Tag: Mohan Agashe

  • ‘Dum Laga Ke Haisha’….Missing audience

    ‘Dum Laga Ke Haisha’….Missing audience

    MUMBAI: Dum Laga Ke Haisha is very unlike a Yash Raj Films product. It gives you nothing of that finesse most of their films boast of. What’s more, Bhumi Pednekar, who makes her debut with this film, is not the kind who can become a heartthrob of young men. She is not the traditional slim, stylish, chiffon clad actress Yash Raj women are identified with. Also, unlike most of their films, this one is about a traditional middleclass family based in a small town Haridwar of mid 1990s.

    Ayushmann Khurrana, the only son of Sanjay Mishra, looks after the family tape recording shop but is a zero when it comes to studies and is deficient in English. He is a huge Kumar Sanu fan. He is shy and terrified of his dominating father. His father has decided it is time to get him married and the match is found in Bhumi, a fat chubby girl who loves to dance and never wears clothes that match. However, she is better qualified and ready to become a teacher.

    The marriage is performed notwithstanding Khurrana’s reluctance. The first night draws a blank and Bhumi starts working on attracting Khurrana towards her. Her first stop is a lingerie shop. Let alone loving her, Khurrana is even ashamed of the fact that she is his wife. But Bhumi is determined and not the kind to take taunts and insults as she gives it back to Khurrana’s aunt and also ends up slapping Khurrana when she hears him insult her behind her back. Bhumi has had enough and is ready to return to her parents.

    Producer: Manish Sharma

    Director: Sharat Kataria

    Cast: Ayushmann Khurrana, Bhumi Pednekar, Sanjay Mishra

    The dual continues as both miss no opportunity to make each other conscious of their problems. There is a scene where she plays the tape with a song to provoke Khurrana and he on his part comes out of bathroom with soap all over him to play another song to give it back to her. This turns out to be a medley of old songs. And there are times when Khurrana finds it tough to balance his scooter with Bhumi on the pillion.

    The story may not find identification with today’s audience initially but its simplicity may finally touch them. The director makes sure he keeps it as simple and maintains its old-fashioned native flavour. However, one thing that stands out as an eyesore is Khurrana’s dressing; there is nothing native about it as his costumes are dandy. Anu Malik stages a comeback and with him come some sensible lyrics and soulful tunes in ‘Moh moh ke dhage….’ As Kumar Sanu gives other two songs, ‘Dard karaara…’and ‘Tu’ the ‘90s feeling. The dialogue has subtle humour. The film is 111 minutes long and becomes more lively post interval.

    Khurrana is good in a subdued role. Bhumi is impressive. Sanjay Mishra, as usual, stands out. The rest are good as supporting cast.

    Though watchable, Dum Laga Ke Haisha has not been given due publicity and has opened poorly with very little chance of catching up.

     

    Ab Tak Chhappan 2’.. Ab tak enough!

    Ab Tak Chhappan 2 as the title suggests is a sequel to Ab Tak Chhappan, released 11 years back to the day (27 February, 2004). This also suggests that the sequel has come too late as the theme of specialist police shooters, called encounter specialists, has passed its expiry date and is no more relevant. Also, so many bullets have been fired since by all and sundry (good as well as bad) that a gun-toting cop is no longer exciting.

    Nana Patekar is encounter specialist Sadhu Agashe, is facing court cases for unsanctioned killings of criminals. He is happy whiling away his time fishing, making meals for his teenaged son and playing marbles in his native village somewhere in Goa. The criminals have resurfaced and there is chaos in the city of Mumbai. The ex-commissioner, Mohan Agashe, is summoned by CM Dilip Prabhavalkar and HM Vikram Gokhale, during whose tenure as police chief the encounter specialist team was formed and underworld reined in.

    Agashe suggests Nana be brought back even as two other senior cops, Ashutosh Rana and Govind Namdeo, disagree with the idea. For his part, Nana too is reluctant despite an offer to withdraw all litigation against him. However, his son convinces him finally to go back since he is a cop and not a fisherman.

    Producers: Raju Chadha

    Director: Aejaz Gulab

    Cast: Nana Pateka, Gul Panag, Mohan Agashe, Govind Namdev, Raj Zutshi, Vikram Gokhale, Ashutosh Rana

    So Nana is back heading the force with a very resistant Rana as an enemy within. It is business as usual as Nana goes on a shooting spree, killing a goon first and then telling the viewers about the deceased. They are just dummies. But, the joke is about the two dons who rule over Mumbai underworld; one is a suave, computer-wiz Raj Zutshi, holed up somewhere abroad because he is scared of his rival, a nondescript actor, who may just pass off as a street side gunda, least of all a big time don!

    As has been reported often, these specialists also work on behest of dons and that happens in this story too as it did in the earlier version 11 years back. Nothing is new. Nana’s wife was shot dead in part one, this time his son falls to the villains’ bullets. That is the final push he needs.

    However, there is an effort to salvage the already sunk plot; this is not just another cop story, there is a twist though a very predictable one from reel one. There is a greedy politician pulling strings.

    Ab Tak Chhappan 2 is built on a wrong premise: just about everything about it is misconceived. The script is run of the mill and the direction is copy book; nothing original or inspirational. Camera angles are corny. Thankfully, there are no songs and the background score is okay. Despite a tolerable 105-minute duration, the film gives the feeling of being lengthy; some crisp editing could have brought it down to maybe 90 minutes.

    Dialogue is very tacky. There is no scope for performances and Nana sticks to being Nana. So do Rana and Namdeo, who stick to their routine. Gul Panag, whose character is forced in, is a misfit and miscast. Prabhavalkar has little to make an impact. The only actor who makes his presence felt is Gokhale.

    Ab Tak Chhappan 2 has had a miserable opening and may find it hard to last the week.

     

  • London Indian Film Festival to screen Marathi film ‘Hemalkasa’

    London Indian Film Festival to screen Marathi film ‘Hemalkasa’

    NEW DELHI: Jeffrey Brown’s film Sold and Samruddhi Porey Marathi film Hemalkasa will be the opening and closing films, respectively, of the 2014 London Indian Film Festival.

     

    In the festival to be held from 10 to 17 July, Sold will mark the European premiere while Hemalkasa will mark its world premiere.

     

    Featuring Nana Patekar, Sonali Kulkarni and Mohan Agashe, Hemalkasa is a biopic that follows the selfless journey of Dr Prakash Baba Amte and his wife Dr Mandakini Amte who dedicated their lives to a project for the development of tribal people of Maharashtra.

     

    Praveen Morchhale’s Barefoot to Goa, Amit V Masurkar’s Sulemani Keeda, Shilpa Ranade’s animation film Goopi Gawaiiya Bagha Bajaiiya, Anup Singh’s Qissa, Kaushik Ganguly’s Apur Panchali and KR Manoj’s Virgin Talkies are some of the well-known films that will be screened at the festival.

     

    Million Dollar Arm by Craig Gillespie which will have its British premiere is the Centrepiece, while Hank aur Asha by James E. Duf and Sulemani Keeda (Writers) by Amit V Masurkar are other films among the 18 features to be screened.

     

    The Kannada Ulidavaru Kandante by Rakshit Shetty, Bangladeshi director Munsur Ali’s Shongram and Pakistani film Anima State by Hammad Khan are also being screened among others.

     

    In addition, there will be a Satyajit Ray Foundation’s Short Film Competition.

     

    There will be master class by the renowned Santosh Sivan and a screen talk by Farhan Akhtar. 

  • Subhash Ghai to get Lifetime Achievement Award at Delhi International Filmfest

    Subhash Ghai to get Lifetime Achievement Award at Delhi International Filmfest

    NEW DELHI: Even as the entries for the third edition of the Delhi International Film Festival (DIFF), to be held in December this year, were called for, one thing which is clear is that versatile showman Subhash Ghai will be honoured with the Lifetime Achievement Award at the Festival.

     

    The Minar-e-Dilli Award is proposed to be presented to Ghazal Maestro Gulam Ali, and Pakistan is expected to be the partner country for the festival to be held from 20-27 December.

     

    DIFF 2014 is an initiative by “The Social Circle, A Society for Cause and – A step toward inclusiveness” to showcase the best of Cinema, Art and Literature from across the globe.

     

    Started in 2012, the advisory board for this festival is headed by Dada Saheb Phalke awardee Adoor Gopalakrishnan. Working closely with him are some of the greats of Indian Cinema including the national award winning directors Tigmanshu Dhulia, Anurag Kashyap and Anooj Kapoor, Mohan Agashe, Manoj Bajpai, Mandira Bedi, Shriram Raghwan, Jimmy Shergill, N. Chandra, Sandeep Marwah, Shailesh Lodha, Yashpal Sharma and Arvind Gaur, apart from Satish Anand from Pakistan.

     

    Now in its third edition, the festival hopes to showcase 200 films from around 45 countries as against 170 in the previous years.

     

    The earlier editions also showcased 100 paintings and sculptures from India. The two editions also had a literature section with 100 NRI poets displaying their work at the venue. The second edition of the festival saw the addition of Fashion, Singing, Band events and Sufi night by Nizami Brothers, thus making DIFF the only festival in the world with so many sections and live events every evening during the seven days of the festival.

     

    The other events during the festival include ‘Band of the Year’ with participation of more than 25 bands from all over India; ‘Singer of the Year’, a tribute to Mohammed Rafi, ‘Face and Designer of the Year’, daily seminars and workshops and book launches on various aspects of cinema, art and literature.

     

     To promote cinema, art and culture, the festival has associated itself with French and Israeli Embassies in New Delhi along with HUNERKADAA, well known Visual Arts and Performance Institute and EVEREADY GROUP, one of the leading film distribution company from Pakistan.

  • ‘Goynar Baksho’ gets nominated in New York Indian Film Festival

    ‘Goynar Baksho’ gets nominated in New York Indian Film Festival

    KOLKATA: Bengali film ‘Goynar Baksho’ by acclaimed filmmaker Aparna Sen has made it to the prestigious New York Indian Film Festival (NYIFF), vying for honours in three main categories.

     

    The movie focuses on oppression of widows and women emancipation and has been nominated in the Best Film, Best Director and Best Actress categories.

     

    NYIFF is the oldest and most prestigious film festival screening premieres of feature, documentary and short films made from, of and about Indian subcontinent in the independent, art-house, alternate and diaspora genres.

     

    Apart from Aparna, Anurag Kashyap, Rahul Bhatt, Mohan Agashe, Gurinder Chadha, Shahana Goswami, Madhur Jaffrey, Sakina Jaffrey are also slated to attend the festival this year.

     

    The six-day festival which started on 5 May, will showcase a total of 34 films.

  • ‘Maximum’ stress on ones senses

    ‘Maximum’ stress on ones senses

    MUMBAI: In his earlier film Saher, director Kabeer Kaushik took Hindi filmmaking to Lucknow and made a reasonably plausible film. Why the film did not work should have dawned on him though. In Maximum, he imports Lucknow to Mumbai and comes up with a film which has no beginning and an end which makes no sense, with two senior policemen shooting each other in the finale!

    There are no preambles, no once upon a time. As the film Maximum opens, you have this trigger happy policeman, Sonu Sood, shooting at all and sundry with glee. But all cops are normal at home, so we get to meet his family. He has a doting wife (Neha Dhupia), a daughter who can‘t manage her shoelaces and a father (Rajendra Gupta) who adds pathos and human angle to the story by suddenly collapsing of a heart attack.

    Whatever one can understand of the story in the film is that Sonu Sood is a be-all and end-all of cops. He is an encounter specialist of the post-2003 police force of Mumbai and everybody, from fellow cops to politicians to underworld goons to starlets, is scared of him because he has a license to kill and no explanations are sought. He has but one adversary in Naseeruddin Shah, another senior encounter specialist, who wants to be in the place Sonu Sood enjoys. Both have a lobby supporting them, either within the police force or among politicians and builders. Finally, both end up shooting each other at, of all the places, Valsad railway station in Gujarat. The maker has a fascination with trains or probably that is how he defines the pace of life in Mumbai for a scene or sound of local trains is ubiquitous in the film.

    The film is a reunion of Lucknow alumnus in Mumbai in that Sonu Sood is from Lucknow; his dad, Rajendra Gupta, is a professor from Lucknow who has dropped in on Sonu Sood to die on him; politician Vinay Pathak is from Lucknow (and conveniently an ex-student of Rajendra Gupta) and then there is a news channel reporter, also from Lucknow, who is, according to the film, the only and the star reporter on Mumbai‘s TV scene.

    But, then there is a Lucknow reunion wrecker in Naseeruddin Shah. His antecedents are not deemed necessary to be established. He just pops up to spoil Sonu Sood‘s party. It seems that there is a rivalry between Sood and Shah over the body count of the encounter killings both have executed. Both cops, however, have one thing in common; they owe loyalty to opposing politicians, shooting unidentified extras in the day, mingling with big builders in the evening and dancing and making merry with nautch girls in bars at night. That, in general, is the sketch of Mumbai encounter cops for you.

    There is no definite villain in the film. It is about the game of one-upmanship between two cops, two politicians and two builders and that too is given without dwelling on details. As the two cops play their games, Sood has the backing of Vinay Pathak and the news reporter, Aman Sadh, while Naseeruddin Shah has the backing of the all powerful home minister, Mohan Agashe. Someone had to give and it is Pathak who betrays Sood leading to final bloodbath culminating in both policemen killing each other in their fight for supremacy.

    Maximum has no coherent script and comes across more as a live telecast of two warring cops. The story telling skill has been done away with. If the film is trying to tell two facets of a policeman when Sood is a caring husband, son and father at home, it is not relevant or of interest in any way. There is no scope for music but an item number has been forced in and wasted. Sonu Sood performs well but it is pointless as you don‘t know whether he is a hero or an antihero. Naseeruddin Shah has been miscast.

    Vinay Pathak is convincing as a sweet-talking politician. Rajendra Gupta and Neha Dhupia, brought into contribute domesticity to the story, fail to do that as their parts are superficial. Neither dialogue not editing are appealing. The film, even at 106 minutes, is maximum stress on ones senses.

    As for the box office prospects, Maximum has none.