My Name Is Khan

My Name Is Khan is about the lonesome journey of an intelligent Muslim man, (diagnosed with the Asperger's syndrome) to meet the President of the United States of America, in order to deliver a message; ‘My Name Is Khan and I am not a terrorist’.
The basic storyline is extrapolated in such a manner that Karan Johar has skillfully and remarkably packed so much to accommodate an array of themes, which are interwoven between the plots that you’ll find it hard to decipher which one you are currently watching as the movie is so intelligently and maturely made.

Rizvan Khan’s (Shah Rukh Khan) upbringing as a child (Tanay Chheda) to an adult follows a series of events where his mother (Zarina Wahab) does whatever in her capacity to give him the best education possible either formally or informally to grow up into a good person one day. His brother (Jimmy Shergill) who goes for higher studies in the US and ultimately after becoming successful, decides to sponsor him. Rizvan’s stint in his new country is initially marked by funny and also sad moments before he meets Mandira (Kajol); a Hindu single mother who works in a hair dressing saloon.

After seeing Mandira and learning about her troubled personal life in the past, Rizvan decides to marry her and subsequently Kajol falls in love with Rizvan in the cutest imaginable way. However, the aftermath of the September 11, 2001 attacks changes the equation in the couple and Rizvan embarks on a mission to prove a point! How Rizvan accomplishes his mission and how far he goes to retain a promise, due to his strict upbringing is the story of My Name Is Khan (MNIK).

The director takes a big leap in story telling and gets his hands dirty by making a movie where multiple messages reach the viewers in a very subtle channel – Shah Rukh Khan (SRK) and the themes.

Karan Johar indirectly conveys to the audience message themes which are touching many of our lives, irrespective of whether it is inextricably connected to the main theme of the movie or not. From the opening scenes till the end of the movie, motherhood has been portrayed with so much realism, love and tenderness. The maternal instincts are so strong in the storyline, that it forms the crux of the story. Although terrorism is the principal theme as every angle is broadly looked from this point of view, it is the ‘mothers’ which compel most actions, leading to the events. The early scene where the child SRK is taught by his mother whether there is a difference between a Muslim and a Hindu touches your heart immediately. The pain of his mother whose son (Jimmy Shergill) flies to the US for further studies and her resulting acute loneliness without her child is showed on screen with sincerity and panache.

The motherhood theme is further explored in greater details though the bubbly Kajol’s love for his son (Yuvaan Makaar) in the day-to-day relationships. Karan Johar goes an extra mile ahead and perfectly develops this mother-to-child relationship in a unique perspective never attempted in Bollywood with a Black American and a White American family in separately impressive scenes. The morale comes down to: Being a mother is a lifelong duty which is carried out only with love and a mother will do everything for her child; whatever it may be.

My Name Is Khan also delves deeper into the psychology of the Muslims who feel being targeted unnecessarily in the US after the 9/11 events and even they strongly condemn the attacks; they have practically no control over the spread of false propaganda about their religion. Islam is respectfully depicted with its values and the story shows how a marriage (Rizvan and Mandira’s one) between a Hindu and a Muslim is possible. In addition, the writers bravely accommodate specific scenes showing how to find acceptance socially in a country where there is a wrong perception about one’s own religion, which is being targeted rigorously by the media and a certain section of the population. They are filmed with so much realism, that some viewers might find themselves in certain of these situations.

My Name Is Khan also explicitly shows how people jump to conclusions about a religion without even thinking that each religion has its long history, sacred values and much more. In a much broader context and frank manner, Karan Johar tackles taboo issues such as, after the September 11 events, people decide to engage socially or professionally with you depending on your name and religious views.

It also portrays how a minority of the population reacts spontaneously to news headlines, some with violence (racial attacks) and some with menace without violence, as they fear their motherland are being occupied by non-trustworthy people, who can harm their future. This also extends the fact how a small minority can unfortunately be seen as a majority by the outside world.

Before the harmony in the multicultural society of the US and after the September 11 attacks, MNIK illustrates how the common people can be so easily influenced by the media and news report which depend on sensationalism to make a buck! The media is realistically and delicately represented as a good means and a bad means of communication. The ugly side happens where unfounded reports lead to a perception about Islam and how it affects the population, or those who are incapable to think over the events, jump to nasty conclusions about a community or a race. To balance the role of the media fairly, the story also shows how the media, if used properly, can radically change perception and opinions in a very influential behavior, assuming it is done by the right people at the right time!

Historical events such as the Hindi-Muslim riots in 1983 in India, the September 11 attacks and the 2008 Presidential Election in the US are added in the backdrop to further elevate the storyline and render it more credible.

Karan Johar merits worldwide applause for his sensitive and honest story telling. Definitely, the director has matured (beyond expectations!) and has made a movie which is so realistically portrayed by the characters. His attention to details is exceptional as well as running multiple themes in parallel. On a side note, the mature side of Karan Johar, after Kabhi Alvida Naa Kehna (KANK), which touched on the theme of infidelity, here goes bluntly into marital sex for two scenes. The scene with the newly married Rizvan and Mandira in bed on their honeymoon is hilarious and the subsequent scene connected to marital sex is shown in a true fashion and will surely leave some viewers speechless.

Despite belonging to an upbeat genre, Karan Johar has not neglected the comedy aspect and this is where he proves that he is an ace director. Making the audience laugh in such a serious movie is a risky business and he succeeds in a terrific way with the regular use of “one-liners”, even in tense situations. This has been carefully thought as Rizvan cannot properly deliver long dialogues. The humor is dry at certain places and ranges from mature to sophisticated in certain scenes and yes, there are plenty of them! Be aware that Karan Johar does not have any Johnny Lever type of jokes. Intelligent jokes and catchy punch lines are more common in the script without vulgar or double meanings.

The performances are, in some cases, the finest to date from those involved.

SRK’s return after Rab Ne Bana Di Jodi, is simply outstanding and a class above. His facial expressions, dialogue delivery and behaviors are first-class and he carries the movie on his shoulders till the last frame. Due to the disease, he repeats many of his ending sentences and some of them are done deliberately to joke around. A grim, moody and determined Rizvan is a revelation of SRK’s talent, which was not unknown to us, but was not extracted with such sincerity and professionalism.

Actually, it is his first movie where you hardly see him, in a lip-synchronization mode for the songs; as all the songs are in the background! The smallest details are taken into consideration and it is also probably the only movie of SRK where you’ll see his toe nails and a close up of his hair. But he still keeps his killing smile in certain scenes. The character of Rizvan will take some viewers a little bit of time to adjust, but in the end, you’ll fall in love with him and you’ll find yourself together with him on his journey, without even realizing it. This is what Shah Rukh Khan is capable – an actor with a volcanic talent which mesmerizes you even in the most banal scenes.

Kajol is terrific in her role as the hair dresser, the single mother and the wife. She looks natural in all the scenes and even appears with little make-up in some of them; increasing the reality of the dramatic scenes. If you’ll fall in love with the character of Rizvan after a little time through the movie, then expect an immediate connection with Mandira in the first scenes itself. Needless to comment on the chemistry between Rizvan and Mandira; it is still alive!

Jimmy Shergill is effective in his few scenes, Sonya Jehan as Jimmy Shergill’s wife receives a meatier role and leaves an impression. Vinay Pathak as Jitesh is loveable in his short role and leaves a smile on everyone’s face when most needed in the end, to calm our nerves. Navneet Nishan is adorable in her short role too. Arjun Mathur, Parvin Dabas, Arif Zakaria, Yuvaan Makaar and Zarina Wahab are all equally excellent in their outings.

Music by Shankar-Ehsaan-Loy (SEL) is mainly used in the background as interludes in certain places, with constant pauses, to allow for further scenes to develop, before picking up again. Overall, all the songs remain situational and the music only aids in moving the story ahead. ‘Tere Naina’ is the compulsory Karan Johar-Shah Rukh Khan track and is wonderfully shot and gets repeated twice! ‘Noor E- Khuda’ receives an acclaimed picturization, which brings tears to the eyes. ‘Sajda’ is equally good and happens at the right time. Lyrics by Niranjan Iyengar capture your attention, while the background music by SEL is relevant.

Deepa Bhatia’s editing is first rate and with the movie spanning over so many decades; the task of the editor was of crucial importance. The flow of the sequences in flashback is a treat to watch. The minus points come in the form of the ending where the editing of the more important scenes seemed to be rushed, with one scene jumping into the other to end the movie, without a proper flow ‘per se’.

Costumes by Shiraz Siddiqui and Manish Malhotra are tailor-made for all the protagonists with Shah Rukh Khan mainly dressed as the stereotype patient with a shirt, blue jeans and a pull-over before gradually moving into black thick jackets when he goes on the mission to meet the President. Nothing flashy at all! Kajol’s costumes' designs are excellent and she looks really beautiful in the sarees as well as the Western clothes, especially with the long black boots! Strong colors such as black, blue, pink, yellow and white are methodically used throughout the movie to represent the various moods of the characters. Farah Khan’s choreography is top-notch!

Ravi K. Chandran’s cinematography is excellent in capturing the scenery of San Francisco, Los Angeles, the Arizona Desert and many more locations within the area. Shyam Kaushal and Spiro Razatos professionally handle the action scenes, even though some of them go over the top, especially in the last parts of the movie. Sharmishta Roy is again fabulous in the Art direction. Niranjan Iyengar and Shibani Bathija’s dialogues are apt for the theme and have some powerful lines, following the terrorists attacks such as ‘Get out of my country!’, ‘Allah will understand it. These people won’t!', and ‘Khan or Khanna’.

Interestingly, product placement (brand marketing) in the movie is also common with a popular brand of shoes being “advertised” similar to 30 seconds spots several times without any reason or connection to the story, but which is done professionally! (Remember Yaadein (2001) by Subhash Ghai described as the fiasco of product placements!)

MNIK briefly shows the American Dream and displays that if you work hard in this country, you will succeed. At no stage, the US is shown in a perspective which will hurt diplomatic relations.

Now despite award-winning performances and a solid script, MNIK also contains some minor flaws.

The nexus which leads to the mission of the main protagonist to meet the President appears weak in relation to the serious themes being showcased in the movie. Propelled by unforeseen circumstances, which consequently act as a trigger for Rizvan Khan’s mission, actually happens at a stage where the compelling character is heavily in despair, confusion, anger and frustration. An intelligent person like Rizvan Khan accepts the challenge, without even discussing it further with the character, when he is earlier strongly portrayed as someone who is not easily categorized as a ‘Yes Man’. The writing could have been tighter to make the scene more logical and convincing. Instead within minutes after the discussion, he gets ready for his mission.

The story is very intelligently dragged into a natural calamity in a town where Rizvan Khan had an early connection and helps in a rescue effort. Agreed that the follow-up to these scenes form a pivotal part of the storyline, but shorter scenes without the natural disaster (and its special effects) would have made the movie more believable.

The accumulated frustration of a Muslim man goes a little bit "filmi" in the end, and could have been better handled. The mission to meet the President is depicted as a hard and a long journey with too many bumps, when he had the chance to arrange for a meeting in some earlier scenes, if he had tried. However, all these above scenes are handled meticulously, that it becomes so hard to realize the logic sometimes.

My Name Is Khan is a mature movie, made for an audience who’s looking for a meaningful and partly realistic cinema, without the entertainment quotient. I must admit that it’s an intelligent movie, which has been thoroughly researched over the years and magnificently executed in its entirety. Karan Johar has made a movie for an international audience, which connects with everyone in the most sensitive way. The treatment of Islam, terrorism and motherhood opens the road for other themes to be explored deeper. It is foremost a movie on humanity, mankind, migration, love, hate, relationships, forgiveness, cultural ignorance, media, children and GOD. Whatever be your religion, your faith and your values, MNIK clicks and touches your inner emotions. Go and watch it!

Planet Bollywood.com

Ishqiya

Get ready for tangy, pungent, sizzling and spicy stuff. Be forewarned, ISHQIYA isn't the fluffy, candyfloss, saccharine sweet story of lovers breaking into songs in mustard fields. In ISHQIYA, you just don't know what turn the story may take next. Not just the story, even the characters here are so impulsive and unpredictable.

You need to have a strong stomach to absorb ISHQIYA. It's high on drama, it's wild, it's real. But it's not dark, it's not sleazy, it's not crass. Frankly, you don't expect debutante director Abhishek Chaubey to make a stereotypical fare thanks to the tutelage by his guru Vishal Bhardwaj, who loves to swim against the tide and undertake risks in film after film.

You could call ISHQIYA a distant cousin of OMKARA. Set in Gorakhpur in North India, the film has a rustic feel, depicts characters that may make you uncomfortable and is laced with saucy lingo. Yet, it's different than OMKARA.
Final word? You can't help but fall in ishq with ISHQIYA. Tired of sherbat? Try this spicy jaljeera for a change!

Two thieves, Khalujaan [Naseeruddin Shah] and Babban [Arshad Warsi], are on the run from their boss, Mushtaq. They seek refuge at a friend's house, but instead meet his widow, Krishna [Vidya Balan]. The time spent together draws the duo to her, Khalu with his tinted vision of old-fashioned love and Babban with his lustful eye. But the past catches up with all three!

There's no denying that the promos had prepared me of the journey ahead, yet it took me a good 15-odd minutes to get into the world of Khalujaan, Babban and Krishna. But once you get sucked into their world, the blurred images start getting clearer and clearer and you become an active participant in their journey.

The first hour passes in a jiffy, but the story actually gets dramatic and volatile in its second hour. It's at this stage that things start getting more and more unpredictable. The story does a somersault every 10 minutes and by the time it reaches its finale, you're curious to know how the debutante director would conclude this saga. The end, of course, will have its share of advocates and adversaries, but the fact remains that it's offbeat.

Abhishek Chaubey is a welcome addition to the ranks of avid storytellers. His choice of the subject and also handling of the material is what makes this film so eminently watchable. Not once do you feel that ISHQIYA has been helmed by a first-timer. Note the change of events in the song 'Dil To Bachcha Hain Ji' or the kidnap drama and the heated argument that follows thereafter. Even the passionate lovemaking sequence between Arshad and Vidya has been dexterously canned.

However, Chaubey and his team of writers could've kept the writing simplistic towards the finale. It's complex and also lacks clarity. Yet, all said and done, screenplay writers Vishal Bhardwaj, Sabrina Dhawan and Abhishek Chaubey deserve kudos for coming up with a film that keeps you hooked for most parts.

Vishal Bhardwaj's musical score has his unmistakable stamp all over. The film is embellished with two lilting gems - 'Ibne Batuta' and 'Dil To Bachcha Hain Ji' - which are a rage with listeners already and have been juxtaposed beautifully in the plot. Mohana Krishna's cinematography is first-rate. Dialogues [Vishal Bhardwaj] are acidic and a few lines are indeed startling.

Every actor in ISHQIYA delivers a sparkling performance! Naseeruddin Shah is superb as a romantic. He is matchless in the sequence when he learns the truth about Vidya and Arshad. Arshad packs in a bravura performance yet again. Post MUNNABHAI films, Arshad should be liked in this one the maximum. Vidya continues to surprise. It's a dynamic performance undoubtedly. PAA and ISHQIYA are two landmarks in her career.

The actors enacting the role of Jijaji, the kidnapped victim and Vidya's husband are all perfect. The child, who interacts with Arshad, is natural. In fact, every performance in ISHQIYA is worthy of mention.

On the whole, ISHQIYA is definitely worth a watch. The film has a riveting plot, great performances, soulful music, an absorbing story and skilful direction to make the viewer fall in ishq with it. It should appeal to the hardcore masses as also the multiplex junta.

By Taran Adarsh
bollywoodhungama.com

Rann

Ramgopal Varma is itching to tell a new story in his movies. You may garland him for his efforts or loathe him if you feel letdown, but you need to hand it to him for picking up stories that defy stereotype.

This time, in RANN, the maverick film-maker does an expose on the games the heavyweights in the media play to further their interests. RGV goes into the newsrooms and also behind it and throws light on the politician-industrialist-media nexus. Also, it's an insider's account of how news channels that are greedy for ratings sensationalize stories to grab eyeballs.

On surface, you don't want to know what goes behind the scenes and how, at times, news are 'created' by vested interests. But RANN scratches the surface and opens a can of worms. RANN also mirrors the fact that just like there are good and bad people in every field, there're some rotten ones in the media too who succumb to temptations and create news to climb the ladder of success.
RANN is a serious film and RGV knows what he's talking this time. It wouldn't be erroneous to state that you recall RGV's SARKAR while watching RANN, even though the two films are as diverse as chalk and cheese. You recall SARKAR because RANN is an equally powerful film that shows a world we've only seen from the exterior.

RANN is for those who enjoy serious cinema. It's more for the intelligentsia, for the thinking viewer. Definitely not for those who seek refuge in frivolous masala capers.

Vijay Harshvardhan Malik [Amitabh Bachchan] is the founder of a private news channel, India 24/7. A hardcore upholder of journalistic ethics, his channel is battling for survival. Jay [Sudeep], his son, looks at his father's news channel purely as a business enterprise that must make profits to justify its existence. He hates that his competition [Mohnish Bahl] is doing better than him.

The story takes a turn when a corrupt politician, Mohan Pandey [Paresh Rawal], decides to use the channel to his advantage by using Vijay's son-in-law Navin [Rajat Kapoor]. Pandey aspires to be the Prime Minister and indulges in a vicious campaign against his political opponent.

Navin is the most insecure man on earth and won't rest till he becomes the number one industrialist in the country. He, in turn, involves his brother-in-law Jay in Pandey's game plan.

A film like RANN would fall into the pit if [i] its writing wouldn't be razor-sharp and [ii] the choice of actors would be incompetent. RGV's movies, generally, are embellished with competent actors who deliver super performances. In this film, every member of the cast shines in his/her role, the length of the role notwithstanding.

The writing is watertight and convincing. Besides, the subject matter has been presented in the most simplistic manner, which makes it easy to decipher. However, the episode showing Riteish's investigation tends to get confusing at one point, but the climax compensates for the minor hiccups here and there.

Amit Roy's cinematography is eye-catching. Dialogues are power-packed. In fact, one can identify with the well-penned dialogues. The background score plays a crucial role. It heightens the impact of various scenes.

Amitabh Bachchan is spectacular yet again, especially towards the finale. His speech and the way he delivers it are remarkable. Sudeep is terrific. To stand up to giants like Bachchan and Paresh Rawal is no mean achievement. Riteish is only getting better and better with every film. In fact, he surprises you constantly.

Paresh Rawal, seen in an RGV film after a long, long time, is at his vicious best. Rajat Kapoor is incredible. Mohnish Bahl gets the role of a lifetime and he sinks his teeth into it. This film should open new vistas for him. Gul Panag is natural and so easy on the eyes. Neetu Chandra does her part well. Suchitra Krishnamoorthy is too good. Rajpal Yadav contributes to some funny moments. Neena Kulkarni and Simone Singh are perfect for their parts.

On the whole, RANN is truly a well-made film. No two opinions on that. The film should be patronised by viewers of serious, sensible cinema. Recommended!

By Taran Adarsh
bollywoodhungama.com

Veer

VEER drives home a few hard facts...
No amount of gloss can substitute for an engaging story.
Not all directors are capable of pulling off a period film.
No star - howsoever strong his rankings are - can infuse life in a comatose script.

Everyone's awaiting VEER with bated breath. The film industry will get another breather if VEER goes the 3 IDIOTS way at the box-office. The junta will have one more fascinating genre to look forward to, if VEER appeals to them. But your hopes go crashing as reel after reel of VEER unfurl.

Salman Khan [who has been credited as the story writer of VEER] takes TARAS BULBA, adds GLADIATOR, CONAN THE BARBARIAN, TROY, TITANIC and even KRANTI [the end is a straight lift of Manoj Kumar's Dilip Kumar starrer] and comes up with this khichdi which gets unpalatable after a point.
VEER is about a warrior and at the same time, it's a love story too. Sadly, neither does it evoke any patriotism, nor does the love story make your heart go dhak-dhak.

The writing [screenplay: Shaktimaan Talwar, Shailesh Verma] is so fragile that one is mentally exhausted by the time this marathon movie finally reaches its finale. Of course, Salman's star power tries hard to salvage the situation, but window dressing doesn't help if the store has nothing to offer.

Final word? You have to be a veer to sit through VEER. Colossal disappointment!

As the British enslave India with their devious Divide and Rule policy, kings and nawabs fall to their guile and cunning schemes and entrust their precious kingdom to the foreigners. Except for the brave Pindaris, who prefer death to dishonour and will fight to their last breath to save their land.

The bravest, the toughest, the strongest of the Pindaris is Veer [Salman Khan]. As Veer takes on the might of the British Empire, he also has to fight the conniving King of Madavgarh [Jackie Shroff] as well his own jealous tribesmen. At stake is his love for princess Yashodhara [Zarine Khan], daughter of his sworn enemy. At stake is his thirst to avenge his father's dishonour.

VEER has it all - great stars, opulent and majestic sets, adrenaline pumping action scenes, but no soul [read script]. The movie begins with a bang, but the moment the story shifts to London, it crashes!

Frankly, it's a screenplay of convenience. Salman meets the woman of his dreams within minutes of reaching London and that looks so unreal. You try to digest it and move on to the next scene and lo! The damsel studies in the same college that our hero has enrolled in. Now that looks fake!

The sequence at the interval is interesting, although it remains a mystery how Puru Raaj Kumar gets to know of Salman's identity. At this point, Salman becomes a killing machine, slaughters more than a dozen people in the hostel campus [including a few gora soldiers] and conveniently escapes from London with a badly injured brother [played by Sohail]. Now that is taking it too far.

The second hour goes on and on and on, emphasising on unfulfilled promises, seething anger and revenge, love and freedom and frankly, you are least bothered by now. In fact, you lose interest in the proceedings. Period. The climax is so long drawn and more of an anti-climax, while the ending is bizarre and unintentionally funny.

Director Anil Sharma fails to deliver. That's the bitter truth. The project had everything going in its favour, but alas, Sharma and his writers make a complete mess of the story. Sajid-Wajid's music is melodious, but why repeat one song ['Surili Ankhiyon Wali'] again and again? The background score [Monty] is top notch. Gopal Shah's cinematography is splendid. Tinu Verma's action scenes are dynamic and in fact, the saving grace of VEER. The production design [art: Sanjay Dhabade] give an authentic feel of the bygone era.

VEER rides on Salman's star power, but even his hardcore fans will be disappointed by this movie. Zarine Khan resembles Katrina Kaif, but wears one expression all through. Mithun is okay, while Jackie does his bit well. Sohail Khan irritates. Puru Raaj Kumar and Aryan Vaid get no scope. Neena Gupta is as usual. The English actors are stereotype.

On the whole, VEER proves the age-old adage true: All that glitters is not gold. The film may open very well at single screens thanks to Salman's popularity and the hype surrounding the film and may also enjoy a healthy extended weekend [Tuesday, 26th January is a holiday], but given its exorbitant costs and poor merits, VEER will face an uphill task to recover its costs. This one's a monumental disappointment!

By Taran Adarsh
bollywoodhungama.com

Chance Pe Dance

The film industry attracts thousands of hopefuls every single day. Most don't make it. But the struggle continues... CHANCE PE DANCE tries to present the story of a hopeful - his dreams, his aspirations, his struggle and his eventual triumph.

Last year, Zoya Akhtar's LUCK BY CHANCE depicted the struggles of an aspirant most effectively. CHANCE PE DANCE tries hard to present the story of one such aspirant, but fails miserably. However, a few clarifications before we delve deeper. It's not derived from STEP UP [2006] or Ram Gopal Varma's NAACH [the similarity starts and ends with the male lead being a wannabe actor and the female lead being a choreographer], although a significant track of the movie bears an uncanny resemblance to Jack Black's SCHOOL OF ROCK [2003].

What bogs the film down is that it's too predictable from start to end. However, predictability is not the sole hitch here. The story doesn't have the zing to keep you hooked to the screen for most parts and also, it unravels at such a lethargic pace that you break into a yawn at several points of the narrative.
The sole aspect that you carry home is Shahid Kapoor's earnest performance, who has consistently taken one step ahead with every film. This time, unfortunately, the shoddy script makes the actor's efforts null and void.

Final verdict? A chance lost! Come to think of it, most dance-based reality shows on television these days promise far more entertainment, excitement, drame-baazi and those euphoric moments than the one you see in CHANCE PE DANCE.

CHANCE PE DANCE tells the story of a talented and passionate guy named Sameer [Shahid Kapoor]. Positive and brimming with energy, Sameer juggles various jobs to keep him afloat while pursuing his one dream to get a break on the big screen.

In his quest, Sameer has a lot of ups and down, hopes and disappointments. Not the one to be disillusioned and armed with a 'Never-Say-Die' attitude and dynamic talent, Sameer fights every hurdle that comes his way because achieving your biggest dream is never easy.

In this journey, he is helped by a spirited choreographer Tina [Genelia D'Souza] and eventually, Sameer realizes that sometimes life gives you that one chance.

The problem with CHANCE PE DANCE is its writing, which is tacky and bland at the same time. In today's times, when every film-maker is striving so hard to narrate a new story, CHANCE PE DANCE harps on the same-old mundane, cliched, tried-and-tested stuff that you've watched again and again and again. The journey of the protagonist is so lifeless that you don't feel for him when he loses one battle after another. Conversely, during the climax, when he eventually emerges a winner, you don't feel euphoric either.

Had the story remained faithful to the main plot - the struggles of an aspirant - it may've cut ice with the viewer. But the track of a dance teacher doesn't work. Also, the sequences with his father - right from the time his father's shop is demolished, to his father prodding him to chase his dreams - appears phony. The Mohnish Bahl track is also contradictory. At first he signs Shahid, later dumps him, but much later screams on TV channels that he always knew Shahid was a star... weird, isn't it? The ending is equally tame.

Director Ken Ghosh has filmed a few individualistic scenes well, especially the one at the interval point when a heart-broken Shahid finds solace in his students, but one sparrow does not a summer make. Adnan Sami's music is strictly okay. The movie clearly lacks a hit number to take it to dizzy heights. However, the choreography is top notch [Ahmed Khan, Marty Kudelka].

Shahid makes a sincere effort and the honesty shows in a number of scenes. But let's not forget that the best of actors cannot rise beyond a pitiable script. His dances, expectedly, are exceptional. Genelia looks cute and provides some pleasant moments, but the role doesn't demand histrionics. Mohnish Bahl is alright. Parikshit Sahani is getting typecast as the father.
On the whole, this dance stands no chance!

By Taran Adarsh
bollywoodhungama.com

Pyaar Impossible

SHREK [and its instalments] has been one of the most loved movies of our times. An ogre falls in love with a princess and after overcoming their share of obstacles, the couple live happily ever after. Most Hindi movies take a similar route, don't they? We love happy endings. We want the underdog to accomplish his dreams. We feel euphoric if he walks into the sunset, holding the hand of his beloved.
A love story works if you fall in love with the on-screen characters and also if it knocks on the doors of your heart. PYAAR IMPOSSIBLE does that. PYAAR IMPOSSIBLE may not be the ultimate romantic film, but you can't deny the fact that there's something about this film that stays with you, that you carry home... sorry, carry in your heart.

PYAAR IMPOSSIBLE also works because its protagonists, Uday and Priyanka, deliver sparkling performances. No wonder, you get drawn in their world in a jiffy.
Final word? Watch PYAAR IMPOSSIBLE if you are or even if you're not a romantic. It has its heart in the right place!

In a university in California, Alisha [Priyanka Chopra] is the name of that dream everyone wished came true. The most beautiful girl on campus, she makes hearts flutter like leaves in the wind. Everybody loves Alisha.

It is no surprise then that Abhay [Uday Chopra] loves her too. Abhay is a nerdy, awkward, bespectacled geek of the college who is so far removed from her world. She doesn't even know that people like him actually exist.

One day Abhay musters up enough courage to go and express his true feelings to her and realizes that it is never gonna happen. He comes to terms with the fact that Alisha is a Princess and he is just a Geek. That is when their ways eventually part. Later, their paths cross again, as Abhay is busy trying to launch his career. Fate again brings him face to face with the woman of his dreams, Alisha.

Will Abhay have the strength to believe in himself and attempt to achieve what he never thought possible?

You may draw parallels with Chris Columbus' I LOVE YOU, BETH COOPER [2009], but the fact is that Uday Chopra's story in PYAAR IMPOSSIBLE [yes, he has penned the story, screenplay and dialogue] could be anybody's story. This is not about a nerd who wants his program back from a suave hacker. It's about a simpleton, his feelings, the complications in his life and the final triumph. Haven't we seen so many jodis in real life, who may not pair off well, but look compatible? Let's not forget, opposites attract!

You may also draw parallels with Aditya Chopra's RAB NE BANA DI JODI, but writer Uday Chopra and director Jugal Hansraj steer clear of anything that could be similar to Adi's film. The [sole] similarity starts and ends with a simpleton falling in love with an attractive girl.

Uday's screenplay remains faithful to the main plot, not deviating one bit. At the same time, it could've been tighter in the post-interval portions. There were ample occasions when Uday could've opened his heart, his motive of arriving in Singapore, that he's not a nanny, that he had been cheated by Dino. But he doesn't!

Thankfully, the writing is back on track towards its climax. Right from the kiddie song, to Priyanka realising that she loves Uday, to the press conference when Uday stands vindicated and Dino exposed, the penultimate moments are the mainstay of the enterprise.

Jugal Hansraj has the trappings of a competent director. He has handled several sensitive moments with dexterity. Salim-Sulaiman's musical score is pleasant, but it can do with that extra push [promotion] from the music division. Santosh Thundiyil's cinematography is top notch. Dialogue [also penned by Uday] are straight out of life.

PYAAR IMPOSSIBLE works largely due to the efficient performances by its principal actors - Uday Chopra and Priyanka Chopra. Both deliver sparkling performances. Priyanka has evolved into a fantastic actor and this film proves it yet again. Five minutes into the film and you realise that you are not watching Priyanka, but Alisha Merchant. That's what this fine actor does to you.

Uday gets it right as Abhay. Sure, the actor has been a part of several films in the past, but this one awakens you to this sincere performer, who, unfortunately, has never got his due. He plays the role of a Geek with astute understanding and it's thanks to his super portrayal that you feel for this character. This should be the turning point in his career.

Dino Morea springs a surprise and carries off his part very well. Anupam Kher is perfect in a brief role. Advika Yadav, the kid playing Priyanka's daughter, is adorable. And a terrific actor too!

On the whole, PYAAR IMPOSSIBLE is a feel-good film. If you are a romantic, this one's for you. Even if you're not, still watch it. Its one of those films that will bring a smile on your face - something that most Hindi films don't do these days!

By Taran Adarsh
bollywoodhungama.com

Dulha Mil Gaya

The recipe is simple and uncomplicated...
Take MY FAIR LADY
Sprinkle DILWALE DULHANIA LE JAYENGE and RAB NE BANA DI JODI.
Hey presto, DULHA MIL GAYA is ready to serve.

In fact, MY FAIR LADY has been a hot favourite of Bollywood. Recall MAN PASAND [Dev Anand, Tina Munim] or HUM TERE AASHIQ HAIN [Jeetendra, Hema Malini]. Similarly, a number of storytellers have rehashed Rajshri's all-time hit DULHAN WAHI JO PIYA MAN BHAAYE [Prem Krishen, Rameshwari] in various avtaars, over the years.

DULHA MIL GAYA is a mix of the above-named films. Like they say in filmi lingo, it's old wine in new bottle. So what? How different can a love story be, since this genre has been done to death in Bollywood? Point noted, but the narrative ought to be engaging if it has to strike a chord and that's where DULHA MIL GAYA falters.
Merely assembling A-listers and filming the movie at panoramic locations isn't enough. The film ought to have meat and that's missing here.

Let me elaborate. Debutante director Mudassar Aziz, who has also penned the script, borrows from the past, going for the tried-and-tested stuff, but the narrative, already low on fuel, comes to a grinding halt by the time it reaches its finale.

Donsai [Fardeen Khan], a young commitment-phobic debonair, is petrified with terms like marriage and long-term relationships. Samarpreet [Ishita Sharma] is a quintessential Punjabi girl, for whom relationships are to be cherished.

Shimmer [Sushmita Sen] is a diva from the world of glamour for whom love and relationships aren't important in life as independence and success are. Pawan Raj Gandhi/PRG [Shah Rukh Khan] is a suave multi-millionaire whose heart still remains larger than his bank balance and for whom winning love is the only victory there is.

When paths cross for these four characters, they not only land up influencing each other with their outlook on relationships, but also get influenced themselves and learn a whole new meaning of the term.

Something that got ignited with D.D.L.J. continues to shimmer to this date. Our stories continue to travel from firangi land to the fields of Punjab. DULHA MIL GAYA too does that [initially], before MY FAIR LADY and RAB NE BANA DI JODI take over.

To give the credit where it's due, DULHA MIL GAYA has some interesting moments, but the problem is they are few and far between. One expects things to perk up when SRK's character is introduced [in the post-interval portions], but your hopes go crashing as nothing worthy of note occurs.

The writing has gaping flaws, which are difficult to absorb after a point. The girl travels all the way from Punjab to Trinidad and Tobago, but not once do her concerned parents call to enquire how she is. Strangely, even the girl doesn't feel the need to inform them. If that's not enough, Sushmita takes upon herself to tame Fardeen, giving you the impression that she thinks from her heart. But when it comes to her relationship with Shah Rukh, she behaves in a rather odd manner. SRK, on the other hand, seems completely besotted by her, even though she never reciprocates his feelings. Hence, her somersault in the end - just because Ishita has given her some bhashan - doesn't look convincing.

Mudassar Aziz's direction is a shade better than his writing. And that's not saying much. Given the fact that newer stories are being attempted in these fast-changing times and in view of the fact that he had some of the best talents on board, Mudassar should've seized the opportunity and told a refreshingly different and absorbing tale. But he doesn't. Sure, a few sequences are clever and smart, but that's not enough.

The music is of a mixed variety. 'Akela Dil' is groovy, while the title track is strictly okay. Cinematography is appealing.

Sushmita excels in a role that demands her to be hoity-toity. She enacts her part effortlessly. One wishes to see her more often on the big screen! Fardeen does a good job, especially towards the end when he's about to confess something vital to Ishita. Ishita delivers a sincere performance. It's a pity that a superstar like Shah Rukh is terribly wasted in an inconsequential role. It may not go down well with his fans.

Mohit Chadha has screen presence, but gets no scope. Johny Lever is wasted. Ditto for Tara Sharma. Suchitra Pillai and Howard Rosemeyer are passable. Parikshit Sahni, Bina Kak and Viveck Vaswani are as usual.
On the whole, DULHA MIL GAYA doesn't work!

By Taran Adarsh
bollywoodhungama.com