Review: SRK makes Don 2 work

Film: Don 2

Director: Farhan Akhtar
Cast: Shah Rukh Khan, Priyanka Chopra, Boman Irani
Rating: ****
Ever since Farhan Akhtar gave us the delectable Dil Chahta Hai (smartly written, well acted, a trendsetter of sorts), he has failed to better, or even get close to, his debut effort. His production company may have churned out some pretty memorable films since (Honeymoon Travels, Rock On, Zindagi Na Milegi Dobara), but his own directorial ventures have been mediocre. Lakshya suffered from a Dil Chahta Hai-wannabe first half fused with a JP Dutta-styled second. Don, the remake of Chandra Barot’s highly enjoyable 1978 caper, with its harebrained finale, was a complete letdown.

Unsatisfying as Akhtar’s Don was, the sequel promos have been promising. And with Akhtar and Co free of the baggage of recreating the original Don, they could take things in a new direction. Which they do. Except, others have trodden this path already.

Like Danny Ocean. And John McClane. In Don 2, Akhtar manages to blend elements from various H’wood films, mostly Ocean’s Eleven and Die Hard, with a bit of Mission Impossible thrown in. This is our answer to Hollywood - a rehash of what they’ve done already. No points for originality.

No points for writing either. If Akhtar’s film lulls you to sleep initially, in spite of some slick editing, it’s because the writing (Akhtar, Ameet Mehta, Amrish Shah) falters. Characters say boring, random things to each other, there’s a pointlessly long dance sequence (Hrithik Roshan, looking dapper in an unintentionally hilarious cameo), and the attempt at dialoguebaazi is laughable (“Jab tak Don ko asliyat ka pata chalega, tab tak Don mar chuka hoga”).

The situations are alarmingly unimaginative. Sample this: Don-ny Ocean (SRK) plans to get out of a high security prison by mixing the food given to prisoners with a liquid that results in mass food poisoning. Johar Mehmood In Hong Kong had a similar sequence where prisoners in a jail are given julab (laxative) on the sly, helping them flee. That was a farcical comedy. Here, it seems like a cop-out.

What keeps Don 2 alive, then, is its pulsating action. It helps the pace quicken as the film progresses, including a thrilling chase sequence and a wonderfully choreographed-and-shot pre-climax sequence. Cinematographer Jason West (Rock On) and stunt director Matthias Barsch enthuse life into proceedings, ensuring that action junkies get their fill.

The film, however, is nothing more than an attempt to cash in; to set opening weekend records. And to provide a vehicle for its lead star to dazzle (so much so, every other actor seems inconsequential). Thankfully, Shah Rukh Khan is in form. The body language is cocky, the attitude flamboyant, and the smirk consistent. In a full-fledged action role, Khan goes the whole hog, pulling off the stunts with panache. Only for him, Don 2 is pretty enjoyable.

Sadly, with a director who showed much promise with his first film, Don 2 should have been more than just another big-ticket Friday film that rests solely on the shoulders of its lead actor. Anees Bazmee has one of those coming out every few months. Akhtar seems to have found his own money-churning superstar. The filmmaker’s voice, then, has been muted.

Watch Don 2 for some kick-ass action. And Shah Rukh Khan.

Veteran actor Dev Anand dies of cardiac arrest in London

Dev Anand, the 'Evergreen Romantic Superstar' of Indian cinema, passed away in London on Saturday night following cardiac arrest. He was 88.

Dev Anand, who had come to London for medical check up, was not keeping well for the last few days, family sources said. His son Sunil was with him when he breathed his last. Dev Anand made his debut as an actor in 1946 in Hum Ek Hain. By the time his Ziddi was released in 1947 he was a superstar and has never looked back.

Versatile Dev Anand has given countless hits like Paying Guest, Baazi, Jewel Thief, CID, Johny Mera Naam, Amir Garib, Warrant, Hare Rama Hare Krishna and Des Pardes. For his outstanding contribution to Indian cinema, Dev Anand was honoured with the prestigious the Padma Bhushan in 2001 and Dada Saheb Phalke Award in 2002. He established his film production company Navketan International Films in 1949 and has produced more than 35 movies.

Dev Anand has won two Filmfare Awards - India's equivalent of the Oscars - in 1958 for his performance in the film Kala Paani (Black Water) and in 1966 for his performance in Guide. Guide went on to win Filmfare Awards in five other categories including Best Film and Best Director and was sent as India's entry for the Oscars in the foreign film category that year. He co-produced the English Version of Guide with the Nobel Laureate Pearl S Buck (The Good Earth). In 1993, he received a Filmfare Lifetime Achievement Award and in 1996 he received a Screen Videocon Lifetime Achievement Award.

Of late he was involved in the direction of a new all American film Project Song Of Life - a musical love story which was to be shot in the United States. He was to play the central character in the film which was to have a predominantly American star cast. Dev Anand is the second of three brothers who were active in Hindi Cinema. His brothers are Chetan Anand and Vijay Anand. Their sister, Sheel Kanta Kapur, is the mother of renowned film director Shekhar Kapur.

Nizami Brothers qawwali in Jamia Millia Islamia

Nizami Brothers qawwali in Jamia Millia Islamia singing Kun Faya Kun from Rockstar

I AM DADA to the cutest baby girl!!: Sr. Bachchan

Bollywood actress Aishwarya Rai Bachchan has given birth to a girl. Amitabh Bachchan announced on Twitter "I AM DADA (grandfather) to the cutest baby girl!!"

Rai, 38, a former Miss World, has been married to actor Abhishek Bachchan for more than four years and the star couple had been fending off baby rumours for months before the pregnancy was confirmed in June.

 The Bollywood actress was expected to give birth to her first child in November and the Indian media had followed her pregnancy obsessively.

 The actress had been admitted to a Mumbai hospital on Monday. Rai, who often features on 'most beautiful' lists, has worked in several Bollywood and Hollywood films.

Movie review: Only Ranbir Kapoor rocks Rockstar

Director: Imtiaz Ali
Cast: Ranbir Kapoor, Nargis Fakhri
In the film Rockstar, Ranbir Kapoor is advised that to be a true-blue artist and a real rockstar he has to experience pain, which will come through heartbreak. If we go by this theory, most audiences of  his film will walk out of the hall as rockstars, since the movie will largely leave them heartbroken.
But for heartbreak, it is imperative to fall in love first and that's exactly what director Imtiaz Ali does. He starts off the film on a promising note and just when you fall in love with the amazing first half,  he narrative nosedives with a stagnant second half.
So you have the naive Janardhan Jakhar (Ranbir Kapoor) who aspires to be a rockstar like Jim Morrison. His yearning for heartbreak gets him close to Heer (Nargis Fakhri), as they bond over soft-
porn cinema and country liquor. Soon after, the girl is arried off to some NRI, the oy is thrown out of his house, he seeks solace in a dargah and next you know he's a singing sensation rechristened as
Jordan.
A foreign tour reunites him with Heer and their passive passion rekindles until Jordan is obsessed with her. What follows is another tribute to Devdas or rather Dev.D with the neurotic, lovelorn protagonist unable to get over his mixed emotions and confused definition of love. But that's not all as the plot meanders to culminate into an undesired arena of Erich Segal's Love Story.
Imtiaz Ali is known for his old- wine-in-new-bottle brand of cinema. Rockstar is very much engaging as far as it is in that familiar territory, where the director adds a refreshing touch to the regular romance drama. The casual chemistry that he induces between the lead pair through their wacky and eventful escapades has its moments of charm. The passion-play between them when they reunite after years is spontaneous, smoldering and yet tastefully achieved.

Their reunion is also faintly reminiscent of the Jab We Met reunion, where the character-conduct is reversed with the burbling boy now trying to make the gloomy girl's life more exciting. And like Love Aaj Kal, Imtiaz Ali kick-starts the film with a montage song highlighting select significant sequences from the entire film.

But beyond that when the director ventures into uncharted zone, the narrative loses track. While one can still overlook the Dev.D influenced intoxicating attitude of the proceedings (which you can somehow attribute to the convoluted rockstar protagonist), the subsequent terminal illness conflict takes the film towards an unwelcome and undefined end. After an interesting graph to the narrative in the first half, the story almost turns stationary in the second half.
The screenplay seems stretched and gets monotonous with repetitive media-bashing scenes and flashback shots of what has been already served to you.
Another problem with the plot is that it is neither a standalone story about the rise-of-an-underdog who becomes the biggest rockstar nor is it merely a love story with a rockstar backdrop. The director somewhere attempts to correlate the rockstar's rise with his romance but isn't able to achieve that impeccably. In fact the original one-liner plot with which the movie starts (a painful heartbreak gets out the real artist inside you) goes for a complete toss by the end.

One can never clearly perceive when Jordan's heart is broken in the assorted scheme of events and that's where the film loses objectivity.
The storytelling pattern of the film is needlessly intricate for a simple romance-drama genre.

While it is very much linear, the frequent use of multiple montages can have you confused. Initially the montages aid brisk storytelling but subsequently there are so much of them that it gets puzzling. Editing the film would surely have been a difficult task. Anil Mehta's cinematography is brilliant as he captures the beauty of Kashmir, Italy and Delhi with panache. AR Rahman's wide range of music has numbers which are instantly infectious (Sadda Haq) and others that take time to grow on you.

If Rockstar keeps you engaged even after you have given up on the story by the end, it is only because of Ranbir Kapoor.
From his innocence in the opening reels to his arrogance in the climax, Ranbir breathes life into Jordan and keeps you riveted. Whether he adlibs his songs, gives a dance-tribute to Shammi Kapoor or dictates the concert crowd, Ranbir gives cent percent to his character.
How much ever you try to ignore, but Nargis Fakhri fervently reminds of Katrina Kaif through her looks, acting, lip movements (and seemingly also has the same voice dubbing artist). Nevertheless she is likeable and shares good chemistry with Ranbir. Kumud Mishra as Jordan's advisor-turned anager is impressive.

Aditi Rao Hydari is confident but marred by a short-lived character. Piyush Mishra makes for an animated-yet- interesting negative lead. And it's pleasing to see Shammi Kapoor is his last decent cameo.
Rockstar rocks you but only partially thanks to the star called Ranbir Kapoor.

Pics: Farewell Shammi Kapoor

As veteran actor Shammi Kapoor made his final journey, the entire film industry was present in full attendance to bid adieu to the legend.

FULL SCREEN SLIDESHOW

Shah Rukh Khan outside the residence of Shammi Kapoor.

Actress Karisma Kapoor and her husband Sanjay Kapur at Shammi Kapoor's residence.

Actor Neil Nitin Mukesh visits Shammi Kapoor's residence to pay his condolences.

Actor Prem Chopra leaves the residence of veteran Bollywood actor Shammi Kapoor after paying his respects.

Actor Rani Mukherjee arrives at Shammi Kapoor's residence to pay her respects.

Actor Shashi Kapoor is assisted into a vehicle after paying his respects to brother Shammi Kapoor following his death.

Shammi Kapoor's nephew Rishi Kapoor at his uncle's residence.

Amitabh Bachchan during the last rituals.

Film director Subhash Ghai pays his respects to the late Shammi Kapoor.

Aditya Raj Kapoor, Rishi Kapoor and Anil Ambani carry Shammi Kapoor on the bier for his last journey.

Shammi Kapoor's son Aditya Raj Kapoor performs the last rites for his father.

Ranbir Kapoor helps carry the mortal remains of his grand-uncle Shammi Kapoor.

Actor Aamir Khan at the funeral of Shammi Kapoor.

Shammi Kapoor's son Aditya Raj Kapoor mourns his father's death.

Shammi Kapoor's nephews (L to R) Rajiv, Rishi and Randhir thank people for paying their regards.

Actor Priyanka Chopra pays condolences.

Shammi Kapoor's grand-niece Kareena Kapoor with beau Saif Ali Khan at the veteran actor's residence.

Movie Review: I Am Kalam is a winner

I Am Kalam is a welcome addition to the genre of children's film.

Rating:

Devoid of absolutely any known name in its cast, save for Gulshan Grover I Am Kalam is a welcome addition to the children's film genre which has often received short shrift from mainstream Bollywood.

Playing out like a documentary with scant recourses at its disposal, as if screaming to alienate itself from the commerce that defines today's cinema, I Am Kalam is a film with straight-from-the-heart directness, with a boy as protagonist whose drive towards being a tie-wearing 'bada aadmi' gives this film a sense of purpose, ambition and hope.

Chhotu (Harsh Mayar), a boy with wandering eyes, is deposited in the safe care of the genial dhaba owner Bhati (Grover) so that he can work and provide for his family of two, his mother and a sibling. Upon watching President APJ Abdul Kalam in a parade on television, Chhotu gets influenced by the great man's personality. When he hears that when Kalam was a child, he worked as a newspaper boy to fund his studies, Chhotu takes upon the name Kalam, a decision that would change his life forever.

The National Award-winning actor Harsh inhabits the world of Chhotu effortlessly, acting as if he's enjoying every minute being on camera. Husaan Saad as the son of the local royalty is a treat to watch.  Usually the bad man, Gulshan Grover unfailingly delivers as a good man every time he is offered such a role (a case in point; Dil Vil Pyaar Vyaar).

On the basis of its story alone, this is a winner. However, director Nila Madhab Panda builds maudlin subplots around Chhotu which takes a great deal away than adds to the film. Chhotu itself is a wonderfully alive character, at par with Swami of Malgudi Days or Chaipau of Salaam Bombay! What connects Chaipau and Chhotu is their sense of awe at arriving at a new place, the latter to a highway-lined village in Rajasthan and the former, in the crowded bylanes of Grant Road, Mumbai. The similarities are striking; both work as tea boys and change their name. Chaipau, nonetheless, lacks the ambition that drives Chhotu.

The final truth is that I Am Kalam rests too much on Chhotu while a film like Salaam Bombay! despite giving Indian cinema one of its most enduring child protagonists, relies on its material. That's perhaps I Am Kalam's biggest flaw, to overlook other significant characters in favour of one. Because as a coherent whole, this film could have had the potential to reach someplace else.

Nevertheless, there's a certain social consciousness, a message of education being the right of  every child, that is inserted into the narrative as gently as in Amole Gupte's recent Stanley Ka Dabba.
Although set in Rajasthan with a heavy presence of foreign patrons who dot the dhaba, including a Frenchwoman who befriends Chhotu, much of I Am Kalam is Indian in spirit because it deals with a very Indian problem -- of widespread illiteracy and poverty.

In the end, what contributes to I Am Kalam immensely is its metaphor of Kalam, the scientist with an almost magical ability to bind people, especially children. Kalam today stands for education, poverty and above all, an abiding love for children, in much the same way Nehru once did. If socialist films were dubbed Nehruvian, would those with child protagonists working their way through life for higher goals and purposes in a brave, new future-time be hailed as Kalamian? 

That as it may, Chhotu idolises Kalam and even apes his hairdo. This reminded me of what Javed Akhtar has often said, about his days of growing up, "I was obsessed with poets like any other kid would be of filmstars." You become what you are and not you are what you become. Aspiring to be a poet, Javed became one, eventually.
There's a possibility that some day boys like Chhotu will grow up to lead this country. Whether he wears a tie, a Nehru jacket or styles his hair like Kalam, is entirely his discretion.

Movie Review: Singham is for Ajay Devgn fans only

Ratings:

Aseem Chabbra feels that the real star of the film Singham is its sound team.

In Rohit Shetty's mass-masala movie Singham, Ajay Devgn plays an upright, honest and do-gooder cop who goes way beyond the training and duties of a regular Indian Police Service officer.

He will stop to push a cart if its wheel is stuck in the mud; play with little kids; become a part time no-interest loan financier to settle a dispute between two people in his village, especially if someone is about to get married and it is their 'izzat ka sawal'.

Devgn's Bajirao Singham is almost the village panchayat, who is blessed by hundreds of drum beating men. His ritual bath in the village pond at night is accompanied with a beautiful display of floating lit lamps, and people dressed in red costumes praying, perhaps for his well-being.

After the bath, Singham walks bare-chested with mysterious smoke rising behind him, subtle dramatic lighting, to the beat of drums and what sounds like Hindu shlokas. He sometimes walks in slow-motion -- that means he is cool. And sometimes leaps at the bad guys -- that means he has lion blood flowing throwing his veins.
Singham is followed by a continuous soundtrack -- mostly the melody of the title song sung by Sukhwinder Singh. But in the second half of the film, when he decides to finally take on the evil Jaykant Shikre (a very loud and over-the-top Prakash Raj), Singham's personal soundtrack changes to religious shlokas -- as if his forthcoming actions, beyond what is allowed by the laws of the land and his training at the IPS academy, are justified and sanctioned by something above everything else -- God, Hinduism, its texts and its hymns.

Remake of a hit 2010 Tamil film, Singham is critical of the Indian politics and society. Time and again, the film's characters make observations against India's flawed and corrupt system.

The film's three writers: Hari, Yunus Sajawal and Farhad Sajid seem to be disappointed with the way India has shaped out to be. They have little faith in the law. Most cops in the film, baring Singham and a couple of his subordinates when he is posted to Goa, are shown to be corrupt or at least have an attitude that do they not give a damn.

The politicians are the guilty party. As Shikre says toward the end of the film -- from 1947 to 2011 no minister has been arrested in India for crime and corruption.
The film makes it very clear -- without the existence of Singham, the good cop, India has no hope. I wonder why no has thought of making him the president or the prime minister of the country!
The film opens with the big dramatic dance sequence celebrating our hero -- it feels like it is Holi, but it is not, as Devgn and the backup dancers strike a pose with as their hands becoming the claws of tigers.

The first half of the film takes its time in establishing Singham's character, his world, his romance with Kaavya Bhosle (Kajal Agarwal, a chirpy, but weak actress, who has a bad habit of rushing through her lines and strangely enough bears a slight resemblance to Devgn's wife Kajol).

In a long fight sequence, Singham beats up a fat bad guy who has snatched Kaavya's green dupatta. And she is so shamed by the dishonour that she wraps herself in a black dupatta.
There is the parallel story about Shikre, who makes money kidnapping rich people and has the protection of the Goa's top cops and politicians. But Singham and Shikre's path do not cross, until almost the intermission.
In the second half, Singham is posted to Goa -- as a punishment, where he is now in the world run by Shikre. He is frustrated and almost gives up hope. But just when he decides to leave, a depressed and overweight kid looks at Singham and begs him to stay back. "Uncle aap nahin hongey to yeh mummy ko marengey," the kid pleads with Singham.

The kid's mummy is Megha Kadam (Sonali Kulkarni), whose husband committed suicide in the opening sequences of the film, but all of that is too complicated to explain here.
Finally, Singham walks up to what looks like the entire Goa police force gathered with their families for a reception. He asks each of those cops to look into the eyes of their family members. Burdened with a sufficient sense of guilt, the reformed cops take off on 'mardon wallah kaam' to deal with Shikre, who by now has been elected for the political office. The method they chose to deal with Shikre may be unethical according to the Indian laws, but then it goes fine with the film's near anarchist attitude.
The dialogues are often hilarious, sometimes unintentionally. Singham to Shikre: "Tu corruption sey paiday hua gandi nalee ka keeda hai."

Shikre to Singham: "Yahan mera music system bajta hai!"

A jaded junior cop to Singham: "Main bhi yahan angry young man ban key aya tha. Lekin in logon ne mujhey Gandhi Ji ka bandar bana diya - na dekho, na bolo, na suno!"

The performances have Bollywood written all over them. Devgn is mostly a caricature of an action hero. His best moments are when he is really angry, gritting his teeth and cracking his knuckles as he gets ready to beat up the bad guys.
The real star of the film is the sound team. Singham is packed with a lot of bone crunching sounds, and loud action moments. Gone are the days when Bollywood films just featured dhishum-dhishum in the fight scenes. Now there is every possible jarring loud sound one hears, as Singham whips up the bad guys with his belts and smashes their bodies on the ground, against walls,.

The fights are long, painful and yet fun to watch. But I never understood why with all the beating they take from one man, none of the bad guys are even slightly injured. There is no bone broken, no cut, not even a bruise. There is violence and yet no after affect of violence. And I am sure that is fine for the Indian censors.

Movie Review: Don 2 looks seriously slick

It's a bit perplexing to see just how young, fit and fresh Shah Rukh Khan looks in the promos of his films.

We saw the glaring gulf between the way he looked in the Ra One promo earlier this year and the way he looked on TV with Karan Johar or supporting his IPL team, and now we see him again, looking lethal in the first trailer for Don 2. Maybe those who do makeup and CGI for Rajnikanth are working their magic in SRK's films, or maybe King Khan only saves up his shininess for when it counts
the most.

Either way, the Don 2 trailer looks pretty darned sharp.
We see a speedboat slice through verdant green waters as Khan, in over- baritoned voiceover, tells us
that his enemies thought he was dead and now he's back and ready for more.

We catch peeks of Khan in tattooed longhaired Bangkok junkie/underpaid chinesevan waiter mode, both of which make sense as a disguise while the wounded tiger licks his wounds. A word about the voice, though: in a sequel to a film where he stepped into Amitabh Bachchan's shoes -- which seemed a couple sizes too big for him at the time -- this voiceover seems to be yet another tribute from Khan, trying to sound a bit like that man who keeps proving he'll never be too old.

And then, just as he uses up all the gravel in his throat mouthing the 'remember who I am, I'm the Don' lines from that classic song used smartly here as dialogue, he smiles and says 'boom', a car explodes on cue, and then it's Shah Rukh all the way.

The rest is standard blockbuster fare, explosions and slow motion turns to the camera, maximised for dramatic effect. But there's absolutely no mistaking the fact that this film looks very, very slick indeed. Clearly Farhan Akhtar's out to prove a point, and so far, he looks like he knows what he's doing. Wish they didn't throw in the weird Khan smirk at the very end, though.

What do you think of the Don 2 trailer? Do you think SRK will give us the year's biggest blockbuster with Don 2 or Ra.One? Do you think director Farhan Akhtar, who has given us unforgettable films like Dil Chahata Hai and Lakshya, and Don will be fourth time lucky?

Don 2 Trailer

Movie Review: Chillar Party is enjoyable

A motley group of kids. An endearing
canine companion. A waif busy washing
cars to earn a living. Middle-class families
who are insensitive to both human beings
and animals. Politicians acting in an inane
and obtuse manner. And kids who feel
they can take on the world. All the
ingredients necessary to create a
melodramatic potboiler have been sourced
and secured into the script. Is this one
more 'childrens' film with morals woven
into the script hoping to see the audience
in tears?
Thankfully no. Chillar Party may not be free
of the obligatory good versus evil theme
which persistently makes its way into this
genre (at least in Bollywood) yet it aims at
generating laughter, without punching
you in the gut.
Starting with the ubiquitous nicknames
sometimes provided by parents or colony
mates, Mumbai's [ Images ] Chandan Nagar
Society has its band of bratty boys named
as encyclopedia, secondhand, panvati etc.
The reason for these names could be as
varied as a personality trait to the family's
financial status. A white Pomeranian
owned by a cranky senior citizen turns
them into dog-haters for the rest of their
life. In this scenario enters Phatka, a skinny
lad with determination and attitude. Both
traits imperative for children who work on
the streets of Mumbai and survive by their
wits alone. His only companion and friend
in the entire world is Bhidu a lovable black
and white pariah.
Phatka survives largely on a diet of tea and
glucose biscuits and keeps to himself. He
sports a ragged yellow t-shirt, doesn't
crave for anything but he's devoted to his
pooch. The kids direct their anger on both
Phatka and Bhidu, but Phatka remains
resilient not wanting to give up this job --
his only means of survival.
Then the bratty middle-class kids realize
the extent of their nastiness and try hard
to make amends. But Phatka isn't a
pushover. Will he relent? Or is this
senseless feud likely to continue?
Our protagonist Phatka played by Irrfan
Khan [ Images ] doesn't have much to say
for himself. When he speaks it's 'tapori
language' picked up from watching the
latest movies. Even as one laughs at his
philosophies about life it's the expressive
brown eyes which speak volumes about
his anguish and loneliness. One sequence
when he fears his beloved pooch has
disappeared he breaks down but with
quiet restraint.
The rest of the brats are on the verge of
adolescence; where they're old enough to
question their parents, too young to rebel
openly. Pre-pubescent, their lives revolve
around cricket and not the opposite sex.
They're real (unlike the kids we've seen in
YRF and Dharma productions), they
grimace, they grumble, but they remain
kids.
The co-directors Nitesh Tiwari and Vikas
Bahl successfully recreate a poignant and
touching tale about the bonds children
forge among themselves, their casual
indifference towards school, parents and
academics and their ability to stay focused
when somebody they deeply care for has
become the casual victim of an adult's
manipulations.
The film has a few really fun moments,
especially when a chance remark such as
'Toh chadddi mein ghoomu kya' invokes a
'chaddi march' with a few hundred kids.
Or the shameless way they manipulate
their parents sans any qualms.
Many 'values' and 'morals' have been
woven into the script. Such as how people
employ child labour without batting an
eyelash. Or how there is no respite for a
daily wage earner even when he's
shivering with fever. Although it could
have been handled in a subtler fashion, but
it forms an integral part of the film.
If the screenplay suffers it is due to the so-
called climax (is any kiddie film complete
without it) which seems foisted. The
children morph into young adults abruptly.
As they mouth dialogues which don't seem
to come from their heart, they lose their
charm which is what attracted us to them
in the first place. The politician and his
goon don't just appear absurd to a child,
they are bizarre villainous caricatures who
ideally should have induced fear but they
turn into mere irritants.
Chillar Party is an enjoyable film with plenty
of laughs. Do watch this, unless of course
you hate kids.

Zindagi Na Milegi Dobara Cast Set To Go On A Road Trip

Zindagi Na Milegi Dobara Cast is all set to Go On A Road Trip from Mumbai to Delhi by a vanity van. The cast will take first break in Surat to have lunch and then they will head towards Delhi. Aggressive and innovative marketing
strategies have become common in
Bollywood these days. And the cast and
crew of Zoya Akhtar's Zindagi Na Milegi
Dobara are taking such strategies to the
next level.
The actors, along with their director and
producer, are all set to undertake a road trip
to Delhi this Thursday.
The idea for this journey is obviously
inspired by the film, in which Hrithik Roshan,
Farhan Akhtar and Abhay Deol hit the road
in Spain.
Katrina Kaif, Kalki Koechlin, Zoya Akhtar and
Ritesh Sidhwani too, will be accompanying
the three actors on their way to the capital.
At the end of their drive, the actors will
perform a live concert at a mall in Gurgaon,
Haryana.
Interestingly, apart from the men, the
women too, will take turns on the wheel.
Confirming their journey, Ritesh said there's
a lot to explore in India, too. "So we decided
on this plan as it will also help us connect
with the audience along the way," he
pointed, adding that they will stop at Surat,
Baroda, Ahmedabad, Udaipur, Ajmer and
Jaipur before reaching Delhi on Sunday and
then performing in Haryana.
"There's so much to see in these places, so
they're important stops for us to interact
with the people along the way," he added.

DELHI BELLY gets a terrific opening, a huge success

Aamir Khan Productions and UTV's co
production DELHI BELLY, which released last
Friday, has become a huge success.
The sixth venture of Aamir Khan Productions
is a mass grosser in India. It opened with
7.15 crore on Friday, 1st July. Saturday
collections went up to 8.50 crore and
increased to 10.75 crore on Sunday, giving a
sum total of 26.4 crore business only over
the weekend. With films opening to merely
10% to 40% maximum in the recent past,
this seems like a new wave that has hit the
Indian cinema.
The overall cost of the film is 24 crore which
includes production, print and publicity as
well. So, recovering is already done and the
business in the coming days will also be
something to watch out for given the terrific
start of the film and also the revenue it is
expected to generate from non-theatrical
avenues. It opened across 1200 screens
with major occupancy in multiplexes across
the country.

Delhi Belli is mainly about these days students and their life, enjoyment, girls, internet, sex and all other adult activities. The film is full of abuses and vulgar words. Even Aamir Khan said that this movie is not for young ones. But adults are enjoying it to the most.

Delhi Belly soaring high, Rs.15.65 crore on its first two days

Aamir Khan's home production Delhi Belly has broken the dry spell at box office by earning Rs.15.65 crore on its first two days despite being an adult comedy, while Amitabh Bachchan's family entertainer Bbuddah...Hoga Terra Baap (BHTB) is at Rs.4.26 crore.

The opening collection for AB Corp's Rs.10 crore Bbuddah...Hoga Terra Baap was Rs.1.91 crore, but it picked up on Saturday by grossing Rs.2.35, said film critic Taran Adarsh on his Twitter page.
"Bbuddah HTB would've collected double/triple of what it has, had it averted clash with other films. Would've got more screens also," he wrote.

Anant Verma, director and business head, DT Cinemas told IANS that both the films are doing great, "however, Delhi Belly is slightly better as it has more shows than Bbuddah..

"Moreover, it caters to the young crowd, while Bbuddah.. is meant for family. Delhi Belly has an interesting concept and it has been promoted in such a way that the audience know what to expect from it," said Verma.

Made at a budget of Rs.25 crore including print and publicity, Imran Khan-starrer earned Rs.7.15 crore friday and Rs 8.50 crore on Saturday.
While Bbuddah... is about a flamboyant Paris-returned gangster, played by Amitabh, Delhi Belly captures the urban, money-is-everything, foul-mouthed India with Imran Khan, Vir Das and Kunal Roy Kapoor in the lead roles.

However, considering the budget and genre of the two films, both are doing well.

In fact, in some multiplexes Bbuddah... is giving neck to neck competition to Delhi Belly.

"The response has been good. All the shows of Delhi Belly and Bbuddah.., are going houseful. Yesterday Delhi Belly was 99 percent while Bbuddah was 98.5 percent," said Rakesh Warikoo, general manager (operations) Spice Cinemas, who are running 18 shows of Delhi Belly and eight shows of Bbuddah... Hoga Terra Baap.
Yogesh Raizada of Waves Cinemas sees Delhi Belly doing well in the long run and suggests "Bbuddah... is a complete masala film and a family entertainer. It is Amitabh all the way. All the performances are also good. It makes for an enjoyable watch," he said.

"Delhi Belly cannot be watched with parents due to its language. However, the film is likely to run for long time, although it is true, with the release of Murder 2 next week, the business will get affected to some extent," he added.

Movie Review: Delhi Belly

<< A still from the movie

Cast: Imran Khan, Kunaal Roy Kapur, Vir Das, Shehnaz Treasurywala, Poorna Jagannathan, Vijay Raaz Director: Abhinay Deo

Genre: Comedy

Duration: 1 hour 36 minutes

Rating: ****

Story: Three young professionals who happen to be roommates -- Tashi (Imraan Khan), Nitin (Kunaal Roy Kapur), Arup (Vir Das) -- inadvertently become couriers for a cache of diamonds, smuggled in by a Russian gangster. The diamonds have to be delivered to a local gangster, Vijay Raaz. Unfortunately, a strange mix-up causes a weird package to be delivered to him instead. This is the beginning of the troubles of the happy-go-lucky threesome which obviously has no experience in tackling Delhi's crazy underworld.

Movie Review: So who's the real hero of the film? Is it writer Akshat Verma who has given Bollywood one of its smartest scripts to hit the horizon since a long long time? As a comedy, Delhi Belly is such a refreshing change from the run-of-the-mill Hindi film laugh riot which almost always borders on the juvenile. The humour is all situational, beautifully woven in the script and never having to depend on a banana peel skid. Grow up all you comedy filmmakers who insist on treating your audience as retards!

Is it director Abhinay Deo who tells a story peppered with the most unusual incidents in a down-to-earth, matter-of fact way which works wonders for the film? Mercifully, there is no desire on his part to shock and awe you or send you into hysterical bouts of laughter, simply because the events are so bizarre, they shock and awe you by their very nature and keep the laughs coming relentlessly. Certain sequences almost bring the house down: Vir Das and his exploits with the burqa, Kunaal Roy Kapur and his exploits with orange juice, Vijay Raaz and his encounter with the contraband packet.... Too many to enlist!

Is it the performances: all set pieces and fine examples of how to underplay and over-impress? If Imran Khan pitches in his best act till date as the journalist trapped between fleeing from death and floundering in love's dilemma, then newcomer Kunaal Roy Kapur is the funkiest victim of the accursed Delhi belly. His gripes, groans and loo exploits are the stuff classic comedy is made of. Vir Das delivers his usual competent clown act without trying too hard: quite a scene-stealer. Vijay Raaz as the gangster is a scream while the girls blend in with ease.

And finally, is it the Censor Board which displays such maturity in passing the film with no cuts? For the first time, we get a film where characters actually speak the language real young people speak. And no, nobody's morals get corrupted. One of the highlights of the film is its screenplay, brimming over with cuss and swear words, which themselves add to the fun factor of the film. Ram Sampath's audio score with quirky lyrics like Switty, DK Bose and Chudail are an added bonus.

All in all, Delhi Belly is a fine example of how the brightest and the boldest, when they pool in their talent, can create a film that is guaranteed to give you your money's worth, even as it re-writes all the moth-balled rules of an ageing industry.
Enjoy the experience.

Preview: 'Bbuddah Hoga Terra Baap'

In 'Bbuddah Hoga Terra Baap', Amitabh Bachchan essays the role of a retired Hitman settled in Paris who comes back to India to do "one last job". During the course he comes face to face with his past and that gets him to change his motive for the 'hit'.

Directed by Poori Jagannath, the movie stars Amitabh Bachchan, Hema Malini, Minissha Lamba, Sonal Chauhan, Sonu Sood, Prakash Raj, Charmi, Mahie Gill and Raveena Tandon.

See the slide show here

'Bbuddah Hoga Terra Baap' will be released on July 1.

IIFA Awards 2011 Performances in Pictures

A soulful tribute to Michael Jackson performed by his brother Jermaine Jackson and Sonu Nigam.

Jermaine and Sonu perform amidst a Michael Jackson soaked ambiance.

Two years after the King Of Pop's unfortunate death, the memory still lives on.

Dia Mirza dazzles all with a shimmering wave of jhatkas.

A very captivated Dia, flowing through the enchanting performance.

From fiery pinks to vivid yellow, Dia works the colors along with the moves.

A very animated Mallika Sherawat, strutting her best stuff. Jalebi Bai act?

Amidst a dreamy backdrop, Mallika enraptures all.

The looks that win us everytime

Indian singer Sonu Nigam performs during IIFA Rocks, part of 2011 International Indian Film Academy (IIFA) awards, in Toronto, Ontario, on June 24, 2011.

An all-black Sonu Nigam does what he is best at

Indian singer Shankar Mahadevan (C) performs during IIFA Rocks, part of 2011 International Indian Film Academy (IIFA) awards, in Toronto, Ontario, on June 24, 2011.

Indian singer Shankar Mahadevan performs during IIFA Rocks, part of 2011 International Indian Film Academy (IIFA) awards, in Toronto, Ontario, on June 24, 2011.

Shankar, Ehsaan and Loy rocked to the rhythm of Jhoom Barabar Jhoom.

Performers dance on the stage during IIFA Rocks, part of 2011 International Indian Film Academy (IIFA) awards, in Toronto, Ontario, on June 24, 2011.