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'Ghajini': The complete masala!

'Ghajini' is a revenge saga, one ingredient that has been the staple diet of Hindi films since time immemorial. It is a powerful film. It has the power to sweep you off your feet from the word 'go'. It has a riveting story, which has been told with flourish by director A.R. Murugadoss. And, of course, it has a knockout performance by Aamir Khan. If at all there's a shred of doubt whether Aamir is "The Best" in the business, all you've got to do is check out 'Ghajini'.

Flaws any? Running time [almost 3 hours]? Not at all! There's so much happening in every scene and the screenplay is so gripping that you don't feel the need to look at the auditorium ceiling or at your watch at brief intervals. You aren't restless. As moviegoers, we've watched countless good versus evil fares over the years and although 'Ghajini' belongs to the same family, not once does it take the beaten track. The story has been told differently and most importantly, the story offers so many twists-n-turns that you just can't guess what would unfold next.

Is it violent? It is, at times, but the violence here is justified. In fact, every time the protagonist bashes up the evil-doers, you clap and root for him. The climax is jaw-dropping -- dissimilar from the original, but it's an out of the world experience nonetheless.

To sum up, 'Ghajini' is commercial Hindi cinema at its best. The film has 'Hit' written all over it. Let me put it this way: Cancel whatever you're doing today and go watch 'Ghajini' instead.

Aamir Khan is suffering from acute short-term memory loss set off by the violent murder of his girlfriend Asin. He's got to work around this handicap, but with methodical and meticulous determination. Aamir etches a path of clues that lead him on his road.

To aid him in his quest, he carries around a sheaf of Polaroids and when he is really sure of a piece of information, he has it tattooed on his body, which stands in for the damaged part of his mind. His indelibly marked torso is the repository of his grief, his rage and his reason to go on living.

Any more revelation would do gross injustice to the film and to its viewer.

First things first! 'Ghajini' is not 'Memento'. There're minor similarities, but 'Ghajini' takes a completely different route to tell its story. Director A.R. Murugadoss tells this one differently. It starts off with what happens in the past, comes to the present-day, goes back in time again and returns to the contemporary again. This is a breathless, exciting story, heart-breaking and exhilarating at the same time.

Hindi movies have often depicted people suffering from amnesia/memory loss, but 'Ghajini' is poles apart because the protagonist recalls events only for 15 minutes. The story is its USP, without a doubt. But what adds sheen and glory to the story is Aamir's portrayal of a man suffering from short-term memory loss. Aamir hardly speaks. In fact, the leading lady [Asin] speaks more than Aamir in the film. But Aamir speaks volumes with his eyes, he conveys whatever has to be conveyed through his body language, he says it all with his facial expressions and that only makes 'Ghajini' a memorable, never-seen-before experience.

Director A.R. Murugadoss deserves brownie points for not just coming up with an interesting story, but also presenting it [refreshingly] differently. The storyteller balances the light moments and the ones demanding intensity with expertise. There's dum in every sequence. Even if the director has to depict violence, he doesn't resort to blood-n-gore or knives-swords-pistols for effect.

A.R. Rahman's music is top notch. At least three numbers have the unmistakable stamp of a genius -- 'Guzarish', 'Behka' and 'Kaise Mujhe'. Ravi Chandran's cinematography is stunning. The film bears a stylish look all through. The action sequences are brilliantly executed. The Hindi moviegoers haven't seen such scenes ever.

Aamir delivers his career-best performance. In the first place, it requires courage and maturity to name the film after the villain. Knowing how egoistic our stars are, something like this is next to impossible in Hindi films.

A lot has been said and written about the 'Ghajini' look -- Aamir's hairstyle and his dream physique. It's awe-inspiring and if more and more people adopt the 'Aamir look' or hit the gym, it would be courtesy the actor. As far as his acting is concerned, he's natural as the tycoon, but like a wounded, ferocious tiger when he goes on an avenging spree. Without doubt, it's a concentrated, layered performance. He acts with his entire being. His body movement, the details of his performance, everything rings true. He is both vulnerable and hard. The pain in his face when he can't remember, is palpable. It's not only the plot that carries 'Ghajini'. It's also the mood and the expression on Aamir's face that makes 'Ghajini' a treat.

Asin is fabulous. To share the screen space with an actor of the stature of Aamir Khan and yet remain in your memory even after the show has ended is no cakewalk. She looks fresh and photogenic and acts her part brilliantly. Pradeep Rawat, the villain, is first-rate. Jiah Khan impresses, especially in the sequence when Aamir follows her to a shopping mall.

On the whole, 'Ghajini' is a winner all the way. The film will set new records and has the merits to emerge one of the biggest Hits of all times. In short, 'Ghajini' has 'Blockbuster' written all over it.

Aamir Khan has special strategy for Ghajini promotion

Watch Aamir Khan Play Drums Click Here

Aamir Khan has always been a path breaker in every area and staying true to his reputation is yet again giving his millions of fans something truly ‘hatke’. His next release is Ghajini, which is all set to come on December 26th. But now instead of opting for a typical “teaser promo” followed by big theatrical promo technique, Aamir has recommended his filmmakers to start work on a never seen before kind of, very user friendly, interactive website for the film.

A source revealed us, “A leading website company that has been handling the personal website of Aamir shall now be doing the Ghajini film website. Aamir we have learnt has been giving his creative inputs for the same which include a specially shot promo just for the website. Internet savvy Aamir knows power of the e-medium in today’s times very well and he is confident that a stronger buzz will be created through it.

Aamir has been interacting a lot through his personal website with his fans across the globe and he wants to use the Ghajini website as a platform to multiply his fan base and in turn also promote his film. This also involves less money as video promos online are practically free of cost and the producer doesn’t have to shell a lot of money from his pocket to constantly showcase his film’s promos on television channels.

The official promotion of the film is set to begin around Diwali time that’s in October end. Aamir intends to get website for the film ready by that time. There are also chances of starting a mobile phone website for the film as well. If it happens then Ghajini probably shall be the first Bollywood film to have a mobile website!”

Rab Ne Bana Di Jodi - Movie Review

Well, to start off with, Aditya Chopra spells yet another poignant dimension of pure love as in his previous ventures with SRK; DDLJ and Mohabattein. Yeah! These tales were retentive impressing everyone from 8-80yrs old men and women. Of course, we fell in love getting imbibed with those spellbinding personations in these flicks. So, guess what about Rab Ne Bana Di Jodi – a film that brings back sensational pair SRK-Aditya together after 8yrs? Does the film exceed everyone's expectations on 'Love' n 'Entertainment' factors? Or merely conks out dashing down our hopes?
Download Free Rab Ne Bana Di Jodi Mp3 Songs Click Here
Hats off to Aditya Chopra! An awesome motif of delineating a touching story of romance...
Have you ever stopped to think if the most ordinary, uninteresting, unobtrusive man you might see on the road or around you might have a love story to tell?

Maybe not! How can an ordinary man have a breathtaking, goose flesh igniting, awe inspiring love story of all things to tell?

But guess what - love does not differentiate between the ordinary and exceptional, the uninteresting and interesting, the unattractive and attractive. Because love knows no distinction. It can happen to anyone and once it does it engulfs us into it completely and gives us those heaven-sent experiences that only love can yield.

Perhaps, everything in fine and good with the one-liner…. But Aditya Chopra fails in crafting a gripping narration all throughout the show. A flimsy screenplay lacking finesse with bits and pieces of discontinuities and these attributes easily scatters audiences' attention. The best illustration goes with SRK's ducky actresses shaking legs with him for 'Phir Milenge Chalte Chalte' on theatre screen. It's completely odd for that situation and possibly, the sequences could've been switched over to latter half as a 'special round in Dance show'. Was it an attempt to deliver a replica of 'Om Shanthi Om' song of film stars dancing together?

The film is about Surinder Sahni (Shahrukh Khan) - a simple, clean hearted, honest man working for Punjab Power, leading a humdrum life, when he meets his total opposite and finds love in the flamboyant, fun-loving, vivacious -Taani (Anushka Sharma) for whom the whole world is her canvas and she paints her own life with the colours of rainbow all until unforeseen circumstances changes it all and brings them together. Sooner, its biggest dance show in Amritsar and Surinder coiffes himself as Raj what he calls 'Macho Chap'… He does it all to impress his girl Taani and what's next?

It's a journey filled with laughter, tears, joy, pain, music, dance and a lot of love. A journey that makes us believe that there is an extraordinary love story in every ordinary jodi.
The first half dawdles with sluggish narration until earlier minutes to pre-interval where SRK's soliloquy with statue takes on emotional quotients. Well, the latter half comprises of few enjoyable moments like Anushka racing on her bike with 'Dhoom Machale' on BCM and next ultimate shot of Vinay Pathak-SRK at garage.

It's a crème de la crème performance by Shah Rukh Khan as he emotes resplendently on all situations. Be it his make-over sequences adjusting his tight jeans in dance class or the performance in penultimate minutes, King Khan is awe-inspiring. A flawless performance by debutant Anushka Sharma and of course she eclipses Shah Rukh on many parts. What to say about Vinay Pathak? He's over-the-top and more emblazons to the screen. He strides sparkling smiles on our lips with his wiggeries and soaks our eyes as he gets emotional. Don't miss the great dance of SRK-Vinay for the original tune of 'Rab Ne Bana Di Jodi'. Its emotional outbursts from every characterization that turns entire spotlights on RNBDJ…

Aditya's innovative thought is laudable on certain parts like Shah Rukh laying rose next to food and again placing it vase, pictorial of Anushka's face for the song 'Tuj Mei Rab Diktha Hai' and entire Amritsar being lit up, 'I Love You' deserves grand round of applause. Fine! Young lads and missies would hail with praise worthy comments for Adhi's ideation. Both SRK and Anushka swallowing Pani Purees followed by abrupt sequence where he has to finish of delicious Biriyani are evokes laughter.

Nevertheless, the biggest flaw is that how come a woman fails to recognize her husband with a slight-make over…. The characters of Surindar and Raj differ merely with thin moustache, hair style and costumes. Both the characters have same voice sans any modulations….
What barricaded Aditya's cognizance while dropping these lines on his paper? Indeed, it's a billion dollar question.

Ravi K Chandran's cinematography enhances visual quality and his placement of creative angles deserves special attention. The duo Salim-Sulaiman seems to have not percolated a lot for background scoring. It's again the pieces of existing numbers in album tuned and they sway on all songs.

Possibly, 'Haule Haule' and 'Dance Pe' peaked with high-promos prior to release. For sure, both the versions of 'Tuj Mei Rab Dikta Hai' capture your senses with beauteous visualizing. 'Phir Milenge Chalte Chalte' fails to make it big despites grand set decorations, costumes and top-charting actresses with SRK. Ritesh Soni's editing especially on 'Dancing Jodi' at the climax is mind blowing... Choreography by Vaibhavi and Shiamak are sumptuously ne plus ultra…
On the whole, Rab Ne Bana Di Jodi is enjoyable on many parts with fun, frolic, lots of music and dance, pains and emotions. Well, Aditya Chopra gets stuck failing to pen an engrossing screenplay. It's too long, irksome and more predictability when it comes to narration and the auteur could've better avoided these vistas.

Verdict: A Fair to middling Show
Rating : ***

People will love Surinder as much as Raj: Shah Rukh Khan

Download Rab Ne Mila di Jodi Mp3 Songs Click Here

Shah Rukh Khan’s 'Rab Ne Bana Di Jodi' (RNBDJ) will hit theatres, this Friday. Aditya Chopra and SRK come together after 8 years and 'RNBDJ' is high on the must-see movie list, this season.

SRK plays a character in complete contrast to his now infamous Raj/Rahuls. In an exclusive interview with MSN, Shah Rukh Khan talks about his character in 'Rab Ne Bana Di Jodi'.
Excerpts from the interview:

Q. Is Surinder (SRK’s character in 'RNBDJ') an extension of Raj?

See, Raj was a sweet boy, who is every girl’s dream. He was cool, he did all the right things like instead of running with the girl he was ready to face the challenges and impress the girl’s family. On the other hand, Surinder Sharma is a common man, the one with whom everyone would identify. He loves someone but doesn’t have the courage to express it.

Q. Are you closer to Raj or Surinder in your real life?

You won’t believe me but, I am much closer to Surinder. I am still a middle class guy at heart who loves sitting on the floor and playing with his kids. I am just like any other common man.

Q. What does the tagline ‘There is an extraordinary love story in every jodi’ mean?

Every common man you see on streets has a love story to tell. The general conception is that love stories are extraordinary. The fact that a love story is ordinary makes it extraordinary.

Q. How does it feel to work with Aditya Chopra, again?

Yashji and Adi are like family and working with them is always fun .Yash Raj Films have always given me roles that has helped me win love and appreciation from fans all over the world. For 'Rab Ne Bana Di Jodi', Aditya has written a character that I feel will become as beloved as Raj of 'DDLJ'.

Q. What are your upcoming projects?

My home production ‘Billoo Barber’ will release next year. Right now, the shooting of Karan’s ‘My name is Khan’ is going on. I am planning to start ‘Don 2’ with Farhan Akhtar too.

'Oh, My God!!': Feel good fare!

Like most debutante-helmed vehicles, 'Oh, My God!!' comes with its share of plusses and minuses. In this case, the aces overpower the deficiencies. 'Oh, My God!!' may not be the ideal multiplex fare, but it has its heart in the right place.

Debutante directors have new stories to tell. Predictability is passé, unconventional is in. First-time director Sourabh Shrivastava's 'Oh, My God!!' may give an impression that it's yet another offshoot of 'Bruce Almighty', but the fact is that 'Oh, My God!!' reminds you of the Hrishikesh Mukherjee/Basu Chatterjee films of the 1970s and 1980s.

Rajendra [Vinay Pathak], a simple salesman with big dreams, a hardcore Dhirubhai Ambani fan, wants to make it big in life through ethical means. Suman [Divya Dutta], his loving wife, stands by her husband at all times. As Rajendra continues to fail in his various money-making schemes, Suman pleads with God to help her husband.

What follows is a series of hilarious encounters where God [played in human form by Saurabh Shukla] tries to help Rajendra become successful, but is constantly frustrated as Rajendra fails to recognise the opportunities.

Given the fact that 'Oh, My God!!' has been shot in 19 days, it doesn't look like a hurried job at all. Sourabh takes a simple story of a simpleton and narrates it in the most simplistic manner. The film has a lethargic pace in the first hour and that tapers the effect to an extent, but its back on its feet, post intermission.

Note the sequences in the second hour. Vinay Pathak watching the bagful of currency with disbelief -- it's wonderfully executed and enacted. God's [Saurabh Shukla] emergence every time Vinay decides to abandon the bag, is another interesting aspect. The finale -- when Vinay throws the money on the street -- is brilliant. In short, the film redeems itself in the second hour.

Sourabh Shrivastava knows the grammar of film-making well. The hand-held camera movement [Amol Rathod] is perfect, but at a few places, static frames would've worked better. The background score is effective.

'Oh, My God!!' rests on Vinay Pathak and Saurabh Shukla's firm shoulders and both deliver natural performances. Vinay is very believable in the latter reels, while Saurabh is equally credible. Divya Dutta is first-rate as the doting wife. Gaurav Gera does well. Harsh Chhaya is okay.

On the whole, 'Oh, My God!!' is a feel-good fare.

'Maharathi': Contrived and implausible!

One look at the set of 'Maharathi', and its theatrical origin is given away. Uttam Gada's play, inspired by Sleuth, has the twisting-turning kind of plot that was popular in stage thrillers once, and the play was a big hit.

About a quarter of century later, Shivam Nair brings the play to the screen, casts some of the finest actors, and wastes all but Paresh Rawal. The other parts simply did not require the combined prodigious talents of Naseeruddin Shah, Boman Irani and Om Puri-- it is a Paresh Rawal show all the way. (One can see why Rawal was so keen to get the play converted to film.)

Shah plays an alcoholic, once powerful filmmaker Jaisingh Adenwala, who lives in a huge, shabby, overstuffed bungalow that looks like bad stage set. He has a young, virago of a wife, Mallika (Neha Dhupia—shouting out her lines), and a shifty lawyer Merchant (Boman Irani).

One day, a small time crook Subhash (Paresh Rawal) saves Adenwala's life after a drunken car crash, and insinuates himself into the household. Ill, in debt and sick of his wife, Adenwala decides to commit suicide, so that Mallika cannot get her hands on his Rs 24 crore insurance policy, unless she can prove it was murder.

The wily Subhash convinces her to put the body in a large freezer that just happens to be around, and weaves a complicated scheme, by which they can prove that Adenwala was murdered and split the booty. To have an alibi on hand, they hire a housekeeper Swati (Tara Sharma).

Of course the plan starts going wrong, and it takes all of Subash's guts and brains to stay ahead of the game—not to mention acting skills that enable him to wring out tears when needed, and look all helpless when he is actually putting his adversary into a tight spot.

Despite all its cleverness, the plot is contrived and quite implausible, and since most of the film is set in one house, the action is mostly static. The acting style also borders on the theatrical, and it looks like the investigating cop's (Om Puri) role was curtailed to keep running time in check.

Paresh Rawal is quite capable of holding a film all by himself, and despite some overacting he does—but if he emerges as the 'hero' here, it's because the writer handed him all the right moves on a platter. And what a pity to have Naseeruddin Shah locked in a freezer for most of the film. It would have been fun to see Rawal and Shah in an acting duel. That would have made 'Maharathi' a worthwhile watch; now it's comme ci comme ca.

'Meerabai Not Out': Ridiculous!

In Chandrakant Kulkarni's 'Meerabai Not Out' (reminiscent of Hrishikesh Mukherjee's 'Guddi'), the heroine has a secret crush on Anil Kumble (who appears as himself) and a penchant for gully cricket with the boys.

Mandira Bedi has been deglamorised to oily plait, geek glasses, and churidar-kurtas that could have been picked up at Dadar market. She is converted to Shivaji Park's Meera Achrekar—maths teacher and cricket fanatic. (For those outside Mumbai, Dadar and Shivaji Park are traditional Maharashtrian-majority areas of the city.)

Her mother (Vandana Gupte—perfect casting), brother (Mahesh Manjrekar--unrecognisable) and sweet-natured sis-in-law (Pratiksha Lonkar) worry about her single status, and her fellow teachers at the school bitch about her, since she is a favourite with the students.

Mills & Boon ought not to have intruded into this modak-and-poha idyll, but it does, in the form of Dr Arjun Awasthi (Eijaz Khan), who is bowled over by Miss Achrekar. She is soon converted to contact lenses and trendy hairstyle, but her passion for cricket is not dimmed, and that proves to be her undoing in the eyes of Awasthi Sr. (Anupam Kher). When she fails to turn up at her own engagement because a match is on, he reasons that some people are just not meant for the mundane duties of domesticity.

If a film really has the courage to even debate this line of thinking, one will stand up and applaud, but no, having the heroine stay single, weepy and apologetic won't do, and how the 'problem' is solved is so far-fetched as to be ridiculous.

Director Kulkarni (coming via the route of theatre and Marathi films) is obviously quite comfortable with the middle-class Maharashtrian milieu and this is portrayed with accuracy and affection. But instead of coming across as independent minded his heroine Meera turns out as childish and eccentric— Guddi (of the 1971 film) had a redeeming feature, she was a school kid, while Meerabai is a grown woman, who ought to know the difference between reality and fantasy; or at least have the ability to stand her ground, for whatever it's worth. Odd too, that Meera's cricket team has no girls—indirectly the film says that it is a man's world, women have to eventually return to the kitchen.

Still the film has some nice scenes, like the cricket duel between the brother and the boyfriend. Mandira Bedi is utterly likeable as Meera and makes no attempt to let her glam image intrude ("I wear more clothes," she yells at someone who comments that she looks like Mandira). But the film won't last an over on the multiplex pitch.

'Dil Kabaddi': Worth a look!

It's about educated, upper class Indians, who live in catalogue perfect homes, hang out at hip joints, have careers (not jus t jobs).. and are resolutely, unapologetically in the pursuit of happiness. You'd like to see more such people in the movies, from whose windows you can see the Mumbai landscape not New York or Miami.Too bad that Anil Senior's 'Dil Kabaddi' characters come out of a Woody Allen film ('Husbands and Wives'). But with Indian coyness added to them. People who have been married for years talk like this: Wife: Let's do it. Husband: Do what? Wife (with a shrug) You know. (Oh grow up!)

'Dil Kabaddi' is about the impact one broken marriage has on another, and a few other people who come into the path of the whirlwind. Samit (Irrfan Khan) and Mita (Soha Ali Khan) decide to separate, and break it to their friends Rishi (Rahul Bose) and Simi (Konkana Sen Sharma) suddenly over a drink. It gets Rishi and Simi to start examining their own marriage. At least sexual incompatibility comes out of the closet.
Samit gets involved with a ditzy aerobics instructor Kaya (Payal Rohatgi), Mita starts 'dating' (haranguing, mostly) Veer (Rahul Khanna); Simi flirts with Veer too, and Rishi with his student Raga (Sada), who seems to be more sexually experienced than him.

The men seem just silly, while the women – Mita and Simi—come across as dominating, manipulative, and as Samit keeps complaining, "cold." They all talk as if they were reading lines out of a script, accompanied by much shrugging, pursing of lips and raising of eyebrows. And in between their spats, give frank interviews about their feelings—talking straight into a camera to a hidden and persistent interviewer.

If Anil Senior has indeed tried to delve into what goes on behind closed doors in an Indian marriage, the film would have been really brave. But these characters are transposed here from an American film—so they live in a universe free of in-laws and children, with divorce, partner-swapping, pre-and-extra marital sex treated very casually. Not a tear shed or a heart broken.

It is funny in places, but tries too hard—Kaya's aerobics scene at a party, for instance. The actors, however, are completely at ease with the situations and with one another; Irrfan Khan does all the ridiculous 'Kaya' scenes, without a trace of awkwardness, and young Sada is quite a find. For a film that talks a lot about sex, there is remarkably little vulgarity. The production values and camerawork are of a high quality, and film, just may be worth a look. Or maybe see the Woody Allen original, nobody does urban angst and neuroses better than him.

First Look: 'Chandni Chowk To China'

From the hustle-bustle of Chandni Chowk to the hutongs of Beijing, the electric energy of Shanghai and sheer breathtaking Chinese landscapes, ' Chandni Chowk To China' chronicles the lunatic adventures of a hapless simpleton cook from Delhi. As he goes to seek his destiny, he finds himself thrown into a crazy world of megalomaniac villains, femme fatales, crazy inventors, Chinese mysticism and outlandish kung-fu assassins!

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Nikhil Advani's new action-adventure-comedy titled ' Chandni Chowk To China' has distinct shades of autobiography in its plotting. The film's nimble-footed hero is a cook who goes to China and encounters further adventures. By now it's part of Akshay Kumar's folklore that he served as a cook in Bangkok and earned his way back to Mumbai to make cinematic history.

Nikhil Advani has been shooting with hectic celerity in China and Bangkok for his new comedy actioner ' Chandni Chowk To China Town'.

Deepika Padukone will be doing a double role in ' Chandni Chowk To China Town'. This would be Deepika's third release and her second double role after 'Om Shanti Om'.