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Not very often we get to see a film which has something immensely important to convey through its thoughtful story idea but doesn’t get the ample support from its executors to bring forward the exact message of its plot in the desired manner. And whenever such a film is there, it in fact becomes the duty of the reviewers to take an initiative and make that precious message reach its right audience through their individual articles on the film ignoring its other visible glitches.
So writing with the same motive, RANGREZZ is surely one of the above mentioned films which can easily be included in the better (if not best) works of the veteran director Priyadarshan, coming back after a string of many forgettable ventures in the recent years. It may not be a perfect film, if looked upon with a cinematic angle. But still it has a bold, relevant theme with some brilliantly conceived scenes by the director & his team, which force you to contemplate upon Friendship, Love & Sex, the three important aspects of every youth’s happening life unarguably.
Admittedly, the film starts off without making any kind of impact in its initial 20 minutes with the same typical scenes introducing its various characters along with 2 forced-in songs, as usual. But once the abduction angle comes into the script, the narration picks up fast giving you one of the finest & shocking chase sequences (in a crowded temple and market) before the interval, supported by an energetic song running in the background, wherein Sukhwinder is chanting, “Shambhu Shiv Shambhu” in a fast tempo and full spirits.
The energy generated by this well shot 15 minutes of the film, somehow gets merged into the various subplots coming in post intermission. But it all gets back on the track soon once its major unexpected & thought provoking twist is revealed in the final 40 minutes of the film forcing you to forget its lackluster start and avoidable songs right away. And this is what moved me the most in RANGREZZ depicting a very important issue of Love Marriage and its sustaining power among the youth, living quite dangerously in the present net-age majorly lead by all monetary interests.
The film strongly throws in the missing emotional connect in these stunning concluding moments and you just keep watching the proceeding on the screen with some mixed emotions of disgust and anger with your head down. The fiery tragedy in this so called love saga puts you on a thinking mode and its main theme certainly needs to be discussed by the youngsters quite boldly & urgently in their individual groups. Without revealing the surprise element of the film, I would like to add that RANGREZZ redefines friendship in an applaudable manner with Jackky Bhagnani, Amitosh Nagpal, Vijay Verma,Rajpal Yadav & few others in the supporting cast, playing their well written characters very impressively. Though I wished to see more of Priya Anand after her lovable act in ENGLISH VINGLISH, yet she does full justice to her small role as required. Pankaj Tripathi and Lushin Dubtey add a lot through their impactful portrayal of two cunning politicians and so does Santosh Sivan conveying silently with his camera behind the screen.
To be precise, RANGREZZ is not a film revolving around a routine blessed hero & his heroine, but its a collective effort putting forward a shocking, sensible plot which deserves to be seen by the youngsters in particular. Both Vashu Bhagnani and Priyadarshan deserve all the praises to bring in this thoughtful project for the Hindi viewers who normally are not served with such realistic or introspective kind of stuff more often. Musically it has 2 upbeat tracks “Shambhu Shiv Shambhu” & “Govinda Aala Re” along with the world famous “Gangnam Style” being played in the end credits. Yet I felt a few songs in the beginning were not required actually and its background score could have been more concerning, to give you the touch of all that agony felt by its innocent characters on the screen.
Being a remake of the Tamil Hit NAADODIGAL (2009), the film clearly reveals another valuable fact that the Regional Cinema in India is much ahead in terms of story ideas and experimentation than the more famous & loved Bollywood. In other words, Hindi film industry still has to go a long way to come up with such original films of its own, moving ahead of its huge dependency on “The Remakes”.
So where many reviewers might have given a very low rating to the film discarding it completely, there I would like to recommend RANGREZZ to every true friend and couples in deep love, thinking or already experienced Love Marriage in their real life just recently. Because for me, films which tend to make us think and raise several relevant questions on our problematic life patterns are in fact very important to see & discuss for our own betterment of life.
Honestly, I really wished to include it in my list of 'Movies To See Before You Die' because of its considerate, realistic depiction of Friendship, Sex and Love Marriage as often seen in our own local surroundings. But unfortunately the cinematic limitations of the film restrict me to do so and therefore I would be sharing all my burning thoughts on its effective theme in a different individual article instead.
Nevertheless, till then allow me to leave you with the following gutsy dialogue of RANGREZZ which might make you see the mirror right in the front more truthfully and I will soon post the write-up taking it forward from here only.
“Bhai, Shadi To Hum Karwa Denge, Par Pehle Apne Lover Couple Se Ek Baar Puch Lo, Ke MANDAP Hi Chahiye Ya Ek KAMRA Bhi Chalega"………………A meaningfully written line with a punch to get it hard!
Rating : 3.5 / 5
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RUSH is a film which starts revealing the unfortunate truths behind its making in its first 10 minutes itself. The disconnect and the lack of right timing between its various sequences clearly give you an indication that there is something peculiar going on here which is not allowing the film to come out strongly. And that one unfortunate fact is that RUSH was actually the directorial venture of Late Shamin Desai who sadly couldn’t complete the film and passed away in early 2011. The project was earlier called “24x7 Raftaar” which was later completed by Shamin’s wife Priyanka Desai after that shattering untimely incident.
Reportedly, its leading hero Emraan Hashmi too helped in the completion of the film going out of the way which enabled Percept Pictures to finally release it after a lot of re-work and post production. Now whether the film was mostly complete or not at the time of its director’s death is not known. But looking at the final product before us, it can easily be said that the film has suffered a lot due to the mixed visions coming in from more than one person during its completion process without any doubt.
As a result for a common viewer, who is not aware of the actual story behind its making, RUSH turns out to be an entirely uninteresting or hollow kind of attempt made without any basic vision. It remains dull throughout mainly due to its slow pace and unwanted, mediocre songs thrown in without any purpose, out of which only “Fukre” sounds the best. With an average cinematography & background score, its storyline revolves around money, power, media and crime but does not even start till its Interval. And post that, RUSH completely fails to exploit its fine basic plot revealing the dark side of today’s news media, which is fast moving towards more sensationalism and less journalism.
Moreover, while watching it you can easily recall many recent movies made on similar subjects where the hero is offered an exciting well-paid job with a hidden criminal backdrop which gets disclosed later. Along with the film, its cast too suffers a lot due to the mixed vision mentioned above. The performances never rise above the average, except the gorgeous looking Neha Dhupia, sporting a new sensual look. Both Emraan Hashmi & Aditya Pancholi deliver the usual seen before kind of acts and Sagarika Ghatge looks tense in most of her scenes.
But honestly, I do feel that considering the project as an unfortunate victim of fate, there is no use criticizing the final product any further, just for the sake of it.
However taking a clue from RUSH’s actual plot which remains under-utilized in the film in a very questionable manner, I would like to suggest all friends here, a lesser known classic of the past, if you are really interested in witnessing something extraordinary made around media and crime in Hindi Cinema.
The film is called “New Delhi” directed by Joshi which was released in 1987 featuring Jeetendra in the lead role of bold journalist. It’s a well directed and superbly enacted film which brilliantly showcases the innovative idea literally ruined in RUSH. Though the plot was first used in “Surkhiyan” which came in 1985 but the way director Joshi visualized it in his NEW DELHI was simply incomparable with a haunting background score & some great worth watching performances,
Hence if you really want to see how media & journalism can be secretly used to fool both people and the government together, then do watch “New Delhi” at the earliest by giving RUSH and easy skip.
Rating : 1 / 5
Tags :
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A regular filmgoer can recall several films from the recent past with a great first half and a not so happening second. And in most of the cases such films fail to make any major impact on the viewers as well as on the box office. But if a film goes the other way round then it has the most favourable chances to win over the audience as then they all are bound to come out of the theater with the entertaining memories of the second half only.
Luckily Prabhudeva’s second directorial venture in Bollywood, produced by UTV and Sanjay Leela Bhansali comes in the latter category of movies with a fairly good second half as compared to its first. Following the sole motive of entertaining the viewers (keeping aside the logics), the director is mostly successful in its aim due to many engaging sequences post intermission full of action. And that is what actually saves ROWDY RATHORE from going on to a negative path.
An almost exact remake of Telugu Hit VIKRAMARKUDU (2006), which was also remade in many other languages, RR strictly follows the path of its original without any new or major alterations made by Prabhudeva. He remains focused on the entertainment factor throughout but in the process makes an uneven film before and after the interval which drops at several places when it comes to emotional drama in the script.
To explain the experience of watching it in its two halves, just imagine sipping an above average soup before going for the main meal at your dinner table. So, the first half of RR is like an ok starter with three fine toppings of a fresh & ravishing Sonakshi Sinha, few comic sequences of Akshay and 3 enjoyable well choreographed songs which don’t let you write off the film right away. It starts off with a calm first hour stressing more upon the romance and less on the basic plot. But then Prabhudeva comes up with an energetic 15 minutes just before the interval which pull everyone back into the film forcing them to expect something much better in its next hour.
Post intermission RR suddenly becomes an enjoyable ride with some well directed action sequences reminding you of the good old cinema of 70s which followed entertainment without any logic. In fact this better part of the film can easily be compared to a Manmohan Desai kind of attempt made in the South with fast paced sequences coming one after the other without giving you any time to think. For instance, the conman replaces the Inspector (Akshay in double role) without any hassles or questioning, the heroine follows him to the same small remote area as her parental town, the child simply accepts the second Akshay as her father without raising any doubts, there is no information given about her mother and the villains are easily beaten badly by a single man with his amazing power. But despite of all these glitches, the narration keeps you entertained with its funny one liners and well edited action scenes, not giving you anything to complain particularly in its second half. So if you love watching escapist kind of cinema, just for entertainment as earlier seen in Rohit Shetty’s SINGHAM, then you would love Akshay returning to his action mood. Yet ROWDY RATHORE is not another WANTED delivered by Prabhudeva with a weaker first half.
Therefore as a director, I cannot comment upon Prabhudeva’s ability since he has only made “Strict Remakes” in Bollywood till now. The dancing maestro very well knows how to keep the viewers engaged and entertained in his movies. But how he would handle the same entertainment quotient in his own original project remains doubtful. Nevertheless in RR he takes ample support from both the fine cinematography and an energetic background score to generate a universally likable impact till the end. Also the action showcased in the film further helps him in generating a positive final result in a big way.
Musically Sajid-Wajid have done a nice job but again they cannot take the whole credit here as the main track of the film “Chinta Ta Chita Chita” remains a true adaptation of its original Telugu song from VIKRAMARKUDU (2006). However both singer Mika and the Choreographers (Saroj Khan, Prabhudev & Bosco Martis) really deserves a special mention here, since the songs become hugely watchable just because of their great dancing steps complimenting the beats.
Akshay returning to his favourite action genre entertains the masses both as a conmen and a police officer. But undoubtedly, he makes a much better impact post interval in all those action and confrontations scenes. Still, RR may not be able to generate the same response for him as WANTED did for Salman (which was appreciated by both critics as well as masses). The pleasant package of the film is Sonakshi Sinha who looks ravishingly fresh & beautiful on the screen, more than her pictures circulating in the print media. She definitely has a strong screen presence but only requires a good author backed role to prove her acting talent. Nassar once again excels in his role of the main villain with a superb portrayal of the Bad Man. Mushtaq Khan provides few lighter moments in the second half and Yashpal Sharma impresses in his helpless character. Both Paresh Ganatra as Akshay’s friend and Gurdeep Kohli as the lady inspector are fine but Gurdeep surely becomes a victim of step treatment given by the writers.
In all ROWDY RATHORE satisfies you mid-way with only a great & entertaining second half wherein Akshay performs in his full form as the action hero. But with less romance and more action thrown in the first half it could have been another WANTED for the director without any doubts. So for now, it may get a mixed response with a particular section of viewers (who love watching Manmohan Desai kind of cinema) appreciating it a lot and another slamming it down for its logics taken for a ride.
Rating : 2.5 / 5
Tags :
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It can be a co-incidence or may be an intentional move suggested by Imtiaz Ali or Ranbir Kapoor himself that one of the publicity posters of the film ROCKSTAR seems to be very similar or close to the theme used in the poster of AWARA.
Interestingly AWARA is a Raj Kapoor film, who is the grand-father of Ranbir Kapoor, the lead actor of ROCKSTAR. But the similarities do not end here as both the movies also have the same star-cast in names i.e.
RK (Raj Kapoor) & Nargis in AWARA and RK (Ranbir Kapoor) and Nargis in ROCKSTAR.
May be Ranbir Kapoor and his family have noticed this co-incidence too.
Cheers!
(Thanks to Himanshu Patel for pointing out the similarities in the names)
Tags :
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