ITV

Category: Reviews

  • Coffee With D….Funny man fails to garner TRPs!

    Coffee With D….Funny man fails to garner TRPs!

    MUMBAI: Making films on fugitives and terrorists from across the border has been attempted a few times but such films have never been able to convince the moviegoer because this is some fiction that seems totally implausible. 

    D Day, one of the better efforts at capturing the dreaded criminal Dawood, from across the border, despite its good script, face value and thrill failed to attract the audience. Coffee With D is meant to be a satire on the electronic media. This channel called Breaking News is losing TRPs and the management is on a two-month notice to either perform or perish.

    The channel’s star anchor is Arnab Ghosh (Sunil Grover), a take on a real-life anchor that falls flat. His prime time slot is losing sheen and he is being shifted to a cookery show unless he thinks up of a miracle to save his place.

    After much thinking and exchanging ideas with his wife played by Anjana Sukhani, herself a crime reporter, he gets this bright idea of interviewing D. But, it is not easy since nobody has seen his recent picture or knows his whereabouts. Grover’s ploy is to let D approach him rather than the other way round. The plan is to provoke D. Grover interviews various people from his old area, Dongri, in Mumbai, who all have only bad things to say about the don.

    The vegetable vendor claims D (Zakir Hussain) never paid his dues while a gun vendor has the same thing to say. Also, a constable from the local police station has interesting stories to tell about how every time D was brought into the police station, he was clobbered black and blue! These interviews on daily basis are enough to provoke D who invites Grover to interview him.

    Accompanying Grover are the channel’s news writer, played by Dipannita Sharma, as well as Vinod Ramani and Guru Singh, both of who posed as vegetable vendors, constable etc during the interviews earlier.

    Once in Karachi, the interview with D proceeds on predictable lines till Grover gets a reminder from his boss, Rajesh Sharma, that the interview so far is not good enough. So, comes the last segment of rapid fire. Grover becomes aggressive and rather than ask questioning, calls D names, which unnerves him to the extent that he drops dead of a heart failure!

    Coffee With D, to say the least, is scripted poorly, with no substance. The goings-on are insipid and lack humour. The last twist in the tale fails to make an impact. Mainly, because D is made to look and act like a buffoon!

    Performances are routine even from talented artistes like Zakir Hussain and Rajesh Sharma. Sunil Grover sans his funny lines has no impact. Dipannita and Anjana are okay.

    Coffee With D faces poor prospects.

    Producer: VinodRamani.
    Director: Vishal Mishra.
    Cast: Sunil Grover, Zakir Hussain, Pankaj Tripathi, Rajesh Sharma, Dipannita Sharma, Anjana Sukhani, Vinod Ramani, Guru Singh. 

  • Coffee With D….Funny man fails to garner TRPs!

    Coffee With D….Funny man fails to garner TRPs!

    MUMBAI: Making films on fugitives and terrorists from across the border has been attempted a few times but such films have never been able to convince the moviegoer because this is some fiction that seems totally implausible. 

    D Day, one of the better efforts at capturing the dreaded criminal Dawood, from across the border, despite its good script, face value and thrill failed to attract the audience. Coffee With D is meant to be a satire on the electronic media. This channel called Breaking News is losing TRPs and the management is on a two-month notice to either perform or perish.

    The channel’s star anchor is Arnab Ghosh (Sunil Grover), a take on a real-life anchor that falls flat. His prime time slot is losing sheen and he is being shifted to a cookery show unless he thinks up of a miracle to save his place.

    After much thinking and exchanging ideas with his wife played by Anjana Sukhani, herself a crime reporter, he gets this bright idea of interviewing D. But, it is not easy since nobody has seen his recent picture or knows his whereabouts. Grover’s ploy is to let D approach him rather than the other way round. The plan is to provoke D. Grover interviews various people from his old area, Dongri, in Mumbai, who all have only bad things to say about the don.

    The vegetable vendor claims D (Zakir Hussain) never paid his dues while a gun vendor has the same thing to say. Also, a constable from the local police station has interesting stories to tell about how every time D was brought into the police station, he was clobbered black and blue! These interviews on daily basis are enough to provoke D who invites Grover to interview him.

    Accompanying Grover are the channel’s news writer, played by Dipannita Sharma, as well as Vinod Ramani and Guru Singh, both of who posed as vegetable vendors, constable etc during the interviews earlier.

    Once in Karachi, the interview with D proceeds on predictable lines till Grover gets a reminder from his boss, Rajesh Sharma, that the interview so far is not good enough. So, comes the last segment of rapid fire. Grover becomes aggressive and rather than ask questioning, calls D names, which unnerves him to the extent that he drops dead of a heart failure!

    Coffee With D, to say the least, is scripted poorly, with no substance. The goings-on are insipid and lack humour. The last twist in the tale fails to make an impact. Mainly, because D is made to look and act like a buffoon!

    Performances are routine even from talented artistes like Zakir Hussain and Rajesh Sharma. Sunil Grover sans his funny lines has no impact. Dipannita and Anjana are okay.

    Coffee With D faces poor prospects.

    Producer: VinodRamani.
    Director: Vishal Mishra.
    Cast: Sunil Grover, Zakir Hussain, Pankaj Tripathi, Rajesh Sharma, Dipannita Sharma, Anjana Sukhani, Vinod Ramani, Guru Singh. 

  • Dangal: This is a winner!

    Dangal: This is a winner!

    Sports-based films had few takers till late, especially the concocted stories kind. However, the biographical sports-oriented films seem to work better, albeit, if they are inspiring enough and based on the lives of self-made successes.

    Bhaag Milkha Bhaag, Paan Singh Tomar, M S Dhoni: The Untold Story, Mary Kom are a few examples. Whose story the film is based on and the faces behind such a film also matters.

    Dangal is a biopic based on one such story that has a lot working for it. The story defies taboos and traditions of the native Haryana where a father pining for boys in the family but siring, instead, four daughters, decides to train his daughters to step into an arena of wrestling, a sport dominated by men, and excel.

    Dangal is based on the life of Mahavir Singh Phogat, a wrestler from Bilali village in Haryana who served as a coach for India’s Olympic wrestlers. Phogat, played by Aamir Khan, always dreamt of making wrestling champions out of his sons and win a Gold Medal for India. However, his dreams are far from being realised when his wife, Daya Shobha Kaur (Sakshi Tanwar) delivers four daughters.

    Phogat is disillusioned when one day while he hears of his two daughters beating up a village bully. Seeing their aggression and fighting spirit, he decides to do something nobody in his state would dream of. Train his daughters into world class wrestlers and bring the country its first gold medal.

    As the training begins, much to the girls’ reluctance and resistance, any and everything that hinders their training and concentration is done away with. The salwar kameez are replaced by shorts and T shirts, their long hair are shorn off and chicken becomes the staple food. A wrestling arena is built in the family farm and the girls’ cousin, Aparshakti Khurrana’s character, is the guinea pig with whom the girls practice their wrestling strategies.

    As the older of the two daughters, Geeta (Fatima Sana Shaikh) qualifies to train at the National Sports Academy, the grounds rules change, something Fatima is not used to. Life here is easier than the one she lived at home training under her father. Her first lesson from the coach (Girish Kulkarni) is that she unlearns all that her father taught her and begin anew. There is enough indulgence in watching TV, outings in the town and also freedom to eat gol gappas. This only works to corrupt the qualities and expertise that the girl possessed in wrestling.

    The result is, Geeta goes on losing all her international bouts and gets into verbal conflicts with her disappointed father. By now, even the younger Phogat girl, Babita (Sanya Malhotra) has qualified for a place at the Academy. Through her, she sees the value of her father’s coaching. Then starts a dual of coaches unawares of each other as Geeta listens to all that her coach has to say while follows what her father teaches her.

    Aamir Khan has become the master of playing unconventional roles in a totally deglamorised avatar and yet promise a hit! He gets into the skin of the veteran coach, Mahavir Singh Phogat so much that even the later would be proud of.

    The girls, Zaira Wasim and Suhani Bhatnagar as young Geeta and Babita are excellent as most of the earlier and challenging part rests on their shoulders. Fatima Sana Shaikh and Sanya Malhotra, the grown-up Phogat sisters, carry on the solid base created convincingly by the young ones and not letting a continuity jerk show. SakshiTanwar and Aparshakti are natural all the way.

    Dangal wins half its bout at the writing stage itself as the narration is smooth and witty dialogue make the initial training parts enjoyable which, in other such training phases in a film are tougher on viewers than on the aspiring sportsperson! Direction by Nitesh Tiwari is accomplished; he never lets the film sag at any stage despite its genre and length (161 minutes).

    The climax strays for the better and sends a viewer back with a serving of patriotism. Cinematography is very good. The songs have a purely utility value.

    The Haryanvi language used extensively in the film is no deterrent. Dangal is a winner all the way with all the makings of a first blockbuster biopic in Hindi film industry.

    Producers: Aamir Khan, Kiran Rao, Sidharth Roy Kapur.

    Direction: Nitesh Tiwari.

    Cast: Aamir Khan, Fatima Sana Shaikh, Sanya Malhotra, Zaira Washim, Suhani Bhatnagar, Sakshi Tanwar.

  • Dangal: This is a winner!

    Dangal: This is a winner!

    Sports-based films had few takers till late, especially the concocted stories kind. However, the biographical sports-oriented films seem to work better, albeit, if they are inspiring enough and based on the lives of self-made successes.

    Bhaag Milkha Bhaag, Paan Singh Tomar, M S Dhoni: The Untold Story, Mary Kom are a few examples. Whose story the film is based on and the faces behind such a film also matters.

    Dangal is a biopic based on one such story that has a lot working for it. The story defies taboos and traditions of the native Haryana where a father pining for boys in the family but siring, instead, four daughters, decides to train his daughters to step into an arena of wrestling, a sport dominated by men, and excel.

    Dangal is based on the life of Mahavir Singh Phogat, a wrestler from Bilali village in Haryana who served as a coach for India’s Olympic wrestlers. Phogat, played by Aamir Khan, always dreamt of making wrestling champions out of his sons and win a Gold Medal for India. However, his dreams are far from being realised when his wife, Daya Shobha Kaur (Sakshi Tanwar) delivers four daughters.

    Phogat is disillusioned when one day while he hears of his two daughters beating up a village bully. Seeing their aggression and fighting spirit, he decides to do something nobody in his state would dream of. Train his daughters into world class wrestlers and bring the country its first gold medal.

    As the training begins, much to the girls’ reluctance and resistance, any and everything that hinders their training and concentration is done away with. The salwar kameez are replaced by shorts and T shirts, their long hair are shorn off and chicken becomes the staple food. A wrestling arena is built in the family farm and the girls’ cousin, Aparshakti Khurrana’s character, is the guinea pig with whom the girls practice their wrestling strategies.

    As the older of the two daughters, Geeta (Fatima Sana Shaikh) qualifies to train at the National Sports Academy, the grounds rules change, something Fatima is not used to. Life here is easier than the one she lived at home training under her father. Her first lesson from the coach (Girish Kulkarni) is that she unlearns all that her father taught her and begin anew. There is enough indulgence in watching TV, outings in the town and also freedom to eat gol gappas. This only works to corrupt the qualities and expertise that the girl possessed in wrestling.

    The result is, Geeta goes on losing all her international bouts and gets into verbal conflicts with her disappointed father. By now, even the younger Phogat girl, Babita (Sanya Malhotra) has qualified for a place at the Academy. Through her, she sees the value of her father’s coaching. Then starts a dual of coaches unawares of each other as Geeta listens to all that her coach has to say while follows what her father teaches her.

    Aamir Khan has become the master of playing unconventional roles in a totally deglamorised avatar and yet promise a hit! He gets into the skin of the veteran coach, Mahavir Singh Phogat so much that even the later would be proud of.

    The girls, Zaira Wasim and Suhani Bhatnagar as young Geeta and Babita are excellent as most of the earlier and challenging part rests on their shoulders. Fatima Sana Shaikh and Sanya Malhotra, the grown-up Phogat sisters, carry on the solid base created convincingly by the young ones and not letting a continuity jerk show. SakshiTanwar and Aparshakti are natural all the way.

    Dangal wins half its bout at the writing stage itself as the narration is smooth and witty dialogue make the initial training parts enjoyable which, in other such training phases in a film are tougher on viewers than on the aspiring sportsperson! Direction by Nitesh Tiwari is accomplished; he never lets the film sag at any stage despite its genre and length (161 minutes).

    The climax strays for the better and sends a viewer back with a serving of patriotism. Cinematography is very good. The songs have a purely utility value.

    The Haryanvi language used extensively in the film is no deterrent. Dangal is a winner all the way with all the makings of a first blockbuster biopic in Hindi film industry.

    Producers: Aamir Khan, Kiran Rao, Sidharth Roy Kapur.

    Direction: Nitesh Tiwari.

    Cast: Aamir Khan, Fatima Sana Shaikh, Sanya Malhotra, Zaira Washim, Suhani Bhatnagar, Sakshi Tanwar.

  • Wajah Tum Ho: No Cause de Celebre, this!

    Wajah Tum Ho: No Cause de Celebre, this!

    MUMBAI: Wajah Tum Ho is a murder mystery just like any other. One may have heard of suicides being committed on live phone video or computer video and one hears a lot about hacking of computers on the highest levels. Wajah Tum Ho combines the ideas for its new approach to dealing with a thriller; here a TV channel is hacked to telecast live murders.

    The TV channel Global Times Network is hacked by a mysterious person to telecast a murder being committed live. The immediate suspect is, of course, the owner of the channel, Rajneish Duggal’s character , because this incident is expected to add to his channel’s TRPs. The case is being investigated by an honest inspector, Sharman Joshi’s character, and a lot rests on his shoulders since the person murdered was another cop.

    Duggal’s case is being handled by Sana Khaan’s character who is in love with another lawyer, i.e. Gurmeet Chaudhary’s character. The lovers have a conflicting interest as Gurmeet is helping Sharman with the investigations.

    After the usual twists and turns and red herrings, when Sharman thinks he has cracked the case, there are a couple of more murders in similar fashion.

    The director, Vishal Pandya, who earlier made thrillers like Hate Story 2 and 3 manages to create interest when one thinks of the theme of live murders but that is about all since that has little to do with what follows. The film changes tracks to resort to some romance, intimate scenes and songs between Sana and Gurmeet. It also takes time off to get in to the cop Sharman’s personal life.

    The script leaves some gaps and complicates things. The direction is average and the music is fair. The dialogue is routine and editing is weak. Sharman Joshi is the star attraction of the film, and justifies his presence. Rajneish Duggal has little to do. Sana Khaan and Gurmeet Chaudhary are okay. Wajah Tum Ho is a routine thriller. The film’s solo release status won’t help much either.

    Producers: Bhushan Kumar, Krishan Kumar.

    Director: Vishal Pandya.

    Cast: Sharman Joshi, Rajneish Duggal, Gurmeet Chowdhary, Sana Khaan.

     

    Shor Se Shuruaat: A collection

    With the emergence of small screen, entertainment was sure to come in small doses. Earlier, short films usually meant documentaries or diploma films for film students. Shor De Dhuruaat is an omnibus of seven short features based on the central theme of Shor- the sound around us.

    Aazaad

    Aazaad has Atul Kulkarni as its protagonist. It is about a father son relationship and is set in the present day India. Mentored by Mira Nair, it is directed by her associate Rahul V Chittella.

    Aamer

    Aamer is a 10 year old deaf boy helping his mother sell flowers. Though he can’t hear, he relishes the life around him till one day his mother has saved enough to buy him a hearing aid. The world around him changes but he is not quite prepared for the din he hears. Luckily for Aamer, he can control the noise by reducing the volume knob on his hearing aid or just turn it off totally. Mentored by Zoya Akhtar, the short is directed by Amira Bhargava.

    Decibel

    Decibel is ironic as well futuristic in that  the protagonist is in an age when the sound is totally banned beyond a certain decibel level and the one breaking the law faces severe consequences. Having moved to the city, this girl can’t sleep without sound. She checks into a remedial facility where one is treated for a soundless sleep. However, she ends up breaking the rules each time. Mentored by SriramRaghvan, the feature is directed by Annie Zaidi.

    Yellow Tin Can Telephone

    Yellow Tin Can Telephone is about a girl with overdeveloped sense of hearing and a boy who has the similar sense of colour. While she finds the world around her too noisy and wants to live in a soundless world, for the boy things are too colourful and he prefers to live in a black and white world. Mentored by Homi Adajania, it is directed by Arunima Sharma.

    Hell O Hello

    Hell O Hello deals with the world of consumerism and takes a comic approach. Here, two competing mobile phone salesmen try to convince a seemingly vulnerable buyer with the sales peach, he subjected to all sorts of lies and the noise created around him. And, while all this is going on, the consumer has no voice at all! Mentored by Shyam Benegal, the film is directed by Pratik Rajen Kothari.

    Mia I’m

    Mia I’m is about a girl from North East who becomes the victim of an MMS after falling in love with a boy. Her exploitive MMS follows wherever she goes. She gets rid of what her so called lover loved the most about her, her splendid mop of hair. She than vents her anger through music and works on altering her life. Mentored by Imtiaz Ali, it is directed by Satish Raj Kasireddi.

    Dhvani

    Dhvani is about a man confined to a solitary prison and awaiting his turn to gallows. His only companion here is total silence and before he is hung, he has just one wish. He wants to feel the world away from this silence around him. The film has Sanjay Mishra as its protagonist.

    Mentored by Nagesh Kukunoor, it is directed by Supriya Sharma. The films here have quite a bit of relevance in modern life and identification for the viewer. While they may not hold sway at the box office, they are a must watch for talent scouts.

    Producers: Humara Movie in association with Amazon Prime.

  • Wajah Tum Ho: No Cause de Celebre, this!

    Wajah Tum Ho: No Cause de Celebre, this!

    MUMBAI: Wajah Tum Ho is a murder mystery just like any other. One may have heard of suicides being committed on live phone video or computer video and one hears a lot about hacking of computers on the highest levels. Wajah Tum Ho combines the ideas for its new approach to dealing with a thriller; here a TV channel is hacked to telecast live murders.

    The TV channel Global Times Network is hacked by a mysterious person to telecast a murder being committed live. The immediate suspect is, of course, the owner of the channel, Rajneish Duggal’s character , because this incident is expected to add to his channel’s TRPs. The case is being investigated by an honest inspector, Sharman Joshi’s character, and a lot rests on his shoulders since the person murdered was another cop.

    Duggal’s case is being handled by Sana Khaan’s character who is in love with another lawyer, i.e. Gurmeet Chaudhary’s character. The lovers have a conflicting interest as Gurmeet is helping Sharman with the investigations.

    After the usual twists and turns and red herrings, when Sharman thinks he has cracked the case, there are a couple of more murders in similar fashion.

    The director, Vishal Pandya, who earlier made thrillers like Hate Story 2 and 3 manages to create interest when one thinks of the theme of live murders but that is about all since that has little to do with what follows. The film changes tracks to resort to some romance, intimate scenes and songs between Sana and Gurmeet. It also takes time off to get in to the cop Sharman’s personal life.

    The script leaves some gaps and complicates things. The direction is average and the music is fair. The dialogue is routine and editing is weak. Sharman Joshi is the star attraction of the film, and justifies his presence. Rajneish Duggal has little to do. Sana Khaan and Gurmeet Chaudhary are okay. Wajah Tum Ho is a routine thriller. The film’s solo release status won’t help much either.

    Producers: Bhushan Kumar, Krishan Kumar.

    Director: Vishal Pandya.

    Cast: Sharman Joshi, Rajneish Duggal, Gurmeet Chowdhary, Sana Khaan.

     

    Shor Se Shuruaat: A collection

    With the emergence of small screen, entertainment was sure to come in small doses. Earlier, short films usually meant documentaries or diploma films for film students. Shor De Dhuruaat is an omnibus of seven short features based on the central theme of Shor- the sound around us.

    Aazaad

    Aazaad has Atul Kulkarni as its protagonist. It is about a father son relationship and is set in the present day India. Mentored by Mira Nair, it is directed by her associate Rahul V Chittella.

    Aamer

    Aamer is a 10 year old deaf boy helping his mother sell flowers. Though he can’t hear, he relishes the life around him till one day his mother has saved enough to buy him a hearing aid. The world around him changes but he is not quite prepared for the din he hears. Luckily for Aamer, he can control the noise by reducing the volume knob on his hearing aid or just turn it off totally. Mentored by Zoya Akhtar, the short is directed by Amira Bhargava.

    Decibel

    Decibel is ironic as well futuristic in that  the protagonist is in an age when the sound is totally banned beyond a certain decibel level and the one breaking the law faces severe consequences. Having moved to the city, this girl can’t sleep without sound. She checks into a remedial facility where one is treated for a soundless sleep. However, she ends up breaking the rules each time. Mentored by SriramRaghvan, the feature is directed by Annie Zaidi.

    Yellow Tin Can Telephone

    Yellow Tin Can Telephone is about a girl with overdeveloped sense of hearing and a boy who has the similar sense of colour. While she finds the world around her too noisy and wants to live in a soundless world, for the boy things are too colourful and he prefers to live in a black and white world. Mentored by Homi Adajania, it is directed by Arunima Sharma.

    Hell O Hello

    Hell O Hello deals with the world of consumerism and takes a comic approach. Here, two competing mobile phone salesmen try to convince a seemingly vulnerable buyer with the sales peach, he subjected to all sorts of lies and the noise created around him. And, while all this is going on, the consumer has no voice at all! Mentored by Shyam Benegal, the film is directed by Pratik Rajen Kothari.

    Mia I’m

    Mia I’m is about a girl from North East who becomes the victim of an MMS after falling in love with a boy. Her exploitive MMS follows wherever she goes. She gets rid of what her so called lover loved the most about her, her splendid mop of hair. She than vents her anger through music and works on altering her life. Mentored by Imtiaz Ali, it is directed by Satish Raj Kasireddi.

    Dhvani

    Dhvani is about a man confined to a solitary prison and awaiting his turn to gallows. His only companion here is total silence and before he is hung, he has just one wish. He wants to feel the world away from this silence around him. The film has Sanjay Mishra as its protagonist.

    Mentored by Nagesh Kukunoor, it is directed by Supriya Sharma. The films here have quite a bit of relevance in modern life and identification for the viewer. While they may not hold sway at the box office, they are a must watch for talent scouts.

    Producers: Humara Movie in association with Amazon Prime.

  • Befikre…..Where is the script?

    Befikre…..Where is the script?

    MUMBAI: Aditya Chopra directs a film once every few years. His latest, c, his fourth film as a director and in 21 years, comes eight years after his last essay at direction, Rab Ne Banadi Jodi. What looks obvious in this film is Aditya’s determination to stay with times and the now-generation. While attempting this, he seems to assume a lot about the now generation.

    The story has a Paris backdrop and the Indian love story gets the French treatment. The titles of the film are devoted to people kissing, from young to old and even kids locking lips as if wanting to make it to some sort of record book. After that, it pits a typical Delhi boy, Ranveer Singh, against an Indian girl, Vaani Kapoor, who claims to be French in that while her parents are Punjabi Indian, by virtue of her being born and brought up in France, she is French.

    Ranveer’s character is a standup comedian who has been invited to France by a friend to help salvage his pub. Ranveer is expected to draw the Desi crowd to the place with his antics. The whole of Paris seems to drink, sing and dance and, during his off time, Ranveer loves to visit these soirees and ogle at girls. He has heard about free flowing love in France and is keen to score and make the most of the free love.

    After rebuffed by a few, he meets Vaani who seems to be the girl about town, knows everybody around. She is a tourist guide, works at her father’s restaurant during her day off and believes in living it up. She is also off boys just having come out of a relationship. Ranveer, however, charms his way through and wins a date with her.

    The duo go around town and end up in the bed by the nightfall and, come tomorrow, Vaani decides to move in with Ranveer much to her parents’ dismay. Their understanding is tacit: No ‘love shuv,’ emotions or attachment; only companionship and sex. The film starts with the couple fighting and parting ways.

    What follows thereafter is the narration alternating between when they met and their time together and the present moment. There is no story to tell. But, as the script would have it, they both keep bumping into each other. They continue to have fun. The problem here is that, their idea of fun does not coincide with viewers’ idea of fun. The proceedings are loud for no reason till louder still songs popup.

    As if as an afterthought, the maker seems to realize that this is no fun and there is a need for some notion of a story. Hence, though they are officially separated while also doing things together, a third angle comes in. Vaani has dated a young banker, Armaan Ralhan, also of Indian origin. After a couple of dates with Armaan, Vaani decides to tie the knot and settle down. As if in a rebuff, Ranveer instantly finds a French girl, Julie Ordon, to marry her.

    Befikre has nothing in the name of a story or script. Events and songs happen at random. Direction is mainly about visuals, though mostly night shoot, the festive spirit is captured well as all of the Paris seems busy indulging. There is little of romance as in traditional way and all the fun on screen fails to reach the viewer. The editor has no scope here. Songs are good and peppy but placed without creating situations for them. Cinematography is very good. Choreography is excellent.

    Ranveer Singh has created a considerable fan following because of his couldn’t care less public image and here he does the same but goes overboard with diminishing effect. The one time the audience reacts to his antics is when exhibits his bare backside. Vaani Kapoor is not quite cut out to be a heroine, less so in a romantic film. With her lanky, odd figure the femininity falls short. Rest in the cast are incidental without scope.

    Befikre could have been a wholesome youth oriented musical fun film with a better script. Instead, it is a banal and loud tomfoolery. The film has garnered a fair opening at select multiplexes in metros which is not expected to carry on.

    Director-Producer: Aditya Chopra.

    Cast: Ranveer Kapoor, Vaani Kapoor.

  • Befikre…..Where is the script?

    Befikre…..Where is the script?

    MUMBAI: Aditya Chopra directs a film once every few years. His latest, c, his fourth film as a director and in 21 years, comes eight years after his last essay at direction, Rab Ne Banadi Jodi. What looks obvious in this film is Aditya’s determination to stay with times and the now-generation. While attempting this, he seems to assume a lot about the now generation.

    The story has a Paris backdrop and the Indian love story gets the French treatment. The titles of the film are devoted to people kissing, from young to old and even kids locking lips as if wanting to make it to some sort of record book. After that, it pits a typical Delhi boy, Ranveer Singh, against an Indian girl, Vaani Kapoor, who claims to be French in that while her parents are Punjabi Indian, by virtue of her being born and brought up in France, she is French.

    Ranveer’s character is a standup comedian who has been invited to France by a friend to help salvage his pub. Ranveer is expected to draw the Desi crowd to the place with his antics. The whole of Paris seems to drink, sing and dance and, during his off time, Ranveer loves to visit these soirees and ogle at girls. He has heard about free flowing love in France and is keen to score and make the most of the free love.

    After rebuffed by a few, he meets Vaani who seems to be the girl about town, knows everybody around. She is a tourist guide, works at her father’s restaurant during her day off and believes in living it up. She is also off boys just having come out of a relationship. Ranveer, however, charms his way through and wins a date with her.

    The duo go around town and end up in the bed by the nightfall and, come tomorrow, Vaani decides to move in with Ranveer much to her parents’ dismay. Their understanding is tacit: No ‘love shuv,’ emotions or attachment; only companionship and sex. The film starts with the couple fighting and parting ways.

    What follows thereafter is the narration alternating between when they met and their time together and the present moment. There is no story to tell. But, as the script would have it, they both keep bumping into each other. They continue to have fun. The problem here is that, their idea of fun does not coincide with viewers’ idea of fun. The proceedings are loud for no reason till louder still songs popup.

    As if as an afterthought, the maker seems to realize that this is no fun and there is a need for some notion of a story. Hence, though they are officially separated while also doing things together, a third angle comes in. Vaani has dated a young banker, Armaan Ralhan, also of Indian origin. After a couple of dates with Armaan, Vaani decides to tie the knot and settle down. As if in a rebuff, Ranveer instantly finds a French girl, Julie Ordon, to marry her.

    Befikre has nothing in the name of a story or script. Events and songs happen at random. Direction is mainly about visuals, though mostly night shoot, the festive spirit is captured well as all of the Paris seems busy indulging. There is little of romance as in traditional way and all the fun on screen fails to reach the viewer. The editor has no scope here. Songs are good and peppy but placed without creating situations for them. Cinematography is very good. Choreography is excellent.

    Ranveer Singh has created a considerable fan following because of his couldn’t care less public image and here he does the same but goes overboard with diminishing effect. The one time the audience reacts to his antics is when exhibits his bare backside. Vaani Kapoor is not quite cut out to be a heroine, less so in a romantic film. With her lanky, odd figure the femininity falls short. Rest in the cast are incidental without scope.

    Befikre could have been a wholesome youth oriented musical fun film with a better script. Instead, it is a banal and loud tomfoolery. The film has garnered a fair opening at select multiplexes in metros which is not expected to carry on.

    Director-Producer: Aditya Chopra.

    Cast: Ranveer Kapoor, Vaani Kapoor.

  • Kahaani 2: Durga Rani Singh……Predictable story

    Kahaani 2: Durga Rani Singh……Predictable story

    Sequel is a misnomer for films using a similar or the same title as an older film including, surprisingly, not always successful ones. The use of an old title and, if possible, the protagonist from the earlier film seem to suffice. In Kahaani 2: Durga Rani Singh, the common factor as in Kahaani (2012) is the lead actor, Vidya Balan, and the film’s West Bengal backdrop. Rest has no connect with the earlier.

    Kahaani 2 deals with the much-debated issue of child abuse.

    Vidya Balan’s character has a paraplegic daughter, Tunisha Sharma, in her early teens who she has promised to protect till she is alive. Both lead a quiet life in a distant village in West Bengal. Her time is divided between her job and looking after her daughter. Her only wish is to take her daughter to the US for treatment so she can start walking again as she did earlier.

    Tunisha also has a past that gives her nightmares. Tunisha has been a victim of child abuse when she was six (played by Naisha Khanna).

    Arjun Rampal, the newly transferred cop from Kolkata, enters the scene. As Arjun delves into Vidya’s diary it emerges that Naisha is an orphan in care of her uncle and granny. And, there is something about her family that is making her uncomfortable. Vidya takes it upon herself to rescue the girl.

    Rampal has a reason to keep the case away from police record and his seniors.

    Kahaani 2 is thoroughly a script of convenience. It is predictable and leaves a few things unexplained at the end. Since it uses the title Kahaani, the comparison is inevitable and, to say the least, this one falls way short of the original.

    It is a VidyaBalan film but she is not seen doing any daring-dos here as would be expected Naisha Khanna is impressive. Tunisha does not have much to do and passes muster. Rampal is good. Jugal Hansraj and Tota Roy Chowdhary are okay in support.

    The film keeps the viewer engrossed through its first half, but it tends to get repetitive in the later half. What works to some extent is the film’s ‘please all’ climax. With a solo release and coming as it does following a trail of poor films recently, Kahaani2: Durga Rani Singh was expected to take a decent opening which has not happened. In absence of initial curiosity, the film stands poor chances at the box office.

    Producers: Kushal Kantilal Gada, Dhaval Jayantilal Gada, Aksshay Jayantilal Gada and Sujoy Ghosh.

    Director: Sujoy Ghosh.

    Cast: Vidya Balan, Arjun Rampal, Tunisha Sharma, Naisha Khanna, Tota Roy Chowdhary, Jugal Hansraj.

  • Kahaani 2: Durga Rani Singh……Predictable story

    Kahaani 2: Durga Rani Singh……Predictable story

    Sequel is a misnomer for films using a similar or the same title as an older film including, surprisingly, not always successful ones. The use of an old title and, if possible, the protagonist from the earlier film seem to suffice. In Kahaani 2: Durga Rani Singh, the common factor as in Kahaani (2012) is the lead actor, Vidya Balan, and the film’s West Bengal backdrop. Rest has no connect with the earlier.

    Kahaani 2 deals with the much-debated issue of child abuse.

    Vidya Balan’s character has a paraplegic daughter, Tunisha Sharma, in her early teens who she has promised to protect till she is alive. Both lead a quiet life in a distant village in West Bengal. Her time is divided between her job and looking after her daughter. Her only wish is to take her daughter to the US for treatment so she can start walking again as she did earlier.

    Tunisha also has a past that gives her nightmares. Tunisha has been a victim of child abuse when she was six (played by Naisha Khanna).

    Arjun Rampal, the newly transferred cop from Kolkata, enters the scene. As Arjun delves into Vidya’s diary it emerges that Naisha is an orphan in care of her uncle and granny. And, there is something about her family that is making her uncomfortable. Vidya takes it upon herself to rescue the girl.

    Rampal has a reason to keep the case away from police record and his seniors.

    Kahaani 2 is thoroughly a script of convenience. It is predictable and leaves a few things unexplained at the end. Since it uses the title Kahaani, the comparison is inevitable and, to say the least, this one falls way short of the original.

    It is a VidyaBalan film but she is not seen doing any daring-dos here as would be expected Naisha Khanna is impressive. Tunisha does not have much to do and passes muster. Rampal is good. Jugal Hansraj and Tota Roy Chowdhary are okay in support.

    The film keeps the viewer engrossed through its first half, but it tends to get repetitive in the later half. What works to some extent is the film’s ‘please all’ climax. With a solo release and coming as it does following a trail of poor films recently, Kahaani2: Durga Rani Singh was expected to take a decent opening which has not happened. In absence of initial curiosity, the film stands poor chances at the box office.

    Producers: Kushal Kantilal Gada, Dhaval Jayantilal Gada, Aksshay Jayantilal Gada and Sujoy Ghosh.

    Director: Sujoy Ghosh.

    Cast: Vidya Balan, Arjun Rampal, Tunisha Sharma, Naisha Khanna, Tota Roy Chowdhary, Jugal Hansraj.