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