DAMAGE CONTROL

Although the ring of money on the box office is fainter than ever before, the seasoned players of Bollywood are finding recession an event they believe should come once in a while!! Surprised? Don’t be! The current slowdown is being seen as a reality check in Bollywood which was long overdue. The world’s second largest film industry is now looking at a more realistic environment, thus making film production cheaper.The current economic outlook has brought some sanity in production budgets, say film industry veterans. Movie making is set to be cheaper by around 30 per cent this year as most of the actors are expected to take a cut in fees or striking innovative pricing deals with their producers which are more variabalised, linked to the outcome of the movie. With the future looking gloomy, producers are now looking at paying a reduced upfront fee or fixed fee to actors. Instead, they will be a given a share in the profits made by the film, as this will lead to 30-40 per cent cut in the fixed fees of all bankable actors,” There are unconfirmed reports that Bollywood actors such as Shahrukh Khan and Aamir Khan have recently entered into such revenue-sharing arrangements with their producers.A majority of the films made in this year will hit the box office in 2010.In the past few years, the euphoria had led to a overall escalation of costs beyond logical realms. Production, acquisition of talent, and salary costs had shot through the roof defying the logic of return on investment. Stars that were being paid above Rs 20 crore for a movie are now willing to take a 50 per cent cut in their fixed fee.Around 30-40 per cent of planned Bollywood films will not take off this year due to tightening of budgets by corporations, banks and other players, Even if these movies are made, they may not be released as the marketing costs of a movie are on the same lines of producing a movie. Considering that we have double the output of films as compared to Hollywood in a recession time one will have to just wait and watch how low financially the industry will be hit.

PIRATES OF ENTERTAINMENT

We have seen Rajnikant at his invincible best in more movies than we can remember. he dodges knives, bites bullets in his mouth, walks out of blasts unscathed, is pushed from mountain tops and he just dusts his trousers and is back again. Try as they might, they just can't get the better of him.
It seems the Indian piracy industry has taken a few lessons from Rajnikant. Bollywood has met its' nemesis in the Rs 50 pirated DVDs, available freely at bakdas (wooden stalls) at railway stations, market corners and pavement stalls across the country. As if that was not bad enough, the pirates have gone beyond borders with their wares getting stacked up in the Indian – run grocery stores overseas.
According to a trade source, "Every Thursday one can get an un released Bollywood film title along with the last four big releases on a pirated video DVD at Mumbai's Crawford Market, Chennai Burma Bazaar, New Delhi's Palika Bazar and many other grey markets across the country.''
No wonder brands like Moser Baer (who sell official DVDs and VCDs of Bollywood titles for as little as Rs 99 and Rs 49) still suffer losses. It is estimated that 25-30% of theatre and home video Bollywood revenues are lost to piracy each year, thanks to the video pirate whose network is so well-oiled.
Sporadic raids, are conducted in Mumbai on and off - where pirated videos worth Rs 1 crore (approx) are recovered, are relatively few and far in between. The industry would ideally like volcano eruption of such raids to make the piracy model unworkable.
While pegging a figure on the actual amount of money lost to piracy maybe be impossible, according to veteran industry sources, Bollywood loses almost Rs 1500 crore to piracy every year.''
And if you thought the target segment for the piracy was limited to those who find the theatre tickets un affordable, think again. Nor is it that the pirated products have a urban penetration alone.
Bollywood can bring down the percentage of flops by at least 50% if piracy, be it in the form of VDC's, DVD's or internet downloads, is controlled.''
Maybe we can call our own Rajni to fight this battle for us!!

WHAT'S THE BIG HUE AND CRY ABOUT?

A leading newspaper recently carried a story that left me amazed. It was a postmortem of how a white director brought the vision of an indian author on global celluloid.Sanjay Gupta (maker of films like Shootout and Kaante), who read Vikas Swarup's book Q&A as soon as it was written in 2005, liked it and decided to make a film based on it. Unfortunately the rights by then had already been sold to the makers of Slumdog.I agreed with Gupta when he stated that this was one of the "biggest losses" of his Bollywood career . But then he went overboard with his victemisque avtaar... "Making the film is one thing and marketing it is another. In Bollywood, we don't have a 20th Century Fox supporting our films, neither do we have the kind of finances they have". I beg to differ on this and I base this on the evolving maturity that Bollywood has witnessed in recent times. We see Indian production houses forging tie ups with global media and entertainment powers corps. Roadside Romeo was backed by Disney, Chandni Chowk to China was made and financed by Warner Bros. (the fact that it was not appreciated is besides the point. Even with 450 galis it made 45 crores in first week).It takes more than the backing of international production houses to make a global success story. Lagaan , TZP. Have proved this maximum. The fact that Boyle's production house Film 4 had "optioned the book" one year before it was even published was the clincher. It shows a finer ear to the ground for opportunities than just financial muscle. Or it could be the 'at the right place at the right time' factor that swung Slumdog into the Boyle kitty.Either ways, its not the end of the world, I hope bollywood becomes more alert in spotting good works of literature rather than crying on spilt milk.

MORAL OF THE STORY

WHERE IT HEADS: - Has Adam Sandler been defanged? "Bedtime Stories" is his first family-friendly comedy, not to mention his first for the Disney banner. But if Sandler can startle us in a dark, obsessive role like "Punch-Drunk Love," he can surprise us here, too. In a modern-day fairy tale about hopes, aspirations and family. The story line is Disney to the core: Skeeter is an underappreciated figure that - like Cinderella - has been misjudged by close relations, then gets a big chance to ascend the social and economic ladder. The stage is then set for a series of wild, mildly amusing and utterly implausible events - including, of course, love. Sandler is playing his usual underachiever, though a tad less angry and a bit more wistful than his raunchier characters. His dad once ran a motel in Hollywood. Alas, he was forced to sell to a germ phobic hotelier. His son now works as a handyman at the high-rise luxury hotel that occupies the spot.When his sister loses her job as a school principal, she pages her brother to share baby-sitting chores with a friend while she goes on a job interview out of state. Having been strangely estranged from his niece and nephew, his only child-minding skill resides in an ability to spin bedtime stories.These are particularly memorable since Sandler channels his career angst into these tales. They range from a medieval castle to the Old West and outer space, but the theme of the peasant who would be a prince is ever present. The hero strives to get a better job and win over a maiden, always besting an opponent that looks suspiciously like the hotel's obsequious manger.Soon the children are contributing to and even editing his stories. (They prefer happy endings.) Then, weirdly, the stories start coming true in real life. Or at least parts of them do. Now if Sandler could just figure out how this happens.
THE RIGHT: - There is one great Sandler moment, when he makes a desperate bid to evoke laughs from the unamused kids, by eating a toothpaste sandwich that comes with the automatic added bonus of not having to brush your teeth afterward. And a trained guinea pig, who plays the children's pet, is the go-to guy for all kinds of silly laughs.
THE WRONG: - But I'll pass on the Cinderella part, where in place of those magical shoes, Skeeter seems to be promising to keep lovingly sticking around 'like the stink on your feet.' Nose clips, please this line could be put in an emotional way.
WHERE SHOULD YOU HEAD: - The overall feeling engendered by "Bedtime Stories" is exactly that -- a story long on imagination and short on logic that brings on smiles and dreams of sugar plums dancing in the head. It winks nicely at parents and smiles broadly to children.

VICTORY - NO CHANCE

WHERE IT HEADS: - 'Victory' is the story of a father, Ram Shekhawat (Anupam Kher), who saw such an impossible dream for his son! This is also the heroic story of his son Vijay Shekhawat (Harman Baweja) from the small town of Jaisalmer, Vijay Shekhawat becomes India's latest world-class batting sensation and is catapulted to superstardom!
Vijay Shekhawat manages to make it to the team after seven years of struggling. But with these 'good times' comes a sour apple in the form of team manager Andy Singh (Gulshan Grover), under whose influence Vijay goes off track. Name and fame goes to his head, Shekhawat is no longer the simple guy he used to be. Now described as overconfident and immodest, even his father Ram (Anupam Kher), friend Nandini (Amrita Rao) don't think highly of him...
By the time Vijay realizes the error of his ways, it is too late and he finds himself thrown out of the Indian cricket team because of disciplinary reasons. Suddenly the hero of the cricket crazy India becomes a villain in everyone's eyes. His father Ram Shekhawat's dreams are shattered and suffer a paralytic stroke.
Though there are zillion people who love cricket and movies based on cricket as a main theme; there's little doubt that the 'stadium' of masses won't be too impressed with this bat-n-ball fare.
THE RIGHT: - Amrita Rao helps in enhancing the commercial factor... with her ishq vishq pyar-vyar, and among the superfluity of great cricketers, Brett Lee, Sanath Jayasuriya and Ajantha Mendes have screen presence... A flawless performance by Anupam Kher and Gulshan Grover though.
THE WRONG: - Harman Baweja looks amateurish performing as a cricketer on the grounds. Perhaps, watching at least couple of real matches could've got him the psychological feel of emotions displayed on the grounds. Though predictable, one would think that Mr. Director would handle a subject such as this one differently, in order to give it an edge and a unique presentation. Unfortunately, he does nothing conjure, and fails in his deliverance. If compared to the likes of other cricket films like 'Lagaan' or 'Iqbal', Victory falls short of anything as outstanding and lacks gleam.
WHERE TO HEAD: - With the resources at Victory's disposal, the movie had great potential, but the makers lost a match on a winning wicket and it is advised that in case you have bought a ticket for the movie then you should too loose it!

LOVED BY ALL

WHERE DOES IT HEAD: - To a certain extent like Farah Khan (who made Om Shanti Om), Zoya Akhtar too draws upon her insight into the Hindi film industry and gives us a gem called Luck By Chance. This film is an insider's perspectives into Bollywood right from frame one. A ten on ten for the opening credits sequence, which takes you behind the arc lights and the glamour of showbiz. Followed by the credits come Sona (Konkana Sen) who arrives in Bombay with her dreams of becoming a film star. Wide eyed but ambitious, she does whatever it takes, to make it. She lives on her own in a rented residence - a luxury for most in this full of life city and spends her time with a diverse crew of loyal friends whose lives are also intertwined with Bollywood, each one in search of a bigger dream. Vikram (Farhan Akhtar) the protagonist has just moved to the City leaving the comforts of his parents Delhi Home. He is a mover, he is used to getting what he wants and is smart enough to know when to demand it and when to manipulate it. He is young and handsome, and full of promise. Sona begins to enjoy Vikram's attention and affections; they develop a romantic relationship. Rolly (Rishi Kapoor) is a successful though superstitious producer who only works with the biggest stars. He is making a prospective blockbuster launching the nubile Nikki, the 18-year-old daughter of 70's superstar, Neena (Dimple Kapadia). The hero of the film, Zaffar Khan (Hrithik Roshan), is Rolly's favorite superstar. He was launched by Rolly and went on to become a huge draw at the box office. The wheels of fate indeed continue to spin favorably for Vikram, as elsewhere in the industry, havoc spreads on the sets of producer Rolly's new film. Vikram is called in for an audition and uses this opportunity to the fullest. The film is about a slice of Bollywood life, in which luck plays a huge role. Luck By Chance is a current tale set in a world desperate to escape its own reality. THE RIGHT: - The highpoint of the film are its performances. There are some lovely little moments like the star daughter in a super short skin-tight outfit struggling to touch her producer's feet without splitting a closure. But what makes Luck By Chance compelling, is the layers beneath the laughs. Both Farhan Akhtar and Konkona Sen are complete naturals before the camera, just as Rishi Kapoor and Dimple Kapadia prove that vintage never does lose its flavour, does it! The taunts are gentle, the tone is warmhearted, yet firm. It shows that showbiz is a clinically cruel place. This is a world where fortunes change every Friday and as a dance director tells Sona, once you are successful, you belong to no one. This is a world in which privately, even a successful producer like Rolly weeps because a superstar whom he created, won't return his calls.But most importantly, the characters are completely real: lively and flawed, even as the end is bracing

THE WRONG There are parts of Luck by Chance that may not translate to outsiders and in long stretches, the film gets slow and clunky. But, you've got to cruise along patiently, since success and self-identity are things that cannot be attained in a split second. Not in reel or real life.

WHERE TO HEAD: - Watch Farhan Akhtar and Konkona Sen grow from nobody to somebody in an industry which is harsh, brutal, nasty and non-compromising, and you are sure to get your paisa vasool

BACK TO SQUARE ONE

“The rein of fear”. No, it is not a new Hollywood caper, it is what 2008 will be remembered as, if at all. While our country was attacked in a blatant and brutal manner, the story of fear within the film industry started much earlier, and that too cloaked in the corporate garb. It was like a alien attack from Mars on the unsuspecting mortals of bollywood. The corporate tentacles moved fast and ruthlessly without caring if any one was crushed or killed. The giants moved around with huge bags stuffed with what seemed to be like endless amounts of money, sharp teeth and a hunger which defied logic.
The hearts, souls and minds of a few stars were the first victim, their hefty demands the price for their loyalty. Money was literally thrown all over without knowing what they were doing, where their money was going and what their money would yield.
“There is a answer for need, but none for greed.”
Over time it was as if a industry which had so far run on passion had suddenly gone blind, lost its senses. Then fate stuck its first blow. Film after film met its doom at the box office. The industry was sent staggering.
As if that was not enough, the global recession, the biggest financial depression since 1929 raised its hood. It was as if a villain had adopted Shar Rukh Khans dialogue and was saying”Picture abhi baaki hai mere dost” The industry had no chance to wake up to the new challenges, effect some kind of damage control. Suddenly the giants were seen reeling and looking for cover. Soon the flow of money stopped and desperate heads of the corporate world were looking for ways out but it was too late. The end of 2008 almost saw the beginning of the end.
It was during this dark hour that two good films brought some light back into the industry. ‘Rab ne bana di jodi’ and ‘Gajini’ released towards the end of 2008 which were very big hits and gave the industry a new lease of life and some reason to rejoice
The worst though is still not behind us. The financial crunch is reaching critical proportions. A large number of films have stopped mid way. New films are not being launched, shooting schedules getting postponed.
It is said that there are some lessons for which one has to pay a price. The price of greed has been paid, hopefully the industry will remember the lesson for the future.

SINGH IS KINNG

WHERE DOES IT HEAD: - Lakhan Singh aka Lucky (Sonu Sood) is the 'king' of the Australian underworld accompanied by his acquaintances (played by Javed Jaffrey, Neha Dhupia, Manoj Pahwa, Yashpal Sharma, Kamal Chopra and Sudhanshu Pande.) Far away, in a small village in Punjab, where Lucky was born, there exists someone more dishonorable than him - Happy Singh (Akshay Kumar). The village is fed up of his generosity of spirit, which has resulted in a number of hilariously ruinous situations. Out of desperation, they decide to send him to Australia to bring Lucky back to Punjab, as his disgraceful deeds were damaging their image in Australia. They plan this in order to keep Happy out of the village for some time. Happy The happy-go-lucky, taking his charge a bit too seriously, goes on board accompanied by his friend, Tony (Om Puri), who hates Happy for setting up all the plan.The high point of his journey is his when he by chance meets up with Sonia (Katrina Kaif) with whom he falls in love, but upon reaching his destination, things take an uncertain turn as he runs into a series of comic calamities, leaving him penniless. He is fortunate to find warmth, love and affection in an elderly lady (Kirron Kher) who helps him meet Lucky.In a bizarre turn of events, an attempt on Lucky's life is thwarted by a well-intentioned Happy who fights off the attackers by risking his own life. Following the hilarious dispute, Lucky lands up in hospital paralyzed, and Happy, unexpectedly, finds the tables turned on him when he is expected to assume the role of the new 'kinng'!The series of confusion; shocks and comic misunderstandings that ensure eventually result in deliverance and an accidental wedding!
THE RIGHT: - Akshay lights up the screen every time he comes on, it is an out and out Akshay film. Om Puri is seen in a good role and he compliments well with Akshay to give the best moments of “laughter”. The music is loud and vibrant. In true Sardar style and the characters, keeping the Sardar’s in mind. What's appealing is that every actor who is not a sardar carries off the get up so well that it's difficult to distinguish a real Sardar. Five on five to the costume designer who has added color in the movie to go with the vibrant community. Katrina Kaif and Neha Dhupia both offer excellent support in their own way to the film.
THE WRONG: - The first half skims through without a hitch. There are certain flaws that crop up in the second half; the loose editing of two songs, which appear abruptly between scenes and disappear as quickly, and a sub-plot, which could have been done without.
WHERE TO HEAD: - The North Indians are going to go “wah wah” over the new Kinng while the overseas market is sure to gather in a huge turnover. Thus go ahead and watch it as it is an out-and-out entertainer; guaranteed to bring on the laughs.

KISMAT KONNECTION NEEDS KORRECTION

WHERE DOES IT HEAD: - Raj (Shahid Kapoor) was numero uno in academics, sports, dramatics. But four years after winning the best-student-of-the-year trophy from his architectural college, but even after five years is still struggling to find that one big chance to showcase his determination.

It's almost as though some negative kismet (destiny) is following him around because whenever something fine is about to happen, it seems destined to fail.

Desperate to get rid of the bad phase in his life, Raj meets a eccentric oracle, Hasina Bano Jaan (Juhi Chawla). She tells him that soon his stars will change and make everything work in his goodwill; but for all this to happen, Raj has first to find his lucky charm and never let go of it. But she tells him no more, leaving Raj puzzled, trying to figure out what this charm could be.

Suddenly, his life seems to be on the right track. He's managed to impress top builder Sanjeev Gill [Om Puri] into giving him a high-status project. Priya [Vidya Balan] is a tough-decision taking girl with a heart of gold. She is an optimist who is intent on making the world a better.

Raj succeeds in persuading Priya that he's the one who can save her dearly loved Community Centre from destruction. And also opens her eyes to her philandering fiancé (Amit Verma).

Recall Aziz Mirza's movies. In practically all his films, the protagonist is aspiring to make it big in life. There's a constant struggle on both levels, personal and professional. Kismat Konnection is no different.

THE RIGHT: - The characters we watch on screen are significant and relatable, their problems are the type that we've either heard of or experienced ourselves or around us. The love story and the disagreement in the tale also comes across so genuine. Kismat Konnection is primarily a love story that viewers may have visited several times in the past, but let's not forget, romance can never ever go out of fashion. In this movie they have succeeded to an extent in presenting the highs and lows in a relationship with maturity. Pritam's music is ear-pleasing. 'Aai Paapi' and 'Bakhuda Tumhi Ho' are lingering compositions, while Ahmed Khan's choreography in the former takes your breath away. Himani Shivpuri is fantastic and her Punjabi accent will bring the house down. Vishal Malhotra is proficient. Manoj Bohra acts very well. It's a simple, feel-good fare that charms its way into your heart.



THE WRONG: - Its an NRI world of Raj Malhotra who lives in Canada, only among Batra, Gill and Mehras. Everyone speaks Hindi, even if the character is gora. You get the picture. There is only joylessness around here.



The film you may believe is about the rise of this boy, as he takes up tough loans for his first design assignment. All those portions are forgotten somewhere along as well. You then feel this film is probably about a mall coming up that will take away an old-age home. This is a premise from Aziz Mirza's Raju Ban Gaya Gentleman or even Lage Raho Munnabhai.

Kismat Konnection takes its own sweet time to reach the finale Besides, it gets slow-paced as well. But Mirza should've taken care in maintaining its pace and length in the second hour. The film could've easily done away with a number of scenes.
Yet, all said and done, Kismat Konnection is a film that makes you smile and that is its biggest triumph.



WHERE TO HEAD: - Kismat Konnection is a movie with a lot of confusion. So don't spoil your weekend; try your kismat by doing some thing better on the weekend.

PAPPU PAAS HOGAYA SAALA!!!

WHERE DOES IT HEAD: - Would it be Qayamat Se Qayamat Tak once again was the question among the audience with the arrival of Jaane Tu…. Ya Jaane Na?. Its an another innocent love story in the offering minus with any unnecessary mush, hence going truly with present-day times. It’s just a simple story told differently. Jaane Tu is about a group of friends and their discovery of love. Jai (Imran) and aditi (Genelia) are part of the gang. Each friend represents a type. And yet, no one crouches down to stereotypes. They're all characters with believable shades of grey.
Their friends believe that Jai and Aditi are made for each other, even the parents know it, but Jai and Aditi believe they are just good friends, no more no less. When their parents bring up their marriage they realize everyone has misunderstood their friendship. They set out to find the perfect partner for the other, and that’s where the twist lies. They fall for different people and the inevitable follows or as they say in old Bollywood films “Ek Ladka Aur Ek Ladki Kabhi Dost Nahi Ho Sakte.”
THE RIGHT: The movie is set in the mold of Imtiaz Ali’s socha na tha. Jaane tu deals with the emotional turmoil of a young couple in a breezy, romantic and seemingly truthful manner told in narrative. The realization of love part between Imraan and Genelia is heart touching, their camaderie has some brilliant moments. For instance when Aditi’s Fiance kisses her and Jai is taken aback. The best part is that director Abbas Tyrewalla gives ample scope to all his characters. All the friends have well sketched out parts, there is no overlapping of characters and the screenplay offers enough situations to keep the events of on a high. Scenes between Ratna Pathak Shah, and Nasiruddin Shah (talking from the portait) are hilarious. Arbaaz and Sohail khan’s guest appearance comes with a punch and adds zing to the film. Prateik Babbar is impressive in a small but interesting role. Manjari phadnis deserves a special mention. Imran has been presented like a boy next door and that adds to his appeal. The role fits him sop perfectly hat he breeze through it and Genelia with her spontaneity oozes her charm.
THE WRONG: The first half of the film could have done with better pace as at times the tempo drips but the movie is fantastic overall.
WHERE TO HEAD: Jaane Tu is a must watch for all romantics out there. Its sparkling, refreshing and entertaining. And a tip that it could be an eye opener for many ;-)

KUNAL KOHLI WITH HIS TOHLI

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!

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!

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).

BABULNATH aka BHOOTNATH

WHERE DOES IT HEAD: - There’s nothing wrong in making a film targeted for kids as long as you can entertain the kids. Director Vivek Sharma’s Bhootnath merely comes across like a mystified effort - at the end of it, we don’t know who he’s intended the film at. Shahrukh khan, who works on a cruise liner, comes to Goa with his wife Anjali (Juhi Chawla) and son Banku (Aman Siddiqui). They hear stories about the bungalow they have leased for a year, being ghostly, but move in anyway. The father settles his family in and leaves for his job. But the in house spirit Kailash Nath aka Bhootnath (Amitabh Bachchan) doesn’t like anyone living in his bungalow and generally has a affinity to scare people away. Initially, he tries to scare Banku too but after a few failed attempts, they become friends. Trouble starts when his mother finds out that her sons been hanging around with a ghost. Father is summoned back from the cruise and Bhootnath’s son returns too, with his own program. Together, they take care of the spooky problem.
THE RIGHT: - The first half is cute and engaging; it moves at the right direction and in the initial reels, director seems to get it precise. The director captures the companionship between Bhoothnath and the Banku rather well, without which the film would have fallen plane. Exceptional points for making the children act their age. The special effects are first rate. Amitabh bachchan, as usual, is an apex and has carried the motion picture on his shoulders. Juhi Chawla is in the top form. The little boy Aman is natural and the King Khan stands out in his tinnie minnie role.
THE WRONG: - The problem with Bhoothnath is that it’s puzzled about his character. It starts out being a children’s film and at some point, it turns into a sad saga of dukhi father and his nikkema beta just like B.R.Chopra’s Baghban. The other dreary parts are the songs that have been packed in. But what I fail to understand is that if Bhootnath scares people away from the bungalow, where was he lost for two days when Srk was present in the bungalow with his wife Anjali and son Banku helping them to settle the house? Do you think Bhoothnath got scared of Srk and thus came to scare Banku only after his father left for his job : - )
WHERE SHOULD YOU HEAD: - watch it but there is no urgency to rush to the cinema. Wait and rent a DVD and watched the ghost kiddy or daddy flick at home.