar's wife, Kareena does little than preen at the camera in sexy outfits. Rampal scorches the scene with his screen presence. The kid Armaan, as Shekhar's son Prateik, who learns the importance of siding with the good against evil, is charming despite the awful hairstyle.  Which brings us back to the film's best dialogue: "Raavan kabhi marta nahi". So then how can the good one ever be victorious? Oh well, we have the sequel to figure that out.


indiatoday Kaveree Bamzai: 3.5/5 Shah Rukh throws himself about, vaulting up and own buildings, leaping through the air and even landing on his feet with Kareena Kapoor in his arms. In the face of such indefatigable energy, we surrender. Go on, Shah Rukh, give it a rest. In the words of your superhero, you did good.


ibtimes Ralle Shele: Director Anubhav Sinha deserves all the accolades for making such a good film. He brought the best in Shah Rukh Khan, Kareena Kapoor, Arjun Rampal and child artiste Armaan Verma. He did everything right from direction to screenplay to action sequences. Music by Vishal-Shekhar is also cool with songs like 'Chamakchallo', 'Dildara' and 'Raftarein' going down well with the music lovers.

ndtv Saibal Chatterjee: 3/5 As a vendetta saga, RA.One might be right up your alleyway. It delivers more than your money’s worth in terms of pure entertainment. It is impressively shot, technically good enough to pass muster and the hi-jinks drama has the pace to keep tedium at bay.  What you see is passable, what you hear is enjoyable, but what you take away is insubstantial.


filmfare.com Rachit Gupta: It’s not very polished but it’s more than acceptable. In fact, had the storytelling been stronger Ra.One could’ve been a classic. Sadly it’s not but it is an enjoyable sci-fi and CGI fiesta that will transport you to a world of kooky fantasy and video game heroes.

Read more at: http://movies.ndtv.com/movie_review.aspx?id=666&cp

Read more at: http://indiatoday.intoday.in/story/ra-one-movie-review/1/157516.html

AKON
Senegalese-American musician Akon is reportedly recording a song for the soundtrack of the upcoming Bollywood superhero action film Ra.One, starring Shahrukh Khan. It’s rumored that Akon will also make an appearance in the film.

The Grammy-nominated singer will join the ranks of other Western music artists who’ve contributed to Bollywood films in recent years. American rapper Snoop Dogg performed on the title track of Singh is Kinng in 2008 and Australian pop star Kylie Minogue performed a song in Blue in 2009.

In Ra.One, Khan plays a software engineer who becomes a video-game hero and combats a virtual monster he created. Indian actors Kareena Kapoor and Arjun Rampal also star in the film.

How I spent Friday night, watching middle-aged wannabe Casanovas – Rascals

Take a Deewana Mastana story, twist it a bit so the third guy has a more active role in the film. Take two middle-aged leading men who have lost all sense of maturity, and throw them in with two young girls who are not afraid to strip down to their skivvies at the least provocation. Add lots of references to films past, gags using blind men, disabled men, and ethnic stereotypes, give up any pretense of having a coherent story or logic and you have a David Dhawan film in the 2000s.

Read more HERE

The official Ra.one trailer is here!

Don 2 updated with brief clip - Priyanka and Hrithik!

We are Family reviews

Subhash Jha/IBOS:  4 stars

Taran Adarsh/BWHangama: 3.5 stars

Pankaj Sabnani/Glamsham: 3 stars

SpiceZee: 3 stars 

Filmfare/Sukanya Venkatraghavan: 3 stars

Saibal Chatterjee/NDTV: 2.5 stars "lack of depth"

Sonia Chopra/Sify: 2.5 stars "old-fashioned tearjerker"

Renuka Rao/DNA: 2.5 stars "disappointing tearjerker"

Aparajita Ghosh/Apun Ka Choice:  2.5 stars "watch for Kajol, if you must"

Padma Preetham/Total Filmy:  2 stars "grossly sentimental"

Deepa Garimella/Full Hyderabad: 2 stars "not a happy watch"

Mayank Shekhar/Hindustan Times: 2 stars "stunning Kajol, appears superior to Susan Sarandon"

Aniruddha Guha/DNA: 2 stars "watch it only if you're a Kajol fan"

Minty Tejpal/Mumbai Mirror: 1.5 stars "weepy, forced, set-like, poorly translated dialogue" 

Preeti Arora/Rediff: 1 star "don't even watch the trailer"

Khalid Mohammed/PFC:  1 star "Kajol is the saving grace"

Sanjukta Sharma/Livemint: "regressive, boring film"

Nikhat Kazmi/Times of India:  "watch it for the all-woman show"

Shilpa Jamkhandikar/Reuters Blog: "pretty but shallow"

Upperstall "it’s entirely possible that WAF is the result of outtakes of other Dharma films and basic Photoshop tools. No, wait. That’d require creativity and talent."

Avg rating: 2.37 stars (38/16)

We are Hacks

DHARMA PRODUCTIONS OFFICE

CIRCA 2009

While designing men’s fashion, hosting TV shows, and throwing parties, KARAN JOHAR had a few hours extra one day when despite frequent calls and texts to SRK, he remained uninvited to Mannat.

He had the brilliant idea to use this bonus time wisely and summoned a lackey.  Appeared SIDDHARTH MALHOTRA-

SID: You called, Sir?

KJo: Sid, it’s time for Dharma to venture out. To make an impact on the world. To show what we’re made of. We at Dharma are always forging ahead.

SID: You are right, KJo. Your MNIK is going to save Islam. You are the finest director in India. You are also the best dressed and you are also thin now.

KJo: That is true. My time is very valuable indeed. That is why you should make our next film for us. I will only produce.

JOHAR and MALHOTRA excitedly begin a brainstorming session. Suddenly MALHOTRA has a light bulb blink in his head-

SID: I’ve got it. I know what’s next. After loving your family, loving gays, loving others’ wives, we will take the next illustrious step, loving your souten. Voila.

KJo: You make me proud. You have learned well. Let’s get to work.

SID: Let’s make both women live together.

KJo: How is that possible? We only want realistic, subtle stories here at Dharma. Okay, let’s give one of them cancer. The other one can move in to help her.

SID: By golly, you are a genius, KJo. How did you come up with something so amazing?

KJo: I have been thinking of this for 20 years, Sid.

SID: But now I recall seeing something like this before. I can’t remember exactly. Oh yeah, there is that Hollywood movie Stepmom!

KJo: * GASP *

VigilIdiot's take on We are Family

A must read for one and all...

We are family Box Office

.

We Are Family had a below average start to its first Friday, this was probably due to fact that the film had seen a partial Thursday release which was a holiday and collections tend to fall after holidays.

We are Family updated Kareena interview vid

Listen to full soundtrack here: We are Family

News and Gossip for the day

Salman Khan: I'm a difficult Boyfriend

Your fans may not want to see you as a corrupt cop in Dabangg.
He is the hero. If his salary is Rs 6,000 and he has a family of 15 to support, what will he do? You are bound to earn more money through other means. But if something kills your self-respect, then I don’t think you should do it. There is always a line yaar. I can go down to a level. But if you cross the level of your zameer (conscience), which a lot of people do, then it’s disgusting. To make money out of someone’s misery is the most disgusting thing ever. But if it doesn’t make much of a difference to you, then do it. Think of yourself as Robin Hood. He stole, but he stole from the rich and gave to the poor.

Stars often visit religious places before the release of a film. What about you?
Hmm. Na, na. Everyone has different beliefs.

What is your belief? Put in your work and forget about it?
Yeah pretty much. You want your film to do well but when you go to religious places to only pray for the success of your film, it’s selfish. Some people actually believe that when you want something you must go. That’s such a sho-sha (put on), just show. You should go there quietly.

Is that possible? Who does that?
Katrina (Kaif) actually believes in this. When she visits such religious places, she does it quietly. It’s not done just before a release. She goes to these places all the time. She goes because she really believes in them. My sister Arpita visits religious places too. So does my mother. I don’t go because a lot of disturbance is caused. There are people praying and when they see me there is chaos. I don’t like that. If I want to ask God for something, I ask wherever I am. And if I do go I make sure no one is aware about it.

What surprises you the most about life?
People surprise me every single day. Sometimes for the better, sometimes for the worse.

Have you painted while shooting for Dabangg?
No. I have yet to do a self-portrait.

You are a very successful star, which naturally comes with a certain discipline. But your ‘bratty’ image precedes you.
I haven’t struggled, I haven’t worked hard. I have taken it lightly. But I have also gone and given it my best, which is about two or three or four per cent of my capabilities. I have just been fortunate. All the stuff that was written about me was no big deal. It was not like I was one of these terrorists who deserve to go through all that. And somewhere it’s now known that I was not the person responsible for all those things. So without me saying anything people understand that.

Are you a difficult boyfriend?
Yes, I’m a difficult boyfriend but now I am more patient in love.

How do you deal with depression and low moments?
I go down to the gate of my building and take a look at my watchman.

Any plans to write your autobiography or are you going to commission me to write it?
(Sighs) See, I will not be able to write any lies. And I won’t be able to write the truth either. So, a book on me is out of the question.

LINK



Govinda surprise package in Raavan?

After Govinda signed up for Mani Ratnam’s modern-day version of the Ramayana, speculations about what his character in the film would be like have been taking the rounds. The actor is reportedly playing a character, modelled on Hanuman. He will be seen playing a forest officer who helps Vikram’s character Dev to hunt for his wife, Ragini (played by Aishwarya Rai Bachchan), who has been abducted by Beera (Abhishek Bachchan).

Reportedly, Ratnam, miffed with Govinda’s tardiness, altered his scenes, and the actor was aghast to learn that his part had been abruptly chopped. The actor’s absence at the music launch in May, compounded the speculation that there was something awry between the actor and the director.
Ratnam denies trimming the actor’s role: “Govinda’s role has shaped up amazingly in context of the storyline.”

When asked why he cast the actor in the forest officer’s role, Ratnam explains, “Sometimes we cast faces against the image. When you’re putting the cast together, you realise that for a certain role with limited screen time, a star will be essential because he or she can add meat to the character. Govinda easily blended into his character.”

Ratnam points out that one has to see the film to understand his perspective behind his casting. “Govinda put in an extra effort and made the role interesting despite its screen duration. He makes a considerable impact with his performance,” the filmmaker adds.

A source close to the film says that since Raavan was shot approximately in 200 days and every actor’s role was reduced a little to maintain the flow and rhythm of the story. “Govinda is known to speak his mind. If he had to make an issue, he would have addressed it to Mani sir. But he seemed pleased.”

According to an industry source, Govinda was overheard telling his friends at the IIFA Weekend in Colombo that he had heard great trade reports of Raavan. “He had said that he was looking forward to seeing it. He even made statements there about his wonderful experience of working with ‘Mani Sir’,” adds our source.

LINK




Rockstar Kapoor

Other than his interview in Filmfare's latest edition, Ranbir Kapoor has been out of news for quite some time. So what has Ranbir been upto these days? The young star has been learning the guitar and preparing for his role in Imtiaz Ali's next venture, Rockstar. Ranbir is working hard at his residence in Bandra to get the basics right. He wants to get the attitude and nuaces of a rockstar in place. With such conviction we're sure he'll pull of the role of a Rockstar without pulling out any guitar strings!

LINK




What's with the Bandana?

Arjun rampal must be enjoying the success of his latest film Raajneeti. In fact he has also recived some rave reviews for the same. But, if you're wondering why he has been sporting a bandana to all the raajneeti promotional events it's because he has gone bald for his new look in Ra.One. He has been asked not to reveal the look and keep it a surprise for the audience.
LINK

News and Gossip for the day

Salman Khan: I'm a difficult Boyfriend

Your fans may not want to see you as a corrupt cop in Dabangg.
He is the hero. If his salary is Rs 6,000 and he has a family of 15 to support, what will he do? You are bound to earn more money through other means. But if something kills your self-respect, then I don’t think you should do it. There is always a line yaar. I can go down to a level. But if you cross the level of your zameer (conscience), which a lot of people do, then it’s disgusting. To make money out of someone’s misery is the most disgusting thing ever. But if it doesn’t make much of a difference to you, then do it. Think of yourself as Robin Hood. He stole, but he stole from the rich and gave to the poor.

Stars often visit religious places before the release of a film. What about you?
Hmm. Na, na. Everyone has different beliefs.

What is your belief? Put in your work and forget about it?
Yeah pretty much. You want your film to do well but when you go to religious places to only pray for the success of your film, it’s selfish. Some people actually believe that when you want something you must go. That’s such a sho-sha (put on), just show. You should go there quietly.

Is that possible? Who does that?
Katrina (Kaif) actually believes in this. When she visits such religious places, she does it quietly. It’s not done just before a release. She goes to these places all the time. She goes because she really believes in them. My sister Arpita visits religious places too. So does my mother. I don’t go because a lot of disturbance is caused. There are people praying and when they see me there is chaos. I don’t like that. If I want to ask God for something, I ask wherever I am. And if I do go I make sure no one is aware about it.

What surprises you the most about life?
People surprise me every single day. Sometimes for the better, sometimes for the worse.

Have you painted while shooting for Dabangg?
No. I have yet to do a self-portrait.

You are a very successful star, which naturally comes with a certain discipline. But your ‘bratty’ image precedes you.
I haven’t struggled, I haven’t worked hard. I have taken it lightly. But I have also gone and given it my best, which is about two or three or four per cent of my capabilities. I have just been fortunate. All the stuff that was written about me was no big deal. It was not like I was one of these terrorists who deserve to go through all that. And somewhere it’s now known that I was not the person responsible for all those things. So without me saying anything people understand that.

Are you a difficult boyfriend?
Yes, I’m a difficult boyfriend but now I am more patient in love.

How do you deal with depression and low moments?
I go down to the gate of my building and take a look at my watchman.

Any plans to write your autobiography or are you going to commission me to write it?
(Sighs) See, I will not be able to write any lies. And I won’t be able to write the truth either. So, a book on me is out of the question.

LINK



Govinda surprise package in Raavan?

After Govinda signed up for Mani Ratnam’s modern-day version of the Ramayana, speculations about what his character in the film would be like have been taking the rounds. The actor is reportedly playing a character, modelled on Hanuman. He will be seen playing a forest officer who helps Vikram’s character Dev to hunt for his wife, Ragini (played by Aishwarya Rai Bachchan), who has been abducted by Beera (Abhishek Bachchan).

Reportedly, Ratnam, miffed with Govinda’s tardiness, altered his scenes, and the actor was aghast to learn that his part had been abruptly chopped. The actor’s absence at the music launch in May, compounded the speculation that there was something awry between the actor and the director.
Ratnam denies trimming the actor’s role: “Govinda’s role has shaped up amazingly in context of the storyline.”

When asked why he cast the actor in the forest officer’s role, Ratnam explains, “Sometimes we cast faces against the image. When you’re putting the cast together, you realise that for a certain role with limited screen time, a star will be essential because he or she can add meat to the character. Govinda easily blended into his character.”

Ratnam points out that one has to see the film to understand his perspective behind his casting. “Govinda put in an extra effort and made the role interesting despite its screen duration. He makes a considerable impact with his performance,” the filmmaker adds.

A source close to the film says that since Raavan was shot approximately in 200 days and every actor’s role was reduced a little to maintain the flow and rhythm of the story. “Govinda is known to speak his mind. If he had to make an issue, he would have addressed it to Mani sir. But he seemed pleased.”

According to an industry source, Govinda was overheard telling his friends at the IIFA Weekend in Colombo that he had heard great trade reports of Raavan. “He had said that he was looking forward to seeing it. He even made statements there about his wonderful experience of working with ‘Mani Sir’,” adds our source.

LINK




Rockstar Kapoor

Other than his interview in Filmfare's latest edition, Ranbir Kapoor has been out of news for quite some time. So what has Ranbir been upto these days? The young star has been learning the guitar and preparing for his role in Imtiaz Ali's next venture, Rockstar. Ranbir is working hard at his residence in Bandra to get the basics right. He wants to get the attitude and nuaces of a rockstar in place. With such conviction we're sure he'll pull of the role of a Rockstar without pulling out any guitar strings!

LINK




What's with the Bandana?

Arjun rampal must be enjoying the success of his latest film Raajneeti. In fact he has also recived some rave reviews for the same. But, if you're wondering why he has been sporting a bandana to all the raajneeti promotional events it's because he has gone bald for his new look in Ra.One. He has been asked not to reveal the look and keep it a surprise for the audience.
LINK

The beginning of Kalyug - Raajneeti!

Prakash Jha's films are political, usually on explosive subjects, and rooted in the hinterland. His return to movie making after several years still had Ajay Devgan (except somewhere along the way Ajay dropped an "a" to become Devgn), the film was still on a political subject, and non-metro in focus. Despite by Bihari roots, I am not a huge fan of the earlier Jha films, so I did not have many expectations from Raajneeti.

It was amply clear that Rajneeti would have many elements of the epic Mahabharata once the son born out of wedlock (Karn) was abandoned to be picked up and adopted by a lower-caste couple. However, this is not an exact re-telling of the epic in a modern setting, though much is retained. The battle for political power between two brothers and their progeny is at the heart of this tale, replete with the older getting handicapped, the banishment of the progeny of the younger brother, and the siding of the bastard with the enemies of his half-brothers! But also mixed in is a tale of political intrigue, machinations, explosions, and assassinations. Some parallels to the Godfather are apparent, as is the most obvious parallel to the Gandhi family! Here we have two brothers instead of 5, and the older dies a violent death in a blast. Then his wife picks up the reins of power after his death. Raajneeti is a taut thriller with a relentless pace through the first half, that takes an abrupt turn into a game of political chess with checks after checks in the second half. The pace does slacken and the tale gets a little more outlandish in the latter third of the film, but not enough to let the interest flag.

There are enough deaths and attempted deaths to hint at utter lawlessness in the state that is the arena for this story. But the storyteller's prerogative directs that he tell the story in his own way, creating a reality that he draws us into, while not necessarily creating a "REAL" reality. After all a paralyzed party president would not wield power for months after his incapacitation, nor would elected politicians expect their seat to be inherited. The best way to enjoy Raajneeti is to simply let go of preconceived notions, put aside all thoughts of the Mahabharata and the Indian constitutions and plunge headlong into the story being spun by Mr. Jha and co-writer Anjum Rajabali. This is Raajneeti after all, where women are mere pawns in the game, and where men fight lawfully and illegally, with fists and guns and bombs, and sometimes simply with a quiet statement that pulls the carpet out from under the opponent's feet.

The characters are all shades except white, and the game is a simple one - to win at all costs. The seemingly innocent are not, and most of the conniving is behind the scenes by three of the quietest characters in the film - Nana Patekar, Ajay Devgn and Ranbir Kapoor. The firebrands are Manoj Bajpai and Arjun Rampal, yet they are constantly manipulated by the quiet ones. The women are place holders until we see the alliance between Prithvi Pratap (Arjun Rampal) and Indu (Katrina Kaif), and the setting up of a successor in Indu. However, Jha does present us women with political ambitions. Thus Bharati (Nikhila Tirkha) is a leftist activist influenced by Naseeruddin Shah, Shruti Seth wants the Satara ka ticket, and Indu (Katrina) promises Samar (Ranbir Kapoor) that she will be a minister before he returns. The only woman with no political ambitions is Sarah (Sarah Jane Thompson), the white girlfriend of Samar Pratap. We barely get a glimpse of the woman who tends to her paralyzed husband (as Gandhari did), so she does not quite count. It is also interesting that every woman, except the "knowing and using" Shruti, ends up pregnant. However, it is only the Naseer Nikhila episode that follows a rain drenched 70s "roop tera mastana" type track, the other two are couples who have been in or have begun a committed relationship. But except for Shruti, they are more idealist and pure of heart; the blackness that envelops the menfolk, spares the women. The men start out with a conventional Kaurav badness (Veerendra Pratap - Manoj Bajpai) and Pandav goodness (Prithvi and Samar - Arjun Rampal, and Ranbir Kapoor). But while Manoj Bajpai stays in his role of all for power, and end justifying the means, the brothers rapidly turn to darker and darker shades of gray as the film progresses. Nana Patekar is an adviser and well wisher of the Pandav branch. He is a Vidur like character, as he advises the paralyzed leader to give up his powers to his younger brother, much as Vidur negotiated the transfer of power from Dhritarashtra to Pandu. But later Nana also takes on the role of Krishna and becomes an adviser to the sons Prithvi and Samar as the political battle for succession ensues. The transformation of Samar Pratap seems to happen in the span of a few minutes, but Jha uses the subtlest hints from the youngest member of his cast effectively to show the dying and then dead father, the punch to the face from a policeman, and the arrest of his elder brother. This is enough to awake the inner demons and start Samar off in a game to outmanoeuvre Veerendra Pratap and get his brother Prithvi into power. His intentions are read (and approved) by his uncle, and together they start the game of chess with Veerendra Pratap and Sooraj (the abandoned illegitimate son).

The acting by the male cast is top notch. Leading the pack we have Nana Patekar in a subtle and effective role that subdues his histrionic ability and instead brings out the most nuanced performance from him in a long time. Next comes the performance from Manoj Bajpai. He excels as the conniving and selfish Veerendra Pratap. He wants power and will not wait for it. The anger, the fits of the sullens, and the drunken episodes are all exceptionally well done. Ranbir Kapoor is going from strength to strength and here as the academic who turns into a violent schemer, he is subtle, and with the barest quiver in his cheeks or flicker of an eyelid he conveys a lot. It is not easy to shine in a cast like the one in Raajneeti, but Ranbir manages to do exactly that. Ajay Devgn does not have a big role on screen, though many of the events in the film are set into motion by him in moments not portrayed on screen. I wonder if large chunks of his role ended up on the editing table. He is intense and intense and has very few other emotions. There are two standout moments - one of extreme indecision when he cannot shoot Samar as he now knows the man is his half brother, and the other of shock and disbelief when Samar shoots him. Arjun Rampal does well as the suave Prithvi who wants to be a politician, and one can only blame Jha for turning him into a psychopath in the ending moments of the film. There is no indication in his character graph that he would take such a turn. The women do not amount to much nor do they have much of a role to talk about. The mother, Nikhila Tirkha, is just not a good actress, so her moments on screen drag the film down a bit. Shruti Seth plays the slutty party worker appropriately. Samar's girlfriend Sarah is ok, but her talking is almost like she is teaching an ESL class, enunciating each word carefully. Last but not least, Katrina Kaif is no doubt a big draw in the film, but she is also a big letdown until the final moments. Her lips are inflating at an alarming rate and soon she will not be able to talk at all. The dubbed parts are poor with little sync between lip movements (when the silicone permits movement) and what we hear, and when she does speak it hardly wows as it is supposed to.

Mr. Jha shows mastery over the crowd scenes to the point where one can feel the crush of bodies and smell the dust. This gives the large political canvas a reality that is not usually seen in such films. Enough is shown of the families, their milieu and their interactions to make the lives of these people real and not a cardboard facade. The action sequences are taut and provide thrills enough to keep the audience engaged for the almost 3 hour run time. The end of the Mahabharata signified the beginning of Kalyug, and Rajneeti shows the ugly side of politics in this Kalyug. The characters seem beyond redemption and hopeless. Then in one stroke we have the rise to power of the most idealistic among the group, a woman who wants to distinguish between good and evil, and whose hands have no blood on them. This lifts the film out of bleakness and into a realm of hope.

While thoroughly engaging, this is by no means a flawless film. The casting of Katrina Kaif is incongruous in the mix of mostly excellent actors. The mother is totally miscast....

Read more HERE

The beginning of Kalyug - Raajneeti!

Prakash Jha's films are political, usually on explosive subjects, and rooted in the hinterland. His return to movie making after several years still had Ajay Devgan (except somewhere along the way Ajay dropped an "a" to become Devgn), the film was still on a political subject, and non-metro in focus. Despite by Bihari roots, I am not a huge fan of the earlier Jha films, so I did not have many expectations from Raajneeti.

It was amply clear that Rajneeti would have many elements of the epic Mahabharata once the son born out of wedlock (Karn) was abandoned to be picked up and adopted by a lower-caste couple. However, this is not an exact re-telling of the epic in a modern setting, though much is retained. The battle for political power between two brothers and their progeny is at the heart of this tale, replete with the older getting handicapped, the banishment of the progeny of the younger brother, and the siding of the bastard with the enemies of his half-brothers! But also mixed in is a tale of political intrigue, machinations, explosions, and assassinations. Some parallels to the Godfather are apparent, as is the most obvious parallel to the Gandhi family! Here we have two brothers instead of 5, and the older dies a violent death in a blast. Then his wife picks up the reins of power after his death. Raajneeti is a taut thriller with a relentless pace through the first half, that takes an abrupt turn into a game of political chess with checks after checks in the second half. The pace does slacken and the tale gets a little more outlandish in the latter third of the film, but not enough to let the interest flag.

There are enough deaths and attempted deaths to hint at utter lawlessness in the state that is the arena for this story. But the storyteller's prerogative directs that he tell the story in his own way, creating a reality that he draws us into, while not necessarily creating a "REAL" reality. After all a paralyzed party president would not wield power for months after his incapacitation, nor would elected politicians expect their seat to be inherited. The best way to enjoy Raajneeti is to simply let go of preconceived notions, put aside all thoughts of the Mahabharata and the Indian constitutions and plunge headlong into the story being spun by Mr. Jha and co-writer Anjum Rajabali. This is Raajneeti after all, where women are mere pawns in the game, and where men fight lawfully and illegally, with fists and guns and bombs, and sometimes simply with a quiet statement that pulls the carpet out from under the opponent's feet.

The characters are all shades except white, and the game is a simple one - to win at all costs. The seemingly innocent are not, and most of the conniving is behind the scenes by three of the quietest characters in the film - Nana Patekar, Ajay Devgn and Ranbir Kapoor. The firebrands are Manoj Bajpai and Arjun Rampal, yet they are constantly manipulated by the quiet ones. The women are place holders until we see the alliance between Prithvi Pratap (Arjun Rampal) and Indu (Katrina Kaif), and the setting up of a successor in Indu. However, Jha does present us women with political ambitions. Thus Bharati (Nikhila Tirkha) is a leftist activist influenced by Naseeruddin Shah, Shruti Seth wants the Satara ka ticket, and Indu (Katrina) promises Samar (Ranbir Kapoor) that she will be a minister before he returns. The only woman with no political ambitions is Sarah (Sarah Jane Thompson), the white girlfriend of Samar Pratap. We barely get a glimpse of the woman who tends to her paralyzed husband (as Gandhari did), so she does not quite count. It is also interesting that every woman, except the "knowing and using" Shruti, ends up pregnant. However, it is only the Naseer Nikhila episode that follows a rain drenched 70s "roop tera mastana" type track, the other two are couples who have been in or have begun a committed relationship. But except for Shruti, they are more idealist and pure of heart; the blackness that envelops the menfolk, spares the women. The men start out with a conventional Kaurav badness (Veerendra Pratap - Manoj Bajpai) and Pandav goodness (Prithvi and Samar - Arjun Rampal, and Ranbir Kapoor). But while Manoj Bajpai stays in his role of all for power, and end justifying the means, the brothers rapidly turn to darker and darker shades of gray as the film progresses. Nana Patekar is an adviser and well wisher of the Pandav branch. He is a Vidur like character, as he advises the paralyzed leader to give up his powers to his younger brother, much as Vidur negotiated the transfer of power from Dhritarashtra to Pandu. But later Nana also takes on the role of Krishna and becomes an adviser to the sons Prithvi and Samar as the political battle for succession ensues. The transformation of Samar Pratap seems to happen in the span of a few minutes, but Jha uses the subtlest hints from the youngest member of his cast effectively to show the dying and then dead father, the punch to the face from a policeman, and the arrest of his elder brother. This is enough to awake the inner demons and start Samar off in a game to outmanoeuvre Veerendra Pratap and get his brother Prithvi into power. His intentions are read (and approved) by his uncle, and together they start the game of chess with Veerendra Pratap and Sooraj (the abandoned illegitimate son).

The acting by the male cast is top notch. Leading the pack we have Nana Patekar in a subtle and effective role that subdues his histrionic ability and instead brings out the most nuanced performance from him in a long time. Next comes the performance from Manoj Bajpai. He excels as the conniving and selfish Veerendra Pratap. He wants power and will not wait for it. The anger, the fits of the sullens, and the drunken episodes are all exceptionally well done. Ranbir Kapoor is going from strength to strength and here as the academic who turns into a violent schemer, he is subtle, and with the barest quiver in his cheeks or flicker of an eyelid he conveys a lot. It is not easy to shine in a cast like the one in Raajneeti, but Ranbir manages to do exactly that. Ajay Devgn does not have a big role on screen, though many of the events in the film are set into motion by him in moments not portrayed on screen. I wonder if large chunks of his role ended up on the editing table. He is intense and intense and has very few other emotions. There are two standout moments - one of extreme indecision when he cannot shoot Samar as he now knows the man is his half brother, and the other of shock and disbelief when Samar shoots him. Arjun Rampal does well as the suave Prithvi who wants to be a politician, and one can only blame Jha for turning him into a psychopath in the ending moments of the film. There is no indication in his character graph that he would take such a turn. The women do not amount to much nor do they have much of a role to talk about. The mother, Nikhila Tirkha, is just not a good actress, so her moments on screen drag the film down a bit. Shruti Seth plays the slutty party worker appropriately. Samar's girlfriend Sarah is ok, but her talking is almost like she is teaching an ESL class, enunciating each word carefully. Last but not least, Katrina Kaif is no doubt a big draw in the film, but she is also a big letdown until the final moments. Her lips are inflating at an alarming rate and soon she will not be able to talk at all. The dubbed parts are poor with little sync between lip movements (when the silicone permits movement) and what we hear, and when she does speak it hardly wows as it is supposed to.

Mr. Jha shows mastery over the crowd scenes to the point where one can feel the crush of bodies and smell the dust. This gives the large political canvas a reality that is not usually seen in such films. Enough is shown of the families, their milieu and their interactions to make the lives of these people real and not a cardboard facade. The action sequences are taut and provide thrills enough to keep the audience engaged for the almost 3 hour run time. The end of the Mahabharata signified the beginning of Kalyug, and Rajneeti shows the ugly side of politics in this Kalyug. The characters seem beyond redemption and hopeless. Then in one stroke we have the rise to power of the most idealistic among the group, a woman who wants to distinguish between good and evil, and whose hands have no blood on them. This lifts the film out of bleakness and into a realm of hope.

While thoroughly engaging, this is by no means a flawless film. The casting of Katrina Kaif is incongruous in the mix of mostly excellent actors. The mother is totally miscast....

Read more HERE

Raajneeti – Disappointing

One of the most awaited films this year, due mostly to the director and the stellar star cast, Raajneeti carried a lot of expectations on its shoulders. But here we are let down first and foremost by the director himself. Prakash Jha deals with too many characters in this film and in the end it turned out to be a disadvantage for him and the film. I felt a few characters should have been developed more. Ranbir Kapoor’s and Manoj Bajpai’s character were among the very well written ones. Ajay Devgn’s character too had “dome” motive in the start, but in the second half even his actions were not well justified. Katrina Kaif was hardly even there in the first half.

The major problem of Raajneeti is the scripting; Jha gave more preference to how to bring in Mahabharata in the film than to concentrating on the current politics, which should have been the main plot. The elements and characters of Mahabharata should have been add-ons. He was concentrating more on the character of Dhrithrashtra who was a less important character in Mahabharata, at least if we are only using elements of Mahabharata in a different story to tell. And Raajneeti wasn’t staying so true to Mahabharata that it should have characters like Dhrithrashtra when there are only 2 Pandavas and Dhrithrashtra has only one son.

The film turns into an unintentional comedy because of all these extra doses of Mahabharata going on and a few more scenes of poor writing. Katrina Kaif saying “I love you” to Arjun Rampal and when Ranbir/Arjun’s mother tries to tell Ajay Devgn that she is his real mother are laughable moments. And in a film which is supposed to connect with the youth, who uses words like ‘jaisth’ (meaning eldest) in the dialogs - “Tum mere jaisth putra ho.”

It also turns illogical sometimes, when you see a mother going to meet someone when she has just lost her son and hasn’t even performed the antim sanskar. The film really misses the word EMOTION. Everyone here including brother, sister, mother, father was more interested in politics than their personal relationship. It is true in politics, people are more concerned about winning and losing, but even a mother? I can’t take that. Katrina Kaif was married to Arjun Rampal because he was standing up for the post of chief minister. I don’t see why a father of a girl will sell her daughter to a person and give over 50 crores rupees as dowry; especially when her daughter is Katrina Kaif. And Katrina Kaif did not turn the match down, which again was unjustified. The script really needed more effort and even though the duration of the film was around 170 mins, it still was incomplete. Although after seeing how the things going in the film and emotional moments turning into hilarious scenes, I was happy it was left incomplete. It would have been difficult to take more.

Read more from HERE

Raajneeti – Disappointing

One of the most awaited films this year, due mostly to the director and the stellar star cast, Raajneeti carried a lot of expectations on its shoulders. But here we are let down first and foremost by the director himself. Prakash Jha deals with too many characters in this film and in the end it turned out to be a disadvantage for him and the film. I felt a few characters should have been developed more. Ranbir Kapoor’s and Manoj Bajpai’s character were among the very well written ones. Ajay Devgn’s character too had “dome” motive in the start, but in the second half even his actions were not well justified. Katrina Kaif was hardly even there in the first half.

The major problem of Raajneeti is the scripting; Jha gave more preference to how to bring in Mahabharata in the film than to concentrating on the current politics, which should have been the main plot. The elements and characters of Mahabharata should have been add-ons. He was concentrating more on the character of Dhrithrashtra who was a less important character in Mahabharata, at least if we are only using elements of Mahabharata in a different story to tell. And Raajneeti wasn’t staying so true to Mahabharata that it should have characters like Dhrithrashtra when there are only 2 Pandavas and Dhrithrashtra has only one son.

The film turns into an unintentional comedy because of all these extra doses of Mahabharata going on and a few more scenes of poor writing. Katrina Kaif saying “I love you” to Arjun Rampal and when Ranbir/Arjun’s mother tries to tell Ajay Devgn that she is his real mother are laughable moments. And in a film which is supposed to connect with the youth, who uses words like ‘jaisth’ (meaning eldest) in the dialogs - “Tum mere jaisth putra ho.”

It also turns illogical sometimes, when you see a mother going to meet someone when she has just lost her son and hasn’t even performed the antim sanskar. The film really misses the word EMOTION. Everyone here including brother, sister, mother, father was more interested in politics than their personal relationship. It is true in politics, people are more concerned about winning and losing, but even a mother? I can’t take that. Katrina Kaif was married to Arjun Rampal because he was standing up for the post of chief minister. I don’t see why a father of a girl will sell her daughter to a person and give over 50 crores rupees as dowry; especially when her daughter is Katrina Kaif. And Katrina Kaif did not turn the match down, which again was unjustified. The script really needed more effort and even though the duration of the film was around 170 mins, it still was incomplete. Although after seeing how the things going in the film and emotional moments turning into hilarious scenes, I was happy it was left incomplete. It would have been difficult to take more.

Read more from HERE

Milliblog's Raajneeti (Music review), Hindi – Assorted composers

Pritam’s Bheegi si is surprisingly South Indian, like a time-tested Vidyasagar track – frothy and catchy. Aadesh Shrivastava’s Mora piya is predictable and functionally decent, getting better solely due to the exposure. Kavitha Seth’s trance version however is misuses her vocals. Shantanu Moitra delivers the soundtrack’s best – a thoroughly enjoyable, fabulously arranged item number, Ishq barse – it’s foot-tapping and has fantastic vocals by Hamsika Iyer. Wayne Sharpe’s Dhan dhan dharti starts off like Vande Mataram and goes on to soar beautifully; Sonu’s version aces Shankar Mahadevan’s, incidentally. For a four composer, four song soundtrack, Raajneeti is unexpectedly good!

LINK

Milliblog's Raajneeti (Music review), Hindi – Assorted composers

Pritam’s Bheegi si is surprisingly South Indian, like a time-tested Vidyasagar track – frothy and catchy. Aadesh Shrivastava’s Mora piya is predictable and functionally decent, getting better solely due to the exposure. Kavitha Seth’s trance version however is misuses her vocals. Shantanu Moitra delivers the soundtrack’s best – a thoroughly enjoyable, fabulously arranged item number, Ishq barse – it’s foot-tapping and has fantastic vocals by Hamsika Iyer. Wayne Sharpe’s Dhan dhan dharti starts off like Vande Mataram and goes on to soar beautifully; Sonu’s version aces Shankar Mahadevan’s, incidentally. For a four composer, four song soundtrack, Raajneeti is unexpectedly good!

LINK

Housefull – How big a loser are you?

Akshay Kumar, depressed with his life, swims for a very long time, until he gets tired and tries to commit suicide by drowning himself. Deepika Padukone, just like Clint Eastwood in Spaghetti Western films, comes out of nowhere, lifts him up and carries him towards the shore that is some miles away. And we call Akshay Kumar a Khiladi!!!!

The film starts with the most hilarious disclaimer of the decade. Sajid Khan mentions the names of 5 very important directors in Bollywood who have influenced him to direct films. And that includes Hrishikesh Mukherjee. Heyy babyy and Hrishikesh Mukherjee? HouseFull and Hrishikesh Mukherjee? Ohhhh, that was joke as the film is supposed to be a comedy. Such is the humor in the film that you yourself would need to find out the humorous moments if you want to laugh as the film hardly is humorous.

This is hardly an Akshay Kumar kind of comedy. If you want to watch Akshay Kumar kind of comedy, I think you are better off watching Jaane Kahaan Se Aayi Hai. He manages to make you laugh more in his two and half minutes special appearance than this two and half hours long film. Being a fan of his comic timings and his work in films like Mr. and Mrs Khiladi, Garam Masala, Bhool Bhulaiya, this one surely is a disappointment. The film mainly belongs to the ‘Timepass’ genre films which Sajid or Farah makes. While Farah tries to spoof The Matrix, Karz, Madhumati, Youtube videos in her films and manages to get some laughs, Sajid Khan straightaway copies them with no intention of even spoofing if he can’t get original. He plays the game of wife swapping in the film, something we just saw 6 months ago in All The Best. The game is not even half as funny in Housefull as in All The Best.

Five years ago, filmmakers in India started to feel that a film that does not have the King Khan has to have an item song to make it a hit. The latest trend in ‘Timepass-Filmmaking’ says a film has to have some gay humor in it. Housefull tries having both of them. And since it is a Sajid Khan film, he does not even try putting in efforts in the item song. Instead he simply took up an old Bollywood hit number and remixed it. Though it is wonderfully sung song by Mika, IMO, who manages to keep the craziness alive in the song, the video is very disappointing, thanks to the Arjun Rampal. For most of the film Arjun Rampal plays an angry man with one expression on his face, and for once he was asked to enjoy and he ends up ruining a song, How can one fail to get the right expressions in that song? It should have come out naturally given that song is so crazy. The video really missed the craziness I was expecting it to have.

Read more from HERE

Housefull – How big a loser are you?

Akshay Kumar, depressed with his life, swims for a very long time, until he gets tired and tries to commit suicide by drowning himself. Deepika Padukone, just like Clint Eastwood in Spaghetti Western films, comes out of nowhere, lifts him up and carries him towards the shore that is some miles away. And we call Akshay Kumar a Khiladi!!!!

The film starts with the most hilarious disclaimer of the decade. Sajid Khan mentions the names of 5 very important directors in Bollywood who have influenced him to direct films. And that includes Hrishikesh Mukherjee. Heyy babyy and Hrishikesh Mukherjee? HouseFull and Hrishikesh Mukherjee? Ohhhh, that was joke as the film is supposed to be a comedy. Such is the humor in the film that you yourself would need to find out the humorous moments if you want to laugh as the film hardly is humorous.

This is hardly an Akshay Kumar kind of comedy. If you want to watch Akshay Kumar kind of comedy, I think you are better off watching Jaane Kahaan Se Aayi Hai. He manages to make you laugh more in his two and half minutes special appearance than this two and half hours long film. Being a fan of his comic timings and his work in films like Mr. and Mrs Khiladi, Garam Masala, Bhool Bhulaiya, this one surely is a disappointment. The film mainly belongs to the ‘Timepass’ genre films which Sajid or Farah makes. While Farah tries to spoof The Matrix, Karz, Madhumati, Youtube videos in her films and manages to get some laughs, Sajid Khan straightaway copies them with no intention of even spoofing if he can’t get original. He plays the game of wife swapping in the film, something we just saw 6 months ago in All The Best. The game is not even half as funny in Housefull as in All The Best.

Five years ago, filmmakers in India started to feel that a film that does not have the King Khan has to have an item song to make it a hit. The latest trend in ‘Timepass-Filmmaking’ says a film has to have some gay humor in it. Housefull tries having both of them. And since it is a Sajid Khan film, he does not even try putting in efforts in the item song. Instead he simply took up an old Bollywood hit number and remixed it. Though it is wonderfully sung song by Mika, IMO, who manages to keep the craziness alive in the song, the video is very disappointing, thanks to the Arjun Rampal. For most of the film Arjun Rampal plays an angry man with one expression on his face, and for once he was asked to enjoy and he ends up ruining a song, How can one fail to get the right expressions in that song? It should have come out naturally given that song is so crazy. The video really missed the craziness I was expecting it to have.

Read more from HERE

SRK dumps Ritesh for Arjun

LINK

Shah Rukh Khan, Arjun Rampal and Ritesh Deshmukh were close friends till SRK chose Arjun over Ritesh to play a baddie in Ra.One.

They say three is a crowd. And going by this recent incident, the commonly held belief seems to be true. The close friendship between Shah Rukh Khan, Ritesh Deshmukh and Arjun Rampal has now reached an impasse. The cosy bond now only involves SRK and Arjun while Ritesh has been left to fend for himself.
 
Buzz is that Shah Rukh chose Arjun over Ritesh to play the villain in his home production Ra.One. Despite Ritesh being the original choice, Shah Rukh eventually brought in Arjun to play the same role.

A source says, “Ritesh and not Arjun was the first choice to play a baddie in Ra.One. Director Anubhav Sinha also wanted Ritesh as the film’s villain as he had worked with the actor in Cash. Everything was going fine and Ritesh was very excited about the project as his look and remuneration was also decided. But the next thing Ritesh read in the papers is that Arjun is playing the bad man in Ra.One.”

“Even when Arjun was suffering from a back problem for a brief period and he was not too sure if he would play the role, SRK didn’t ask Ritesh to step in. Ritesh’s sudden ouster was so unprofessional,” says the source.

Even though Ritesh was shocked at the unfair treatment, he didn’t confront Shah Rukh. “Ritesh is a very mild-mannered guy. He undoubtedly felt very disappointed but he didn’t express his displeasure to SRK. He only talked about it to a few of his close friends. Shah Rukh or Anubhav should have at least informed him that he is no longer in the film,” adds the source.

While Shah Rukh’s character in Ra.One is of a super-hero , buzz is that Arjun will be playing his nemesis. The sci-fi film, which went on the floors early this month, has Kareena Kapoor playing the female lead. The film is based on gaming, bad guys and super heroes.

We sent text messages to Shah Rukh, Anubhav Sinha but they remained unavailable for comment.

However, Ritesh says that he was never offered the film.