WHERE DOES IT HEAD: - Thoda Pyaar Thoda Maig makes you nostalgic. It takes you back to the light-hearted, cheerful, feel-good cinema made by directors of caliber like Hrishikesh Mukherjee. It is a movie that puts a smile on your face even if you walked in with a puckered brow. It is a perfect film, so what if it is made from extracts from movies like Mary Poppins, The Sound Of Music and Enchanted. Thoda Pyaar Thoda Magic may not be the most unique script, but the sweet and tender moments in this venture raise it to a watchable status. To put a long story short, Thoda Pyaar Thoda Magic is a simple story, well told.
Ranbeer [Saif Ali Khan], a leading entrepreneur, is a loner, not by choice, but because he lost everyone he ever loved. He is now faced with an uncomfortable situation. In a rare and marker court verdict, he is to look after four orphan children Vasisht, Avantika, Aditi and Iqbal. The orphans hate him and want to settle of scores from him. The children do not want to live with a man they hate; he too cannot face them for certain reasons. Their life together is very gloomy. One day, the kids pray to God (Rishi Kapoor), who has the toughest task of all... He needs to make humans learn to live happily ever, just like the fairy tale for help and He does help them. He sends his most playful, childlike, lovable, endearing angel to the rescue, with a task to bring Ranbeer and the kids together. Geeta [Rani Mukherjee] who is the angel comes bicycling down a rainbow... and bursts into Ranbeer's house as the self-proclaimed new nanny and then starts the roller coaster ride of entertaining, emotions, magic and love. It’s a story of an angel who doesn't know what love is, a man who always lost love and four orphans who need love. So its all about love (little love, little magic)
THE RIGHT: - It is filmed in bright, saturated colors with skillfully integrated effects and animated accompaniments, Kunal Kohli’s enjoyable family comedy. Has a enthusiasm and optimism that trump the expectedness of its story. Though feather-light, it manages to engage some substantial matters: the Indian family and nation building. In a musical number set in a museum the angel makes history come alive, showing the kids that India’s past is overture to its great future. And, the film gives the impression to say, that future will be built on strong families. When the businessman dashes a big deal in Los Angeles to guard the children, he becomes stronger and more human. It's the second hour that takes the film to a different level. How Saif bonds with each of them and the turning point, an incident that makes the kids see Saif differently, is simply excellent.
THE WRONG: - it’s a pleasure to watch Rani in a role that does justice to her talent. She's lovable but why is she sporting the same outfit throughout? Ameesha’s character is a stinging point, mainly because her character looks like an add-on as the film could do equally well without her character. Ten minutes into the movie and you know what's up next for the suave biz tycoon Ranbeer Talwar (Saif Ali Khan), who walks out of award ceremonies (of course, with awards) even before his name is actually called out for. But the first half isn't without its share of flaws.
WHERE TO HEAD: - On the whole, Thoda Pyaar Thoda Magic is a simple story told very effectively and efficiently. At the box-office, it may be a slow starter, but should gradually gather momentum with a strong word of mouth. Strangely, for some reason, the film lacks the hype which is usually associated with a biggie. Perhaps, the series of flops the premiere production house [YRF] roiled out, indirectly, took a toll on this movie. But Thoda Pyaar Thoda Magic should reverse the trend. It's one of those films you'd enjoy watching with your family, without feeling embarrassed or discomfited. It's sure to put a smile on your face when you exit the cinema hall, which, is a rarity these days!
Go watch it, it is a treat for your entire family, especially the kids!
Sunday, June 29, 2008
Friday, June 20, 2008
PAPA....ARE YOU THERE?
My papa, my love my life,
Without whom I cannot survive.
I know you are there for me,
I can feel but cannot see.
I can feel you around,
I can hear your sound.
Your absence hurts me,
Your angelic presence can't heal my wound.
My eyes were filled with tears,
My life was surrounded with fear.
Just then I saw a ray of light,
It was you, my Angel shining so bright.
I wondered is it really you?
Is my belief false or is it true?
Just then you called out my name,
My heart started hurting, I know you feel the same.
I I asked, till when can I see you?
You smiled and said that depends on your point of view
He said, "I pledge I will be with you till end"
Because I am not only your papa but even your friend
Wednesday, June 11, 2008
The Lamp Of Knowledge
In almost every Indian home a lamp is lit daily before the altar of the lord. In some houses it is lit at dawn, in some twice a day and in a few it is maintained continuously. All auspicious functions and moments like daily worship, rituals and festivals and even many social occasions like inaugurations commence with the lighting of the lamp, which is often maintained right through the occasion. But why do we light a lamp? Light symbolizes knowledge, and darkness, ignorance. The lord is the “Knowledge Principle” who is the source, and the illuminator of all knowledge. Hence light is worshipped as the lord himself. Knowledge removes ignorance just as light removes darkness. Also knowledge is an inner wealth by which all outer achievement can be accomplished. Hence we light the lamp to bow down to knowledge. The traditional oil lamp has a further spiritual significance. The oil or ghee in the lamp symbolizes our negative tendencies and the wick, the ego. When lit by knowledge, the negative tendencies get slowly exhausted and the ego too finally perishes. The flame of a lamp always burns upwards. Similarly we should acquire knowledge that takes us towards higher ideals.
Sunday, June 8, 2008
KHUDA KE LIYE WATCH IT!
WHERE DOES IT HEAD: - The film is about the difficult situation in which Pakistanis in particular and the Muslims in general are caught up since 9 / 11. This state of affairs is causing a drift not only between the western world and the Muslims but also within the Muslim community. The knowledgeable and modern Muslims are in difficult situation because of their approach towards life and their western attire. They are criticized and harassed by the fundamentalist on the other hand and western world sees them as a potential suspect of terrorism just because of their Muslim names.
The movie revolves around two musician brothers – Mansoor and Sarmad - one of whom transitions into religious extremism and the other falls victim to racial profiling. It portrays an upper middle class family in Lahore with a mix of traditional and broadminded values. The movie plot starts somewhere in pre 9/11 timeframe and ends in late 2002 or 2003. The brothers have their own music group and are shown as beginning to make a mark on the music scene in Pakistan. The younger brother (Sarmad) gets involved in an extremist company whereas the elder brother (Mansoor) moves to Chicago to attend a music school. Two more angles enter the movie where Mansoor gets into a romantic relationship in Chicago and eventually marries a white American and when he is coming back to his house, his neighbor blames him to be a terrorist and Sarmad deceitfully marries his British born and raised cousin. In the latter case, the UK based uncle of the boys, worried by the outlook of his daughter having an affair with a white British, traps her into a visit to Pakistan and sends her into an Afghan village where she is powerfully married. The movie moves into post 9/11 territory when Mansoor is picked up by law enforcement agencies in the middle of the night from his apartment and detained allegedly in an extra constitutional prison and humiliated in all ways. Sarmad on the other hand gets involved in the battle between Taliban, US forces and Northern Alliance.
THE RIGHT: The story is interesting as it handles two major issues – religious extremism and racial profiling - and strings them well. There are other issues also that the movie tries to focus on; condition of women during Taliban days in Afghanistan, the illogical issues of acceptance of music and cultural contextualization of Islam and the way various groups are putting forward their own version of the religion. But overall Shoaib Mansoor (the writer and the director) has been able to put the things from his viewpoint pretty well. The portrayal of most of the characters is good. The acting by almost all the actors is very controlled. Shaan, who played the role of the elder brother Mansoor, plays his role with full solemnity, particularly when he is in detention. Rasheed Naz, who played the fundamental Maulana Tahiri, gives a great performance. The way he handles some dialogues like ‘jab aurat ko pyaar karte hain toh dil se sochte hain par jab allah ko pyaar karna hai to dimaag se sochte hain‘or ‘ye billo ke ghar jaane ka kya matlab hai‘. Shoaib Mansoor does a creditable job in direction.
The depiction of the protagonist family, the village in Afghanistan, the changeover of Sarmad where he is sandwiched in the thought processes of Mansoor and the radical Maulana and the nuances and the layers in the Pakistani society has been done very well. There are no song-only-parts that go on in the background wherever appropriate and that keep the movie on track. The movie was missing a balancing part on religious scholarship until Maulana Wali comes into the picture later in the movie. Up to this point the discussion between what is allowed in religion and what is not was happening between a radical Maulana and novice. Naseeruddin Shah, playing the character Maulana Wali, as expected gives an outstanding performance – arguably the best one in the movie. It is a short cameo but is one of the most important. He is a well known Maulana in Lahore who is invited by the court to give his opinion on religious matters.
The best dialogues in the movie have been written for Maulana Wali and Naseeruddin Shah recites them as good they could be. On Mariam taunting him that it does not matter whether he does his namaz before or after as it is just an exercise, he is amused and politely replies ‘meri ibaadat ko exercise kahne wali ya to bahut pahunchi hui hai ya bahut dukhi hai‘. On issue of dress he says ‘Kaheen aisa to nahi ki ham Abu Jahal bane rahe hain. Kyonki dadhi toh Abu Jahal ke bhi thi or holiya bhi wohi tha.’
THE WRONG -There are though things in the details where one may feel are over-simplified. The two glitches are that of the UK based uncle and American investigator whose actions do not always appear very realistic. There are some glitches like why Maryam did not send the letter to UK earlier which she sends later in the movie? Or why the family was not finding out about their younger son while he was away in Afghanistan? Or why the elder brother Mansoor’s wife did not intimate his family about his arrest in US? Or how the judges or the lawyers in a Muslim country are not aware about the Islamic rights of the girl in a marriage?
WHERE SHOULD YOU HEAD: - The interesting thing about the film is how it connects the activities in three continents unlike the western Indian and Pakistani films based on romantic sagas, dances and songs. Overall it’s an excellent movie. It is an eye opener for me and it has taken me to another realm of understanding how people perceive things differently. For instance how Maulana Tahiri interpreted the teachings of Allah in a different way compared to how Maulana Wali who interpreted the same teaching of Allah in a different way. There was a vast contrast between both the perceptions though the teachings were the same. It ends positively in various ways and has been handled by the director quite well. The last scene has Sarmad (who is back into tradition) and Shershah (in lieu of the Maulana Tahiri) competing for the Azaan. The competition for the mike for who speaks for Islam has been shown to begun!
The movie revolves around two musician brothers – Mansoor and Sarmad - one of whom transitions into religious extremism and the other falls victim to racial profiling. It portrays an upper middle class family in Lahore with a mix of traditional and broadminded values. The movie plot starts somewhere in pre 9/11 timeframe and ends in late 2002 or 2003. The brothers have their own music group and are shown as beginning to make a mark on the music scene in Pakistan. The younger brother (Sarmad) gets involved in an extremist company whereas the elder brother (Mansoor) moves to Chicago to attend a music school. Two more angles enter the movie where Mansoor gets into a romantic relationship in Chicago and eventually marries a white American and when he is coming back to his house, his neighbor blames him to be a terrorist and Sarmad deceitfully marries his British born and raised cousin. In the latter case, the UK based uncle of the boys, worried by the outlook of his daughter having an affair with a white British, traps her into a visit to Pakistan and sends her into an Afghan village where she is powerfully married. The movie moves into post 9/11 territory when Mansoor is picked up by law enforcement agencies in the middle of the night from his apartment and detained allegedly in an extra constitutional prison and humiliated in all ways. Sarmad on the other hand gets involved in the battle between Taliban, US forces and Northern Alliance.
THE RIGHT: The story is interesting as it handles two major issues – religious extremism and racial profiling - and strings them well. There are other issues also that the movie tries to focus on; condition of women during Taliban days in Afghanistan, the illogical issues of acceptance of music and cultural contextualization of Islam and the way various groups are putting forward their own version of the religion. But overall Shoaib Mansoor (the writer and the director) has been able to put the things from his viewpoint pretty well. The portrayal of most of the characters is good. The acting by almost all the actors is very controlled. Shaan, who played the role of the elder brother Mansoor, plays his role with full solemnity, particularly when he is in detention. Rasheed Naz, who played the fundamental Maulana Tahiri, gives a great performance. The way he handles some dialogues like ‘jab aurat ko pyaar karte hain toh dil se sochte hain par jab allah ko pyaar karna hai to dimaag se sochte hain‘or ‘ye billo ke ghar jaane ka kya matlab hai‘. Shoaib Mansoor does a creditable job in direction.
The depiction of the protagonist family, the village in Afghanistan, the changeover of Sarmad where he is sandwiched in the thought processes of Mansoor and the radical Maulana and the nuances and the layers in the Pakistani society has been done very well. There are no song-only-parts that go on in the background wherever appropriate and that keep the movie on track. The movie was missing a balancing part on religious scholarship until Maulana Wali comes into the picture later in the movie. Up to this point the discussion between what is allowed in religion and what is not was happening between a radical Maulana and novice. Naseeruddin Shah, playing the character Maulana Wali, as expected gives an outstanding performance – arguably the best one in the movie. It is a short cameo but is one of the most important. He is a well known Maulana in Lahore who is invited by the court to give his opinion on religious matters.
The best dialogues in the movie have been written for Maulana Wali and Naseeruddin Shah recites them as good they could be. On Mariam taunting him that it does not matter whether he does his namaz before or after as it is just an exercise, he is amused and politely replies ‘meri ibaadat ko exercise kahne wali ya to bahut pahunchi hui hai ya bahut dukhi hai‘. On issue of dress he says ‘Kaheen aisa to nahi ki ham Abu Jahal bane rahe hain. Kyonki dadhi toh Abu Jahal ke bhi thi or holiya bhi wohi tha.’
THE WRONG -There are though things in the details where one may feel are over-simplified. The two glitches are that of the UK based uncle and American investigator whose actions do not always appear very realistic. There are some glitches like why Maryam did not send the letter to UK earlier which she sends later in the movie? Or why the family was not finding out about their younger son while he was away in Afghanistan? Or why the elder brother Mansoor’s wife did not intimate his family about his arrest in US? Or how the judges or the lawyers in a Muslim country are not aware about the Islamic rights of the girl in a marriage?
WHERE SHOULD YOU HEAD: - The interesting thing about the film is how it connects the activities in three continents unlike the western Indian and Pakistani films based on romantic sagas, dances and songs. Overall it’s an excellent movie. It is an eye opener for me and it has taken me to another realm of understanding how people perceive things differently. For instance how Maulana Tahiri interpreted the teachings of Allah in a different way compared to how Maulana Wali who interpreted the same teaching of Allah in a different way. There was a vast contrast between both the perceptions though the teachings were the same. It ends positively in various ways and has been handled by the director quite well. The last scene has Sarmad (who is back into tradition) and Shershah (in lieu of the Maulana Tahiri) competing for the Azaan. The competition for the mike for who speaks for Islam has been shown to begun!
Wednesday, June 4, 2008
WHERE STORY COMES ALIVE
What is entertainment? The roots of the word may surprise you.To entertain literally means, "to hold within" (tain, as in "container", and enter, as in "come in". For centuries, this idea of producing fun using myriad mediums has been the constant companion of humanity. According to me entertainment is when a person tells a story that has blossomed from the seed of an idea in his/her heart. The fruit of this idea might manifest in the form of a movies, a television shows, a play, a musical, a melody... the list is endless. It has the ability to take us to a different world where the artist wants us to witness his creation.Of the various forms of entertainment, films are closest to my heart as they have the potential to create the most colorful of fantasies on a large canvas. Entertainment has come a long way from the mindless fun to intellectual maturity. It is the most powerful force in mass communication. Thus movies like Hazaaron Khwaishain Aisi where the director portrays the political situation in Bihar evokes empathy that news headlines cannot come close to. Company, the underworld saga tore away the gloss of the fast life to reveal the grim realities of the system.Tare Zameen Par was a classic lesson in parenting. Child psychologists could not achieve in numerous parent counseling sessions what Amir conveyed through the story of Ishaan Awasthi (Darsheel Safary).
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