Film Ferrari Ki Sawari Review

Director: Rajesh Mapuskar
Cast: Sharman Joshi, Boman Irani, Ritvik Sahore

 

Common men have simple dreams. And when they do aspire to lofty heights, they will leave no stone unturned to accomplish their fantasies. It's what we love. We should cheer for our hero when he's down on his luck, holding our breath when he struggles to overcome the odds.

Ferrari Ki Sawaari isn't something that was put together in a hurry because the actors were available. This was homage to all the young boys who spend countless hours, dreaming of the day when they can wield the bat with the same passion as the master blaster does. It’s a good movie with its heart in the right place.

Ferrari Ki Sawari is a simple story of a talented boy who dreams of making it big in the world of cricket. What makes the narrative interesting is its less-taken route (through a Ferrari) and the ensuing eventful journey. The slick sports car gives that additional momentum to the movie thereby ensuring a roller-coaster ride.

Kayo (Ritvik Sahore) is just a school kid but plays cricket like a professional. Destiny gives him a chance to make it to the Lords Stadium in London for which he would need hefty coaching fees. His father Rustom (Sharman Joshi), an RTO head clerk, who leads a hand-to-mouth living, fails to get any loan.

In the meantime a local corporator's son wishes for a Ferrari in his marriage for which he is willing to pay any amount. In a chance encounter, Rustom manages to get his hands on Sachin Tendulkar's Ferrari which gets him the money. Trouble starts when the honest Rustom decides to give back the Ferrari.

Cricket is the most common sport, Ferrari is the most uncommon car and together they make for a lethal combo in debutante Rajesh Mapuskar's movie. The sport is something that everyone can relate to and the sports car is something that every other person dreams of. At a broader level, the Ferrari also stands as a metaphor for that larger-than-life aspiration of any individual that might seem unattainable at the outset but isn't wholly impossible.

Humour and drama go hand-in-hand in the movie and the diverse genres never overshadow each other at any point. Such is the beauty of the screenplay penned by Rajesh Mapuskar and Vidhu Vinod Chopra that it makes you laugh in one scene and gets a lump in your throat in the very next. Rajkumar Hirani keeps the dialogues straightforward and lifelike and the lines leave an impact without the need of any dramatic punch. The minimalism with which Hirani sketches the story makes you easily identify with the protagonist's dilemma. Despite the random and rampant ride that the Ferrari sets on, the narrative at no point complicates itself and steers away from any slapstick tendencies.

Boman Irani, as the grandpa, who's had a bitter past with the game of cricket and doesn't approve of the sport anymore, makes for a conventional character. But the subtle scene where he faces his opponent from heydays (Paresh Rawal) who now heads the cricket board makes for a poignant moment. On the contrary, the Marathi corporator and his son, who contribute towards the comic track, lose their distinctiveness after a while. The son's fascination for Ferrari, the father's mission for samuhik vivah and their mutual discord do not pass muster and, more or less, remain peripheral to the central plot.

The tale largely has a very pragmatic approach so it is somewhat surprising that the movie opts for a very suitable end. Also Sharman Joshi's melodramatic outburst in the pre-climax doesn't gel with the screenplay's otherwise out-of-box thinking. Most importantly, after having a symbolic representation of Sachin Tendulkar throughout the movie, it seemed quite unnecessary to get his body double in the last frame. However, what makes up for these minor inconsistencies is the fact that the movie has a heart of its own and is able to strike a chord with the average audience.

This is director Rajesh Mapuskar's first outing as a director and he should be given full credit for a screenplay which steers clear of subplots, sexist jokes or the general paraphernalia foisted on hoping to make the movie a hit. The story zigzags between real, fantasy and make-believe and bizarre co-incidences which is a formidable task for any director leave alone a first timer.

Rajesh Mapuskar does succeed in extracting decent performances from the whole cast. Sharman Joshi, as an uncertain and shy guy with a constant smirk on his face that tries to hide his inner sorrows, skillfully underplays his part. Occasionally he seems too passive but is still likeable. Boman Irani, as the unkempt grandpa, is dependable as always. From his conflicts to eccentricities, this actor can give lessons on how to remain in character. Ritvik Sahore is neither sugary-sweet nor cacophonously cranky like most child actors and comes up with an engaging act. Aakash Dabhade and Deepak Shirke as the duo in search of the missing Ferrari are hilarious. Seema Bhargav and Satyadeep Mishra are proficient. Paresh Rawal is impressive in his two-scene cameo.

Overall, it is praiseworthy to watch with family.

Shanghai Hindi Movie Review

Movie Review: 'Shanghai';
Star Cast: Prosenjeet Chatterjee, Abhay Deol, Emraan Hashmi, Kalki Koechlin, Supriya Pathak and Farooque Shaikh;
Director: Dibakar Banerjee;

'Shanghai' is just like revisiting your daily local newspaper, full of scams, conspiracies and crime tales. In short, the movie is a slice of today's India.

Adapted from 'Z', a 1966 novel by Vassilis Vassilikos, Dibakar Banerjeer brilliantly exposes the reality behind the irony of India Shining.

The scenes are accurately daily newspaper briefs.

Set in present day nondescript shanty called Bharatnagar, it sees Dr. Ahmedi (Prosenjeet Chatterjee), a US-based professor and activist, visiting Bharatnagar to enlighten its inhabitants about 'pragati' (progress).

He opposes the transformation of the shanty town into a zany township, a la Shanghai. But he is murdered by the opposition who try to pass off his death as an accident.

After that the tale moves ahead with Shalini Sahay (Kalki Koechlin), Ahmedi's besotted student and daughter of an ex-army general who is involved in a scam, IAS Officer T.A. Krishnan (Abhay Deol), videographer Joginder Parmar (Emraan Hashmi), Ahmedia's wife Aruna (Tillotama Shome), chief minister (Supriya Patak) and her PA (Farooque Sheikh).

While the movie grips you, it's the system that gets to you.

'Why did you do commit the murder, when you knew it is wrong,' Shalini asks the murderer.

Another dialogue - 'Jeene se haraam lagta hai. Par marne se darr bhi lagta hai...' clearly shows the hunger for survival. It's a sorry state of affairs, where the common denominator is the sufferer.

There is a simplistic nature to the narrative and archetype.

The act of every character is realistic and matter-of-fact. Emraan impresses with his rustic portrayal, quite different from his usual colorful characters. Abhay Deol, as the IAS Officer, bowls over the audience with his grit and, of course, unmistakable Tamil accent. Kalki slips naturally into the character, yet again, revealing her resourcefulness.

However, what you take home is not the memories of a character well-performed, but the story.

The strength of 'Shanghai' is its tight screenplay by Urmi Juvekar and Dibakar Banerjee and the meticulous details leave no scope for arguments.

What adds to the flavor is outstanding cinematography by Nikos Andritsakis and the marvellous use of sound, both ambient and otherwise, to build up the tension in the political drama.

The controversial song 'Bharat Mata Ki Jai' and the item number 'Imported Kamariyaa' are well-picturised and the latter is on the way to become the next favorite numbers at all 'basti' celebrations.

Overall, it is worthy to watch once.

Rowdy Rathore Review

Movie Review: 'Rowdy Rathore';
Star Cast: Akshay Kumar, Sonakshi Sinha, Yashpal Sharma;
Director: Prabhu Deva;

'Rowdy Rathore' races on the premise that heroes are made by circumstances, not plan. That's how the street-smart Shiva ends up in a town run by garish goons, where homes, humans and hopes are burnt in effigies mocking human rights.

It is a traditional good-versus-evil comedy-action-drama with paisa-vasool written in each frame.

Prabhu Deva, who previously directed Salman Khan's cop-on-a-rampage saga 'Wanted' puts Akshay on the same page. To his credit, Akshay manages to create his own world in that Salman-space. Never letting go of that twinkle in his eye, Akshay sinks his crooked teeth into the meaty double role with the warmth, affection and relish of a dinner guest who knows all the yummy dishes on the table have been cooked only for him.

Akshay goes for the sumptuous meal with the hunger of a man who may not see tomorrow. It's high-octane act full of warmth and fury, never over-the-top, even when all hell breaks loose.

The fights are fierce, but never gut-churning. You can watch the bloodshed with the kids. They'd know, Uncle Akshay is going to win.

The thing about 'Rowdy Rathore' is it never takes itself seriously. The cop and his double won't kow-tow to the powers-that-be. Ironically, the film grandly bows its head to the Great Bollywood Formula. The dialogues are bombastic, bordering on the corny, nevertheless fun in their anticipated ideological inferences.

A profound reverence for every trick in the book of filmic formulas sees the accelerated narration to its breathless finale. Even when the going gets gory, there is a tongue-in-cheek humour in the violence.

It's not the arrogant aggression of Salman in 'Dabangg' or 'Wanted'. In 'Rowdy Rathore', Akshay creates a new language of heroic aggression. He is goofy, wonky, clumsy and oafish. He has no respect for the rules of the office. But his character loves doing what he does, because a man has got to do what he has to do, and really someone has to do the dirty job of cleaning up the mess we have created.

Whether it’s wooing a Patna girl (Sonakshi Sinha) all over Mumbai streets and right into a marriage venue, or in the second half, taking on the vile villainy of a self-appointed lord of diabolism named Baapji (Nasser), who is so uncouth, unwashed and unmannered that he is downright funny in his obscene rowdyism.

The generous splash of colour and music (Sajid-Wajid at their peppy pinnacle) pitches the movie at a massy level without toppling over into a revolting rowdyism.

Formulistic cinema has never been celebrated with more gusto.

'Rowdy Rathore' revives the years of Eastman colour cinema in the 1960s and 1970s, when movies were crazily colourful and rollicking fun, when you knew the villains would get their cacaphonic punishment.

Prabhu Deva succeeds in putting a dizzying spin into Akshay's double-role act. Twirling his moustache in Rajputana pride, romancing the spirited small-town chick or beating up 23 goons with one weapon (self-determination), Akshay delivers a performance that makes you want to jump out of your seat, clapping, whistling and cheering in appreciation.

While the fights are brilliantly conceived and executed, it's Akshay's chemistry with Sonakshi that had us giggling uncontrollably. If he is outrageously coy in his wooing act, Sonakshi gives him tit-for-tat; matching steps with her far more experienced co-star, never letting the age difference discourage her.

The rest of the cast only has to stand around to admire and cheer our down-to-earth superhero cop. All the while, the narration never loses its tempo, warmth or humour.

The choreography ensures that the dances merge with seamless style into the action.

'Rowdy Rathore' is fairly a gravity-defying achievement. It often finds the villains being hurled into the air. But the narration manages to keep its feet on the ground. Actually, Akshay as the angry cop is more entertaining than intimidating.

Three cheers for producer Sanjay Leela Bhansali for coming out of his comfort zone to celebrate the spirit of Hindi commercial cinema.

Overall, it is praiseworthy to watch for full entertainment.

Department Hindi Movie Review

Movie Review: "Department";
Star Cast: Amitabh Bachchan, Sanjay Dutt, Rana Daggubati, Abhimanyu Singh and Madhu Shalini;
Director: Ram Gopal Varma;

Welcome to RGV's world of muck and bedlam.

The one distinct thing that must be said about RGV is that his exploration of the nexus between the law and the underworld is ceaselessly seeking new modes of storytelling.

"Department" is one breathless surge of aggression and violence. Shot with cameras that capture the actors at their quirkiest and most sincere, the film is not for those who think cinema is all about style. RGV left his stylish days behind in "Rangeela" and "Company".

Repetitively and mercilessly RGV dismantles all conventions of pretty storytelling and aims for the jugular. The camera angles are often much too casual to be considered 'cinematic'. But breaking rules is a given in RGV's cinema. He breaks them in "Department" in a noisy rush of agitated images that go well with the edgy fidgety characters.

Not all the characters work. Vijay Raaz as a whiny dhoti-clad gangster and debutant Madhu Malini as a sharp-shooter are a scream. The talented Abhimanyu Singh has a tough time trying to maintain equilibrium between the two unintentionally comical evil doers. The dialogues these gangsters exchange try so hard to be real they end up being howlers. It's like eavesdropping on a conversation between two characters.

The camera, manned by no official Director of Photography (and it shows), goes through the character's legs, into their nostrils, over their armpits…in this film about cops who do their own thing.

"Department" is a brutal movie. There's no room here for emotions. Even when Sanjay Dutt playing a senior cop goes home his wife, played by Laxmi Manchu, speaking in a strangely loud tone, he talks to her in unsentimental tones. There's more feeling in the two cops, Sanjay and Rana's buddy-buddy talk, in the line of duty.

The action here is a strange mix of street aggression and stylized stunts. While scenes of Rana chasing goons through claustrophobic crowded areas of Mumbai are vintage Varma, the climactic fist-to-fist between Rana and Sanjay proves a battle of unequal titans.

The characters are constantly on the move.

Even Amitabh Bachchan, while taking sardonic jibes at a 'system' that is corroded, is seen restlessly circling Sanjay or Rana, depending on which of the two the wily wizened politicians is provoked into action.

Not astonishingly Amitabh's netagiri provides the liveliest interludes in the proceedings. He seems to behaving the most fun even when saddled with dialogues that must have sounded far funnier on paper than they do in their delivery. Among the rest of the cast, Rana with his controlled ruggedness stands tall.

What "Department" delivers is yet another RGV product that takes Hindi cinema's crime genre away from conventional storytelling. There are no punctuations except exclamation marks, no speed-breakers except songs, which are terribly screechy and grating with Nathalia Kaur's item number hitting rock-bottom, and no way out for these restless law-enforcers than to take the law in their own hands.

The world of "Department" is lawless, destructive and apocalyptic. The narrative format imposed on the world of gangsterism is freewheeling almost chaotic. Violence and death are written into the DNA of the characters.

"Department" tells a virile story with no patience for sappy humbug. In "Department", the characters share a far more intimate bonding with their guns than with their friends.

Overall, it is praiseworthy to watch once.

Ishaqzaade Movie Review

Movie Review: 'Ishaqzaade';
Star Cast: Parineeti Chopra, Arjun Kapoor;
Writer-Director: Habib Faisal;

'Ishaqzaade' is a very boisterous film. The hero Parma (debutant Arjun Kapoor) is an uncouth animal, whose disgusting habits include kidnapping the town's nautch girl from a rival's party to dance at his grandfather's marriage. Later, his moral temperature dips to an all-time low when he takes loathsome revenge on the girl he loves to hate.

As the Muslim girl Zoya, Parineeti Chopra fills the screen with a stormy charm. Naturally spontaneous and bubbly, she reminds you of the early Jaya Bhaduri. Her character is a sharp-shooter with a tongue to match. And when she gets brutally compromised by Parma, she reacts like a wild cat raging against the promised full-cream milk that curdled when she was not looking.

Habib Faisal, who made the mellow, mild-mannered middle-class comedy 'Do Dooni Chaar' about a college professor's dream of buying a scooter, here shows a totally unpredicted side to his cinematic vision. The landscape he paints in Almora is so volatile and violent, you pray for atonement for these characters.

The lovers don't exchange chaste glances and furtive kisses. They hug passionately and smooch each other's lips off. And when they make love, it seems they are waging war on the world. Full-blooded, voluptuous and extremely earthy, 'Ishaqzaade' is a pickled, aromatic roller-coaster ride through the badlands where blazing guns mean families are at one another's throats.

The first-half of the narration builds up to an engrossing case for Parma to inflict his uncouth and aggressive wickedness on Zoya. The confrontation scenes between the two, written with the right amount of zing and sting, are first-rate. Astonishingly the adversaries-turned-lovers keep drawing attention to each other's religion without mincing words. The two religions are almost thrown at one another as taunts. Riot or wrong, who can tell?

What Faisal wants to say, and we would be better off if we pay heed, is -- it is imperative to address the Hindi-Muslim divide headlong, or else blood would continue to be spilt each time two people from different communities 'dare' to love each other.

'Ishaqzaade' is written in blood, dipped in passion, and shot in vivid colors of life, strife and other bitter embers of the communal fire. The director constantly attempts to bring alive the cluttered environment of a lawless north Indian town. Faisal succeeds to a remarkable degree.

His characters speak an easily recognizable language from Uttar Pradesh's heartland where even daughters are taught to fire a gun before they learn the alphabet. The supporting characters don't fake it even for a second.

Many scenes convey warmth and empathy without a jot of self-consciousness. The characters are all played by unknown local UP actors who are born to the milieu. The director builds a convincing arc of love and revenge. His lovers are so well-conceived on paper; it would have taken two truly idiotic actors to ruin their characters.

Luckily, Parineeti and Arjun are anything but incapable actors. They fill the violent ambience with their own peculiar chemistry.

The bloodshed never stops, and the action is relentless. Hemant Chaturvedi's cinematography creates a world that is real and at the same time, highly cinematic.

There are many reasons why 'Ishaqzaade' is an extraordinary movie. It enters the killing fields of Uttar Pradesh. It chases down our two protagonists and then watches them get into a crisis with no end. In the end, we are looking at two young vibrant people whom we love because they love one another irrespective of the differences.

This is not a movie which offers a pretty love story with gentle love songs. Even the music (by Amit Trivedi) sounds like a war cry. As for Parineeti and Arjun, never mind the destiny that lies in store for their characters in this movie. They are here to stay.

Overall, it is worthy to watch.

Film Chaar Din Ki Chandni Review

Director Samir Karnik’s Yamla Pagla Deewana last year was a laugh fest. The director, who is back with another comedy named Char Din Ki Chandni was expected to take his charms to next level. But his weak script and dialogues ruin the beauty of stalwarts' performances in the movie.

Chaar Din Ki Chandni movie is a comedy laced with romance and is set against the backdrop of Rajasthan at a four-day wedding. It revolves around a Rajput family and a family from Punjab, who are caught in a situation, which creates a comedy of errors. The film has nothing much to boast about, except the performances of the lead actors. There is lot more to talk about drawbacks in the movie.

The biggest drawback of the film that is it lacks a good story. It glorifies a tiny subject into a full-fledged drama. Secondly, it lacks freshness and it looks like old wine in new bottle. The music of the film is another big let down in the film. Kabir Lal's camera work and Mukesh Thakur's editing are good in parts.

Maharaja CV Singh (Anupam Kher) has five sons and Veer (Tusshar Kapoor), who is only educated guy in his film, is perusing his studies in London. He comes to home to attend his sister's wedding and he brings his girlfriend Chandini, Kulraj Randhawa, who he is in love with at his mansion in Jodhpur. But the troubles start when he introduces her as journalist who is interested in covering his sister’s royal wedding. Whether Veer announces his love before his daddu or not will form the crux of the film.

The best part of the movie is the wonderful acting by various actors. Lead stars Tusshar Kapoor and Kulraj Randhawa have delivered brilliant performances. Anupam Kher has also given a flawless acting. Om Puri, Farida Jalal, Mukul Dev, Sushant Singh, Chandrachur Singh, Harish, Johny Lever and Anita Raaj are also good in their respectively roles.

On the whole, Chaar Din Ki Chandni is an enjoyable and entertaining fare and will pick up on the strength of positive mouth publicity.

Film Kahaani Review

Vidya Balan’s Kahaani was being awaited much. After watching her wonderful performance in the super hit ‘The Dirty Picture’, people were simply crazy to watch her next movie. Prior to the release, the expectations from Balan’s fans and the moviegoers were high and she as well as the movie too live up to those expectations appropriately.

Sujoy Ghosh returns with this product and his re-entry is welcomed by the audiences. The luminous filmmaker enticed the viewers with his unique subject in Jhankar Beats and the film did well among the audiences. But he could not raise the spirits of the cinema lovers with other flicks – Home Delivery and Aladin. Now he makes comeback with the recent released ‘Kahaani’. The movie’s promotion was done handsomely and Sujoy took the advantage of Vidya Balan’s current worth in the industry and among the viewers post the brilliantly successful The Dirty Picture. There is no doubt that Ghosh’s Kahaani is taking the positive edge of Vidya Balan’s magnitude and likeability. But we cannot say that Sujoy’s Kahaani is brilliant just because of the presence of Balan – no, this is not the scene at all. Ghosh’s Kahaani is a well-made, well-scripted and laced with classy performances film that is potentially a classy finished good to buy ticket for.

The tale moves in very thrilling way. Two years after a chemical attack in Kolkata’s metro railway system, in which 200 innocent people had perished, Vidya Bagchi (Vidya Balan), a pregnant woman, comes down to Kolkata to file a report for her missing husband.

While she claims that Arnab Bagchi, her software engineer-husband, had come down to Kolkata to work for the National Data Centre, and that he had stayed at a guest house in Kolkata, the police finds no evidence of her husband’s stay in Kolkata.

However, Rana (Parambrata Chattopadhyay), an assistant sub-inspector, takes interest in the case and travels with Vidya to various places in Kolkata in order to find clues that can lead them to Arnab Bagchi.

Vidya Bagchi’s search for her husband creates a flutter inside the ranks of the Intelligence Bureau, especially when she finds out about a wanted person called Milan Damji who resembles her husband. Khan (Nawazuddin Siddiqui), an Intelligence Bureau officer, is deputed to look into the case. He warns Vidya to discontinue her search and forget that anybody called Milan Damji ever existed.

In the meantime, persons whom Vidya had got in touch with during her search, are killed by an assailant. But Vidya is relentless. With Rana’s help, she discovers more details that link her husband’s disappearance to the elusive Milan Damji. When she confronts IB officer Khan with evidence, he reveals to Vidya that Milan Damji is a rogue special agent who was responsible for the chemical attack in the Kolkata metro. Soon, one thing leads to another and Rana and Vidya inch closer to finding Milan Damji.

Is Vidya able to find Milan Damji? Is she, through him, able to get to her husband, Arnab Bagchi? What had happened to him? Why is Rana helping Vidya? What is the involvement of the Intelligence Bureau in this whole case? The rest of the drama answers these questions.

The tale of Kahaani is such that it keeps the audience guessing about what is going to happen next. As such the screenplay is very engaging and entertaining. While Vidya’s character draws the audience’s sympathy, the way she goes about the search makes the audience change their opinion of her. The climax, which reveals the truth about the entire case, is shocking. Overall, the writers have done a praiseworthy job. The dialogues, by Ritesh Shah, Sutapa Sikdar and Sujoy Ghosh, are natural.

Vidya Balan is the life of the movie. She depicts the helpless yet brave pregnant woman very convincingly. Parambrata Chattopadhyay, as Rana, is a discovery. He is superb as the young cop who falls in love with Vidya. Nawazuddin Siddiqui is unforgettable as Khan. Indraneil Sengupta does a fine job. Saswata Chatterjee (as the assailant, Bob Biswas) is just wonderful. Darshan Jariwala, Dhritiman Chatterjee and others offer able support.

Sujoy Ghosh’s direction is very good. He makes the narrative engaging from the start to the end and extracts fine performances from his cast. However, his story telling style will appeal more to the city-based class audience. Vishal-Shekhar’s music is very good. Setu’s cinematography makes the nooks and crannies of Kolkata come alive. Production design, by Kaushik Das and Subrata Barik, is realistic.

Overall, Kahaani is a very good entertainer.

Paan Singh Tomar Hindi Film Review

'Paan Singh Tomar';
Star cast: Irrfan Khan, Mahie Gill;
Directed by: Tigmanshu Dhulia;


 

Some movies are meant to run that extra mile to go beyond being a mere cinematic experience. As we see names of real-life athletes who died unsung flash across the screen at the end of 'Paan Singh Tomar' we realize what we've just witnessed in the past 190 minutes of taut playing-time is not just movie. It's a treatise on what destiny has in store for people who do not conform to socially-acceptable definitions of success.

Definitely Irrfan Khan as Paan Singh Tomar personifies that criminal neglect of all athletes in our country barring cricketers who, as we all know by now, are grossly overvalued sportsperson.

Tomar was a steeplechase runner. Not that it made any difference to his destiny. In the army for the long innings Tomar, we are told, took voluntary retirement to look after his family and land in his native village.

This is where Dhulia's fascinating screenplay, where not a moment is squandered in self-indulgent editing, gets truly amazing. Abandoning the manageable hurdles of the steeplechase Tomar took to the gun to avenge the wrong done to his family.

The two lives of Paan Singh Tomar, in the army as a celebrated sportsperson and as an outlaw on the run in the Chambal valley (not on a horse, please!) are brought together in a stirring blend of the brilliant and the haunting.

While Dhulia's previous works suffered for the lack of a suitable budget 'Paan Singh Tomar' is technically a polished piece of cinema with the editing (Aarti Bajaj) and background score (Sandeep Chowta) adding a dimension beyond the drama of the driven athlete.

The movie is shot by cinematographer Aseem Mishra with an intriguing blend of a bleeding authenticity and a poetic resplendence. Indeed, Tigmanshu Dhulia's training as a racounteur of a tale of social injustice and damnifying outlawry, harks back to the director's association with Shekhar Kapoor's 'Bandit Queen'.

In portraying Paan Singh's leap from celebrated athlete to wanted bandit, Dhulia avoids the ostentatious brutality of the circumstances that made Phoolan Devi a social outcast. 'Paan Singh Tomar' has very little on-screen bloodshed. It's the heart that bleeds profusely and invisibly in almost every frame.

The unspoken question, why do we treat our athletes so shabbily, trails the narrative, as does the other larger question of social discrimination and the subversion of law.

Unlike other movies with a strong social message 'Paan Singh Tomar' never stops being a truly liberating cinematic experience. Of course much of the credit for the film's sledgehammer effect goes to Irrfan Khan's central performance. As Paan Singh, Irrfan is perfect. There is not a single shot in the movie that he gets wrong. He follows his character's destiny with an intuitive alertness that leaves no room for ambiguity in the interpretation of the character's complex life. And it's not just about getting the character's spoken language and body language right. Irrfan goes way beyond.

The dialogues are really cool. Comments on subordination and oppression are often laced in laughter.

The beauty of watching Irrfan transform into Tomar is the seamless leap the actor takes into the character. Irrfan is blessed with first-rate supporting actors, many of whom we haven't seen much on screen before. They add to the film's high level of authenticity by just not looking like and speaking their lines like actors.

Paan Singh Tomar is an excellent edge-of-the-seat entertainer. The synthesis of two genres-the sports film and the dacoit drama-is done with such confident ingenuity that we hardly realize when one ends, the other begins.

Overall, it is worthy to watch once.

London Paris New York Review

'London Paris New York';
Star Cast: Ali Zafar and Aditi Rao Hydari;
Writer-Director: Anu Menon;


 

Indeed debutante writer-director Anu Menon says a tale that has only two principal characters - He and She. And what happened to mama, papa, chacha, chachi?

Fortunately, for Anu Menon the lines that she puts into the mouths of her lead pair simply melt in their mouths. The dialogues are that could make or fake a romantic-comedy, seem to work mainly because the actors promptly absorb the words and make them their home.

Unlike other singers-turned-actors, Ali Zafar doesn't sound like a singer when he talks. He is, in fact, a big bonus in this kabhi-sassy-kabhi-glum take on that thing called love. Ali gives just that bit of extra push to the less perky scenes. His ebullience and involvement with the romantic aspect of the script seems reasonable, cautious but not over-studied.

Aditi Rao Hydari was star material from the time she stood behind Sonam Kapoor in 'Delhi 6'. Come forward, girl, take a bow as we say a collective wow. Here she comes into her own. This time she has no hot smooching scenes, no tumultuous moment to show what a bitch that thing called love can be. She manages to convey a cool coquettishness which is never stagy or annoying.

Nikhil (Ali) and Lalita (Aditi) don't seem like the kind of couple that would spend too much time in bed once they're married. And that suits the audiences’ fine.

God knows we've seen enough couples trying to sleep if not sleepwalk through romantic-comedies. The film takes the guarded, serene, low-speed lane in the highway of love. The three cities emerge as the true heroes of the plot, thanks in no small measure to veteran cinematographer Sameer Arya who lenses the three cities with the love of someone who's been there and done it all, and not on a tourist visa.

The film's main advantage is its casual non-ostentatious calm and easygoing mood. Don't look for specially-written scenes to spotlight the couple's voyage into the three phases of their life as they seek to find answers to the conundrum of the heart.

Not too many secrets on the emotion called love are unveiled in this romantic-comedy. But the going is never unprofessional. Most importantly 'London Paris New York gives us two new dependable engaging stars.

In general, it is worthy to once.