ITV

Category: Reviews

  • Teraa Surroor- One man show

    Teraa Surroor- One man show

    Himesh Reshammiya counts mostly on his musical score to make his films and attract audience. His latest, Teraa Surroor, is described as a ‘Lethal love story’, Earlier titled Guns N Roses, the film is a sequel of his 2007 movie, AapKaaSurroor.

    In the earlier film, AapKaaSurroor, Himesh, a singer, is framed for a murder and jailed in Germany where he is for a music concert. If he does not prove his innocence in a day’s time, he loses his lady love. The only way he can do that is by breaking out of jail and finding the real culprit.

    This time, in Teraa Surroor, Himesh changes roles. His girlfriend, Farah Karimaee, is arrested in Ireland and it is up to Himesh to prove her innocence.

    Himesh is out partying and lures a dancer at the club to bed. Next, he walks into a hotel suite and shoots down a few drug dealers. Soon, like a good boy, he goes home and confesses to his girlfriend who he is slated to marry in a month’s time that he has strayed, that he slept with another woman!

    Farah sulks and does not want to have anything to do with Himesh. Despite her wedding being a month away, she decides to go on a singing assignment to Ireland to celebrate India Day on an invitation by a Facebook friend! Farah’s mother, Shernaz Patel, is fond of Himesh and wants the duo to talk over things and end their differences. But, Farah wants a break and proceeds to Ireland.

    When Farah lands in Ireland, she is asked to proceed to the hotel by her Facebook friend as he could not reach the airport to receive her. While she is on her way, her cab is surrounded by cops. She is found to be carrying contraband drugs. Arrested, she is tried and promptly sentenced to jail. When asked if she would like to inform anybody back home, she asks Himesh be informed. She also learns the hard way that the host country does not celebrate anything like India Day!

    Himesh is on mission now. He has to get his fiancée out of jail and find the culprit who planted the drugs on her. Farah’s lawyer, Monica Dogra, informs him that there is no way she can come out without completing her term. The only way to bring her out seems to be jailbreak. There are experts on just about everything and Himesh finds the expert on jailbreaks, Naseeruddin Shah, who has fled from various jails as many as 14 times!

    Meanwhile, Kabir Bedi, the police chief here, and Shekhar Kapur, the Indian Ambassador in Ireland, both old chums, are busy doing their bit.

    Shah makes up a plan to spring Farah out of jail and Himesh follows it to the T; Farah is out and the entire Irish police force is after them. Both make it safely to a port from where they would be helped to reach India. But, Himesh has a job to complete. He asks Farah to wait for him and returns to settle scores with the man who framed Farah.

    Teraa Surroor suffers from a patchy script. There are so many glitches and contradictions which are jarring. The director, Shawn Arrahna, concentrates more on scenic visuals and finesse rather than flaws in the content. Though he manages to keep the first part taut, the film meanders post interval. Not to deny that the attention to locations makes the film a visual delight. Though some of the songs are rehashed by Himesh from his earlier film, all six songs in the film are tuneful.

    Himesh has grown a six-pack and muscles and even bares given an opportunity. Otherwise, he carries a single look throughout. Guns speak louder than muscles in this film. Farah’s role is limited mainly to looking forlorn in a jail cell when not appearing in flashbacks in songs. Shekhar, Shah and Bedi just add some face value to the roaster, their roles being limited.

    Teraa Surroor has not had an expected opening response and its hope lies on the weekend.

    Producers: T Series, HR Musik.

    Director: Shawn Arranha.

    Cast: Himesh Reshammiya, Farah Karimaee, Shekhar Kapur, Naseeruddin Shah, Kabir Bedi, Monica Dogra, Shernaz Patel.

    Global Baba…One more baba!

    As the media started exposing the misdeeds of various babas with huge following, they found a new breed of followers, the filmmakers. The reason being, the exploits of these babas offer a filmmaker a fair bit of scope for comedies.

    Abhimnayu Singh is a sharpshooter killing his targets at whim. He is the henchman of a local woman politician because of which no cop dare to touch him. Now, police, led by Ravi Kishan, has arrested Singh. Kishan is leading him towards deep woods on the pretext of wanting a leak. The purpose is to kill him and make it look like an encounter. Singh knows he is trapped and, as a sort of last wish, wants to know who dared order his kill. He learns that his death has been ordered by the same woman politician he did all the dirty work for.

    Singh uses the same ploy of wanting to relieve himself and, in the process, tries to escape. But, the full police force is after him and he is shot in the back by Kishan. Singh falls into a rapid and assumed dead by the police. But, in Hindi films, whoever is shot and falls in to a river or sea, never dies.

    Singh emerges on the other side of the river where some aghori baba removes a bullet from his back with his bare hands. He was seemingly shot thrice but removing one bullet somehow brings him back to life. He has surfaced in some holy town on the banks of a holy river.

    On the run, Singh comes across one of his own taporis, PankajTripathi, who now poses as a maunee baba. He chose to be so because he had a problem with his speech. Tripathi sells a grand plan to Singh and that is to turn into a baba. There are all kind of babas so standing across a shop, Global Hair Cutting Saloon, the name is decided. Singh will become Global Baba with a feigned global following.

    Soon enough, GB has earned name, fame and an unprecedented following. You don’t see any global followers but the politicians of all hue and cry line up at his ashram, built on a grabbed land. Baba has become all powerful, blackmails politicians and even swings arms deals. Politicians seek his favours because he can create a communal riot on whim, can turn public opinion against any politician.

    No baba vs. politicians film is complete without a media person involved, better still if the person happens to be a female. So there is Sandeepa Dhar, a TV reporter working for the channel owned by home minister, Akhilendra Mishra, who plants her at the Singh’s ashram. Finally, Kishan realizes that Singh survived the bullets and has become Global Baba now.

    Just about everything in this film is routine, oft seen in this kind of films which springs up time and again. Here, what keeps the film alive to an extent is the thrill angle. Sadly, that interest factor is killed in the climax when the makers decide to keep the end open. May be it is an ambition of a sequel or make an intellectual point, this is lame. No justice for the villain, no dhishoomdhishoom; you know the villain so now go home. But, villain is known to the viewer from frame one!

    There is not much to say about technical aspects of the film. However, there are a few performances worth a mention. Of the cast, Tripathi excels. Singh manages to look appropriately sinister. Tripathi is very good. Kishan has little scope. Sandeepa is fair. Sanjay Mishra is wasted.

    Global Baba lacks face value to attract the audience.

    Producers: Vijay Bansal, Priya Bansal.

    Director: ManojSidheshwari Tiwari.

    Cast: Abhimanyu Singh, PankajTripathi, Ravi Kishan, SandeepaDhar, Akhilendra Mishra, Sanjay Mishra. 

  • Teraa Surroor- One man show

    Teraa Surroor- One man show

    Himesh Reshammiya counts mostly on his musical score to make his films and attract audience. His latest, Teraa Surroor, is described as a ‘Lethal love story’, Earlier titled Guns N Roses, the film is a sequel of his 2007 movie, AapKaaSurroor.

    In the earlier film, AapKaaSurroor, Himesh, a singer, is framed for a murder and jailed in Germany where he is for a music concert. If he does not prove his innocence in a day’s time, he loses his lady love. The only way he can do that is by breaking out of jail and finding the real culprit.

    This time, in Teraa Surroor, Himesh changes roles. His girlfriend, Farah Karimaee, is arrested in Ireland and it is up to Himesh to prove her innocence.

    Himesh is out partying and lures a dancer at the club to bed. Next, he walks into a hotel suite and shoots down a few drug dealers. Soon, like a good boy, he goes home and confesses to his girlfriend who he is slated to marry in a month’s time that he has strayed, that he slept with another woman!

    Farah sulks and does not want to have anything to do with Himesh. Despite her wedding being a month away, she decides to go on a singing assignment to Ireland to celebrate India Day on an invitation by a Facebook friend! Farah’s mother, Shernaz Patel, is fond of Himesh and wants the duo to talk over things and end their differences. But, Farah wants a break and proceeds to Ireland.

    When Farah lands in Ireland, she is asked to proceed to the hotel by her Facebook friend as he could not reach the airport to receive her. While she is on her way, her cab is surrounded by cops. She is found to be carrying contraband drugs. Arrested, she is tried and promptly sentenced to jail. When asked if she would like to inform anybody back home, she asks Himesh be informed. She also learns the hard way that the host country does not celebrate anything like India Day!

    Himesh is on mission now. He has to get his fiancée out of jail and find the culprit who planted the drugs on her. Farah’s lawyer, Monica Dogra, informs him that there is no way she can come out without completing her term. The only way to bring her out seems to be jailbreak. There are experts on just about everything and Himesh finds the expert on jailbreaks, Naseeruddin Shah, who has fled from various jails as many as 14 times!

    Meanwhile, Kabir Bedi, the police chief here, and Shekhar Kapur, the Indian Ambassador in Ireland, both old chums, are busy doing their bit.

    Shah makes up a plan to spring Farah out of jail and Himesh follows it to the T; Farah is out and the entire Irish police force is after them. Both make it safely to a port from where they would be helped to reach India. But, Himesh has a job to complete. He asks Farah to wait for him and returns to settle scores with the man who framed Farah.

    Teraa Surroor suffers from a patchy script. There are so many glitches and contradictions which are jarring. The director, Shawn Arrahna, concentrates more on scenic visuals and finesse rather than flaws in the content. Though he manages to keep the first part taut, the film meanders post interval. Not to deny that the attention to locations makes the film a visual delight. Though some of the songs are rehashed by Himesh from his earlier film, all six songs in the film are tuneful.

    Himesh has grown a six-pack and muscles and even bares given an opportunity. Otherwise, he carries a single look throughout. Guns speak louder than muscles in this film. Farah’s role is limited mainly to looking forlorn in a jail cell when not appearing in flashbacks in songs. Shekhar, Shah and Bedi just add some face value to the roaster, their roles being limited.

    Teraa Surroor has not had an expected opening response and its hope lies on the weekend.

    Producers: T Series, HR Musik.

    Director: Shawn Arranha.

    Cast: Himesh Reshammiya, Farah Karimaee, Shekhar Kapur, Naseeruddin Shah, Kabir Bedi, Monica Dogra, Shernaz Patel.

    Global Baba…One more baba!

    As the media started exposing the misdeeds of various babas with huge following, they found a new breed of followers, the filmmakers. The reason being, the exploits of these babas offer a filmmaker a fair bit of scope for comedies.

    Abhimnayu Singh is a sharpshooter killing his targets at whim. He is the henchman of a local woman politician because of which no cop dare to touch him. Now, police, led by Ravi Kishan, has arrested Singh. Kishan is leading him towards deep woods on the pretext of wanting a leak. The purpose is to kill him and make it look like an encounter. Singh knows he is trapped and, as a sort of last wish, wants to know who dared order his kill. He learns that his death has been ordered by the same woman politician he did all the dirty work for.

    Singh uses the same ploy of wanting to relieve himself and, in the process, tries to escape. But, the full police force is after him and he is shot in the back by Kishan. Singh falls into a rapid and assumed dead by the police. But, in Hindi films, whoever is shot and falls in to a river or sea, never dies.

    Singh emerges on the other side of the river where some aghori baba removes a bullet from his back with his bare hands. He was seemingly shot thrice but removing one bullet somehow brings him back to life. He has surfaced in some holy town on the banks of a holy river.

    On the run, Singh comes across one of his own taporis, PankajTripathi, who now poses as a maunee baba. He chose to be so because he had a problem with his speech. Tripathi sells a grand plan to Singh and that is to turn into a baba. There are all kind of babas so standing across a shop, Global Hair Cutting Saloon, the name is decided. Singh will become Global Baba with a feigned global following.

    Soon enough, GB has earned name, fame and an unprecedented following. You don’t see any global followers but the politicians of all hue and cry line up at his ashram, built on a grabbed land. Baba has become all powerful, blackmails politicians and even swings arms deals. Politicians seek his favours because he can create a communal riot on whim, can turn public opinion against any politician.

    No baba vs. politicians film is complete without a media person involved, better still if the person happens to be a female. So there is Sandeepa Dhar, a TV reporter working for the channel owned by home minister, Akhilendra Mishra, who plants her at the Singh’s ashram. Finally, Kishan realizes that Singh survived the bullets and has become Global Baba now.

    Just about everything in this film is routine, oft seen in this kind of films which springs up time and again. Here, what keeps the film alive to an extent is the thrill angle. Sadly, that interest factor is killed in the climax when the makers decide to keep the end open. May be it is an ambition of a sequel or make an intellectual point, this is lame. No justice for the villain, no dhishoomdhishoom; you know the villain so now go home. But, villain is known to the viewer from frame one!

    There is not much to say about technical aspects of the film. However, there are a few performances worth a mention. Of the cast, Tripathi excels. Singh manages to look appropriately sinister. Tripathi is very good. Kishan has little scope. Sandeepa is fair. Sanjay Mishra is wasted.

    Global Baba lacks face value to attract the audience.

    Producers: Vijay Bansal, Priya Bansal.

    Director: ManojSidheshwari Tiwari.

    Cast: Abhimanyu Singh, PankajTripathi, Ravi Kishan, SandeepaDhar, Akhilendra Mishra, Sanjay Mishra. 

  • Jai Gangaajal….Drab and routine

    Jai Gangaajal….Drab and routine

    Jai Gangaajal, as the title suggests is the sequel to Prakash Jha’s 2003 film, Gangaajal. Unlike its precursor, this film has a female protagonist playing the crusading cop. As is Jha’s wont, the film has a Bihar background and pits an honest police person with a corrupt local politician and his goons.

    The police force in the town of Lakhisarai is corrupt and at the beck and call of the politicians, especially the local MLA, ManavKaul. Manav has been winning elections for the last four terms as no one daresstand against him. His strategy is simple, fear. Anyone who dares to raise his voice against him is killed. The police is by his side with Prakash Jha, who takes to acting with this film, is his eyes and ears in the force.

    Manav is into land grabbing, having already presold plots which belong to farmers and local bazaar traders. The land is needed for an ambitious power plant which is the dream project of the chief minister and Manav. Both stand to make crores through the deal.The victims, led by Rahul Bhat, are agitating but not with much success. The police frame whoever protests in some or the other case. 

    To help his cause and control dissentin the region, the chief minister appoints Priyanka Chopra to take control of the Lakhisarai police force. The chief minister has obliged Priyanka’s family a lot, andas such, he expects her to toe his line. He does not want controversies as the elections are due soon.

    As Priyanka takes charge, she realizes that she has to contend not only with Manav and his goons led by his maniacal brother NinadKamat, but also remove the rot which has set into her police force. Almost all officers seem to be working for Manav instead of for the state.

    Priyanka arrests one of Manav’s goons for molesting a girl in broad daylight in a crowded street. When the goon is presented in court, bomb explosions in the court house help the goon escape. As Priyanka chases the goon, Jha shoots him as if to show that he is trying to save Priyanka. Priyanka understands that not only Jha and others work for Manav, but are also working against her. 

    There is, however, one farmer who refuses to sell his land leading to Manav’s deal being stuck. The farmer is lynched, his daughter is raped and found hanging from a tree. The incident changes Jha. He is no more willing to help Manav and proceeds to arrest Kamat. Encouraged, the mob also gets involved.

    The rest of the film is about Priyanka helping her officers regain their confidence and the end of Manav’s empire. In the process,the best scenes are hogged by Jha himself, leaving Priyanka in the shadows. 

    The film offers nothing new when compared to other such UP-Bihar Bahubali films. While the first half is fairly gripping, the script loses steam in the second half. Jha’s direction is passable with no sparks of genius anywhere. The film lacks music and romance and is lengthy at 148 minutes (after deleting 10 minutes) with no major stars to pull it through except Priyanka. Priyanka is good as a determined cop. Jha impresses as a corrupt cop turned kosher. Manav is okay while Kamat andMurli Sharma are good.
    Jai Ganaajal is a dry film with no entertainment value as such. The opening has been discouraging and so are the reports.

    Producer: Prakash Jha.
    Director: Prakash Jha.
    Cast: Priyanka Chopra, ManavKaul, Prakash Jha, NinadKamat.

  • Jai Gangaajal….Drab and routine

    Jai Gangaajal….Drab and routine

    Jai Gangaajal, as the title suggests is the sequel to Prakash Jha’s 2003 film, Gangaajal. Unlike its precursor, this film has a female protagonist playing the crusading cop. As is Jha’s wont, the film has a Bihar background and pits an honest police person with a corrupt local politician and his goons.

    The police force in the town of Lakhisarai is corrupt and at the beck and call of the politicians, especially the local MLA, ManavKaul. Manav has been winning elections for the last four terms as no one daresstand against him. His strategy is simple, fear. Anyone who dares to raise his voice against him is killed. The police is by his side with Prakash Jha, who takes to acting with this film, is his eyes and ears in the force.

    Manav is into land grabbing, having already presold plots which belong to farmers and local bazaar traders. The land is needed for an ambitious power plant which is the dream project of the chief minister and Manav. Both stand to make crores through the deal.The victims, led by Rahul Bhat, are agitating but not with much success. The police frame whoever protests in some or the other case. 

    To help his cause and control dissentin the region, the chief minister appoints Priyanka Chopra to take control of the Lakhisarai police force. The chief minister has obliged Priyanka’s family a lot, andas such, he expects her to toe his line. He does not want controversies as the elections are due soon.

    As Priyanka takes charge, she realizes that she has to contend not only with Manav and his goons led by his maniacal brother NinadKamat, but also remove the rot which has set into her police force. Almost all officers seem to be working for Manav instead of for the state.

    Priyanka arrests one of Manav’s goons for molesting a girl in broad daylight in a crowded street. When the goon is presented in court, bomb explosions in the court house help the goon escape. As Priyanka chases the goon, Jha shoots him as if to show that he is trying to save Priyanka. Priyanka understands that not only Jha and others work for Manav, but are also working against her. 

    There is, however, one farmer who refuses to sell his land leading to Manav’s deal being stuck. The farmer is lynched, his daughter is raped and found hanging from a tree. The incident changes Jha. He is no more willing to help Manav and proceeds to arrest Kamat. Encouraged, the mob also gets involved.

    The rest of the film is about Priyanka helping her officers regain their confidence and the end of Manav’s empire. In the process,the best scenes are hogged by Jha himself, leaving Priyanka in the shadows. 

    The film offers nothing new when compared to other such UP-Bihar Bahubali films. While the first half is fairly gripping, the script loses steam in the second half. Jha’s direction is passable with no sparks of genius anywhere. The film lacks music and romance and is lengthy at 148 minutes (after deleting 10 minutes) with no major stars to pull it through except Priyanka. Priyanka is good as a determined cop. Jha impresses as a corrupt cop turned kosher. Manav is okay while Kamat andMurli Sharma are good.
    Jai Ganaajal is a dry film with no entertainment value as such. The opening has been discouraging and so are the reports.

    Producer: Prakash Jha.
    Director: Prakash Jha.
    Cast: Priyanka Chopra, ManavKaul, Prakash Jha, NinadKamat.

  • ‘Aligarh:’ Odd one out

    ‘Aligarh:’ Odd one out

    There are a few makers who make films out of newspaper headlines and TV reports of real life events (usually negative or tragic ones); all that matters is that they have to be controversial. For a film, what matters the most is that a paying moviegoer has to identify with what is unwinding on screen. But, what some makers don’t follow that rule because they seek medal and awards more than rewards. Yet, when they make such a film, why do they insert a disclaimer at the start of the movie that the film is a work of fiction? 

    Aligarh is the story of a professor from Aligarh Muslim University with different sexual leanings. Since the makers claim it to be totally their own work of fiction, I would like to say the story ‘coincides’ with the case of Professor Dr. Shrinivas Ramchandra Siras, whose real name the film does not shy from using, disclaimer notwithstanding! 
    As the legend goes, Siras, played by Manoj Bajpai, was a linguist, head of the department of modern Indian languages at Aligarh Muslim University, who specialised in Marathi. He was a poet too. A man in his 60s with a failed marriage, his leanings were towards homosexuality. 

    Having been appointed head of a department, he had managed to create some jealous enemies and, one day, when he takes his newly cultivated same sex friend, a cycle rickshaw puller, home for obvious reasons, his detractors conduct a sting on him. A couple of lathi wielding video journalists barge into his bedroom and film him in the act. 
    Next day, the video footage as well as pictures are out in the media and Siras is suspended from the university. 

    The rest of the film is about his battle to prove that his different sexual leanings did not make him an abnormal man nor take away his knowledge or expertise from him. His case is covered and advocated by a Delhi based cub journalist, Rajkumar Yadav, who is convinced that Siras is framed. As it happens, an NGO comes on the scene and fights Siras’ battle in court. The homosexuality law is in a limbo for a time as the Supreme Court declares its reservations on this law under Section 377, making Siras a non-criminal but is reversed soon thereafter to turn him to a criminal again! 

    The film is like a few other such films where a journalist follows his/her instincts on a particular case. Rather rare in India. 

    What is good about Aligarh is the excellent performance from Bajpai, aptly supported by Yadav. 

    Aligarh will earn rave reviews; it is not designed to earn at the box office. 

    Direction: Hansal Mehta
    Cast: Manoj Bajpai, Rajkumar Yadav

    ‘Tere Bin Laden: Dead Or Alive:’ Distant second


    Tere Bin Laden, the 2010 satire was woven around 26/11 attacks on American targets including the World Trade Centre twin towers and the US of A’s war on terror that followed with prime objective being on finding Osama Bin Laden. Because of the moderate success of that film, that a sequel would follow was a forgone conclusion. The production of the sequel followed two to three years later but, surprisingly, there seemed to be no party interested to take it to the market till now.

    A small time journalist in Pakistan, Ali Zafar, desperate to migrate to the US to make a career there, spots a Bin Laden look alike, Pradhuman Singh, and thinks he has found his passport, visa and whatever it takes to travel to the US. Ali dresses up Singh to look ditto like Laden and shoots his video to announce to the world that he had been able to track down the most sought after terrorist by the US.

    In the sequel, Tere Bin Laden: Dead Or Alive, Manish Paul, son of a North India halwai, has dreams of making movies and comes to Mumbai to pursue his dream. He sells the idea to the Shetty Sisters to back his film. The sisters agree but, just when the film was to take off, the real Laden is killed by the US marines.

    Paul’s dream is shattered. If Laden is dead, there is no sequel. But, there is an opening for him when it is reported that people are demanding proof from the US President of Laden’s death since his dead body was never on display. Paul decides to use this doubt in people’s mind as an opportunity to make his sequel. The news is all over the media. 

    Across the seven seas, there is pressure on the US President to end the controversy once and for all. He delegates the work to CIA chief, Sikander Kher, who has a sidekick in Mia Uyeda to sort this out. The idea is to find a Laden look alike, shoot him on camera and produce the pictures. And, that is when they come across media coverage of Singh, Paul and the sequel. That sets CIA after Singh.
    Somewhere in terrorist stronghold closer to India, an arms dealer, Piyush Mishra, who makes money out of supplying arms to terrorists, learns of Laden look alike too and he wants to cash in on this to promote his business. 

    Now, Paul’s priority is the make his sequel and thus his debut as a filmmaker. CIA wants Laden killing to be shot on camera and, Mishra wants Laden alive so that his business would continue.
    The greed to encash a successful film with a sequel is fair. But, trying to repeat a fluke is not kosher. The script does not exist, looks like the makers have gone along and shot scenes as they came to mind. Direction is tacky and what the film does finally is to make you realise that the original was a total fluke. Technically, the film is purely functional.

    Let loose in front of camera, Paul and Singh do well. Piyush is more convincing than the rest. 

    Tere Bin Laden: Dead or Alive is stillborn. 

    Producers: Pooja Shetty Deora, Aarti Shetty
    Direcion: Abhishek Sharma
    Cast: Manish Paul, Pradhuman Singh, Sikander Kher, Piyush Mishra, Sugandha Garg, Mia Udeya

  • ‘Aligarh:’ Odd one out

    ‘Aligarh:’ Odd one out

    There are a few makers who make films out of newspaper headlines and TV reports of real life events (usually negative or tragic ones); all that matters is that they have to be controversial. For a film, what matters the most is that a paying moviegoer has to identify with what is unwinding on screen. But, what some makers don’t follow that rule because they seek medal and awards more than rewards. Yet, when they make such a film, why do they insert a disclaimer at the start of the movie that the film is a work of fiction? 

    Aligarh is the story of a professor from Aligarh Muslim University with different sexual leanings. Since the makers claim it to be totally their own work of fiction, I would like to say the story ‘coincides’ with the case of Professor Dr. Shrinivas Ramchandra Siras, whose real name the film does not shy from using, disclaimer notwithstanding! 
    As the legend goes, Siras, played by Manoj Bajpai, was a linguist, head of the department of modern Indian languages at Aligarh Muslim University, who specialised in Marathi. He was a poet too. A man in his 60s with a failed marriage, his leanings were towards homosexuality. 

    Having been appointed head of a department, he had managed to create some jealous enemies and, one day, when he takes his newly cultivated same sex friend, a cycle rickshaw puller, home for obvious reasons, his detractors conduct a sting on him. A couple of lathi wielding video journalists barge into his bedroom and film him in the act. 
    Next day, the video footage as well as pictures are out in the media and Siras is suspended from the university. 

    The rest of the film is about his battle to prove that his different sexual leanings did not make him an abnormal man nor take away his knowledge or expertise from him. His case is covered and advocated by a Delhi based cub journalist, Rajkumar Yadav, who is convinced that Siras is framed. As it happens, an NGO comes on the scene and fights Siras’ battle in court. The homosexuality law is in a limbo for a time as the Supreme Court declares its reservations on this law under Section 377, making Siras a non-criminal but is reversed soon thereafter to turn him to a criminal again! 

    The film is like a few other such films where a journalist follows his/her instincts on a particular case. Rather rare in India. 

    What is good about Aligarh is the excellent performance from Bajpai, aptly supported by Yadav. 

    Aligarh will earn rave reviews; it is not designed to earn at the box office. 

    Direction: Hansal Mehta
    Cast: Manoj Bajpai, Rajkumar Yadav

    ‘Tere Bin Laden: Dead Or Alive:’ Distant second


    Tere Bin Laden, the 2010 satire was woven around 26/11 attacks on American targets including the World Trade Centre twin towers and the US of A’s war on terror that followed with prime objective being on finding Osama Bin Laden. Because of the moderate success of that film, that a sequel would follow was a forgone conclusion. The production of the sequel followed two to three years later but, surprisingly, there seemed to be no party interested to take it to the market till now.

    A small time journalist in Pakistan, Ali Zafar, desperate to migrate to the US to make a career there, spots a Bin Laden look alike, Pradhuman Singh, and thinks he has found his passport, visa and whatever it takes to travel to the US. Ali dresses up Singh to look ditto like Laden and shoots his video to announce to the world that he had been able to track down the most sought after terrorist by the US.

    In the sequel, Tere Bin Laden: Dead Or Alive, Manish Paul, son of a North India halwai, has dreams of making movies and comes to Mumbai to pursue his dream. He sells the idea to the Shetty Sisters to back his film. The sisters agree but, just when the film was to take off, the real Laden is killed by the US marines.

    Paul’s dream is shattered. If Laden is dead, there is no sequel. But, there is an opening for him when it is reported that people are demanding proof from the US President of Laden’s death since his dead body was never on display. Paul decides to use this doubt in people’s mind as an opportunity to make his sequel. The news is all over the media. 

    Across the seven seas, there is pressure on the US President to end the controversy once and for all. He delegates the work to CIA chief, Sikander Kher, who has a sidekick in Mia Uyeda to sort this out. The idea is to find a Laden look alike, shoot him on camera and produce the pictures. And, that is when they come across media coverage of Singh, Paul and the sequel. That sets CIA after Singh.
    Somewhere in terrorist stronghold closer to India, an arms dealer, Piyush Mishra, who makes money out of supplying arms to terrorists, learns of Laden look alike too and he wants to cash in on this to promote his business. 

    Now, Paul’s priority is the make his sequel and thus his debut as a filmmaker. CIA wants Laden killing to be shot on camera and, Mishra wants Laden alive so that his business would continue.
    The greed to encash a successful film with a sequel is fair. But, trying to repeat a fluke is not kosher. The script does not exist, looks like the makers have gone along and shot scenes as they came to mind. Direction is tacky and what the film does finally is to make you realise that the original was a total fluke. Technically, the film is purely functional.

    Let loose in front of camera, Paul and Singh do well. Piyush is more convincing than the rest. 

    Tere Bin Laden: Dead or Alive is stillborn. 

    Producers: Pooja Shetty Deora, Aarti Shetty
    Direcion: Abhishek Sharma
    Cast: Manish Paul, Pradhuman Singh, Sikander Kher, Piyush Mishra, Sugandha Garg, Mia Udeya

  • ‘Neerja:’ The heroine of the hijack!

    ‘Neerja:’ The heroine of the hijack!

    Neerja, the film, is a biographical account of the PanAm air hostess, Neerja Bhanot. However, the disclaimer at the beginning of the film says it is not exactly so. To make this film would be a tricky challenge since Neerja’s image has become larger than life and her acts of valour have become part of legend.

    Neerja sacrificed her life to save hundreds of other in the course of duty and she has since been decorated posthumously by India’s highest gallantry award, the Ashok Chakra, besides the Philatelic Department issuing a postage stamp in her honour. Neerja was also awarded by the Pakistan government and the US Justice Department. 

    Neerja, played by Sonam Kapoor, was a daughter of the Bhanots, Harish and Rama, desperately wanted despite already having two sons. Her parents always imbibed the virtues of courage in their daughter, pampered equally by the parents as well as brothers. 

    Neerja is married off in an arranged match and moves with her husband to the Gulf. However, the teachings did not help Neerja in this personal battle when her husband started ill-treating and taunting her for not brining dowry and also for her modelling. The marriage failed and she returned to be with her parents in Mumbai. 

    Neerja then applied for a job with the American airliner, PanAm and was selected and later trained at Miami. She now has overcome the setback in her marriage, has a job, modelling assignments as well as a friend, Shekhar Ravjiani, who is keen to marry her. 

    Neerja was on her first flight as a chief purser on a Mumbai-Frankfurt-New York flight. But, the plane makes an unscheduled stop at Karachi. Here, four Libyan terrorists, dressed in Pakistani security uniforms board the plane. Neerja senses trouble immediately and alerts the flying crew of three who escape from an overhead hatch in the cabin. This was so that the terrorists could not compel them to fly wherever they wished. 

    What followed is what made Neerja a legend and earned her the title of ‘The heroine of the hijack.’ As the senior-most crew member on the flight, she takes charge, pacifies the passengers, communicates with the terrorists and goes on doing all she can to save the situation. 

    The terrorists want the Pakistani authorities to find replacement pilots to fly out. As the hours pass, they want to set an example and kill passengers one by one. Their anger is on the Americans and ask Neerja and other hostesses to collect the passports of all the American passengers on board to identify and kill them to pressurise the Pakistanis. But, Neerja orders her subordinates not to collect American passports. Instead hide them under the seats or get rid of them through the rubbish chute.

    The standoff lasts for over 17 hours when the aircraft battery life ends and the lights go off. The terrorists become frantic and, in desperation, start shooting blindly and chuck grenades in the plane. Neerja acts and opens the door as well as the emergency escape chute. Having done that, she could have been the first one to escape. Having helped all the passengers escape, it is when she is trying to help three unaccompanied children escape, that a terrorist shoots her.

    Director Ram Madhvani has done a competent job ably helped by screenplay writer, Saiwyn Quadras, who has done well to merge Neerja’s marital troubles flashbacks with the hijack scenes. Hijack and terrorism scenes may have been seen many times but the human angle here gives the film much credence. The last part where Neerja opens the aircraft door and lowers the chute is the essence of the film and has solid emotional impact. 

    For Sonam, getting into Neerja’s shoes is a tough task but she manages to get into the skin of the character as the film progresses. Shabana Azmi, Shekhar and Yogendra Tiku have brief parts but are convincing. Terrorists are sinister enough to make an impact.

    Neerja has had a varied opening response at the box office but word of mouth is encouraging. It is such a film that needs to work.

    Producers: Atul Kasbekar, Shanti Sivaram Maini
    Director: Ram Madhvani
    Cast: Sonam Kapoor, Shabana Azmi, Shekhar Ravjiani, Yogendra Tiku

    ‘Direct Ishq:’ Also ran

    Benaras has been attracting some filmmakers and writers to weave their stories in this holy city. It is not because of their love for the city or because of any religious leanings. When you want to pit a simple middle class girl against a gun-toting hero juxtaposed with another boy from the same city and similar background having made it big with hard work and honesty, you need a state with a reputation for lawlessness. Therefore it is not surprising that many such films are based in one such Hindi belt locale.

    Direct Ishq is a love triangle in the traditional mode where two guys, a good one and a bad one, fall in love with same girl. The boys in this case are Rajneesh Duggal and Arjun Bijlani, while the girl is Nidhi Subbaiah.

    Nidhi is a pretty and popular girl for the way she conducts herself, full of pep. But she knows her limits and keeps away from any sort of trouble from boys who try to woo her. Rajeev is a local college boy and the leader of the university students’ body. He believes that power comes from being tough. He is always ready to pick a fight and adds to his muscle by being armed with a gun. He is besotted with Nidhi but when it comes to girls, he is tongue tied. He can never make himself gather enough courage to tell her his feelings. 

    Rajneesh enters the scene to complete the triangle. He is another Benaras lad who has got his education in Mumbai and now has his own event management company there. Nidhi is an aspiring singer who wants to make a name for herself and make her family proud. In this event, Rajneesh would be the right person to fulfil her aspirations. While helping her cause, he also falls in love with her.

    The film provides scope for music as well as Benaras kind of action scenes. While nothing is new here, it being a musical also does not count for much as of innumerable songs, just a couple pass muster. Action is routine. 

    Direct Ishq is another also ran.

    Producers: Pradeep K Sharma
    Director: Rajiv S Ruia
    Cast: Rajneesh Duggal, Nidhi Subbaiah, Arjun Bijlani 

     

  • ‘Neerja:’ The heroine of the hijack!

    ‘Neerja:’ The heroine of the hijack!

    Neerja, the film, is a biographical account of the PanAm air hostess, Neerja Bhanot. However, the disclaimer at the beginning of the film says it is not exactly so. To make this film would be a tricky challenge since Neerja’s image has become larger than life and her acts of valour have become part of legend.

    Neerja sacrificed her life to save hundreds of other in the course of duty and she has since been decorated posthumously by India’s highest gallantry award, the Ashok Chakra, besides the Philatelic Department issuing a postage stamp in her honour. Neerja was also awarded by the Pakistan government and the US Justice Department. 

    Neerja, played by Sonam Kapoor, was a daughter of the Bhanots, Harish and Rama, desperately wanted despite already having two sons. Her parents always imbibed the virtues of courage in their daughter, pampered equally by the parents as well as brothers. 

    Neerja is married off in an arranged match and moves with her husband to the Gulf. However, the teachings did not help Neerja in this personal battle when her husband started ill-treating and taunting her for not brining dowry and also for her modelling. The marriage failed and she returned to be with her parents in Mumbai. 

    Neerja then applied for a job with the American airliner, PanAm and was selected and later trained at Miami. She now has overcome the setback in her marriage, has a job, modelling assignments as well as a friend, Shekhar Ravjiani, who is keen to marry her. 

    Neerja was on her first flight as a chief purser on a Mumbai-Frankfurt-New York flight. But, the plane makes an unscheduled stop at Karachi. Here, four Libyan terrorists, dressed in Pakistani security uniforms board the plane. Neerja senses trouble immediately and alerts the flying crew of three who escape from an overhead hatch in the cabin. This was so that the terrorists could not compel them to fly wherever they wished. 

    What followed is what made Neerja a legend and earned her the title of ‘The heroine of the hijack.’ As the senior-most crew member on the flight, she takes charge, pacifies the passengers, communicates with the terrorists and goes on doing all she can to save the situation. 

    The terrorists want the Pakistani authorities to find replacement pilots to fly out. As the hours pass, they want to set an example and kill passengers one by one. Their anger is on the Americans and ask Neerja and other hostesses to collect the passports of all the American passengers on board to identify and kill them to pressurise the Pakistanis. But, Neerja orders her subordinates not to collect American passports. Instead hide them under the seats or get rid of them through the rubbish chute.

    The standoff lasts for over 17 hours when the aircraft battery life ends and the lights go off. The terrorists become frantic and, in desperation, start shooting blindly and chuck grenades in the plane. Neerja acts and opens the door as well as the emergency escape chute. Having done that, she could have been the first one to escape. Having helped all the passengers escape, it is when she is trying to help three unaccompanied children escape, that a terrorist shoots her.

    Director Ram Madhvani has done a competent job ably helped by screenplay writer, Saiwyn Quadras, who has done well to merge Neerja’s marital troubles flashbacks with the hijack scenes. Hijack and terrorism scenes may have been seen many times but the human angle here gives the film much credence. The last part where Neerja opens the aircraft door and lowers the chute is the essence of the film and has solid emotional impact. 

    For Sonam, getting into Neerja’s shoes is a tough task but she manages to get into the skin of the character as the film progresses. Shabana Azmi, Shekhar and Yogendra Tiku have brief parts but are convincing. Terrorists are sinister enough to make an impact.

    Neerja has had a varied opening response at the box office but word of mouth is encouraging. It is such a film that needs to work.

    Producers: Atul Kasbekar, Shanti Sivaram Maini
    Director: Ram Madhvani
    Cast: Sonam Kapoor, Shabana Azmi, Shekhar Ravjiani, Yogendra Tiku

    ‘Direct Ishq:’ Also ran

    Benaras has been attracting some filmmakers and writers to weave their stories in this holy city. It is not because of their love for the city or because of any religious leanings. When you want to pit a simple middle class girl against a gun-toting hero juxtaposed with another boy from the same city and similar background having made it big with hard work and honesty, you need a state with a reputation for lawlessness. Therefore it is not surprising that many such films are based in one such Hindi belt locale.

    Direct Ishq is a love triangle in the traditional mode where two guys, a good one and a bad one, fall in love with same girl. The boys in this case are Rajneesh Duggal and Arjun Bijlani, while the girl is Nidhi Subbaiah.

    Nidhi is a pretty and popular girl for the way she conducts herself, full of pep. But she knows her limits and keeps away from any sort of trouble from boys who try to woo her. Rajeev is a local college boy and the leader of the university students’ body. He believes that power comes from being tough. He is always ready to pick a fight and adds to his muscle by being armed with a gun. He is besotted with Nidhi but when it comes to girls, he is tongue tied. He can never make himself gather enough courage to tell her his feelings. 

    Rajneesh enters the scene to complete the triangle. He is another Benaras lad who has got his education in Mumbai and now has his own event management company there. Nidhi is an aspiring singer who wants to make a name for herself and make her family proud. In this event, Rajneesh would be the right person to fulfil her aspirations. While helping her cause, he also falls in love with her.

    The film provides scope for music as well as Benaras kind of action scenes. While nothing is new here, it being a musical also does not count for much as of innumerable songs, just a couple pass muster. Action is routine. 

    Direct Ishq is another also ran.

    Producers: Pradeep K Sharma
    Director: Rajiv S Ruia
    Cast: Rajneesh Duggal, Nidhi Subbaiah, Arjun Bijlani 

     

  • ‘Fitoor:’ Confusing and dry

    ‘Fitoor:’ Confusing and dry

    Fitoor is projected as ‘Based on the 19th century writer, Charles Dickens’ Great Expectations.’

    A story of an orphan, his phases in life and his manipulation by various people unknown to him. Being a 19th century saga, it is about star-crossed lover and all the formulae like rich poor romance, evil forces, invisible benefactors that exists in our movies even now. The makers choose the scenic Kashmir for the Kent marshlands to tell their story.

    Aditya Roy Kapur is an orphan under the care of his sister and brother-in-law living in Kashmir when the trouble is at its peak in the valley. He helps his brother-in-law who is an iron smith but has a knack for art as in drawing as well as sculpting. Then the film goes back into Dickens’ 19th century. Aditya is summoned by the Begum, Tabu. The film takes the liberty of introducing a Begum to Kashmir, the land of Maharajas. Tabu holds sway over the township and has a backstory to tell. 

    Tabu lives in a palatial house with her cute young daughter, Tunisha Sharma (to grow up as Katrina Kaif) who is enamoured by young boy Aditya. Her love for him happens after bossing over him for a time. Earlier, while only young Aditya was in love with her, now it is mutual. On the birthday of Tunisha, Aditya’s sister is felled by a bomb. When he reaches her home next day, she has already been dispatched to London for further studies by Tabu.

    Tabu has an agenda. She also sends Aditya to London to study art in which he shows talent. Otherwise, in a slow moving saga, the story moves fast here. Aditya becomes a celebrity in London and also comes across Katrina (grown up Tunisha). He is very much in love with her, she is partly in love with him because, she has, by now, found a suitor in Rahul Bhat, a Pakistani guy who studied with her in London.

    The script’s resistance ends here because it goes haywire here onwards. What follows is what you would have seen in hundreds of Indian movies from the industry’s inception till last week. Katrina is set to marry her Pakistani suitor, Rahul. Because, even if she loves Aditya, Rahul, a politician in Pakistan would mean status. As it happens in such love stories, Aditya goes berserk. 

    Actually, it is about Tabu, who was betrayed and playing with the lives of Aditya and Katrina for her personal reasons. 

    Actually, the whole narrative is so confusing and messed up, it is injustice to Dickens. Often during a film, you don’t fathom all things till they are unfolded at the end; trick with Fitoor is that you don’t understand what the film and issues were about even when you leave the cinema hall and reach home!

    Fitoor is poorly put together script, which unfolds like a mismatched jigsaw puzzle. A simple old fashioned Dickens’ story remixed for MBA aspirants. Direction is aimless. Good editor would have cut down this film to about 45 minutes. Musically, there is one number to like. The only highlight is the cinematography of the film, which is excellent. 

    Talking of performances, only Tabu stands out besides the young kids playing Katrina and Aditya. Aditya seemed to show some improvement but carried the same expressions throughout. Katrina has lost her charm and fails to appeal. 

    Fitoor, a love story, despite its opportune Valentine weekend will not be able to cash in.

    Producers: Abhishek Roy Kapoor, Siddharth Roy Kapur
    Director: Abhishek Roy Kapoor
    Cast: Aditya Roy Kapur, Katrina Kaif, Tabu, Aditi Rao Hydari, Rahul Bhat, Akshay Oberoi, Lara Dutta.

    ‘Sanam Re:’ Juke box!

    With few writers around, filmmakers seem to be going back into past for film themes. Sanam Reresorts to an old-fashioned love triangle, sort of about cursed lovers never meant to come together. 

    Pulkit Samrat is a small town lad who has landed in Mumbai to make it good. His grandpa, Rishi Kapoor, used to be a photographer, afflicted by Alzheimer’s, he is incapable of running his shop anymore and wants the property to be appropriated by his wards. Pulkit is summoned back home for the purpose.

    Back home, Pulkit is full of the memories of his childhood love, Yami Gautam, who he has not seen since he left for Mumbai.

    In this script of convenience, Pulkit has to visit Canada on an urgent assignment. There, he cultivates Urvashi Rautela purely for personal reasons. But, as it happens in such love triangles, Yami surfaces just then. 

    Actually, there is no story in this love story. But, being a T-Series home production, the film has some very popular numbers and the film seems just like an excuse to package them.

    Performances are generally routine as the roles offer no depth. Rishi Kapoor is the star talent in this film but has little to offer. The location being scenic, the film looks good visually. Direction is purely functional. The film could have done with some trimming. Musical score is an asset which can help the film to an extent through its Valentine’s Day opening weekend.

    Producers: Bhushan Kumar, Krishan Kumar
    Director: Divya Khosla Kumar
    Cast: Pulkit Samrat, Yami Gautam, Urvashi Rautela, Rishi Kapoor

  • ‘Fitoor:’ Confusing and dry

    ‘Fitoor:’ Confusing and dry

    Fitoor is projected as ‘Based on the 19th century writer, Charles Dickens’ Great Expectations.’

    A story of an orphan, his phases in life and his manipulation by various people unknown to him. Being a 19th century saga, it is about star-crossed lover and all the formulae like rich poor romance, evil forces, invisible benefactors that exists in our movies even now. The makers choose the scenic Kashmir for the Kent marshlands to tell their story.

    Aditya Roy Kapur is an orphan under the care of his sister and brother-in-law living in Kashmir when the trouble is at its peak in the valley. He helps his brother-in-law who is an iron smith but has a knack for art as in drawing as well as sculpting. Then the film goes back into Dickens’ 19th century. Aditya is summoned by the Begum, Tabu. The film takes the liberty of introducing a Begum to Kashmir, the land of Maharajas. Tabu holds sway over the township and has a backstory to tell. 

    Tabu lives in a palatial house with her cute young daughter, Tunisha Sharma (to grow up as Katrina Kaif) who is enamoured by young boy Aditya. Her love for him happens after bossing over him for a time. Earlier, while only young Aditya was in love with her, now it is mutual. On the birthday of Tunisha, Aditya’s sister is felled by a bomb. When he reaches her home next day, she has already been dispatched to London for further studies by Tabu.

    Tabu has an agenda. She also sends Aditya to London to study art in which he shows talent. Otherwise, in a slow moving saga, the story moves fast here. Aditya becomes a celebrity in London and also comes across Katrina (grown up Tunisha). He is very much in love with her, she is partly in love with him because, she has, by now, found a suitor in Rahul Bhat, a Pakistani guy who studied with her in London.

    The script’s resistance ends here because it goes haywire here onwards. What follows is what you would have seen in hundreds of Indian movies from the industry’s inception till last week. Katrina is set to marry her Pakistani suitor, Rahul. Because, even if she loves Aditya, Rahul, a politician in Pakistan would mean status. As it happens in such love stories, Aditya goes berserk. 

    Actually, it is about Tabu, who was betrayed and playing with the lives of Aditya and Katrina for her personal reasons. 

    Actually, the whole narrative is so confusing and messed up, it is injustice to Dickens. Often during a film, you don’t fathom all things till they are unfolded at the end; trick with Fitoor is that you don’t understand what the film and issues were about even when you leave the cinema hall and reach home!

    Fitoor is poorly put together script, which unfolds like a mismatched jigsaw puzzle. A simple old fashioned Dickens’ story remixed for MBA aspirants. Direction is aimless. Good editor would have cut down this film to about 45 minutes. Musically, there is one number to like. The only highlight is the cinematography of the film, which is excellent. 

    Talking of performances, only Tabu stands out besides the young kids playing Katrina and Aditya. Aditya seemed to show some improvement but carried the same expressions throughout. Katrina has lost her charm and fails to appeal. 

    Fitoor, a love story, despite its opportune Valentine weekend will not be able to cash in.

    Producers: Abhishek Roy Kapoor, Siddharth Roy Kapur
    Director: Abhishek Roy Kapoor
    Cast: Aditya Roy Kapur, Katrina Kaif, Tabu, Aditi Rao Hydari, Rahul Bhat, Akshay Oberoi, Lara Dutta.

    ‘Sanam Re:’ Juke box!

    With few writers around, filmmakers seem to be going back into past for film themes. Sanam Reresorts to an old-fashioned love triangle, sort of about cursed lovers never meant to come together. 

    Pulkit Samrat is a small town lad who has landed in Mumbai to make it good. His grandpa, Rishi Kapoor, used to be a photographer, afflicted by Alzheimer’s, he is incapable of running his shop anymore and wants the property to be appropriated by his wards. Pulkit is summoned back home for the purpose.

    Back home, Pulkit is full of the memories of his childhood love, Yami Gautam, who he has not seen since he left for Mumbai.

    In this script of convenience, Pulkit has to visit Canada on an urgent assignment. There, he cultivates Urvashi Rautela purely for personal reasons. But, as it happens in such love triangles, Yami surfaces just then. 

    Actually, there is no story in this love story. But, being a T-Series home production, the film has some very popular numbers and the film seems just like an excuse to package them.

    Performances are generally routine as the roles offer no depth. Rishi Kapoor is the star talent in this film but has little to offer. The location being scenic, the film looks good visually. Direction is purely functional. The film could have done with some trimming. Musical score is an asset which can help the film to an extent through its Valentine’s Day opening weekend.

    Producers: Bhushan Kumar, Krishan Kumar
    Director: Divya Khosla Kumar
    Cast: Pulkit Samrat, Yami Gautam, Urvashi Rautela, Rishi Kapoor