A warm welcome to all friends visiting the site with a loving invitation to read my personal expressions on movies, music, poetry and life.
Music and Movies are like Ears and Eyes to me and if you also feel the same, then you are going to enjoy every moment spent on my works here, for sure.
Do send in your valuable comments and suggestions as they would be my guide for all the future works.
As an essential clarification, I would like to begin with the fact that if a film is remade or its sequel is planned after decades (to en-cash the euphoria around its original title), then there are simply no grounds on which either the films or their music can be compared in any form or manner whatsoever. And the gigantic reason for this valid argument is that those two projects are purely related to two different times, distinctive eras and two diversely brought-up generations which don’t allow us to discuss any kind of comparative study related to the projects unnecessarily. Therefore the review here has nothing to talk about the original AASHIQUI released in 1990 or its extremely popular music in the paragraphs ahead.
However, the other harsh reality here remains that with AASHIQUI 2, the Bhatt camp once again proves the wide spread notion in the industry that they truly know the film business more than anybody else in the present, when it comes to making remakes, sequels and inspired movies with some hit tracks unarguably. Dealing with all similar projects only (remakes & sequels) in the last few years, the Bhatts have passed on their “HIT Formula” of making low budget, inspired movies with a new star-cast & super-hit music to their next generation too. And the new brigade is clearly making the most out of it quite evidently as visible in their latest venture AASHIQUI 2.
The film has a title fetching them an instant recognition due to its brand value, an already successful soundtrack, an interesting fresh lead pair and the whole ‘Cost-Factor’ under control like a perfectly planned business venture which has no probability of giving them losses even if the film is not liked by majority of the audience sitting in the theater. In short this is an ideal example of how successful films are now being made in our Industry like branded Soaps, Perfumes and Shampoos selling in the departmental stores displayed in some attractive packing on the shelves.
Oh! Wait, I really missed the major ingredient of film-making here in the above description, which happens to be “The Storyline or Script” in a film as required. But then, that’s never been a problem with The Bhatts since they’ve always got the English or World Classics by their side, as their truly inspiring friends, providing them everything they require from start to finish related with the storyline of their films. So following their own decades old track record, this time they pick up the 1976 version of A STAR IS BORN, directed by Frank Pierson and featuring Barbara Streisand & Kris Kristofferson in the lead.
Interestingly, the English film has its own history of remaking in both the West and the East beginning from the year 1937. After its initial release in 1937, it got remade twice in 1954 & 1976 (in the west) because of its engaging subject on music & its illustrious career struggles. In India, Hrishikesh Mukherjee made his own cult classic ABHIMAAN in 1973 featuring Amitabh Bachchan and Jaya Bhaduri (Bachchan) in the lead, which was a subtle Indianised version of a similar tale. Though the original AASHIQUI (1990) too, revolved around the same subject of musical careers, ego clashes and misunderstandings between the lead pair. But it’s the current 2013 remake of the Hit, which religiously takes its inspiration from the 1976 version of A STAR IS BORN, revolving around the life of a immensely famous Rock Star fading away from the charts due to his drinking habits & arrogant nature.
No doubt, director Mohit Suri and his writer Shagufta Rafique add their own notable insertions in the script to make it an intense emotional love saga, as always expected from the Bhatts. But in the process they push their film into an avoidable zone which is too melodramatic, extremely slow and not so happening for the young audience in particular, after its first hour. In straight words, the film begins well with all its introductory scenes and manages to hold the attention of its viewers in a decent manner. But just before and after the intermission, it loses all its pace, becomes completely predictable and offers nothing in the name of entertainment (read emotional pleasure), despite of having some good tracks playing in the background.
At times it does make you feel the ‘Mahesh Bhatt Impact’ in few of its lovable scenes (Mahesh lends his voice in the film as the Father), but along with that the film also has few directly lifted sequences from the original as usual. It begins with an exactly similar scene taken from the 1976 remake of A STAR IS BORN, the couple meet each other in a bar in almost the same settings and then the film ends too on an identical note, truly following its inspirational source from the West, unsurprisingly.
The film’s Soundtrack is already a Big Hit, its Cinematography is fine and the Background Score provides what was required from it in a decent manner. But somehow I felt the arrangement (orchestrisation) of its songs too heavy and repeatedly interfering with the otherwise melodious compositions of the tracks & their meaningful lyrics. May be it was done keeping in the mind the Rock base of the film, but could have been toned down a lot as I felt personally. Anyway, AASHIQUI 2 is sure going to be the major vehicle in the career of its singers such as Arijit Singh, Ankit Tiwari & more.
In the acting department, the fresh pair is likable and they have also acted well in their difficult roles respectively. Yet the appreciation would more go towards Aditya Roy Kapur than Shraddha unfortunately. The boy impresses you right away from his first scene itself and then seems to be at a comfortable ease with his confused character throughout the film. Shraddha looks cute and does well particularly in the second hour. She is sure going to win some hearts with her innocent feature, but still I couldn’t feel the emotional attachment with the two characters suffering together on the screen and couldn’t relate to them honestly as I wished too.
Probably one of the reasons for this detachment from the film was its story-base which in the current scenario is simply bizarre and unimaginable. Because today there is no place as such for Pop Singers or their Individual Pop Albums in Indian Music Market anymore. Yes, this was the scene in the 90s when Pop Culture was flourishing in India due to the Cable TV revolution in the country. But in this new millennium, only film music rules the nation and there is almost no scope of any Pop Artist to make such a name & fame in only few weeks as shown in the film.
In a nutshell, it has got performances and some good music too but how many times we are supposed to see the same rotten story again & again like dumb viewers. Its fine that in our part of the world if you have a Hit soundtrack then half of your box office battle is already won. But what about the entertainment factor or the emotional connect in a movie for which the viewers are there sitting in the theater. And in case that is missing in an intense love story such as AASHIQUI 2, it really doesn’t deserve any high ratings as far as this review is concerned.
Rating : 2 / 5 (Including 1 only for its soundtrack)
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Exploring a new genre of dance movies in Indian Cinema (earlier tried in the 80s with DISCO DANCER,DANCE DANCE & more) ABCD straight away comes to the point in its first scene itself featuring a dance competition. And then it takes you on to an energetic dancing journey right till its explosive climax where Lord Ganesha is remembered in a spectacular show on the stage. Needless to say that the film is all about passion of dancing, I have quite less to write about the movie as a whole and more to express on the making of this important project which is nothing less than a milestone in the Hindi Film Industry.
To finish with its weaker points first, story wise ABCD may not have got anything novel or fresh to offer but execution wise it does have many exclusive firsts in its kitty, especially for the viewers who share the same passion of dancing in their real life. The film has music, dance and expressions written all over it and it keeps moving around these three things only woven with all the clichéd plots already seen before on screen in various films.
But if it has nothing new to offer then what is so special about this film which forces me to rate it as an essential watch for every young at heart living in India?
There is in fact more than one answer to the above question and they are all mentioned below as the merits of the film intelligently called ANY BODY CAN DANCE which interestingly gets an abbreviation as ABCD.
1. First of all this is a film in which you have “The Indian God of Dance” Prabhudeva (acting after a long time) playing the Master of Dance only for a group of enthusiastic students eager to learn from him. And when Prabhudeva is there as the maestro himself then you are sure to get some exclusive, unbelievable and jaw dropping dance sequences on the screen like never before. Here it needs to be mentioned that apart from entertaining the viewer with his impeccable dancing skills, Prabhudeva also decently manages to act in his emotional scenes too and doesn’t turn out to be uneasy or awkward at all.
2. Along with Prabhudeva, ABCD has also got another popular dance maestro Ganesh Acharya playing a dance teacher assisting Prabhudeva as a true friend to achieve his desired goal. The lovable act of Ganesh straight away wins your heart as its not easy to accept such a side role, when one himself is running a professional dance academy and considered a Master of the art in his own industry. In clear words, in this cunning world of gigantic egos it was really nice to see Ganesh featuring in this project displaying an appreciable sportsman spirit and its indeed a treat to watch the two masters together on the screen in one frame interacting with each other in a funny but emotional manner. So hats off to Ganesh Acharya for this great step taken in his career as an actor and coming up with a surprisingly amusing performance too.
3. The third merit of the film includes all its stunning stage performances well supported by a breathtaking choreography, innovative cinematography and a dazzling technical show which superbly shines in 3D. Director Remo shows a tremendous growth in his second venture made on his most favourite subject and he does come up with an impressive show with many worth watching songs and dance sequences lead by the grand finale saying “Bappa Moreya” loudly. The film features almost all kind of dance forms and is sure going to be a great watch by the young ones who are into learning the art seriously. Here though I missed an instantly likable composition with some catchy beats in its songs but still the soundtrack of ABCD (by Sachin-Jigar) successfully impresses the viewer while watching it as required. Particularly I loved hearing the track, “Duhaayi Hai” & “Saada Dil Vi Tu” which are both rendered and filmed quite well.
4. Now after these key points, in my opinion ABCD’s biggest USP is that it features almost all the winners/participants of the famous TV show “Dance India Dance” who became famous in their hometowns due to their amazing performances on the show. Interestingly TV shows on Talent competition have been the topic of discussion in our society from the last few years, because as they get over, the already popular young contestants find themselves hanging in the mid having left on their own by the show organizers and their judges with no further guidance.
But here since director REMO thankfully found that vision, courage and spirit to bring all his young contestants of the show together in his own film made on dance. Therefore I consider ABCD as a valuable example set by him in the industry by acting like a responsible mentor, giving them the much required chance to showcase their skills on the big wide silver screen. Here a few friends might find this move too as a pure commercial one, taking advantage of the young ones available for no cost at all. But personally I would not mind that, even if it is so, since we do need dependable, responsible and thoughtful teachers, mentors and directors like REMO who can play the gamble of giving such big chances to the deserving young candidates in their reputed projects. This young brigade in ABCD is lead by Dharmesh and Salman along with many other talented names who show a commendable confidence acting with stalwarts such as Prabhudeva,Ganesh and KK, who is simply outstanding as the cunning, ambitious owner of a renowned dance academy.
Admitting the truth, yes as a film script one may find ABCD just an average flick made with great passion, highly inspired from the STEP UP series of the west. But as a special project collectively made by all the masters of the art together along with the young talent picked up from their own TV Talent shows, I would like to rate ABCD as an important film of the current times which actually shows us a new inventive way of making interestingly appealing films featuring the fresh talent.
Sharing the experience of watching it in the theater, it was really great to see ABCD with a group of young dance students sitting in the row ahead, who were really enjoying each and every dance movement on the screen with their energetic shouts, whistles and comments. And while its final song was there (in the end credits) with Saroj Khan, Prabhudeva, Ganesh Acharya and Remo dancing together on the screen in one frame, I just had a thought that if me and these young students are enjoying so much watching these masters dancing together, then what a good time they all must have had in shooting the whole project like an unforgettable picnic lived away from all the worldly pains and discomforts...........following only one common mission in mind and that’s the passion of dancing.
So as I see it, ABCD is a zealous and appreciable attempt from all the dancing maestros putting their own students in the front, which deserves to be looked upon with love & respect by one and all. In short, watch ABCD essentially if you love dancing and watch it as a must if you don't as it may open your mind towards one of the most precious gifts of nature, i.e. The Joy of Dancing………Cheers!
Ratings : 3.5 / 5
Tags :
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Promoted as a fun filled love story mixing the Maharashtrian and South Indian backdrops, AAIYYA was also considered to be the comeback film for Rani Mukherjee returning after a long gap. But the promos were not able to generate the right amount of curiosity as there was a clearly visible loud kind of effort put in by Rani herself in all those sensual dance numbers using some new distorted words. Moreover the promotional campaign was safely stressing too much on “The Dirty Picture” style of strategy to bring in a wider base of audience which didn’t really work as expected.
Therefore if studied from that angle AIYYAA can also be taken as one of the after effects of “The Dirty Picture” which was not a good choice of subject by its makers. Actually TDP worked majorly due to its novelty factor, full of boldness which is difficult to click again in a second similar attempt. So, where the catchy songs of AIYYAA, sound great when played in the DJ dance parties, the same is not the result when we see them on the screen coming in as the usual fillers.
The film offers a good enjoyable 20-25 minutes in the start, when all the characters are being introduced and the narration seems to be fresh as well as interesting. But after those initial fine moments, the viewers keep waiting for some entertaining twists or sequences in its basic storyline which refuse to come and it all goes on at a very uneasy pace. As a result, all those weird but amusing mannerisms of its various characters gradually turn into repetitive, ridiculous and irritating leading to an avoidable mess.
Being an experienced professional, Rani Mukherjee works hard for her unusual role and she does well too to portray the character in the best possible manner with a little over-acting where ever required. But she also looks a complete misfit in few songs and her sniffing act starts getting on your nerves after a while. Frankly, I also found the same quite odd & silly, since Rani is purely in love with just the smell of Prithviraj in the whole film, without knowing anything about him or his nature personally. And if that was an innovative idea thrown in, then it was certainly a first on the screen, thoughtfully penned by the writers literally going out of the box. May be, the phrase “Love is Blind” should be now replaced with a new one saying “Love is Smelly” – courtesy AIYYAA.
The male lead, Prithviraj, the actor from South is impressive in his silent act (wherein he only gets to speak towards the end) and so is Subodh Bhave as the official fiancé. But there are more than one hamming stars in the rest of the cast lead by the actors playing Rani’s parents, brother and grandmother. And on top of all is the girl playing Rani’s office colleague, posing as the Indian Lady GaGa. The writing is quite patchy since there is no clear indication of what Rani actually wants to become in her real life as per her ambition shown in the first scene. Her passion for films and the dream of becoming a heroine suddenly takes a back seat once the love story starts off and then she is only interested in getting married and nothing else.
But despite of all the above mentioned flaws, the film continues to hold some ground until a sick song “Izzat Paapad” suddenly breaks in all of a sudden and ruins it completely. It simply pulls the film down in the bracket of below average ventures and the viewer starts looking left & right like a lost person. Further it goes on a stretching mode offering a pretty weak, lackluster climax without any exciting or entertaining moments which force you to just leave the theater at once without any further thinking.
As a matter of fact, the film is inspired from a part of director Sachin Kundalkar’s own Marathi film “Gandha” or “The Smell” released in 2009. But talking about some strange characters the project seems to be drowned in the director’s own world of imagination, forgetting the truth that it was basically being made for the viewers alone.
His unconventional and uninteresting narration not only lets down the hearty effort of Rani Mukherjee but it also affects the brand name of Anurag Kashyap presenting the film as a producer.
In all, few enjoyable tracks of Amit Trivedi and a passionate performance of Rani Mukherjee are the only two merits in AIYYAA. And if these two excite you well, then do watch it in the theater or else wait for its DVD release in the next few weeks.
Rating : 1.5 / 5
Tags :
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As mentioned in my reviews earlier, A Remake is the easiest way of making your way into the history of cinema, which also gives you a readymade script to start working upon instantly. But after watching this recent version of one of the most stylish and cult movies of Indian Cinema (which got this status in the later years after being a flop initially), I reached a new conclusion about this latest trend in Bollywood.
Remaking a cult movie featuring one of the current heart-throbs of the Industry is undoubtedly the safest business projects for a production company. It not only shows that the company is hesitant in making films on some new ideas but it also loudly announces that the makers are now quite over-confident to think that they can surely do something better from the original in their new version. And these two conclusions are clearly proved by Dharma Production’s present remake of their own 1990 project in the following way:
1. Karan Malhotra’s AGNEEPATH is not at all a remake of Mukul S. Anand’s classic in a true manner. It takes too many liberties, makes too many deletions and adds too many insertions showing the over-confidence of its makers mentioned above. Many important characters of the original (like of Mithun, Madhavi, Tinnu Anand, Goga Kapoor and more) are taken off completely and many new are added, out of which only one works in a fine way, thankfully. But due to these hugely heavy manipulations, the real impact of the original gets lost and is visible only in parts. So, actually Karan’s current new age version just takes the basic idea plus some of its key characters from the 1990 film and then gives you a completely different product all together.
2. But even then, despite of making it so distinctively, Dharma Production still publicized it as a Remake of AGNEEPATH in order to get all the business benefits associated with the buzz as stated above. In fact this publicity stunt of making a remake of the hugely popular 1990 film will help them in two ways. Firstly it will bring in the Big Initial as essentially required for such mega project in its first weekend. Plus, since it is not exactly A Remake, it will re-install the memories of the past and would boost the demand of their own original 1990 project in the Satellite and Home Video market once again. So it’s a perfect two way profitable business plan being played here by the producers.
Coming to the review of the movie, it’s a pretty easy task if one writes about the film as a remake of Mukul. S. Anand’s AGNEEPATH of 1990. Because frankly, from that point of view it fails miserably since it lacks the 4 essential aspects of its original. Now Mukul’s AGNEEPATH had a powerful Vijay Dinanath Chauhan with his own impeccable style (followed by the youngsters even today), a strong mother with her truthful ideals, a lovable nurse-wife understanding her husband perfectly and an honest police officer who had a mutually respectful relationship with Vijay.
Unfortunately none of these four elements are there in Karan Malhotra’s official remake. There is very less emphasis given to the mother-son track, the nurse- wife gets converted into a beauty parlour owner degrading the character itself and the police officer never really feels like a strong official ever. But most importantly there is no Vijay Dinanath Chauhan here in this 2012 AGNEEPATH unexpectedly. And that’s where I have certain reservations with this so called remake of the cult classic.
Mukul S. Anand conceived Vijay Dinanath Chauhan as a larger than life persona, a macho man who had both mercy for the needy and terror for the culprits in his decorated eyes. But here in Karan Malhotra’s version we have a young well built Boy playing Vijay and not the Man, Vijay Dinanath Chauhan as in the original.
Mukul’s Vijay was a powerful Don, who also happened to be the Messiah for the poor and was loved by everyone immensely due to his good deeds. He worked with the BAD but had a heart thinking for the poor and humanity as a whole. But I honestly couldn’t understand this new Vijay and his ideals which are all confusing. At one end Karan’s Vijay living in a chawl, is doing many charity works and running his own vans for the cause. But on the other hand he has no objections and is very keen in dealing in Drugs which in fact is the key factor ruining our society, particularly the people staying in the same chawls in which he is living. Now what kind of ideology is that, remains out of my understanding completely. Its like at one point he supplies the youngsters the Drugs and at another point sends a charitable van in order to get them to the hospital.
Secondly as per the theme, Mandwa (the village) is Vijay’s dream and so are the people living there to whom he wants to tell the truth about his father. So he will never like to ruin Mandwa or its innocent people, who are now working under the rule of Kancha. But contradicting this basic fact of the theme, Vijay in the climax, bombs the whole Mandwa in this new version of AGNEEPATH, visibly killing so many harmless people living in their miserable conditions. Now here the most interesting point is that in the original its Kancha who bombs the whole Mandwa with a remote control but here in the new version its Vijay who bombs the whole Mandwa……which looks very strange on the screen and quite weird too.
Hence this can’t be the VIJAY DINANATH CHAUHAN as portrayed by Mukul S. Anand in his 1990 original. So here is a different Vijay for the current generation who is less powerful, more cunning and a little confused too moving towards his mission of getting ‘Mandwa’ back for her mother.
Thirdly there are so many things missing in this so called Remake. The famous opening scene at the Police Station where the young Vijay gets transformed into Vijay Dinanath Chauhan saying his ‘Poora Naam’ is not there. The raw feel and tense chaos in the scenes where Vijay and his people attack the slums where his rivals have taken his sister is not the same. And even the fabulous mud-fight shot innovatively back then in 1990 is also missing.
Yes, Mukul’s AGNEEPATH had many elements and scenes inspired from various sources but despite of that it had a typical Mukul stamp all over it which can be understood by the viewers who are well familiar with his other works. The man was a genius when it came to execution and Karan also takes many references straight from the master itself. But still, if you want to know about the film as a remake – then honestly it reaches nowhere close and walks on to a different path of its own with a pinch of painful over-confidence.
Conversely, if you watch it as a fresh project (which only has some similarities with the Cult Classic AGNEEPATH) then all is not lost here. As an individual project, without comparing it with the original, the film has its own merits and is watchable too with a few avoidable glitches.
In short, the latest project of Dharma Productions called AGNEEPATH is a well crafted, polished product which can be termed brilliant as far as production value, cinematography and action is concerned. So technically it’s a winner in one way but fails miserably when it comes to characterizations except the one called Rauf Lala.
In a very surprising manner, there is no Vijay Dinanath Chauhan leaving an impact on his audience in this new AGNEEPATH. The present version is more a Rauf Lala and Kancha’s AGNEEPATH than Vijay Dinanath Chauhan’s. Therefore, its not Hrithik Roshan but Rishi Kapoor and Sanjay Dutt, who successfully leave their solid mark in the end, against the general expectations. In other words, this is a more darker, rude and cunning remake where an innocent girl gets raped by the students in a village school, minor girls are being sold openly like slaves in the market and the hero who happens to be a masses man is eagerly doing drugs business and charity activities together.
The film starts off in a great style and impresses hugely in its first 30 minutes till the young boy grows up into Hrithik Roshan. The spell binding start raises your expectations to a great extent which sadly remain unfulfilled to a large extent. The whole film does have a grand look with magnificent colourful backdrops enhancing the overall impact of the people performing on the screen. But still the cliché subject of the script having the ages old plot of a child looking for his revenge through gang wars and conflicting family values doesn’t give you anything fresh to enjoy.
The sole winner of the film remains Rishi Kapoor as Rauf Lala, who shocks you with his well defined role done with convincing perfection. The "Lover boy of the 80s" surprises you once again (in a negative role) after more than four decades in the Industry and that’s indeed not an easy task to do for an actor at this age. Following him is Sanjay Dutt as Kancha who is able to spell terror on the screen with his deadly looks and body. But at the same time his character keeps hanging between a wicked don and a psycho maniac. Nevertheless due to these two veterans, the film has its Bad people making more impact on the audience than the Good ones.
Hrithik Roshan as Vijay becomes the victim of a confusion that what he has to do in order to differ from that Big Image of Vijay Dinanath Chauhan already there in the viewers minds. As a result, he ends up doing simply nothing extraordinary. Hrithik plays Vijay in his own style without any special gimmick or mannerism and remains too simple and straight throughout the film. And that’s the reason why the villains become the winner in this new AGNEEPATH. Though his performance remains perfect for the claps and whistles coming from his fans. But as far as the iconic character of Vijay Dinanth Chauhan goes, I was expecting something exceptional from the actor.
In the supporting cast, Priyanka Chopra is just there to be the leading lady in the credits and nothing else. Zarina Wahab is great in her limited scenes and Om Puri keeps struggling with his weak role. The rest of the cast performs well contributing to the overall feel of the film but no once stands out. Like the original, the remake also gets only few good songs including a forced one “Chikni Chameli” which again is a rehashed version of a Marathi track. Katrina Kaif works hard on his fast body movements in the song but fails to give the required face expressions essentially needed in such kind of raunchy track. Apart from this item number Ajay-Atul deliver a good emotional song "Abhi Mujh Mein Kahin" and a powerful Ganpati song having a pumping rhythm and energy. But they actually excel in their Background Score (more than the Soundtrack) which is simply great supporting its various sequences perfectly.
In all Karan Malhotra’s AGNEEPATH misses the bulls eye mainly due to its second half which goes beyond the required length becoming exhaustive. Though shot brilliantly, the climax takes too much time and that too when the viewer already knows that what is going to happen next. Moreover due to the new “Tree-Hanging” insertion in the script the original meaning of the word “AGNEEPATH” (The path of Fire) is no-where visible in this remake whereas in the original it was a visual Agneepath on the screen for Amitabh to walk on in order to kill Kancha.
In the end, I would only like to say that Karan Malhotra and Karan Johar’s new age AGNEEPATH is no doubt a well executed film in technical terms but talking about the content, its really not a film about Vijay Dinanath Chauhan we had seen in the past (certainly not a dancing Vijay for sure). It’s a remake just for the name-sake which actually leaves every single character of the Original, pure and untouched. So you can surely watch it but for Rauf Lala alone and not for Vijay Dinanath Chauhan.
Ratings : 3 / 5 (Including 1 for its superb production values, execution and cinematography)
Tags :
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