By Bollywood Hungama News Network, March 20, 2009 - 12:46 IST
This is a film that all the cinegoers are waiting with a bated breath. And it's directed by none other than the man who gave us hits and smash hits like Damini, The Legend Of Bhagat Singh and Khakee to name a few! We are indeed talking about the Ranbir-Katrina starrer Ajab Prem Ki Ghazab Kahani that's directed by Rajkumar Santoshi.
And as the 'tradition' goes, we once again bring you one of the biggest news regarding this film. After having discovered that APKGK has Ranbir playing a depressed lover-boy hopelessly in love with his character inspired by the one played by his late grandfather Raj Kapoor in Mera Naam Joker, Bollywood Hungama went one notch further and found out that the Salman Khan will be seen in a guest appearance in the film. The source also added that Sallu bhai comes only towards the end of the film.
In order to confirm the news, when we spoke to producer Ramesh Taurani of Tips, he was totally taken aback with this info. Initially he exclaimed, "Where did you guys get this information from?" On further probing, he confirmed the news by saying "Yes, Salman is indeed there in the film, but only as a cameo."
Salman Khan had earlier worked with Rajkumar Santoshi in the cult comedy Andaaz Apna Apna which also starred Aamir Khan.
Now Sallu's presence further adds to the anticipation of Ajab Prem Ki Ghazab Kahani.
Friday, March 20, 2009
Boys, Bikes and One Hot Babe in Acid Factory
By Nikhil Ramsubramaniam and Suleman Mobhani, March 20, 2009 - 11:34 IST
Sanjay Gupta's White Feather Films is known to make high adrenaline action packed thrillers. After Kaante, Musafir and Zinda, Sanjay Gupta is all set to unleash his latest action packed thriller Acid Factory. Directed by Suparn Verma (Ek Khiladi Ek Haseena) the film boasts of an impressive star cast comprising of Fardeen Khan, Irrfan Khan, Dino Morea, Aftab Shivdasani, Manoj Bajpai, Danny Denzongpa and Dia Mirza. The film is set in Cape Town and Bollywood Hungama brings to you some exclusive pics from one of the most awaited action thrillers of this year- Acid Factory.
Sanjay Gupta has always had a fascination for bikes and hence be prepared to see some never before seen bike sequences in this film. As director Suparn Verma says, "My first film Ek Khiladi Ek Haseena was also visually exciting but with the budget I got this time around, I have taken things ten times bigger. I must say I had a fantastic producer backing me which has helped to give the film a stylish look."
From the looks of this pic, Aftab and Dino seem all set to indulge in a deadly game of bike racing. Aftab who is known more for his comic roles will be seen in an intense role this time around. Speaking about Aftab, Suparn Verma said, "This is a very different role for Aftab and he has done a fabulous job. Even Irrfan for that matter was a complete joy to work with. He is completely a director's actor and the best part about him is the way he uses his eyes to emote. That is simply mind-blowing. In fact all the characters are such that you don't know whether to like them or hate them. They keep changing colours throughout the film."
Fardeen Khan seems to be a favorite with director Suparn Verma. The dashing actor featured in Suparn's debut flick Ek Khiladi Ek Haseena and will also be seen in a pivotal role in Acid Factory. When we asked Suparn what made him repeat Fardeen, he said, "Fardeen and I go way back. He has a good looking face so I find it all the more interesting to portray him in a character with shades of grey. Somewhere deep down he also enjoys playing these slightly edgy characters."
What's surprising about the film is the fact that everybody in the cast including Dia Mirza gets to do action in this film. Dia who is usually seen in delicate roles as the petite girl next door would be seen in a completely different avatar this time. She is just like one among the guys and even gets to perform some really dare devil stunts in the film including a stunning dirt bike riding sequence.
This picture sees the principal characters discussing their game plan aboard a yacht before making their next move. Dino Morea seems to be the one leading the strategy meet while Irrfan Khan, Danny, Manoj Bajpai and Fardeen listen closely. Dia however doesn't seem too interested in the proceedings. One can't help but notice an uncanny resemblance this picture bears to a sequence from Gupta's Kaante which showed Amitabh explaining the plan to his team members.
The film has been shot at some exotic locales of Cape Town. Danny Denzongpa, who is not seen much on the big screen these days, would be seen in a prominent role in this film. What's more the septuagenarian actor would also be seen doing some action sequences, a rare feat for someone of his age. When we spoke to Suparn about his experience working with Danny Denzongpa, he said, "Danny Sir is the youngest of the lot. He is just 21 years old. He would party with us till 4 in the morning and then be the first one to reach the sets. That man is simply amazing"
Here the Awesome Foursome of Fardeen, Dino, Manoj and Danny strike a pose before boarding a yacht
Acid Factory has some mind-blowing action sequences and we quizzed director Suparn Verma on his experiences shooting the action scenes. "We have shot this film on land, in the sea and the air. So except shooting underground we've covered pretty much everything else. In terms of vehicular action you will get too car chases, bike racing sequences, quad bikes, speed boats etc. We had 2-3 choppers with us on a daily basis to shoot the scenes from an aerial view. With the amount of explosions, we feel that we've gone about blowing up most of Cape Town. I must say that in the 20 odd days that we spent there, we got tremendous support from the local authorities which have helped us get the footage that you will now see in the film.
Shooting of Acid Factory is complete and the film is likely to hit theatres sometime mid-year.
Sanjay Gupta's White Feather Films is known to make high adrenaline action packed thrillers. After Kaante, Musafir and Zinda, Sanjay Gupta is all set to unleash his latest action packed thriller Acid Factory. Directed by Suparn Verma (Ek Khiladi Ek Haseena) the film boasts of an impressive star cast comprising of Fardeen Khan, Irrfan Khan, Dino Morea, Aftab Shivdasani, Manoj Bajpai, Danny Denzongpa and Dia Mirza. The film is set in Cape Town and Bollywood Hungama brings to you some exclusive pics from one of the most awaited action thrillers of this year- Acid Factory.
Sanjay Gupta has always had a fascination for bikes and hence be prepared to see some never before seen bike sequences in this film. As director Suparn Verma says, "My first film Ek Khiladi Ek Haseena was also visually exciting but with the budget I got this time around, I have taken things ten times bigger. I must say I had a fantastic producer backing me which has helped to give the film a stylish look."
From the looks of this pic, Aftab and Dino seem all set to indulge in a deadly game of bike racing. Aftab who is known more for his comic roles will be seen in an intense role this time around. Speaking about Aftab, Suparn Verma said, "This is a very different role for Aftab and he has done a fabulous job. Even Irrfan for that matter was a complete joy to work with. He is completely a director's actor and the best part about him is the way he uses his eyes to emote. That is simply mind-blowing. In fact all the characters are such that you don't know whether to like them or hate them. They keep changing colours throughout the film."
Fardeen Khan seems to be a favorite with director Suparn Verma. The dashing actor featured in Suparn's debut flick Ek Khiladi Ek Haseena and will also be seen in a pivotal role in Acid Factory. When we asked Suparn what made him repeat Fardeen, he said, "Fardeen and I go way back. He has a good looking face so I find it all the more interesting to portray him in a character with shades of grey. Somewhere deep down he also enjoys playing these slightly edgy characters."
What's surprising about the film is the fact that everybody in the cast including Dia Mirza gets to do action in this film. Dia who is usually seen in delicate roles as the petite girl next door would be seen in a completely different avatar this time. She is just like one among the guys and even gets to perform some really dare devil stunts in the film including a stunning dirt bike riding sequence.
This picture sees the principal characters discussing their game plan aboard a yacht before making their next move. Dino Morea seems to be the one leading the strategy meet while Irrfan Khan, Danny, Manoj Bajpai and Fardeen listen closely. Dia however doesn't seem too interested in the proceedings. One can't help but notice an uncanny resemblance this picture bears to a sequence from Gupta's Kaante which showed Amitabh explaining the plan to his team members.
The film has been shot at some exotic locales of Cape Town. Danny Denzongpa, who is not seen much on the big screen these days, would be seen in a prominent role in this film. What's more the septuagenarian actor would also be seen doing some action sequences, a rare feat for someone of his age. When we spoke to Suparn about his experience working with Danny Denzongpa, he said, "Danny Sir is the youngest of the lot. He is just 21 years old. He would party with us till 4 in the morning and then be the first one to reach the sets. That man is simply amazing"
Here the Awesome Foursome of Fardeen, Dino, Manoj and Danny strike a pose before boarding a yacht
Acid Factory has some mind-blowing action sequences and we quizzed director Suparn Verma on his experiences shooting the action scenes. "We have shot this film on land, in the sea and the air. So except shooting underground we've covered pretty much everything else. In terms of vehicular action you will get too car chases, bike racing sequences, quad bikes, speed boats etc. We had 2-3 choppers with us on a daily basis to shoot the scenes from an aerial view. With the amount of explosions, we feel that we've gone about blowing up most of Cape Town. I must say that in the 20 odd days that we spent there, we got tremendous support from the local authorities which have helped us get the footage that you will now see in the film.
Shooting of Acid Factory is complete and the film is likely to hit theatres sometime mid-year.
Movie Review-firaaq
By Taran Adarsh, March 20, 2009 - 09:22 IST
Film-makers across the globe have often told stories of calamities/riots/disasters -- natural and unnatural -- and the aftermath. FIRAAQ, which marks the directorial debut of actress Nandita Das, also looks at the lives of common men after the riots in Gujarat.
More of a docu-drama, FIRAAQ narrates six different stories that are not connected with one another. Nor are they similar, nor do they meet towards the culmination. Told with utmost sensitivity, the film pricks your conscience at several points of the narrative and when you make it to the Exit after the film has ended, you carry the burden of a lot of questions on your mind.
FIRAAQ is disturbing. It makes you remove those blinkers and experience the truth. FIRAAQ is purposeful and powerful and drives home the message in the most convincing manner, without taking sides.
A middle class housewife [Deepti Naval] closes the door on a woman desperately seeking refuge and then struggles to overcome her guilt... The loyalty of two best friends [Shahana Goswami] is challenged in times rife with fear and suspicion... A group of victimized young men seek revenge as a way out of their helplessness and anger... A modern-day Hindu-Muslim couple [Sanjay Suri, Tisca Chopra] struggle between the survival instinct to hide their true identities and the desire to assert them... A boy having lost most of his family in the riots wanders through the streets searching for his missing father... A saintly musician [Naseeruddin Shah] clings on to his idealism until an evidence of civil strife shakes his faith.
The opening sequence of FIRAAQ says it all, when a truck empties dead bodies as if it were emptying debris or rubble. It hits you more sharply than any weapon. Subsequently, you are introduced to the assorted characters that have been affected, directly or indirectly, to the riots. The six stories run concurrently, raising so many questions all through.
Nandita Das gets it right, except for the open end which doesn't really have a culmination like most Hindi movies. One aspect that could go against the film!
Nandita is a competent storyteller and her choice of stories as also the actors is just right. The actors only carry the film to dizzy heights with splendid portrayals. Ravi K. Chandran's cinematography captures the mood brilliantly.
FIRAAQ has an ensemble cast and each of them sparkle in their respective roles. But the faces that continue to haunt you even after the film has ended are that of the child actor, Deepti Naval and Shahana Goswami.
On the whole, FIRAAQ is one of the finest docu-dramas made in India. It's disturbing. It's powerful. It's thought-provoking. A film for the discerning viewer who likes to go beyond the stereotype.
rating 3 and a half out of 5
Film-makers across the globe have often told stories of calamities/riots/disasters -- natural and unnatural -- and the aftermath. FIRAAQ, which marks the directorial debut of actress Nandita Das, also looks at the lives of common men after the riots in Gujarat.
More of a docu-drama, FIRAAQ narrates six different stories that are not connected with one another. Nor are they similar, nor do they meet towards the culmination. Told with utmost sensitivity, the film pricks your conscience at several points of the narrative and when you make it to the Exit after the film has ended, you carry the burden of a lot of questions on your mind.
FIRAAQ is disturbing. It makes you remove those blinkers and experience the truth. FIRAAQ is purposeful and powerful and drives home the message in the most convincing manner, without taking sides.
A middle class housewife [Deepti Naval] closes the door on a woman desperately seeking refuge and then struggles to overcome her guilt... The loyalty of two best friends [Shahana Goswami] is challenged in times rife with fear and suspicion... A group of victimized young men seek revenge as a way out of their helplessness and anger... A modern-day Hindu-Muslim couple [Sanjay Suri, Tisca Chopra] struggle between the survival instinct to hide their true identities and the desire to assert them... A boy having lost most of his family in the riots wanders through the streets searching for his missing father... A saintly musician [Naseeruddin Shah] clings on to his idealism until an evidence of civil strife shakes his faith.
The opening sequence of FIRAAQ says it all, when a truck empties dead bodies as if it were emptying debris or rubble. It hits you more sharply than any weapon. Subsequently, you are introduced to the assorted characters that have been affected, directly or indirectly, to the riots. The six stories run concurrently, raising so many questions all through.
Nandita Das gets it right, except for the open end which doesn't really have a culmination like most Hindi movies. One aspect that could go against the film!
Nandita is a competent storyteller and her choice of stories as also the actors is just right. The actors only carry the film to dizzy heights with splendid portrayals. Ravi K. Chandran's cinematography captures the mood brilliantly.
FIRAAQ has an ensemble cast and each of them sparkle in their respective roles. But the faces that continue to haunt you even after the film has ended are that of the child actor, Deepti Naval and Shahana Goswami.
On the whole, FIRAAQ is one of the finest docu-dramas made in India. It's disturbing. It's powerful. It's thought-provoking. A film for the discerning viewer who likes to go beyond the stereotype.
rating 3 and a half out of 5
Movie Review-aloo chaat
Hrishikesh Mukherjee started a trend. Simple stories narrated in the most simplistic manner. His movies inspired a generation of film-makers and a lot of storytellers even today pay homage to Hrishi-da through their movies. Robby Grewal does so with ALOO CHAAT. Only thing, the film lacks the sweetness associated that you expect from it.
ALOO CHAAT makes you smile sporadically. At most times it's like watching a TV serial that's not hard to predict. 20 minutes into the film and you know what the culmination would be.
Robby's last outing MP3: MERA PEHLA PEHLA PYAAR was an interesting experience, but ALOO CHAAT tries too hard to be a Hrishikesh Mukherjee kind of a film. Its execution brings back memories of the illustrious film-maker's several films as also Rajshri's DULHAN WAHI JO PIYA MAN BHAAYE [Prem Kishen, Rameshwari], but falls flat.
Verdict? This aloo chaat is spiceless!
What do you do when your entire family is against the bride of your choice? Do you replace your family? Or do you replace the bride?
Nikhil [Aftab Shivdasani] hails from Delhi and is visiting his family in India. His parents start showing him Punjabi girls for wedding. Knowing the temperament of his father Purshottam [Kulbhushan Kharbanda], he feels hesitant to disclose about his love affair. Hence, he approaches his father's best friend [Manoj Pahwa], who has a great influence on his father. Together they plot to bring Nikhil's girlfriend [Aamna Sharif] into the family.
ALOO CHAAT suffers due to one major reason: It just doesn't hold your attention. The screenplay [Divya Nidhi Sharma] relies on the same old tricks and the same old situations that we've watched over and over again. You do smile at times not because the scenes are funny, but because the dialogues are witty.
Robby Grewal is letdown by a below-mediocre script. Music [Mehfuz Husain, RDB, Vipin Mishra] is soothing and a couple of melodies are tuneful. The video towards the end credits [RDB] is eye-catching. Dialogues are well penned.
Both Aftab and Aamna are limited to a few expressions. Not their fault frankly because the writing hardly gives them scope to perform. It's the supporting cast that works wonders. Kulbhushan Kharbanda, Manoj Pahwa and Sanjay Mishra sparkle. Dolly Ahluwalia is okay.
On the whole, ALOO CHAAT just doesn't work. Below average.
rating 1 and a half out of 5
ALOO CHAAT makes you smile sporadically. At most times it's like watching a TV serial that's not hard to predict. 20 minutes into the film and you know what the culmination would be.
Robby's last outing MP3: MERA PEHLA PEHLA PYAAR was an interesting experience, but ALOO CHAAT tries too hard to be a Hrishikesh Mukherjee kind of a film. Its execution brings back memories of the illustrious film-maker's several films as also Rajshri's DULHAN WAHI JO PIYA MAN BHAAYE [Prem Kishen, Rameshwari], but falls flat.
Verdict? This aloo chaat is spiceless!
What do you do when your entire family is against the bride of your choice? Do you replace your family? Or do you replace the bride?
Nikhil [Aftab Shivdasani] hails from Delhi and is visiting his family in India. His parents start showing him Punjabi girls for wedding. Knowing the temperament of his father Purshottam [Kulbhushan Kharbanda], he feels hesitant to disclose about his love affair. Hence, he approaches his father's best friend [Manoj Pahwa], who has a great influence on his father. Together they plot to bring Nikhil's girlfriend [Aamna Sharif] into the family.
ALOO CHAAT suffers due to one major reason: It just doesn't hold your attention. The screenplay [Divya Nidhi Sharma] relies on the same old tricks and the same old situations that we've watched over and over again. You do smile at times not because the scenes are funny, but because the dialogues are witty.
Robby Grewal is letdown by a below-mediocre script. Music [Mehfuz Husain, RDB, Vipin Mishra] is soothing and a couple of melodies are tuneful. The video towards the end credits [RDB] is eye-catching. Dialogues are well penned.
Both Aftab and Aamna are limited to a few expressions. Not their fault frankly because the writing hardly gives them scope to perform. It's the supporting cast that works wonders. Kulbhushan Kharbanda, Manoj Pahwa and Sanjay Mishra sparkle. Dolly Ahluwalia is okay.
On the whole, ALOO CHAAT just doesn't work. Below average.
rating 1 and a half out of 5
Movie review-Barah Aana
By Taran Adarsh, March 20, 2009 - 09:13 IST
Most film-makers often feel [and rightly so!] that a title should reflect the content of a film. But with a title like BARAH AANA, you're completely clueless. That's because director Raja Menon's choice of the subject is equally unique. He enters an alley that most storytellers don't risk entering.
Come to think of it, BARAH AANA is more of an experiment. It offers entertainment - the kind the multiplex audiences enjoy - in its own simple way. It strives to strike a balance between real and surreal and succeeds partly. But there's no denying that a film like BARAH AANA also caters a miniscule section of moviegoers.
BARAH AANA is set in today's Mumbai. The story revolves around three unlikely friends: A chauffeur [Naseeruddin Shah], a watchman [Vijay Raaz] and a waiter [Arjun Mathur].
At some point, misfortune befalls the watchman and, due to a series of chance events, he stumbles into a crime. Striking upon a seemingly low-risk way to make good money and discovering a new sense of self-confidence, he tries to entice the others to join him in a series of such crimes.
A cat and mouse games ensues between the three as personalities change, but events soon spiral out of control...
The premise of BARAH AANA is identifiable. Those living in the metropolis especially will be able to relate to the three characters [chauffeur, watchman and waiter] and the hardships they face. That's where director Raja Menon scores. But the problem is that the entire first hour is devoted to focussing on their respective jobs and plight. Thus, the story barely moves in this hour. Besides, the pacing is so slow that it tests the patience of the viewer at times.
The wheels start moving post-intermission when the three take to crime. These portions are deftly executed and quite enjoyable too. The pre-climax - the big kidnap - also keeps the viewer's attention arrested, but the end is difficult to comprehend. It could've been made simpler.
Director Raja Menon shows promise. He has handled a number of sequences with flourish. Cinematography [Priya Seth] is perfect.
Naseeruddin Shah doesn't utter a word all through except towards the end, but his silence speaks volumes. Vijay Raaz is simply outstanding. An award-worthy performance. Arjun Mathur, who was seen in LUCK BY CHANCE earlier, is a competent actor. He stands up to the two actors well. Violante Placido as Kate and Tannishtha Chatterjee as Rani first-rate.
On the whole, BARAH AANA is a fairly engrossing fare. The problem is that the material as also its execution limits it to a tiny section of audience: a handful of multiplexes at a handful of centres.
rating 2 out of 5
Most film-makers often feel [and rightly so!] that a title should reflect the content of a film. But with a title like BARAH AANA, you're completely clueless. That's because director Raja Menon's choice of the subject is equally unique. He enters an alley that most storytellers don't risk entering.
Come to think of it, BARAH AANA is more of an experiment. It offers entertainment - the kind the multiplex audiences enjoy - in its own simple way. It strives to strike a balance between real and surreal and succeeds partly. But there's no denying that a film like BARAH AANA also caters a miniscule section of moviegoers.
BARAH AANA is set in today's Mumbai. The story revolves around three unlikely friends: A chauffeur [Naseeruddin Shah], a watchman [Vijay Raaz] and a waiter [Arjun Mathur].
At some point, misfortune befalls the watchman and, due to a series of chance events, he stumbles into a crime. Striking upon a seemingly low-risk way to make good money and discovering a new sense of self-confidence, he tries to entice the others to join him in a series of such crimes.
A cat and mouse games ensues between the three as personalities change, but events soon spiral out of control...
The premise of BARAH AANA is identifiable. Those living in the metropolis especially will be able to relate to the three characters [chauffeur, watchman and waiter] and the hardships they face. That's where director Raja Menon scores. But the problem is that the entire first hour is devoted to focussing on their respective jobs and plight. Thus, the story barely moves in this hour. Besides, the pacing is so slow that it tests the patience of the viewer at times.
The wheels start moving post-intermission when the three take to crime. These portions are deftly executed and quite enjoyable too. The pre-climax - the big kidnap - also keeps the viewer's attention arrested, but the end is difficult to comprehend. It could've been made simpler.
Director Raja Menon shows promise. He has handled a number of sequences with flourish. Cinematography [Priya Seth] is perfect.
Naseeruddin Shah doesn't utter a word all through except towards the end, but his silence speaks volumes. Vijay Raaz is simply outstanding. An award-worthy performance. Arjun Mathur, who was seen in LUCK BY CHANCE earlier, is a competent actor. He stands up to the two actors well. Violante Placido as Kate and Tannishtha Chatterjee as Rani first-rate.
On the whole, BARAH AANA is a fairly engrossing fare. The problem is that the material as also its execution limits it to a tiny section of audience: a handful of multiplexes at a handful of centres.
rating 2 out of 5
Movie Review-lottery
By Taran Adarsh, March 20, 2009 - 11:52 IST
Ever solved a jigsaw puzzle? The plot of LOTTERY is tougher to crack. This one pretends to be a thriller, a love triangle next, a whodunit later, a musical in between and ends up as something else altogether. Can't figure out what this film is all about, seriously.
Besides, LOTTERY is meant to be the launch pad of singer Abhijeet Sawant. The sad news is, Abhijeet has chosen the wrong script to launch himself as an actor.
Rohit [Abhijeet Sawant] is an accountant working in an ad agency. An anonymous message asks him to accept a challenge. He does so and he wins Rs. 3 lacs. The wheels of fortune are set in motion. There are more challenges and bigger rewards. In reality, there's no stopping now. The story takes a turn when Rohit is accused of murder. His life goes upside down…
The film fails on the script level itself. It leaves so many questions unanswered, you actually wonder what was the writer/director thinking when he wrote this script? Direction [Hemant Prabhu] is amateurish. The music is no great shakes either.
Abhijeet needs to groom himself completely before he faces the camera next. The two leading ladies, Rucha Gujrathi and Manisha Kelkar, are decent. Sanjay Narvekar has a Nana Patekar hang-up. Mukesh Tiwari is wasted.
On the whole, this lottery ticket is best avoided!
rating 1 out of 5
Ever solved a jigsaw puzzle? The plot of LOTTERY is tougher to crack. This one pretends to be a thriller, a love triangle next, a whodunit later, a musical in between and ends up as something else altogether. Can't figure out what this film is all about, seriously.
Besides, LOTTERY is meant to be the launch pad of singer Abhijeet Sawant. The sad news is, Abhijeet has chosen the wrong script to launch himself as an actor.
Rohit [Abhijeet Sawant] is an accountant working in an ad agency. An anonymous message asks him to accept a challenge. He does so and he wins Rs. 3 lacs. The wheels of fortune are set in motion. There are more challenges and bigger rewards. In reality, there's no stopping now. The story takes a turn when Rohit is accused of murder. His life goes upside down…
The film fails on the script level itself. It leaves so many questions unanswered, you actually wonder what was the writer/director thinking when he wrote this script? Direction [Hemant Prabhu] is amateurish. The music is no great shakes either.
Abhijeet needs to groom himself completely before he faces the camera next. The two leading ladies, Rucha Gujrathi and Manisha Kelkar, are decent. Sanjay Narvekar has a Nana Patekar hang-up. Mukesh Tiwari is wasted.
On the whole, this lottery ticket is best avoided!
rating 1 out of 5
Movie Review-straight
DOSTANA and FASHION brought homosexuality out of the closet. One assumes STRAIGHT would take it one step ahead. It would look at gays, the relationships, the emotions. It doesn't. On the contrary, it talks of a person who's confused of his sexual preferences, one who doesn't know if he swings or not, is in fact homophobic.
STRAIGHT could've explored all this and more beautifully, without getting preachy, but unfortunately, there's no dum in the screenplay. It's dry and dreary and goes on and on and on... and ends up being a boring exercise.
In the midst of central London, a successful Indian restaurant called 'Gaylord' is run by a Londoner of Indian origin called Pinu [Vinay Pathak]. A simple soul at heart, Pinu has many complexes -- a special one being that he is a virgin and has experienced no intimacy with a woman.
After a failed and humiliating experience when Pinu went to India to have an arranged marriage to a traditional girl who finally dumped him at the altar and eloped with her lover, Pinu is broken and disheartened. One day, a young Indian called Kamles [Anuj Chaudhary] comes to his restaurant and asks for a job as a stand-up comedian. Pinu initially refuses, but finally lets him join as a cook, who also does a stand-up act in the evenings.
On the same day, he hires a new cashier Renu [Gul Panag], a young art student from India, who has a passion for caricatures. Life changes dramatically for Pinu as 'Gaylord' begins to transform...
One fine day, Kamles win a lottery and as he goes to hug Pinu in his excitement, he lands an accidental kiss on his lips. Pinu is thrown into a daze as he walks away from the restaurant that night. He has discovered a totally new fear: he might be Gay.
Director Parvati Balagopalan has chosen an interesting story, but hasn't been able to stretch it for two hours convincingly. In fact, there's no movement in the first hour. The three characters [Vinay Pathak, Gul Panag and Anuj Chaudhary] keep talking randomly, without coming to the main issue. Besides, the conversation, most of the times, is absolutely bland.
There's a flicker of hope in the second hour. A few sequences are interestingly handled, but what gets served eventually and the time it takes to reach the culmination, the entire journey is so yawn-inducing.
Parvati disappoints this time. Given the fact that the writing lacks meat, there's little that she can do to salvage the show. Music is another drawback. It's more of an intruder. Cinematography too is inconsistent.
Vinay Pathak does his job earnestly, but why take off the shirt again and again? Why this need to show off Vinay's hairy chest? Gul Panag is likable and enacts her part well. Anuj Chaudhary is okay, but it remains unexplained till the end whether he's gay or straight. That's one of the reasons why his relationship with Vinay is least convincing. There should've been some clarity on this issue. Siddharth Kakkar is alright. Rasik Dave and Ketaki Dave provide some laughs.
On the whole, STRAIGHT is as confused as the protagonist in the film. Disappointing!
rating 1 and a half out of 5
STRAIGHT could've explored all this and more beautifully, without getting preachy, but unfortunately, there's no dum in the screenplay. It's dry and dreary and goes on and on and on... and ends up being a boring exercise.
In the midst of central London, a successful Indian restaurant called 'Gaylord' is run by a Londoner of Indian origin called Pinu [Vinay Pathak]. A simple soul at heart, Pinu has many complexes -- a special one being that he is a virgin and has experienced no intimacy with a woman.
After a failed and humiliating experience when Pinu went to India to have an arranged marriage to a traditional girl who finally dumped him at the altar and eloped with her lover, Pinu is broken and disheartened. One day, a young Indian called Kamles [Anuj Chaudhary] comes to his restaurant and asks for a job as a stand-up comedian. Pinu initially refuses, but finally lets him join as a cook, who also does a stand-up act in the evenings.
On the same day, he hires a new cashier Renu [Gul Panag], a young art student from India, who has a passion for caricatures. Life changes dramatically for Pinu as 'Gaylord' begins to transform...
One fine day, Kamles win a lottery and as he goes to hug Pinu in his excitement, he lands an accidental kiss on his lips. Pinu is thrown into a daze as he walks away from the restaurant that night. He has discovered a totally new fear: he might be Gay.
Director Parvati Balagopalan has chosen an interesting story, but hasn't been able to stretch it for two hours convincingly. In fact, there's no movement in the first hour. The three characters [Vinay Pathak, Gul Panag and Anuj Chaudhary] keep talking randomly, without coming to the main issue. Besides, the conversation, most of the times, is absolutely bland.
There's a flicker of hope in the second hour. A few sequences are interestingly handled, but what gets served eventually and the time it takes to reach the culmination, the entire journey is so yawn-inducing.
Parvati disappoints this time. Given the fact that the writing lacks meat, there's little that she can do to salvage the show. Music is another drawback. It's more of an intruder. Cinematography too is inconsistent.
Vinay Pathak does his job earnestly, but why take off the shirt again and again? Why this need to show off Vinay's hairy chest? Gul Panag is likable and enacts her part well. Anuj Chaudhary is okay, but it remains unexplained till the end whether he's gay or straight. That's one of the reasons why his relationship with Vinay is least convincing. There should've been some clarity on this issue. Siddharth Kakkar is alright. Rasik Dave and Ketaki Dave provide some laughs.
On the whole, STRAIGHT is as confused as the protagonist in the film. Disappointing!
rating 1 and a half out of 5
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