THE PARALLAX

I see you in the distance,
I gaze at you everyday.
If only i had the courage to speak to you,
I wouldnt know what to say.

I see you in the corridor,
your arm grazes mine.
The thought you are so near,
sends shivers down my spine.

I see you with your friends,
and i know we' ll never be.
Thus my heart remains locked forever,
and you hold the key.

I see us walking on the beach
holding hand in hand,
feet sinking in the sand.
I know its just a dream
cause you are far out of reach.

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!

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

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.

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!