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Since last decade we have seen many fine entertaining films relying heavily on Punjab, its frank lively characters and energetic marriage ceremonies offering a great blend of love, dance, music and humor to the viewers. But just when it was being considered that the subject has lost all its freshness and charm, reaching a saturation point of its own, here comes MERE DAD KI MARUTI which once again makes you smile, laugh and enjoy within those similar settings of a Punjabi Wedding only, quite smartly.
Taking its clues from “Dude, Where’s My Car?” (2000), the film manages to convince you mainly due to its interesting theme which actually doesn’t revolve around a loving couple but a Maruti Car which gets lost incidentally by the young boy on his date. Now how he deals with the problem & his angry father, along with his childhood buddy and girlfriend becomes the basic premise of this light comedy which keeps your interest alive right till the end. Here I would like to mention that its not a perfect film at all with many illogical instances in its script, like replacing a brand new car with the other ones without any doubts being raised on its looks, an abandoned vehicle hitting a road side tree not being reported or found by police for a whole day and many other major events shown in its one day storyline which are actually not possible within that time frame.
But luckily all these questionable logical deductions just take the back seat once its likable key characters make an impression and you start enjoying their journey ahead in an exciting mode. Putting it differently the film starts in the usual manner where in the boy & girl are introduced with a song and some comical moments. In the first few scenes, you just feel that the boys are actually doing it over the top with the efforts showing on the screen very clearly. Even Ram Kapoor seems to be having trouble with the mixed Hindi-Punjabi dialogues in his opening scene and the actor even tends to go the hamming way too, playing the pissed off father. However as the film progresses it makes you forget all these initial hiccups and the first half majorly works due to its light comic feel, fresh new lingo, the gorgeous girl, many well written funny dialogues and Ram Kapoor indeed.
Post interval, it drops a little with Ram going off the screen for a while and new entrants coming into the scene ranging from Haryanvi Car rental owners, a don like dealer of stolen cars and the Cops on their usual patrolling. Yet both the director & the writer, thankfully never lose their track and keep the narration tight with the witty one liners coming one after another to give you a good time. But unfortunately within this fabulous flow they also throw a sequence which could have been avoided as it does take the Punjabi Community for granted and crosses the limit of decency with a sick attitude.
The sequence is of an extremely vulgar dance performance, wherein the bride herself is dancing in front of her groom and all the invited guests in the party, with the moves which can put even the Cabaret dancers to shame. Now if this is how the makers were willing to portray the North Indian people and their wedding ceremonies, then Sorry their research was quite silly and incomplete. In reality the shameful dance number has just been added into the film to bring some more giggles in the theater and nothing else, which in turn displays the lack of taste and vision in its executors. To say the least, this particular dance item could have been treated in a different entertaining manner, away from vulgarity.
Moving ahead, another major reason why MERE DAD KI MARUTI successfully wins your heart in the end lies in its completely unpredictable climax wherein each member of the cast contributes his or her bit very beautifully. And when a film has a great entertaining conclusion then the viewers are bound to praise it unanimously with smiles on their faces, while coming out of the theaters. So from that angle, director Ashima Chibber has surely delivered a decent winner here, particularly for the north belt of the country undoubtedly. The songs have been used very intelligently in smaller versions or in the background without hurting the pace of the film. And the compositions by Sachin Gupta have also got the much needed energy in them like in songs like “Punjabiyan Di Battery” and more played in the backdrop. The film has been shot well, benefitting the young girl Rhea in particular but the continuity in some scenes was not taken care of (like the beard of the groom in his scenes).
In the performance department, MDKM makes you remember two faces the most and they are of Ram Kapoor, playing the father and the charming Rhea Chakraborty, playing the leading lady of the film very confidently. Ram Kapoor successfully manages to impress the viewers largely despite of being loud and visibly uncomfortable in his few scenes (due to the language) and Rhea looks smoking hot as they call her in the film itself. Both Saqib Saleem and Prabal Punjabi as the two friends, find their perfect timing on screen with Prabal scoring a little more because of his hilarious one liners. Ravi Kissen truly excels as the Bhai whereas Karan Mehra (groom) and Benazir Shaikh (bride) play it fine.
In all, MERE DAD KI MARUTI is no doubt a hugely likable film for some selected regions of the country and abroad. It has its own minus points which also includes the ‘At Your Face’ publicity campaign of the brand MARUTI and its various makes, continuing throughout the film without any hesitation. In fact looking at such open display of the BRAND name, I was forced to doubt that may be MARUTI people are one of the sleeping producers supporting the film behind the curtain as it seems. And there is no wrong in doing that actually, because if they can regularly spend many crores on the publicity campaign of their different versions of cars in a year, then they can surely make a small budget film in that same amount of money too, quite easily.
Anyway, ignoring this direct BRAND Promotion, even though the film does revolve around the same old Punjabi wedding theme seen several times before, do watch MERE DAD KI MARUTI as it still has got the content to give you a good time in the theater along with your whole family.
Ratings : 3.5 / 5
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Vishesh Films are back with the debut of their in-house fresh talent Vishesh Bhatt who thankfully gives us a decent Indianised version of a Spanish Film THE HIDDEN FACE / LA CARA OCULTA which is already there in my list of must watch suspense dramas form the World Cinema. Now its obvious that if a movie of that caliber has been chosen to be remade in India then its got to give you something exceptional out of the routine without any doubt. And that’s precisely what MURDER 3 gives the viewers (in its second hour), along with the usual dose of interesting music, erotic scenes and initial hiccups in the narration.
For a change this time Vishesh Films cannot be blamed of making a blatant rip off as MURDER 3 is an official adaptation of its Spanish original with the same producers, Fox Studios backing the project in India too. However since there is no mention of it being an official adaptation in its opening titles (where it should be ideally), so I would like to take it as an “intentional hiding of facts” from the Indian audience by the makers, which was not expected. Anyway, following their famous forte, once again The Bhatts pick up a brilliant project for their Bollywood remake, which has all the elements essential for a film to be included in their MURDER series. As a result, even though it has no connection with its previous parts and also has a pretty weak first half, the film still successfully manages to give you the return of your money in its final hour.
Having said that, MURDER 3 could have been a landmark film in Indian Cinema, if only the young director had added some kind of clues or engaging moments in its first half. In fact this is one of those foreign remakes which majorly looses its marks due to the trend of Interval we have in our part of the world. Because in real terms before Interval, MURDER 3 has simply got nothing and post intermission it actually has got everything.
To tell you the truth, I even saw few couples moving out of the theater at interval and I personally requested all of them to stay. One of those couples obliged to my request and then especially came forward to say thanks in the end, for not letting them leave the movie in the mid way. Now that was possible only because I had seen the original and very well knew what was coming next which was undoubtedly going to be worth watching for all. But the normal (innocent) audience, not familiar with its original, didn’t knew that at all and therefore were all confused at the Interval that what kind of film it is (mystery, horror, or crime-drama) showing no progression of any kind even till its midpoint.
So from that point of view MURDER 3 doesn’t work at all till its intermission. But post interval it suddenly becomes a shocking eye opener with a never seen before kind of twist in Indian Cinema turning the film into a must watch indeed. To give you an idea, as the characters in the script started revealing their actual truths, all the giggles, casual conversations and phone lights simply went off in the theater resulting in a pin drop silence, rarely found watching a Bollywood film. People literally got stunned with the sudden, wicked twist in the tale in its final 40 minutes giving you a mixed feeling of love, distrust, uneasiness, guilt, anger, revenge or justice. And then with a solid, open but thoughtful climax coming next, everyone couldn’t deny watching a good film at last forgetting its avoidable first half.
Hence in totality MURDER 3 is a fine attempt by the debutant director Vishesh Bhatt giving you something never offered before in Hindi films. Yes, he majorly follows the original Spanish film sincerely till the added climax, yet the way he conceives his second hour in particular, surely deserves appreciation both from the veterans as well as by the audience unarguably. The project once again proves the well known fact that Cinema is actually Storytelling and if you have a great story/plot in store for your viewers then you surely got a winner in your hands for the box office.
Another merit of the film is that despite of having few erotic sexual scenes, it doesn’t rely on them completely and remains utterly unpredictable in its final hour, resulting in a great emotional suspense drama in the end. Without revealing its basic plot having a great shock value, I would like to add few lines from my short review of the Spanish Original that,
“No, the film doesn’t have any new characters nor it showcases any new relationship between a couple other than LOVE. Yet, the film has something important to share about the hidden inner psyche of a lover in some sudden or extreme situation. To be precise, every lover in the world has this one thought at the back of his or her mind that in case I die this very moment then would he (she) go for another woman (man) at once, will take some time or will never opt for another one in his (her) entire life. Now whether one likes to believe it or not, but this shaky thought scares many to the state of haunting and if given a chance they would surely like to test their partner to pacify their wandering thoughts undoubtedly.”
MURDER 3 also talks about this very question in a lover’s life but unfortunately its not able to focus on the same in an impressive manner as they did in its original THE HIDDEN FACE. This emotional part of the script comes into the limelight only in the last 35-40 minutes and by that time the viewer is too tired of waiting for something substantial. But still, since this last half an hour remains too good to watch as per the standards of many recent big projects, so one cannot write off the film just like that and has to appreciate the effort truly following the saying, “All is well that ends well”.
In the musical department, it has few good songs but not any instant hits associated with the brand name of Murder. Raju Singh’s background music scores much more than the soundtrack itself as its highly impressive in the sequences revealing the shocking twist. Cinematography is fine capturing the basic essence of the subject and dialogues are just average with nothing path breaking.
Performances wise MURDER 3 cannot be rated as a strong film since other than Aditi no one rises above the routine level in the lead roles including Randeep Hooda and Sara. Aditi excels in her portrayal of various emotions in the last hour but Sara only looks beautiful giving the same expressions throughout till the end. However the trio of Rajesh Shringarpure, Shekhar Shukla and Bugs Bhargava make their present felt in their small roles.
Finally, it can easily be said that MURDER 3 definitely rises much above the level of its first two parts in comparison. It has a strong plot driven content with an exclusive shock value for the audience and a brilliant climax. So you can surely go for it this weekend, keeping in mind that the film will actually start post intermission.
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Tags like unconventional subjects, interesting casting, melodious music, meaningful lyrics, bold execution and honest attempt have been associated with director Vishal Bhardwaj since his first mainstream attempt MAQBOOL in 2003. The multi-talented man also rightly deserves all these praises as he has never made a film particularly aiming at the box office success and has just followed his inner vision or instinct for his choice of projects.
Following the same passion, this time Vishal comes up with a political satire/comedy MATRU KI BIJLEE KA MANDOLA, (a genre never tried before by him) with another inviting ensemble of cast delightfully lead by the veteran Pankaj Kapoor from the front. But unfortunately apart from the character of MANDOLA and few entertaining moments in the film, MKBKM frankly remains more of a director’s self indulgence in his own world of visions than a thoroughly entertaining venture for the audience.
Beginning with an electrifying sequence of a Limousine standing in the middle of crop fields, it straight away raises your expectations which soon get washed away by an abrupt song sung by Sukhwinder, picturised on Pankaj Kapoor. And from here onwards you get the clear indication that it’s a more like a Stage-Play or Nautanki kind of style adapted by Vishal here with performances moving into the zone of ‘Being Loud’ (and not over the top) at several places. No doubt, the kind of narration is not everyone’s cup of tea keeping in mind the taste of Indian audience. Yet the occasional hilarious moments, the witty one liners using the cuss words and the key performances might offer you something to cheer for in this experimental attempt by the thoughtful director.
Giving you the few merits of the film, it has the signature touch of Vishal all over as a comedy which works only at certain places. However as a social satire, the team rightly brings forwards many important issues of the country highlighting the sad position of Indian farmers and their problems such as less electricity, land-grabbing by leading businessmen or political big-shots and lack of proper storage facilities which can save them in the time of untimely rough weather. Still all these social elements served with the added humor are not able to serve the purpose strongly and fail to make any solid impact on the viewer as desired. And that is the reason MKBKM keeps hanging in the mid, giving you a mixed kind of feeling in the end which might not be a surprise for many (remembering Vishal’s last 7 KHOON MAAF). As the biggest merit of the film, one can easily name ‘The MANDOLA Act’ superbly played by Pankaj Kapoor, who once again reminds the Industry, the due status deserved by him from long. In fact to make it pretty clear here, this is all about MANDOLA alone and has very less to do with any MATRU or BIJLI as conveyed in its title.
The film works in its initial moments till one is not aware of what is actually there in its storyline or content. But as the things gets revealed and you get to know that its nothing path-breaking as far as the plot is concerned and has got the same old predictable traces of love and revolt (reminding of MACBETH too), then one starts losing his interest and expects the least. Interestingly the basic theme of the film also seems to be the same as in a German Comedy Play “Mr. Puntila and His Man Matti” written by Bertolt Brecht in 1940. And looking at the track record of Vishal Bhardwaj its quite possible that he adapted the famous play for MKBKM, though this was never mentioned anywhere by the team.
Further adding to its weak points, the first half has many long & deliberately added sequences like the “Joy ride in the sky” & “The African dance group” which actually fall flat. Plus in the second half as we very well know what is going to happen next the film becomes pretty heavy and long which can easily be rated as disappointing. Besides the uneven pace lacks focus and its humor may not appeal to the audience not familiar with the Haryanvi lingo. Honestly, at times it is real hard to understand what Pankaj Kapoor is exactly speaking in his dialogues when playing the drunken old man. Moreover, I really didn’t like the secret of MAO revealed in such an uninteresting manner, simply contributing nothing in the overall development of the plot (Ideally it should have been given to a different actor as I felt). Cinematography perfectly provides the rustic feel required by the film & so does its background score. But was really expecting much more from its soundtrack, coming from the talented team of Gulzar and Vishal who have given us many memorable gems in the past.
Taking up the performances, it has an incomparable and towering act by Pankaj Kapoor which surely can be added in the list of his ‘Best Performances Ever”. The veteran drinks, sings, dances, scolds, hits and even jumps into the water, challenging himself as an actor at this old age. Yet, I personally loved him more as a sober man than the drunkard one and wished to see some additional sequences with terror in his eyes as MANDOLA.
Following him is Shabana Azmi, who though hasn’t got much to do in the script but shows the changing colours in her character brilliantly. Imran Khan works hard on his Harayanvi body language and dialogues but still doesn’t portray it perfectly. His original persona of an urban lover boy is easily visible in his villager get up in many scenes. Anushka Sharma looks pretty and acts fine, but here too her given character is nothing different what she has already done in all her previous films. Arya Babbar on the other hands does well in his weird kind of loud role.
Overall MKBKM is a perfect example of a film wherein the director seems to be enjoying his own product a lot more than the viewers watching it. May be Vishal Bhardwaj is in a process of creating his special kind of audience in India who can love or appreciate such films in the coming times. But at present after watching MATRU KI BIJLEE KA MANDOLA, one big question comes up right away that “What kind of ‘Target Audience’ could have been there in the minds of its makers while executing it?”. Because as a dark humor its really not that easy to reach or impress the people living in the remote areas or smaller centers and as an urban comedy it certainly doesn’t walk on any familiar path moving ahead of all those brainless comedies.
Anyhow in the end, I would just like to ask that once you have watched the film, for a moment think upon this single point mentioned below that:
“What will be the final outcome if we take out just one word out of this film which is “Paincho” resembling the famous cuss word?”
And the answer is that this will take out most of the moments from the film (almost 80%) where you may have laughed out loud in the theater. More precisely even the great performance of Pankaj Kapoor loses most of its charm if you take out this single word from the film completely.
So are we only interested in laughing at some abusive words spoken by an actor on the screen in a funny, careless yet impressive manner or we really are interested in watching something more progressive in our films?
Rating : 2.5 / 5
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It is not a hidden fact that the whole Hindi Film Industry majorly functions around its Big Names and their huge magnetic pull at the box office. But for this present unfortunate scenario, the makers are not the ones responsible alone as we the viewers also become the equal partners in the crime since it’s because of us only that this rotten system prevails in the market and keeps strengthening every Friday in an unstoppable way.
In fact the ultimate loss due to this ruling star system actually remains ours only as it doesn’t let many good, thoughtful attempts reach their target audience in absence of any proper release or planned promotion. The latest victim of this “Biased Entertainment Business” is a small and entertaining film called 10 ML LOVE which deserves to be seen by the young viewers as its all about Love and the choices you make in a relationship. The film has managed to release in only the selected cities and that too only on 2 or 3 theaters in just 1 or 2 shows for the namesake. And then we readily complain that nowadays they are not making some intelligent films in Mumbai. Whereas in reality such films are being made on a regular basis but they easily get lost in the loud shouting promotions of these Big Stars and we never get to see them unless someone recommends them strongly post their DVD release.
Sadly same was the case this week, when at one hand we had the silly KHILADI 786 opening with a good response all over and on the other 10 ML LOVE beginning its only afternoon show with only 15-20 people in the theater (who later must have thanked themselves for their choice made). To be honest, 10 ML LOVE is not a classic or a great film to be seen as a must. But it surely is many times better than these crap comedies made to entertain us supported by all the big banners and names. It’s a simple, enjoyable romantic comedy which involves an interesting entangle between few individuals leading to a decisive end. The confusions get created on the final days of a Punjabi Wedding and they are pleasantly enacted by a talented star cast featuring Rajat Kapoor, Tisca Chopra, Purab Kohli, Tara Sharma and Koel Puri. Along with these lead characters, the film has some great moments to offer coming from Manu Rishi Chadha, Brijendra Kala and their ‘Ramleela’ team.
Directed by Sharat Katariya it’s a modern world adaptation of Shakespeare’s A MIDSUMMER NIGHT’S DREAM and that should be a reason enough to try it once. The film does give you a feeling of watching an interesting play but still it keeps the viewers engaged both pre and post intermission until it reaches its final 20 minutes. And that’s where the director falters big time ruining the overall impact with a disappointing and hushed up climax. Actually the exciting, ‘mysterious drink’ insertion in the second half forces you to expect something hilarious coming up in the end. But when it all doesn’t shape up as expected then one only feels like having seen something good which could have been much better with a different entertaining climax with a shocking twist.
But despite of this avoidable drawback, 10 ML LOVE remains one of those small films, which deserve to be released more widely and prominently to reach all those viewers who are dying to see something different and interesting in Hindi films. Moreover, addressing the younger brigade, if Shakespeare seems to be too thick and lengthy to read, then at least you should go for such films which are made as the adaptations of his life teaching literature with an added flavor of the present world.
Rating : 2.5 / 5
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