Zanjeer - The Birth of The Angry Young Man

What made Zanjeer such a blockbuster despite the fact that odds were absolutely against it from the very start ? For starters it had Amitabh bachchan who had a made a name for himself then as a good character artist with films like anand and Reshma Aur Shera but had delivered 7 back to back flops as lead. The film was rejected by top stars like Dev Anand owing to the violent theme which supposedly did not work with an Indian Audience. Then what element in Zanjeer not only made it so successful but also started the rebellion movement in bollywood that was later capitalised by films like Yash Chopra's Deewar and Trishul ?.

Directed By Prakash Mehra Zanjeer is about Inspector Vijay (a name still associated with Mr Bachchan) and honest police officer with a volatile temper and a scarred past. His hard handed dealings lands him in an uncanny friendship with reformed criminal Sher Khan (Pran) and in the bad books of Criminal kingpin Teja. Vijay is framed on false charges and how he gets back at the villains forms the crux of the film.

On the outset 40 years down the line this seems done to death. but in 1973 where heroes were more bothered with their pairings and running around trees, Zanjeer became a breath of fresh air. What is most important is the political climate of India during that time. Economic growth was at an all time low and the average man was of no worth. Government was corrupt and power hungry and a state of emergency had drowned all hopes for the common man. In the midst of all this Vijay Khanna comes to screen with his furious temper and strict moral code and the common man had found his medium. Vijay Khanna became the symbol of revolt. The man who would fight the system to keep it intact and India had finally found a hero    The smoldering look owing to Bachchan's amazing acting skills and that heavy baritone became iconic overnight. My father tells people would go upto Amitabh bachchan and aks him to repeat the scene where he thrws Sher Khan out of his office, All of it is proof that what the common man couldn't do in reality it wanted to see on the silver screen.

The iconic scene where Vijay Khanna tells Sher Khan " jab tak baithne ko kaha na jaaye, khare raho...ye mera office hai tumhaare baap ka ghar nahi" is still played over and over again and is recieved by seetis and taali's


 While Pran was the bigger star during that period Amitabh Bachchan took away all the praise for one simple reason - it is because he successfully became the embodiment of the people. Angry, ready to fight, impulsive.And thus was born the Angry Young Man
An image India still associates with Amitabh Bachchan and the film Deewar. But its safe to say it was born with this film. Zanjeer - The shackles of the system that needed strong hands to break.

Considering the times of corruption that we live in now, it is apt that this very film is being remade but the magic of it cannot be made again. Because that baritone and that look is something people have tried and tried but failed to achieve.

Zero Dark Thirty (2012)

Directed By - Katheryn Bigelow

Starring  - Jessica Chastain, Jason Clarke, Joel Edgerton

One of the first things you wonder after you finishing seeing the film is that how Bigelow, whose directorial career was marked by glamorous and nonsensical mainstream cinema, has turned into such a skilled filmmaker. Every scene, every frame of ZDT  is gritty and recieves that golden touch that we saw in The Hurt Locker (2008). Marlon Brando had once commented ' Women can be the most ruthless filmmakers' , how right he was! Bigelow delivers a ruthlessly violent and unapologetic film about what will possibly go down  as the greatest manhunt in history and she no has no qualms in potraying in particular the 'questionable' methods by which the people involved achieved it. It is what i'd like to call controversially beautiful.

ZDT starts off with a series of authentic victim recordings from the WTC on the fateful morning of September 11, 2001. The sense of despair is heightened by the fact that the screen is kept pitch black The film then jumps to 2003 where we see Maya (Chastain) a fresh CIA recruit starting work in  a 'black site' in Pakistan. She is under the charge of Dan a ruthlessly efficient CIA veteran. Dan has detained Ammar ( Trivia  - the man who had helped with minor arrangements for the hijack and is currently in US custody). Dan subjects him to humiliation and torture involving waterboarding and they finally trick him into revealing information on Osama's courier. The trail of the courier is what the film follows for the next 6 years until a chance encounter in Abottabad finally leads them to the end of the tunnel.

Everyone who intends to watch this film does not require any knowledge about the manhunt. Although is you are well read about it, the film becomes that much more interesting. Its extremely well researched. I have a lot of time reading (some would say obsessing) up on America and it political actions, CIA has always been on top of the list and yet i was amazed to find how Bigelow has infused major events like the Camp Chapman Attack (one of the most gruelling attacks on CIA) and the Marriot hotel bombing in Islamabad to the manhunt. Now you have to take her on face value and believe that these events were linked but the way she portrays it leaves no doubt that they had something to do with it. In all, Its a Watertight script.

One of the most interesting facts about this film its not a heroic potrayal of an agency's (an agent in particular) effort to deliver justice much like Steven Spielberg's Munich (no credit taken, it was a brilliant film) and nor is it very matter of fact. You almost feel like you are then agent yourself. You are frustrated when all roads lead to nowhere, excited when you hit a jackpot and downright nervous in the brilliantly shot climax where Operation Neptune Spear is portrayed in its full glory. Bigelow involves you and engrosses you.

Also what is fantastic are the emotional bits. The frustration of Maya who has given over a decade of her life in a mission that her country was fast losing interest in. The grit and determination of the task force that carried out the killing, the nail biting tension of the CIA who knew it was a long shot are some of the example  of a film that is filled with such moments.

Of the cast, Clarke is amazing as CIA agent Dan. Its a calculated performance and is the true potrayal of a spy. He does not own slick gadgets and roam doing action stunts. He is an everyday man, except he's on a mission. But its undoubtedly Chastain as Maya who steals the show. In one word - she is charismatic. Seldom you see such a powerful potrayal but such an underplayed execution. She almost reminds one Meryl Streep, and that's saying a lot. You almost become her and feel every pulse of emotion through the roughly 2 hour 45 minute film.

For all who have been wondering about the climax - trust me its all that it promises to be. Its almost a documentary like picturisation of 2 hour long operation (cut to roughly 30 minutes) and the final scene of the film showing Maya leaving pakistan to finally lead a life that she is unsure she'll ever be able to enjoy is a true highlight of Bigelow's genius.

In all, Bigelow has once hit the bulls eye with a consistently accesible and gritty potrayal of America best guarded secret. She just might spoil Spielberg's party at the Oscars

Rating - 9.5/10

Race 2 (2013)

Directed  By - Abbas Mustan

Starring - Saif Ali Khan , John Abraham, Anil Kapoor, Deepika Padukone, Jacqueline Fernandez, Ameesha Patel, Aditya Pancholi

A trailer of a Sajid Khan film (Himmatwala) welcomed us as we entered the hall. It was let's just say - sad. I was reminded of the familiar saying ' morning shows the day' but chose to shrug it off. Roughly 2 and a half hours later, morning did show the day

Abbas Mustan (the iconic white wearing brothers) have come up with yet another stylish multistarrer and it has all the standard ingredients of their brand of films  - scenic locations, thrilling chases, twists and turns and scintillating women. But much like their previous venture 'Players', Race 2 lacks sense and seems like a mish mash of too many hollywood action flicks. The thrills are old school, you can see the twists from a mile away and some parts are really very childish.

Race 2 starts off like its predecessor -  a car blast and in textbook Abbas Mustan style you are kept glued and clueless about the proceedings for the first half an hour. New characters are introduced like Armaan Mallik (Abraham) a streetfighting mafioso turned casino magnate whose obsession with money is stuff of legends. His step sister Alina (Padukone) who can be equally ruthless when it comes to cash. And his girlfriend Omeesha (Jacqueline) an ex thief turned archery, fencing enthusiast. In the midst of all this is Saif Ali khan resuming the character of Ranveer who offers Malik a chance for a huge profit but has a hidden agenda and his partner from the earlier flick RD ( Kapoor) and his dim witted and horny new assistant Cherry (Patel).

As sides change and betrayal and survival turn synonymous, how Ranveer wins the race is what the film is about. 

One of the best things about Race was you were truly impressed by the twists. Its not like they were unfathomable but they were unexpected on some level. Apart from that competent performances from the lead actors also helped. The biggest problem with Race 2 is that it just tries to rehash the old idea and most of the twists seem forced and illogical. Why is it that when indian filmmakers find a hit idea they do not want to let go and reinvent?. Revenge is best served cold says Saif ali khan in the film, well Ideas arent best served stale. 

In its defence Race 2 has that odd gripping scene. For example a heist that Ranveer pulls off while Abraham fights a life or death wrestling match in the cage. The heist for one has surprising attention to detail and what can i say about Abraham and an action scene. With that sculpted physique its like they are made for each other.  But such moments are few and far in between. The humour is the film is pretty good. A special mention for Anil Kapoor and Ameesha Patel, they are genuinely funny and Kapoor's sick jokes do make you laugh. There is enough body show to extract a million wolf whistles from a single screen crowd. The actions sequences have been there seen that feel and as i said the twists can be caught by a 5 year old with a basic knowledge of secret seven. The film also has smart one liners. One particular favourite - Ranveer and Omeesha have an impromptu fencing bout, which Ranveer seemingly loses. After gaining a promise from the lady that she'll meet him for drinks later that night, he says ' Main abhi jaata hoon aur palat ke nahi dekhunga varna tum sharma jaogi'. As soon as he starts walking off her dress strips open and you see a ghost of a smirk on his face. Rest assured, the crowd went wild (and no, you dont get a  peek). 

Of the cast, Saif Ali Khan does well as the steely Ranveer, he has the charm and the intelligence of the earilier film. No complains. Anil Kapoor actually does better this time, you wait for his scenes with Ameesha. Jacqueline and Deepika are good as far as the oomph goes but have nothing to do otherwise. John Abraham is disapponting. Well, that body is worth a salute. It takes determination to pull that off for 10 years. But his biceps and facial muscles seem to have no difference - hard and tight. He has screen presence and also the potential to do better. 

Abbas Mustan serve yet another 'thriller' but it seems to have been made alongside their previous dismal ventures from the past 2-3 years. You wonder where have the days of 'Baazigar' and "Daraar'  gone. Agreed all their films are rip offs but at least they were enjoyable.

 As far as Race 2 goes, its a thumbs down

Rating - 6.5/10 

Lincoln (2012)

Directed By - Steven Spielberg

Starring - Daniel Day-Lewis, Sally Field, Tommy Lee Jones,  David Straitham, Joseph Gordon Levitt

Spielberg's 'Lincoln" is not your everyday biopic. Its not about a man's struggle to reach the ultimate pinnacle of American Politics. Its not about his philosophy and best of all its not preachy. Its the tale of an iconic President's last four months in the White House. What's most striking about the film is its relevance. Its a film about man's vision. His vision for a broader future, his vision for a truly 'United' states of America and in textbook Spielberg style its simple. For people like me (and i am sure there are very few) obsessed with the American Presidency, its just what you needed.

'Lincoln" traces the last four months of the President's term. From mid 1865 to his assassination. A time when America was torn apart by Civil War and one of the biggest challenges - slavery. The film starts of with Lincoln (Day-Lewis) visiting a battalion which comprises of 'colored folks' who seem to be proud of serving the nation despite their inferior status. Lincoln a strong advocate of equality finds the perfect oppurtunity to rid the country of racist issues and proposes to bring forward The 13th Amendment which abolishes slavery. As is the case, Lincoln meets severe criticism not only from the House of representatives but from his cabinet too. What heightens the situation is his wife who has been brought to the brink of insanity owing to the death of her young son and also the pressures of handling the white house in such critical times. Lincoln nevertheless marches forward aided by fellow republican and black-sympathiser Thaddeus Stevens (Jones). Along with his cabinet he shrewdly forges the House towards passing the bill. How he achieves this herculean feat is what the film traces.

Spielberg always does period films well. But with this one he has almost touched the benchmark that he set with cult film Schindler's list. The film flows smoothly, not once boring you and he depicts the inner and outer struggle of Abraham Lincoln with finesse. Spielberg's greatest weapon is his screenplay. Although not about lincoln's complete life story, you feel that its the best summary of the 16th President's life. Spielberg infuses humour and light moments to help show Lincoln's personality. One of the best scenes in the film is one featuring a war room meeting. While the entire room is brimming with tension about a renewed rebel attack, Lincoln starts off on a war joke to lighten the mood. Its classic. Lincoln also features one of the best castings in recent times. from Day-Lewis to Jones everyone fits in like a jigsaw puzzle. The debate scenes are beautifully filmed and avid debaters will find it particularly interesting. For a man who shifted from genres like sci-fi, to socio-dramas to biopic with ease, Lincoln is something top be proud of. Spielberg's genius is once again on display.

Of the cast, Sally field is commendable as the distraught First Lady. David straitham is pitch perfect as Secretary of State Seward. Jones delivers one of his most powerful portrayal's since 'The Fugitive', one could say his like a Robin to Day-Lewis's Batman. Jones is simply breathtaking as the liberal republican and his debating scenes in the parliament are awe inspiring. Talking about 'robin's', Joseph Gordon Levitt too chips in with an able performance. But the film undoubtedly belongs to amazingly versatile Day-Lewis. If you have read up on Lincoln extensively you'll know its a stellar performance. From the voice to crouched demanour to the easy attitude Day- Lewis seems like he was born to the role. Effortless in his execution and measured in potrayal. This should (definitely) fetch him his third Oscar,

In all, LIncoln is an interesting film backed by brilliant performances and most importantly the vision of one of the most visionary directors. Please, please, please dont miss this.

P.S - if you have ever read the Gettysburg Address, you should look forward to Day Lewis' rendition of it.

Rating - 9.4/10

Countdown 2012 II

Some of the films made this year were very offbeat, most of them didn't even have bankable stars and yet they managed to make a mark at the box office. It made me wonder whether there is a substantial audience for these kind of films, and if there is its a very good sign for the Indian Industry.

The best film list ranges from films with simplistic treatment to ones with complex screenplays.

An extremely difficult list to make, i have done the best i could.

Here's presenting you the pride of Indian cinema in 2012..

Best films of 2012

5. Vicky Donor

A sweet and simple film directed by the usually serious Shoojit Sircar had MTV man Ayushman playing a typical delhi-ite who after a chance encounter with Annu Kapoor, a fertility specialist, becomes a sperm donor. Thrown into this is his love story with bengali girl Ashima and the fierce cultural rift that ensues.  Smartly written and laced with quirky characters, this film drew you in from the word go. Sometimes keeping it simple is the best option

4. Barfi!

If there was ever any doubt about the talent of Ranbir Kapoor, it all evaporated with this wonderful, bittersweet film. Barfi traces the life of a deaf and mute over 40 years highlighting his failed yet not so failed love story with a pretty bengali girl and his understated,special bond with an autistic girl. Agreed, the film seemed to be dragging in the second half, but RK and Anurag Basu had infused enough charm into this one. Ranbir Kapoor has landed in the best actor favourites list of many awards functions, and it wont be too much of a surprise if he sweeps it all. Priyanka chopra too pitched with an exemplary performance.

3. Gangs of Wasseypur I&II

 

Anurag Kashyap's two part epic set in the badlands of India was a tale of vengeance between generations of gangsters. A heady combination of violence, lust and greed, tinged with humour and a thumping score this starless film scored big time at the box office. Evenly paced and gut wrenchingly funny in parts, GOW introduced to us the crackling talent of Nawazuddin Siddique. At 5'4 the man commanded the camera from the first frame in which he enters. Gritty performances from Manoj bajpai and Tigmanshu Dhulia also helped. 

One of the most commercial ventures undertaken by Kashyap, this bullet ridden saga was a winner. 

2. Kahaani

Sujoy Ghosh peaked with his debut film but lost his spark with no brainers like Alladin. He regained his name and fame with this deliciously taut thriller that the entire nation took notice of. A story of a pregnant woman who comes to Kolkata, the city of joy, in search of her missing husband kept us on the edge of the seat as it traversed many twists and turns. An ensemble cast featuring some of  the best talents of Bengal, the nation got a peek of  what actors from Kolkata are capable of. Whether it was Parambrata or Kharaj or Saswata (whose Bob Biswas became a legend) everyone aced their roles. Never has Kolkata looked better on screen. The solid storytelling of ghosh helped the film immensely. Shot in noir-ish style in a time of festivities in Kolkata, Kahaani was a display of strong performances and an even stronger direction.

1. Paan Singh Tomar

Irfan Khan is synonymous with versatility, add to that a director of Tigmanshu Dhulia's stature and you are sure to have fireworks. It is the amazing yet true story of a national athlete forced to turn into a dacoit. Shot with a rustic style, it potrayed an India not many of us can claim to know. Moving and amusing in equal measure, Irfan Khan keeps you hooked to this one. The man can express so much with his eyes. I was happy to see that this film did well at the box office. films of this kind need to be appreciated. As for me, this is undoubtedly the best film made this year. 

Others who failed to make the cut (but are amazing nonetheless)...

   

Talaash                                        Shanghai                       English Vinglish

The Countdown - 2012

For the past two years , i have been writing this article. I have never had much trouble finding the five best and worst films of a year. You always have that dedicated bunch of filmmakers who will serve you trash in the name of entertainment. Again, you always have a set of skilled filmmakers who give you your money's worth.
But 2012 is different for the simple reason that i had a huge list to edit (for the worst and best films). While you had renowned directors make a fool of themselves, you had newbies raising the bar. And of course the really bad ones who cant make a film to save their lives were also there (read shirish kunder).

Here's presenting you the shame of indian cinema in 2012.

Worst films of 2012

5. Jism 2

Pooja bhatt could have simple made a porn flick without taking the trouble of turning it into mainstream cinema. The most unintentionally funny film in recent times, the sequel to the Bipasha basu sizzler had an intelligence officer hire a pornstar to seduce a terrorist (!), although the entire world knows where he lives. The fact that a very busty Sunny leone was roped in for the movie was no plus, for obvious reasons...we've seen enough.

4. Joker

Shirish Kunder was seen going all guns blazing on twitter and talking about how a cvertain 150 cr flick lacked quality. Seems he forgot his filmography (which includes the preposterous jaaneman). A no brainer from the start to end, Joker had absolutely nothing in it. It was obvoius that it was a vain attampt by a star choreographer turned director to get her out of work and unskilled husband a job. Although Akshay kumar pitched in with a restrained performance, Joker had lost the game at its scrpiting stage itself.

3. Housefull 2

Sajid Khan famous for his big words and obnoxious taste in cinema (The man is remaking Himmatwala for god's sake) delivered his third film and has managed to appear for a third time in my worst films countdown. As i said some directors remain consistent. Unfunny, lacking logic and downright boring Housefull 2 much like many films of its kind roared at the box office garnering a cool 100 crores. But for those who have lived through this ordeal of a film know and understand the familiar hindiproverb  - "Paise paani mein bahaana".

2. Department

Sometimes i wonder what made RGV, maker of slick gangster flicks like satya and corporate, go drown the drain. There are confusing, this one makes you feel nauseous. A pointless film about gangsters, cops and politicians Department was a total disaster. And whats the deal with his bloody camera ?!. The most irritating   

feature in this film was the camera angle - which ranged from the item girls backside to sanjay dutt's armpit. 

1.  Rowdy Rathore 

Looking to continue the trend set by some elite bollywood personalities of remaking southern flicks Prabhudeva and his leading man Akshay Kumar forgot the one essential thing - the script was so bad that it was not ewven entertaining. Arguably the worst film to have been made in the past coule of years Rowdy Rathore had all the worng things - Over the top villains, laughable dialogues (Jo socha main mar gaya, woh saala arthi pe ghar gaya...seriously ?) and a hammy lead pair. What is most disappointing is that the film had such an impressive pedigree - Sanja Leela Bhansali as producer, Akshay Kumar as the hero, Prabhu deva as director and Nasser as the villain. 

If you have watched this one, my condolences.

If you havent, thank the lord.

Special mention - Players, Agent vinod, Raaz 3.

You will have the best five in another 24 hours. Watch this space for more.

Dabangg 2 (2012)

Directed By - Arbaaz Khan

Starring - Salman Khan, Sonakshi Sinha, Vinod Khanna, Arbaaz Khan, Prakash Raj

Before I start i would like to make it clear that i took all the necessary precautions needed for a Salman Khan film. I left my logic and brains in the hostel, ignored my knowledge of the laws of physics, did not expect a storyline. Frankly i just needed to enjoy myself after a rough week. And despite all this i did not get the one thing i WAS expecting - uninhibited entertainment. Isn't that the promise/excuse all Salman films come wrapped in?

Picking up from where the prequel ended. Chulbul-Robin Hood- Pandey has taken a voluntary transfer to Kanpur hoping to make big name for himself in a big city. He has his father, his wife and his brother by his side. Life from a professional as well as personal viewpoint is good for Pandey. But Kanpur is a crime ridden city, under the rule of Mafioso turned politician Baccha Bhai (Raj) who along with his brothers terrorise the city and have no regard for the law whatsoever. Quite expectedly Chulbul comes face to face with his adversary in a style reminiscent of the earlier film - he hates crooks and the man at some level hurt's Pandey's ego.

As both sides lay out their cards, the fight turns personal and what Chulbul does next (which truthfully isn't rocket science) is what the rest of the film is about. 

While Dabangg 1 wasn't close to being a great film it was wholeheartedly enjoyable. The unpredictability and rustic style of Abhinav Kashyap is what attracted the audience and gave Salman his resurrected image. This is where Dabanng 2 fails big time. I was never expecting a storyline (I Swear!) but this film completely lacks direction. Arbaaz does not know what he wants to do with film. His obvious intention is trying to turn Dabanng into a franchise (like Indiana Jones or James bond) and you are reminded of the earlier blockbuster in a number of ways - comic characters like the camera guy and the phone guy returning, to the mention of 'between two legs' to flashbacks dedicated to the prowess of Salman or slapstick sidekick cops. So you have random unplanned songs popping up here and there and fight scenes involving slo-mo shots to show the impact of each blow. Those smart one liners are there but few and far in between also the standard item song       

featuring a very sexy Kareena Kapoor-Khan is present. Now one asks me despite the standard ingredients whats wrong with the film?. The problem is, while Arbaaz knows what he wants to show he does not know how to show it. As a result the songs seem forced, the humor seems untimed   (except a select few scenes) and the actions lack the thrills of the earlier, film, or for that matter any Salman Khan film. You are thrown off track with the screenplay continuously changing directions and cant seem to concentrate on important moments- which, frankly, was the strength of its predecessor. But despite all this (in all honesty) there times when you find yourself enjoying during the film - like the scene in which he kills the villains brother(according to me the best scene in the film) or when he playfully teases his father or his banter with his strong willed wife. But in a 129 minute film, these moments are precious little. What Arbaaz does correctly though is to allow his elder brother to take center stage and the film(like any other) focuses solely on Salman - a demand against which Salman fans will not hear a word.  

But where Khan jr loses out, the elder Khan takes on the responsibility of taking the film forward. Appearing in a role that has Salman Khan written on it from start to finish, Salman picks up effortlessly from the earlier film. The attitude is pitch perfect, the body is tighter than ever and the aura is present in every scene. Salman delivers exactly what is expected from him - entertainment without any excuses. He is once again fantastic as the honest-yet-not-so-honest cop and delivers a sincere performance.But sadly this time its a thumping act in a not even remotely thumping film. What is also a major deterrent to the film is the lack of a good villain. Prakash Raj who has become B-Town's favourite bad man is saddled with a sketchily written role.He is nowhere as mencaing as Chedi Singh (Sood) and is reduced to a nose flaring, eyes popping caricature.

All in All.Dabangg 2 has Salman and despite whatever happens its a sure shot winner at the box-office (sometimes i wonder i should just make a collage of salman pictures and distribute it to theatres...it would be an easy 100 crores). It has the correct ingredients but not in the correct measure. Salman delivers yet another time with a great performance but his brother just makes a yawn inducing recipe of the rest. Watch it  only if you are major Salman khan fan. And lord (and possibly the entire world) knows i am not.

Rating - 6.2/10

Talaash (2012)

Directed By - Reema Kagti

Starring - Aamir Khan, Kareena Kapoor, Rani Mukherjee, Nawazuddin Siddique, Shernaz Patel

Talaash starts with a montage of scenes bathed in a noir-like moodiness and it clearly proves that it is not your average cheap thrills laden movie to showcase a reigning star's crowd pulling power. Coming back to the first scene, Its a leisurely shot of Mumbai after the dark depicting scenes we get to see everyday but dont really think about. Urchins taping on car windows, workers returning home exhausted, red light areas brimming with prostitutes hopeful of a customer. Its the neglected underbelly, which should matter but doesn't. An opening scene basically potrays the maker's intention and Kagti's intention is quite clear. Talaash might be a juicy suspense on the surface but is layered with various other levels. Its a story of coping with loss, its story of people who 'dont come in the count'. Its a story of questioning the obvious.Therein lies the beauty of this film

The story kicks off with Film star Armaan Kapoor's car nosediving into the sea. While it seems to be an accident, Investigating officer Surjan Shekhawat (Aamir Khan) believes otherwise. For starters the man was not drunk and had no reason to suicide moreover the road was absolutely empty so there was no need to swivel the car. On the other side, Shekhawat is himself a troubled man. The death of his 8 year old son has not only left him to fight with his ever growing guilt but has also brought his marriage with Roshni (Mukherji) on the brink. As a coping mechanism he nosedives deep into this high profile case. When nothing seems to come his way, he meets Rosy (Kapoor) a hooker with a golden heart who might have the link to the missing puzzle. Also a chance meeting with a pimp's right hand guy Taimur (Siddique) leads him to unearth a blackmail conspiracy. As Shekhwat is troubled by his inner demons, the problem seems to be much larger than meets the eye. (No spoilers, dont worry!)

As stated earlier Kagti's film works on various levels. On the surface its a taut thriller, but Talaash is as much about grief and surviving great loss. Its a story about relationships. Various subplots (Siddique's relationship with an aged hooker, Kareena and aamir's relationship) go on to show that Talaash has that rare human touch. Also unlike other suspense films, Talaash goes ahead at a leisurely pace. Some might call it a lack urgency that should be there in films of the genre, i call doing things differently. For the people who know they know that i am one of the biggest fans of the noir genre, and Kagti's treatment reminds one of famous noir films like Taxi Driver (which by the way is one of my favourite films). Despite packing in so many themes, Kagti makes a film which is consistently accesible. The twist in the end is great and requires a bit of 'thinking out of the box' like my roommate did. For seasoned suspense watchers (like my father) the twist might not be so difficult to grasp but it has the potential to keep you guessing for a long time.

What also works for the Talaash are crisply written characters. Shernaz patel shines in a small as the seemingly crazy psychic. Nawazuddin Siddique is fantastic as Taimur. This is one man whose talent have been recognised years earilier. Rani Mukherjee is great as grief stricken wife trying to cope with the loss of not only her son but at some level her husband. Kareena Kapoor is one the best things about Talaash, She shifts effortlessly from brazen to understanding. She never lets it turn into a caricature and invests her heart into the role. But the film (not so surprisingly) rests with Mr perfectionist Khan. On paper, Surjan Shekhawat is a complex character. A man ridden with guilt and trying to shy away from it by drowning himself in his job. Aamir Khan brings volumes of depth to the troubled man making the role his own. Its ample proof that here is a man who never allows himself to be tagged with stereotypes. Who is always ready to explore virgin territories unlike most of his contemporaries who never seem to show an inclination or capacity to break out of the 'mould'. There is a reason why Aamir Khan is way beyond the 100 crore club and 'the greatest khan' fight. It is because here is man who treats cinema as an art and not a business. Aamir khan is without doubt the best we have on this side of the world

Kagti delivers a film that is rich in atmoshperics and mood. Ram Sampath's haunting score is a plus. 

All in all, Talaash is not your everyday suspense film. Its a film with depth, its a film with a solid heart.

Backed by superlative acts and an even more superlative direction. Talaash is a must watch.

Rating - 9.0/10

Jab Tak Hain Jaan (2012)

Directed By - Late Yash Chopra

Starring - Shahrukh Khan, Katrina Kaif, Anushka Sharma, Neetu Singh, Rishi Kapoor, Anupam Kher, Saarika.

Now who would have thought that a simple promise made to the almighty would become a deal breaker in a relationship? that too in the 21st century?! Yash Chopra in his last directorial venture serves this hard to digest twist halfway through the frothy romance between Samar (Khan) and Meera (Katrina) just as we have given our soul to the romance and which frankly drags down the film which was coasting along smoothly uptil now. 

Despite this stereotype Chopra and his leading man lend the film an indelible charm.  Its that charm and the Legendary Filmmakers trademark freshness and passion that still keeps you invested in the characters and their star crossed romance.

The film kicks off with Major Samar Anand, an indian military bomb defusal expert who is also a sort of legend due to his record of 98 defusals without much of protection. This feat has also earned him the title of 'the man who cannot die'. As luck would have it, he bumps into Akira (Sharma) when she starts drowning in a river and leaves her with his jacket. From the jacket, Akira extracts Samar's personal diary which contains the story of his life in london over a decade ago and his unbidding romance with rich girl Meera.  The romance goes smoothly till that fateful promise to Jesus intervenes. Samar leaves london angry, heartbroken and brewing an enemity towards God and decides to join the army just like his family would have it. His motive though is to embrace Death each day and see who comes out winning - God or himself.

Akira who works with Discovery gets interested and attaches herself to his unit to shoot a film on him. Very soon the feisty girl finds herself attracted to the man's brooding intensity and falls hopelessly in love with him.

Jab Tak Hai Jaan has the novelty of modern treatment, seen during Samar and Meera's courtship where they make out (yes you saw that right!) in phone booths or cuddle in bed (you read that right too!). It is also evident from the entire treatment of Sharma's character. This is the main reasom why the stereotypical bits stick out as a sore thumb. The script (credited to the over hyped Aditya Chopra) also has tiresome old fashioned bits such as an accident happening twice to the same character and a bout of amnesia.

But the truth is that whether you like him or not Chopra delivers a film with complete conviction. His sense of aesthetics (as rightly pointed out by my Dear Friend and bestselling author Ritwik Malik) is what lifts the film. The trademark chopra sequences are there - the quibbles with god (Deewar, Trishul), the lush landscapes (Lamhe, Chandni), the star crossed- utopian romance (Veer Zaara)  and yet he comes out with fresh sequences and the love story in the first half is beautfully executed. The concepts individually dealt with are commendable, a particular favourite is the scene where Samar, suffering from amnesia, spends a day with Akira (whom he does not remember) and she gets to see a side of him she thought only existed in his diary. 

The movie takes a nose dive once Aditya Chopra's writing is allowed to take centre stage. The film is unneccesarily stretched and the only real contribution that Chopra Jr makes is the fantastic poem at the start of the film.

The two female protagonists are intentionally different  - Meera is the classic Yash Chopra heroine albeit a modern one who smokes and curses, Katrina tries her level best but is saddled down with a shaky, badly written character. Chopra introduces a new kind through Akira, the spunky new generation girl who in her own words "belongs to the instant make out, instant break up generation'. Anushka delivers a stellar performance as the ammbitious Akira. Even as a second lead Sharma holds her own and delivers what could easily be termed as one of the best Female performance in a Yash Chopra film. She's fresh and one only wonders if Chopra could make more films with her. But the film undeniably rests with Shahrukh Khan. He delivers a subtly magnetic performance which is both charming and intense. Frankly, any other actor and this film would have gone down the drain. He looks energetic and what helps the film equally is the sizzling chemistry he shares with katrina Kaif. Here is a performance from the 47 year old superstar that his fans were waiting for. Its Intense, restrained, sumpathy inducing and is proof that this man knows this genre inside out.

Jab Tak Hain Jaan suffers from poor writing and various technical flaws (a 28 year old man joining the army!) and Aditya Chopra should seriously consider retiring after this one. What saves the film and makes it worth a watch is the heartfelt performances from the leads and an everlasting footprint of Yash Chopra.

Although JTHJ will never be considered in the top Yash Chopra films (largely thanks to his dear son). It has the impression of a trademark YRF classic and the end credits make you sad that the legend shall never helm a camera again

rating - 7.0/10

Skyfall (2012)

Directed By - Sam Mendes

Starring - Daniel Craig, Judi Dench, Javier Bardem, Ralph Fiennes, Albert Finney, Ben Whishaw, Naomie Harris

The Craig-Era has always been about redefining Bond, about making him seem more human. It started with Casino Royale where the vulnerability of Bond was exposed, Quantum of Solace was never meant to be anything but a mere continuation. With Skyfall, Oscar Winning Director Sam Mendes takes the new-era, 'ressurected' Bond to another level. Some good and some sadly not too great.

Unlike other bond films, Skyfall has sensitivity. At the start of the film, we are met with the all too familiar Opening action sequence only this time it ends differently, Bond is on the wrong side of the gun. Presumed dead, Bond goes into retrospective about his career on an island. His 'peaceful' life comes to stop when a maniac Silva(Bardem) becomes hell bent on destroying MI6 in general and M (Dench) in particular. Bond returns and is met with a very different enemy. A Joker-type megalomaniac who was once a respected agent till M chose to trade for 6 other british agents. The subsequent torture turned him into a monster. How bond fights him forms the rest of the story.

Skyfall is permeated with nostalgia (its 50 years of 007 btw!). Right from fight sequences to the way with the ladies, Bond goes back to basics and surprisingly that is a high point of the film. A particular favourite is the climatic sequence where Bond sets up booby traps for Silva with the bare essentials( hunting rifles, small effect dynamites) in his ancestral home. The film has a huge Batman hangover in terms of characterisations. Whether its the backstory of Bond involving dead parents, or the way Bardem plays Silva which borders on mirroring Ledger's iconic performance. The film also has the feel of the directors earlier film 'Road to Perdition' in terms of the relationship between M and Bond. She is weak towards him, he looks up to her like the mother he never had. Whats great, is that Mendes tries to deal with Bond in his own style - by adding the human touch, the emotional angle. The film is beautifully shot and the action sequences are crisp and fresh.

Where Skyfall really fails is the pacing. Mendes lingers on unneccesarily making the roughly 130 minute film feel like an eternity. Also, what also does not help is the lack of thrills. Agreed, that every scene does not need to be a slick action one, but the urgency generally felt in Bond film is lost. While the film tries to be nostalgic in terms of the characters (MoneyPenny, Q) and the treatment (which is much like the old film) it forgets the thrill part of it- which basically sums up James Bond.

Mendes plays with your mind and produces characters who strictly fall in the grey region and have an internal  psychological fight which they cant seem to win. 

Apart from that it has all the usual Bond Trappings - Seductive Women, Cool Gadgets and the to-die for Aston Martin.

Whats also good is that the film is dealt with humour and warmth - notice the scene where Bond gets pissed about his wrecked Aston Martin or where Silva tries to seduce Bond, while he coolly plays along. 

All in All, Skyfall is a good film coming from the hands of a very respected director. But all throughout the film you feel something missing and once you come out, you realise its not the kind of Bond film you will download and keep.If this treatment continues (and i am sure it will get better) Bond could be evolved into something much more sophisticated and unexpected.Somethings i did not like, but ther is no doubt Skyfall is an absolute winner.

rating - 8.8/10

Yash Chopra - The Legend

Yash Chopra started his career as an assistant to his brother B.R. Chopra. After a series of critically acclaimed but commercially unsuccessful ventures, Chopra finally hit the mark with Waqt (1965). Waqt started the trend of multistarrers in Bollywood and talked about a family seperated and reunited by fate. Since then Yash Chopra has straddled as many genres as a man possibly can. From the neo-noir 'Ittefaq', the gangster flick 'Deewar', the vengeance saga 'Trishul' to the compliated 'Silsila', the poignant 'Lamhe', the obsessive 'Darr' and the passionate 'Dil To Pagal Hai'.
Considered as the face of progressive Bollywood, Chopra strived his entire career to bring Bollywood upto international standards. The picturesque locations, the univeral themes that he chose helped his films reach out to a global audience.
In a career spanning half a decade, Chopra directed 22 feature films and produced over a 100. His production house 'YashRaj Films' is one of the leading production houses in the world. On 21st october 2012 Yashji passed away leaving behind for us his final feature film 'Jab Tak Hain Jaan' starring his protege Shahrukh Khan.

Out of the 22 films (all of which are great), i have chosen 10 films that every Bollywood enthusiast should watch. This is my tribute to the Legend.

10. Dil To Pagal Hai (1997)

Despite being a run of the mill love triangle this film stood out simply for its direction. The passion that Chopra infused in each scene was breathtaking. Notice the scene where Khan plays the drums while Madhuri Dixit dances to the tunes or the faceoff between Karisma Kapoor and Madhuri Dixit and you'll know what i am talking about. Shiamak Davar became an overnight star choreographer after this film. The film sweeped all the major awards at the Fimfare and additionally won two National Awards (One for yashJi and the other for karisma kapoor). This was one of the first films in bollywood that dealt with dance solely.

9. Daag - A Poem of Love (1973)

Daag was the first film produced by Yash Chopra under his banner 'Yash Raj films'. An adaption of 'The Mayor of Casterbridge, Daag dealt with the issue of Bigamy. Critically and commercially successful Daag was one of the first film where Yashji showcased his visual skills. The scenic cinematography (seen later in films like Kabhie Kabhie and Silsila) was highly lauded. Rajesh Khanna missed out on the national award by just 4 votes!. Daag still remains a classic film.

8. Kaala Patthar (1979)

Based on a true story about a mining disaster in Bihar, Kaala Patthar was the first ever film to show the sufferings of mine workers. This was Bachchan's fourth collaboration with the director and hew was particularly praised for his fiery potrayal of a disgraced Marine. Not a commercial success yet it is considered a classic and was very different from the kind of films Chopra and his production house dealt with. Chopra would go on to confess that this was one of the most difficult films to make.


7. Trishul (1978)



This movie furthered the image of Bachchan as "The AngryYoung man". The film is about Vijay (Bachchan) the illegitimate son of construction baron RK Gupta (Kumar) who years earlier had dumped his mother to marry a rich heiress. Vijay is out to exact revenge and how that affects the lives of the people around him including his half brother (Shashi Kapoor) is what the story is about. The film was a huge success upon release and was the only film that brought together Khayyam and Chopra.This was also the final Yash Chopra film to be penned by Salim-Javed.


 6. Veer-Zaara (2004)



The final Yash Chopra film that released while he was still living. The star crossed romance follows the love story of Zaara (Zinta), a rich Pakistani girl and Veer Pratap Singh (Shahrukh Khan), an Indian air force officer. Seperated for over two decades,their worlds collide again when Samiya (Mukherji) a human rights lawyer vows to free Veer from a prison he was falsely indicted to. The film was a huge grosser globally, it earned 7 filmfare awards (including best Film) and two national Awards. Considered by many as one of his best films to date, Veer Zaara featured some excellent performances from actors across the border too. This was Khan's third collaboration with Chopra. 

5. Darr (1993)

5. Darr (1993)

With' Darr' chopra completely defied the image of the conventional hero and created a unique version of a revisionist hero. The film made Khan an overnight star and the superstar still maintains that the film changed his life forever. The Cape-Fearish type genre was never seen before in India and not many thought that audience would accept it, but the film was a huge hit. kkkkiran still remains asscoiated with the lead. The film dealt with Rahul (Khan) a shy introvert and his obsession with Kiran (Chawla). Darr still remains a milestone in Indian Cinema.

4. Silsila

Arguably the most controversial and famous Yash Chopra film, Silsila featured real life husband and wife pair of Jaya and Amitabh Bachchan and Rekha as his mistress (Rekha was alleged to have had an affair with Bachchan during that period of time). Chopra dealt with the concept of adultery with taste and delivered a poignant commentary on love and marriage. The film was the debut of javed Akhtar as lyricist and had soulful music by Shiv-Hari. Silsila is essentially made of moments. The moment when Bachchan sees Rekha, The confrontation scene are all proofs that Yash Chopra was an ace when it came to relationships. Silsila's style has inspired the likes of Karan Johar and Sanjay Leela Bhansali.

3. Lamhe (1991)

Chopra till his dying day maintaned that Lamhe was his best work till date. A Mills and Boon ish film, Lamhe is the story of Kunwar Virendra Kapoor (Anil Kapoor) who falls hopelessly in love with Pallavi (Sridevi) when she is does not reciprocate his love and marries someone else, he is heartbroken but they continue to remain friends. When a freak accident takes Pallavi and her husband's life, Kunwar is devastated beyond repair. She leaves behind her newborn daughter Pooja and Kunwar takes it upon himself to raise her. Pooja grows up in awe of the man, while he can never separate her from her mother's shadow.When Pooja (Sridevi)  falls in love with the man 25 years her senior, complications ensue not only due to the age but because Kunwar cannot seem to let go of her deceased mother. Shot ecstatically and directed with equal fervour, Lamhe is considered a modern classic and sweeped 8 National Awards and an equal number of Filmfare Awards. 

2. Ittefaq (1969)

Not too many people know of this little gem. A first of its kind, Ittefaq is a neo-noir Hitcockian type of a film.  The films follows the events of a single night when Dilip (Khanna) a convicted felon runs into Sushma's (Nanda) house and asks to spend the night to evade the cops. Things go as planned until he sees a dead body in the house. The bollywood of the 60's was a different world altogether, where the hero is the good guy and always wins in the end, But CHopra in his usual style defied the concept of 'the hero' completely. Khanna would later go on to say that he really wished a role like Ittefaq came up again in his career. Ittefaq was the first Hindi film that featured no songs in it. For all of you who have not seen it, please download it right now. You will not be disappointed.

1. Deewar (1975)

 For me, Deewar is the best hindi film ever made. The movie made a star out of everybody The director, the actors and most importantly the scriptwriters (Salim- Javed). The film is also a very important piece in the history of India. Released during emergency when the average man was a bundle of stick ready to fire up, Deewar potrayed Bachchan as the "Angry young Man" revolting against a system he knew too well and instantly he became the face of angry youth. Bachchan became an idol overnight and Vijay became a symbol of national resistance. Deewar id the story of two brothers Vijay (Bachchan) and Ravi (Shashi Kapoor). While Ravi has been given a good education and has a high sense of ideals., Vijay has strived his entire life to provide his brother with a good life and has seen the system at its dirtiest. When destiny puts them on opposite sides of the law, a wedge is driven between the brothers. What happens next is what deewar is about. Deewar has always been so much more than a tale of two brothers. It was almost a  social commentary. The character of Vijay (most say) was inspired by noted Don Haji Mastan's life. Even today each dialogue can give you goosebumps. Deewar won every award in the book. Deewar still remains relevant in todays time and has attained cult status

Barfi (2012)

 

Directed By - Anurag Basu

Starring - Ranbir Kapoor, Ileana D'Cruz, Priyanka Chopra, Saurabh Shukla, Akash Khurana, Ashish Vidyarthi, Roopa Ganguly, Jishu Sengupta

The beauty that lay in Chaplin's films was that so many emotions were conveyed through absolute silence. A flick of the eyebrows here, a shake of the legs there and Chaplin lit up the screen. There was a underlying positivity in his films despite their sometimes negative plots. Basu brings back the magic of that era with his simple yet startling gem called 'Barfi'.

'Barfi' is about a simple, happy go lucky deaf-mute boy named Murphy (kapoor) who is called Barfi (due to his inability to pronounce his name properly) and spans 60 years of his life. We see him as an old man at the start of the movie who is on his deathbed. A call is sent to shruti (D'cruz), Barfi's close friend who is in kolkata. On her way to Darjeeling she starts narrating the story of Barfi's life. We are brought to 1978 kolkata where barfi is arrested on kidnapping and robbery charges. There is a flashback in  the flashback where Barfi reminisces about his life in darjeeling and the events that brought him to this positiion. We are now taken to 1972 Darjeeling where Barfi first meets Shruti, a soon to be married girl whose father's transfer has brought her to Darjeeling. Sparks fly, but the romance is short lived as Shruti ends up in two minds regarding her future with the boy who is a Driver's son. Then thrown into the picture is Jhilmil (Chopra) an autistic girl from a rich family who also happens to be Barfi's good friend. The rest is for the audience to see ( not because its a suspense, but because its irritating to type so much out in a cyber cafe).

The cinematography is a standout. Whether its the peaceful terrains of Darjeeling or the hustle-bustle of Kolkata the camera builds up one beatiful frame after another. Earlier this year we had seen a wonderful potrayal of Kolkata from the eyes of Sujoy Ghosh. Basu's Kolkata is a bit different. While Ghosh's potrayal of the city was full of suspense yet imbibed with warmth, Basu's potrayal is serene. Kolkata is shown almost like an old world palace - distraught yet stunning.
 

Basu's direction has to be the finest work we have seen this year. Sorry Sujoy Ghosh but Basu just might steal your show. Backed by a superior screenplay Basu infuses elements of Chaplin and Romanticism to deliver a film which pans out like a beautiful poetry read on a windy day. Its almost impossible to believe that this man could have ever made something as dismal as 'Kites'. Back to his form, its seems good days are ahead of Basu.

Special mention to Pritam and Arijit Mukherjee for some of the most wonderful melodies we have heard in a long,long time. The background music helps in building up some vital scenes. In a movie which is silent for a large part the music has to be fantastic and the music director delivers that perfectly.

Of the cast. Ileana D'Cruz shines as Shruthi Ghosh. The character is a defining force in Barfi's life and the southern star pulls it off with elan. The scenes with her and Kapoor are the best. The scene where Barfi explains to her the large divide between them is breathtaking. Not a single word is spoken in that scene. As they say, silence speaks for itself. Priyanka Chopra as the autistic Jhilmil is fabulous. She never once allows the character to become a caricature and infuses childlike warmth in the character so much so that you find yourself smiling everytime she enters the screen. The supporting cast is great too particularly Akash khurana, Vidyarthi and haranath Chakraborty. But the film totally belongs to ( and i have never meant it more) Ranbir Kapoor. There is a reason why this young man is steadily climbing the steps of success. His filmography has to be the most unconventional for a bollywood star. Kapoor as barfi makes you cry with him , laugh with him all in all enjoy the ride with him. Its an outstanding performance. The boy will yet again sweep all the awards. Its an absolute joy to watch Kapoor pan out his histrionics on screen. Watch out 'tigers' and 'raj's' the kapoor scion just might overtake you in the near future.

Barfi is the kind of film that has 'awards' written all over it. Anurag Basu shows to us that simplicity will always keep you ahead of your contemporaries. It's a must watch.

Rating - 9.2/10   

Gangs of Wasseypur Part II (2012)

Directed By - Anurag Kashyap
Starring - Nawazuddin Siddique, Huma Qureshi, Piyush Mishra, Richa Chadha, Tigmanshu Dhulia, Zeishan Quadri

Its quite difficult to believe that a film with a host of relatively unknown actors and non commercial treatment can gain so much favour with the audience. Nonetheless, its good to see that good cinema is still on the public's agenda. Whats sad is that a man who made gems like 'Black Friday' and 'Dev D' finally got wholesome appreciation for a film that is probably his weakest work. Don't get me wrong, its still an extremely good film (series, whatever).

GOW II starts off where its earlier half left off. Sardar Khan (Bajpayee) has been brutally killed by Sultan and Ramadhir Singh(Dhulia). This is followed by a quick retaliation from Sardar's elder son Daanish who too gets killed in the process. With no way out and a lot of scores to settle Sardar's ganja addicted younger son Faizal (Siddique) takes up the responsibility of getting even with the villains. Faizal brutally murders his best friend who had double crossed him hence setting the note straight that he is not here to fool around. As the fear for faizal grows, he consolidates his hold in the steel mafia of Wasseypur. thrown into the picture is Faizal's stepbrother Definite (Quadri) Sardar's son from his second wife who looks up to his older brother but has ambitions of his own. Also thrown in is Perpendicular, Faizal's own younger brother who is a nuisance to the local vendors and uses his brother's clout to carry out one illegeal activity after another. How the final cards are laid and how Faizal settles the score is what the rest of the film is about.

I have always maintained that a bit of indulgence from the director is a good thing, but the GOW series is a bit too indulgent. There are times in the first film when it seems that kashyap just picked up the camera and forgot to say 'cut'. Thankfully, the second film is much faster. The second film covers a total of roughly 12 years and shifts effortlessly from one subplot to the other. If you put the two films together you will see a distinct change of pattern. All said and done technically the second film is far better than the first.

Story wise there is nothing new its your run of the mill family revenge saga that spans generations. Whats Kashyap does brilliantly is the screenplay. Agreed its painstakingly long, but it has some moments. He peppers the script with a lot of dark humor. In fact its probably one of the first gangster flicks where i have found myself laughing my guts out. The jokes range from suggestive to downright dirty. It helps bring out the backwardness of the society in which this film is set. The editing could have been much better. Frankly i dont see any reason why this film had to be 5 hours 20 minutes long and had to be broken in two parts. Maybe Kashyap didn't want to leave out anything. As i said - over indulgence.

Of the cast, Piyush Mishra has hardly any role in the second outing. Huma Qureshi and Richa Chadha turn in powerful acts. They really make a place for themselves in a film crowded with men. Dhulia is fabulous as Ramadhir Singh. He has shown his directorial skills with amazing films such as Haasil and Paan singh tomar as an actor too he is top notch. I'd love to see him act more. Zeishan Quadri plays definite which is arguably the most interesting character in the script. Its an unpredictable character and Quadri playes it with the ease of a pro. But undoubtedly the best performance (of the film and probably this year) comes from Nawazudding Siddique. Faizal Khan is literally brought to life by this very ordinary looking man. He impressed earlier with his stern act in Kahaani and in GOW he just sweeps you off your feet. He has the most expressive eyes and the grin in the climax is just too good. He shines in all scenes whether he is alone or with a host of other characters A particular favourite is the scene where Faizal breaks down in front of his wife. He deserves every award there is to take (at least, as of now)

All in all, GOW is an excellent film but weak compared to kashyap's other works. Its the most commercial venture he has ever helmed and he delivers a film that should be lapped up the audiences not only because it is technically sound but also because it provides enough masala for the average moviegoer. If not for anything, go watch the 5 ft 6 inch Siddique unleash magic on the screen.

Rating  - 8.0/10

The Dark Knight Rises (2012)

Directed By - Christopher Nolan
Starring - Christian Bale, Anne Hathaway, Tom Hardy, Micheal Caine, Joseph Gordon-Levitt, Morgan freeman, Gary Oldman, Marion Cottilard

Have you ever been to a movie where you start shaking and get goosebumps at regular intervals? Have you  ever been to a movie where you find yourself not being able to move? Have you EVER wished with every freaking part of your body that it NEVER ends? Nolan's third Batman film will be one such experience.

The Dark Knight Rises picks up 8 years after the event of the last film. 8 years since Dent died, 8 years since  Batman became The Enemy, 8 years since Bruce Wayne has become a recluse and 8 years since Batman was last seen hovering over Gotham City. A lot of things have changed in Gotham. Its 'peacetime' now. Gordon has to deal with the fact that a villain has been proclaimed the hero and vice versa. Enter Selina Kyle (Hathaway) a charming young lady who is actually a super suave burglar (The Cat) and a chance encounter leads Gordon to discover an underground army being built by the mercenary Bane (Hardy). These events force the caped crusader to come out of hibernation. Also thrown into this scenario is idealistic cop John Blake (Gordon-Levitt) who believes in the Batman and has an inkling that Batman maybe Wayne's alter ego. As all the cool gizmos are re-assembled we see that Bane has far greater plans than just plain destruction. He steeps Gotham into an absolute yet sophisticated anarchy (much like George Orwell's book 1984 states). The rest of the film is for you to see. Don't let me be a party spoiler (Because God knows, i can go on and on and on).

In films such as these acting is generally never anything but brilliant. Bale picks up perfectly from where he left off along with Oldman, Caine and Freeman. Cottilard is ravishing as Miranda Tate, a businesswoman seeking for Wayne's investment in an eco-friendly project. Hathaway is simple stunning. Sorry Halle Berry and Michelle Pfeiffer, Hathaway has to be the sexiest woman to be Selina Kyle. Unlike most other versions, in this version The Catwoman is far more mysterious character.

Much like most Nolan movies, this film is laced with classy dialogues from start to finish and the way the actor deliver it (especially Bale and Hathaway) is beyond amazing. The best thing about this film is the thrills. It larger in scale as compared to the previous films. The sheer intensity of some scenes (like the scene in which Wayne escapes from Bane's jail) will throw you away. Almost every entry, every confrontation has a style to it (evident from the reaction of the audience). In terms of visuals, you are in for a treat. There are more characters in this film, more action and certainly more intensity.

The real hero of the film though never appears on screen - Christopher Nolan. I have long admitted that this man is a genius on another level. Its difficult for me to find words to describe his work. This man never seems to go wrong. If i were to meet him right now i would probably just kneel and ask for his blessings. Take it from me, this man will go on to become one of the greatest directors in the world (if he already isn't one). The ending of the film is something i will not divulge (even in person). When you see the climax you'll understand what i am saying. What i love about his treatment of this franchise is that he never treats like a superhero subject. He has made the characters human. You find yourself sympathising with Bane at a point. You find yourself conflicted towards Alfred. He sticks to the original notion of the comics - one man may not be able to set an example but one symbol can. That's what makes it such a fantastic trilogy.

"The Dark Knight Rises" is exactly what it claims to be - An Epic Conclusion. You just wish (like hell) that he makes more Batman films

Rating - 9.7/10

Shanghai (2012)

Directed By - Dibakar Banerjee

Starring - Emraan Hashmi, Abhay Deol, Prosenjit Chatterji, Kalki Koechlin, Farooque Shaikh, Supriya Pathak

Dibakar Banerjee's fourth screen outing (after the radical 'Khosla Ka Ghosla', the experimental 'LSD' and the  humorous 'Oye Lucky, Lucky Oye') is a staggering story about a country pretending to  be another brighter one. Although an adaption (of Vasilis Vasilikos's 'Z') it is turned into a strikingly relevant story of our times and our crimes.

The time is now and is set in the fictional town of Bharatnagar which is at the brink of becoming a high tech, super developed economic zone  ( hence the reference to the beautiful city of Shanghai) under the government's program of IBP. Much like most development initiatives in our country this too has gaping holes. A large part of the population, who economically and education wise are not deemed fit to be part of this pseudo shanghai, will be rendered homeless as a result of this project. The Government chooses to conveniently overlook it for the sake of votes and national recognition. Enter Dr Ahmedi (Prosenjit) a professor and activist who has come to help the 'not so wise' realise the Government's ploy in the name of IBP. He is met with widespread protest as well as support. As is the case, he is mowed down by a truck (after a stunning speech) which is quickly covered up by the government as a drunken driving case. After Shalini (Koechlin), Ahmedi's student and lover as well as Ahmedi's wife cry foul, the Government sets up an enquiry commission which is headed by Krishnan, a seemingly honest and egoistic IAS officer. Also thrown in is Jogi Parmar (Hashmi) a small time videographer and adult film maker who has stumbled onto evidence which may turn the case around completely.

Banerjee's genius is most visible in his meticulous detailing. A tense commission proceeding being interrupted by a stray basketball or after a heated conversation the principal's slipping on the wet floor show that Dibakar banerjee is a man who fragments a film into moments, moments that stay with you. Also very impressive is the dark tone of the film, the amazing visuals and the realistic detailing work done on the characters, my favourite being Abhay deol's obsession with straightening and perfecting his neck tie. 

Dibakar also does a fine job with the screenplay. Under 2 hours running time, the film is tight and the scenes are crisply shot. One of the major advantages of the film is the immense knowledge that the director has about Cinematrography. The camerawork is just stunning. it has the look and feel of world cinema much like Banerjee's earlier 'love sex aur dhokha'. The film has its share of hiccups. For one, it is very predictable and lacks the urgency that such thrillers generally should possess. Many would argue that it is not the point of the film, but still it does stick out as a sore thumb. Also, the ending seems a bit too convenient given that it is a film which attempts to show us the ironical and warped country we live in. 

What goes bang on for the film is the acting. Kalki koechlin is okay as the slightly unhinged Shalini, the daughter of a fraud and lover of an unsung hero. Its a role that could be a Phd topic for her as she has done way too many times. She, according to me, is the weakest part of the film. Prosenjit Chatterji has a roughly 20 minute role in which he kills it. Trust me, if the superstar was given 10 more minutes he would have outshone the leads. He is terrific as the resilient academic cum activist. He plays the part of Dr Ahmedi with the adequate amount of restraint and coldness. 

Its a revelation to watch Farooque Shaikh in a negative role. As the crooked IAS officer Shaikh is bound to break many of our mother's hearts that he had made his way into with films like Noorie. Its a surprise too, to watch Supriya Pathak play a character on the darker side of the grey scale. In fact this odd casting and the fact that no character is 'doodh ka dhula' creates a compelling atmosphere (again to the credit of Dibakar Banerjee). But the film clearly belongs to its leads. Abhay Deol as the seemingly honest bureaucrat is outstanding. He has the chameleon like aura and woody expression that is so engaging throughout. Its not the conventional man against the system sort of story but you are likely to find yourself rooting for him. But the clear winner in the acting department is - Emraan hashmi. The man has grown as an actor drastically (not to mention his soaring popularity evident from the whistles). As the low class and uncouth videographer who becomes an unlikely ally to the Ahmedi case when he finds himself in danger, Emraan is top notch. He underplays for most of the film, until the final outburst towards the climax. He is dirty, pathetic in english and sometimes downright disgusting. It's a stellar performance.

All in all Dibakar banerjee creates a wonderful world which is so relevant to our times. There are lapses but Banerjee shows us that quality cinema still exists in India and it can be entertaining too (which i was seriously doubting after Rowdy rathore became a success). Backed by superior direction, a tight screenplay, a haunting background score and standout performances. Shanghai is a winner.

Rating - 8.5/10 

Agneepath (2012)

Directed By - Karan Malhotra

Starring - Hrithik Roshan, Sanjay Dutt, Rishi kapoor, Priyanka Chopra, Zarina Wahab,Dewen Bhojani.

In one of the scenes in the cult Agneepath (1990), we see Vijay Dinanath Chauhan (Bachchan) mouth a famous dialogue "Hawa tez chalta hai Dinka Rao, topi sambhaalo gir jaayega". It's the first time in the film you see Vijay openly showing his anger and bitterness regarding his father's unjustified killing, while in the remake you see Vijay (Roshan) carrying that streak of vengeance in every frame. What one understands (and should keep in mind) is that the two films work essentially on two different tangents. While the original was a crime drama about the rise of a man from the slums to the high echelons of the underworld with the revenge subplot thrown in somewhere, the remake is purely a revenge saga.

The remake starts exactly like its predecessor, in the seaside village of mandwa in 1977.The plot kicks in with the unjust killing of village schoolteacher Dinanath Chauhan. His murder at the hands of sadistic villain Kancha, played menacingly by Dutt, is witnessed by his young son Vijay who grows up with an indefatigable thirst for revenge. As Vijay comes to mumbai with his pregnant mother, played by Zarina Wahab,he aligns himself with Kancha's rival - drug lord and pim Rauf Lala, taken on in an unforgettable turn by Rishi Kapoor.

Fifteen years down the line. Vijay is a trusted hitman and scion to Lala's empire. Estranged from his mother and teenage sister for the life of crime he chooses. He is the gunman with a heart of gold and the residents of his chawl look upto him as their godfather. In the midst of this he also manages to fall in love with the motor mouth local girl Kali (Chopra)

The film forges ahead with high voltage action sequences, chilling confrontations, double crossing and bloodshed and Vijay moves ahead with the single minded purpose of destroying Kancha. He plans his moves carefully as if on a chessboard and is ready to kill anybody in his way even Lala who is a father like figure. Ultimately how he finishes kancha and redeems his father's death is what Agneepath is about.

Karan Malhotra does an admirable job for a first timer. Remaking a film which has acquired a cult status over the years, not to mention has fetched national awards for its popular leads, is a difficult task. What he does smartly is that he builds his own characters, borrowing from the orginal only when absolutely needed. For example, the Vijay of the earlier film is a don with a heart of goldd who would do no harm to the people who have been good to him. The Vijay of this film is not absolutely devoid of morals but yet is more cruel and ruthless than its predecessor. Unlike the earlier film the Vijay is not larger than life but is like an everyday man who is suffering with the agony of his father's unjust death. The film proclaims 'Revenge is the purest emotion' and the character of Vijay sticks to that perfectly. Of course the characterisations have loopholes like the absolutely useless character of Lala's mentally retarded son and the underused Gaitonde played by Om Puri who pops up now and then to give Vijay moral sermons. But the character of kancha and Rauf are geniuses while one is sadistic, the other is ruthless. While one is menacing the other is calculative. Ultimately what becomes the biggest problem for the film  is its over-indulgent length.

Of the cast Priyanka Chopra has precious litttle to do, Zarina Wahab is underuused and Om Puri is plain wasted. What pulls the film through is the three leading men. We will start in ascending order. Firstly its refreshing to see sanjay dutt in a role he truly enjoys after seeing him sleepwalk througha dozen or so films earlier. The character in the remake is refined. There is a sadistic streak in him that comes of the low self esteem he has in himself through out his life which comes out as a superiority complex. This complicated character is brought to life by Dutt who lights up the screen with his menacing swagger and sheer bulk. Rishi Kapoor possibly delivers the greatest performance of his career as Rauf Lala. You will be stunned to see this man etch out this cruel and classless character withe ease and grace after seeing him play the quintessential chocolate boy/man for 3 decades or so. Finally the greatest strength of the film is Hrithik Roshan. It's Hrithik Roshan who redefines Agneepath.He plays the character without the flourish that Bachchan brought, instead turning him into a ruthless machine for revenge. Yet shouldering layers of pain, hurt and rage making you match each step with him on his journey. He commands the camera once again and delivers a riveting, sincere performance.

All in All its a decent one time watch if the two agneepath's are not compared (which frankly they cannot be). Only if the film was not so agonisingly long..

Rating - 7.7/10