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As mentioned earlier in one of my recent reviews, here is another film made on the same low cost recipe of Bollywood which has more chances of recovering its cost featuring two fresh faces. Posing as a new age romantic comedy with few bold dialogues and novel sequences, LONDON PARIS NEW YORK once again follows the same old process of presenting before the audience a smart interesting dish, inspired from two great English Classics, adding the usual unavoidable Bollywood ingredients in it for a clichéd climax.
But here, few friends may like to support this movie with their argument that “How many of us have seen the Originals, so at least they are giving us something new.” And in answer to their point raised, I would like to give my honest but strong opinion in the following words.
LPNY revolves around only two main characters who become love birds as the time progresses and then in the end they realize that they were actually made for each other. The story basically talks about their meetings in three cities under different situations or time spans and the script largely relies on their mutual conversations alone to amuse the viewer. Now this whole concept of two people meeting each other in a journey, roaming around the city together and then parting with a promise to meet at a certain date is all taken from the two English masterpieces made in sequels. And they are BEFORE SUNRISE (1995) and BEFORE SUNSET (2004) directed by Richard Linklater featuring Ethan Hawke and Julie Delpy in the lead.
As an individual project, LONDON PARIS NEW YORK can be called a sweet film which tries to be extra ordinary in its first hour and then simply gives away to the routine path in the end. Many of the youngsters may like it due to the bold dialogues written realistically, its fine performances by Ali-Aditi and its few hummable songs composed & sung by Ali Zafar himself.
But in frank words, what this film does to a sincere cinema lover (eager to watch all the well made classics in the entire world)………….is nothing less than a SIN!
Why? Because LONDON PARIS NEW YORK simply snatches away all those surprises, thrills, love, sensuality, intelligence, intellect and magic which one can feel watching its two originals in their virginity. In other words, now after watching LPNY if you try watching the two movies mentioned above then you will never be able to enjoy them or feel them in the way you could have, as a surprise viewer. The Bollywood version clearly ruins the “Out of this world Experience” of watching these two classics which is nothing less than a SIN if seen from the eyes of a passionate cinema lover.
Truly speaking I rate both BEFORE SUNRISE (1995) and BEFORE SUNSET (2004) as one of the best movies made till date in the World Cinema, especially for those who don’t just watch, but like to study the films made with such rare conviction. These two movies have the power to teach you love as an unexplained phenomenon, which has its own unlimited dimensions. They can teach you the value of relationships as never before and can enlighten your deep thinking patterns bringing in more clarity or understanding in your personal real life love affairs.
As a commercial venture, directed by the debutant Anu Menon, LONDON PARIS NEW YORK should turn out to be a safe bet, preferably in the metros. The director shows the sparks in the execution but if only the writers could have stayed away from the routine ending, the film would have been at least a little close to its originals. However at present its miles away from its actual sources and is not able to give you even a sip of that delicious drink offered by the two masterpieces. It neither impresses you as a thoughtful love story nor is able to leave a mark through its borrowed intellect shown in its few sequences.
Still considering it in a positive manner, if you have seen LONDON PARIS NEW YORK and liked it even partially then treat this Indian version as a loving invitation to the world of Ethan Hawke and Julie Delpy, the couple admiring each other. And if you haven’t seen this new Bollywood release till now but the narration does excite you then before watching it, essentially go for BEFORE SUNRISE (1995) and BEFORE SUNSET (2004) as a must like an emergency. Because watching these two classics without having any preset notions about their actual content is something beyond explanation and imagination.
In the end though this is a write-up on LONDON PARIS NEW YORK which is unarguably an unintelligent mess inspired from two extremely intelligent foreign classics. Yet I would like to use it to inform all lovers and cinema freaks here, about these two precious gems, which should not be missed or delayed at any cost.
So if you are a lover or have felt the true love ever in your entire past then do watch BEFORE SUNRISE (1995) and BEFORE SUNSET (2004) both, like an essential medication for your precious life. LONDON PARIS NEW YORK might be cute in its own limited way but director Richard Linklater’s two babies really talk about something of the BEYOND..............which cannot be copied ever.
Ratings : 2 / 5
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Pardeep Sarkar struck gold with his first movie, PARINEETA (2005) which was a remake of the Classic Bimal Roy masterpiece with the same title released more than half a century back in 1953. But working on the similar lines of his first attempt, the director went on to make another remake sort of a film as his second venture, titled LAAGA CHUNRI MEIN DAAG in 2007 with Rani Mukherjee in the lead, which had acute similarities with all the different language movies mentioned below:
1. AAINA (1977) (Hindi) – K. Balachander’s film had exactly the same storyline wherein Mumtaz played the girl, giving herself away to the cruel world of men, in order to meet her families urgent needs.
2. EK DIN PRATIDIN (1979-80) (Bengali) – This was a Mrinal Sen thought provoking classic revolving around a similar theme in which the bread winning daughter of a middle class family goes missing one night. And then the chaos leads to a further unexpected crisis in the family.
3. DOGHI (1995) (Marathi) – In this Sumitra Bhave and Sunil Sukthankar directed Marathi film, also there are two sisters in a family. And here too the elder one moves out to the city to work as a prostitute for giving her family a better life.
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Laaga Chunri Mein Daag (2007) and its inspirations, Pardeep Sarkar's inspired movies, Inspired Cinema, Bollywood Plagiarism, Plagiarism in Hindi Cinema, Inspired Movies, Inspired Cinema, Bollywood Plagiarism, Plagiarism in Hindi Cinema, Copied Movies, Movies Inspired From, Movie is Inspired By, Borrowed Concepts, Inspired Plots, Bollywood & Hollywood, Reviews by Bobby Sing, Bollywood Gets Inspired, Cinema Gets Inspired, Bollywood & World Cinema, Inspiration from World Cinema, Bollywood Movie Inspirations
For viewers who are heavily into Western Cinema and have watched many classy Con movies made in the other parts of the world, this is nothing more than a sweet & soft try in that particular genre. May be that is that reason why I couldn’t find LADIES VS RICKY BAHL in any way above than an average entertainer. But on the other hand, even for all the die-hard Bollywood lovers too, LVRB offers quite less than what was being expected from the HIT team of BAND BAAJA BAARAT returning together after their last year’s winning march at almost all the Big Award Functions.
Based on a plot of revenge planned by 3 ladies who were conned by the same man in different cities, it is not a straight remake but still reminds you of films such as JOHN TUCKER MUST DIE (2006) (similar plot used in college romance), NAAN AVANILLAI (Tamil) (1974 & 2007) and Jeffrey Archer’s novel NOT A PENNY MORE, NOT A PENNY LESS revolving around a comparable outline.
Starting off with the most interesting section of the film featuring a new girl Parineeti, LVRB impresses you a lot in its first 15 minutes. In fact as the other two con stories are told with the introduction of Anushka, it more or less makes a positive impact on the viewers entertaining them fairly. So till intermission it just gives you a feeling of another good movie from the team as expected. But post interval, the pace starts dropping, the con schemes are not believable and the unwanted romance spoils the game in the end leaving you largely unsatisfied.
To give you a clear picture, there are three factors which restrict LVRB to just be an average one time entertainer against all hopes. The first one refers to its hugely unwanted and average songs which keep hampering the proceedings regularly. The second one is its romantic angle which needs to be played very subtly in a Con movie. But here it takes over the limelight towards the end which should have been strictly avoided. Lastly it’s the completely predictable nature of its script which doesn’t give you any sharp twits or surprises as it progresses. So with all these key reasons LVRB just remains an average entertainer with not anything exceptional to offer to its audience.
Director Maneesh Sharma does show some sparks of his first film in few sequences but I really was expecting a lot more from him and his team in LVRB. Actually he misses the mark this time because he doesn’t stick to the genre in particular and goes on to add the usual romance and songs in his film which were not required at all. Maybe he was pressurized to do so but frankly these two things have only ruined his otherwise good film in reality. However Manish remains one of those few directors who are able to capture the Delhi-feel perfectly in their films, as visible in LVRB’s first con-story of a Punjabi daughter of a rich property dealer in Delhi.
Cinematography captures the essence of the movie superbly but Devika Bhagat’s screenplay misses the mark in its second half and doesn’t provide you the excitement which has to be there essentially in a Con-movie. Yet the dialogues by Habib Faisal do give you something to laugh and enjoy at regular intervals. Musically it has a weak soundtrack with only a few above average songs like “Aadat Se Majboor” and I really wonder why film-makers use a whole good song in the end credits when half of the public is walking out of the hall without noticing all the hard work put in the song’s audio & video by the entire creative team.
Surprisingly LVRB has a small gem in its performance department which comes from neither Ranveer and nor Anushka. Its from a new girl Parineeti who in fact gets the most claps and laughs in the theater with her brilliantly rendered one liners in a Punjabi-touch. Both Ranveer and Anushka are great in their given roles but they again have to display the same romantic feelings as shown in BBB towards the end. Anushka once again proves her timing and skill but somehow I didn’t feel the superb chemistry between them this time on the screen as seen in their first movie together. Though Ranveer looks great with his cunning smile as the conman but he still has to move over his famous Tapori image of BBB. In the supporting cast Dipannita Sharma is graceful and Aditi Sharma plays her part naturally.
On the whole LADIES VS RICKY BAHL gives you much less than expected with a great first half and a pretty weak second. But still you can watch it once for Ranveer’s looks, Anushka’s charm and Parineeti, who will straight away remind you of the entertaining Punjabi girl in BAND BAAJA BAARAT (Anushka) and OYE LUCKY LUCKY OYE (Richa Chaddha).
Ratings : 2.5 / 5
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What is done with the answer sheet, which is found to be all copied from another intelligent person’s paper without his knowledge? Either the student is called and asked his explanation for the mischief done or his paper straight away gets disqualified from the exams. So here I choose the second option of not finding this movie worthy enough of writing any detailed review since it simply makes no contribution of its own in the cinematic process and just remains a carbon copy of CRIME SPREE released in 2003.
Not really directed by Rajnish Raj Thakur in actual terms, his LOOT is scene to scene lifted from the French/English movie right from its first sequence of robbery in the dark till its climax. But despite of being a replica kind of attempt, with everything ready in the plate (read DVD) to follow, the director fails to capture the comic spirit of the Original, turning it into a completely lifeless venture in all.
However there is one unique point here regarding the COPIED status of LOOT.
Bollywood is known for imitating from the West as a normal routine, but here the makers not only copy the entire film as it is, but they also very lazily copy the editing techniques and graphics used in CRIME SPREE too for their Hindi version. For instance, they even write the Title of the film in its opening credits using the same settings of CRIME SPREE and later on also follow the similar graphics of splitting the screen into three parts to show three different people on the screen in their bad Xerox.
So when there is nothing in the name of any contributing creativity from either the director, writer or the editor in LOOT, therefore it truly doesn’t deserve any more words here, opposing this shameful act of trying to cash in on someone else’s hard work and creative expressions.
Rating : No Ratings as its just a DVD Replica of the Original. (Still if required its just 1 / 5)
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