Thursday, February 16, 2006



Aryan (Sohail Khan) is a college champ and dreams of winning the Nationals.
He is being given tough training by coach Ranveer Singh (Puneet Issar).
His love Neha (Sneha Ullal) is more than his better half.
She is his strength and support system. He needs her at all moments.
Life takes a curious turn.
Aryan gives up pursuing his dreams and marries his love instead.
The couple have a kid and they start leading a common man’s life.
Aryan takes up the job of a sports commentator.
But his professional and personal lives take a nose-dive.
His coach gives him strength and asks him to take up boxing once again.
But by now, his wife is not with him.
What happens later… this is the story line of Aryan-Unbreakable?


Fight Club

Fight Club revolves around four friends,
Vicky (Zayed Khan), Karan (Dino Morea), Somil (Ritiesh Deshmukh)
and Diku (Aashish Choudhary), who in a constant endeavor to help each other,
get entangled in a web of incidents, some romantic, many funny and all that test the extremes of their friendship.
Vicky is an outgoing, dashing college guy whose life revolves around his friends.
Karan is Mr Perfect who always thinks that he is right.
Somil is an observer and thinker by nature.
Meanwhile Diku isn't mature or shy, but is rather a live wire and usually the centre of attraction.
These four friends who could be mistaken for brothers;
offer an example of wonderful camaraderie, all throughout a journey with numerous highs, twists and dark turns.
An exciting journey is accelerated when Vicky stumbles upon the design of a Fight Club.
A club which gives people a platform to score with their enemies in a atmosphere of fun, action and excitement.
Amidst the on-going fun, team fight club get entangled in affairs of the heart and mind with Anu (Dia Mirza) and Shonali (Amrita Arora)
which thicken their bonds tighter…and make them travel to Delhi to look after a nightclub, 'Crossroads', which is in the eye of a storm created by Delhi's most dangerous gang lords.
Gang lords who kill to survive! In the ongoing ever-increasing drama, the ex-king pin Anna's (Suniel Shetty) brother Mohit (Yash Tonk), gets killed.
This fills Anna with vengeance …situations take an ugly turn….time calls for a clash…Dinesh (Ashmit Patel) a merciless soul, masterminds the plan of a killing.
His brother Sandy (Rahul Dev) gives him strong company as always.
Team Fight Club calls on their ace, Sameer (Sohail Khan), a power packed bouncer to tilt the balance in their favor.
In the puffed up atmosphere of fists and fights Sameer finds love in the name of Komal (Neha Dhupia).
Now, in a strange new city, these five boys from Mumbai experience love, passion and also the worst enemies in the form of gang lords that one can even imagine.
Watch team Fight Club as they give action a whole new meaning and take you on a maiden voyage full of comedy, romance, thrills and action like never before.
This summer…welcome to a club that is more than just drinks and dance…

Tom Dick Harry

Tom Dick Harry

Tom Dick Harry is a roller coaster ride with three physically impaired people.
Dino Morea is Tom. He is Deaf. He can Hear what you can not…
Anuj Sawhney is Dick. He is Blind. He can See what you can not…
Jimmy Shergill is Harry. He is Dumb. He can Speak what you can not…
They live together as paying guests, and their life takes an endearing turn when Celina (Celina Jaitley), comes to live in the bungalow opposite their house.
She is Akthar Chacha's niece who comes to live in their colony and all the three guys fall in love with her at first sight…well maybe not Dick.
They start making their moves to cast an impression on Celina, who is least interested in acknowledging their presence.
Whereas in Tom's life there's Bijlee (Kim Sharma), a machchiwaali, who is completely besotted by Tom, and does not leave any stone unturned to express her desire.
And then there is Suprano (Gulshan Grover) - a Bad Man who is out to prove that he is the worst villain ever.
Tom, Dick and Harry - Unknowingly become the target of Suprano, by being the biggest barrier in his business deals.
How, When, Where - ?
The wild goose chase between Tom, Dick and Harry over Suprano and cops is an out and out comedy of errors, see it to believe it!!



Director : Rakeysh Mehra
Music : A.R. Rahman
Starring : Aamir Khan, Siddharth, Atul Kulkarni, Sharman Joshi, Kunal Kapoor, Soha Ali Khan Pataudi, Alice Patten, R. Madhavan, Waheeda Rehman, Kirron Kher and Om Puri

Mehra's protagonists, an assorted bunch of collegians and post-college friends, are played with amazingly casual grace by Aamir Khan (DJ), Siddharth (Karan), Sharman Joshi (Sukhi), Kunal Kapoor (Aslam) and Soha Ali Khan (Sonia).
Into their world of endless fun and aimless aspirations comes a pretty and brainy British girl named Sue (the lovely and graceful debutant Alice Patten). Prompted by her colonist-grandfather's diary, Sue wants to make a film on the life of the legendary Indian freedom fighters - you know, Bhagat Singh, Chandrashekhar Azad, the works.
And guess what? Sue wants to cast DJ and gang as the revolutionaries!
The guffaws and the giggles that follow Sue's dreams fade away, as this youthful brigade of adrift dreamers gets down to the ritual of acquainting itself with Indian history.
RANG DE BASANTI dares to point fingers, and tells us where we've gone wrong. It isn't only a film about the education of a moor less generation; it's also an outstandingly accomplished piece of cinema. Mehra proves himself an outstanding raconteur and technician. With the deft and diligent editor (P S Bharathi) tailoring the past to merge fluently into the present, and Binod Pradhan's camera capturing Delhi and its surroundings as a character rather than cities, Mehra's job of bringing the past into the same line of vision as contemporary India, is rendered inevitable and unforgettable.
RANG DE BASANTI is an extremely ambitions film. It tries to educate the generations in Independent India who have brought the country to its current crisis of moral and political corruption. But it never gets hysterical or polemical, thanks to Prasoon Joshi and Rensil D Silva's conversational yet penetrating dialogues.
Mani Rathnam attempted the same theme in a different less dramatic light in YUVA. Rakeysh Mehra goes many steps ahead. He blends historical events from the past (e.g the massacre by Britishers at Jallianwala Bagh) with today's newspaper headlines (the MIG war-planes scam). The film-within-a-film format (earlier attempted in films as diverse in language and intent as Karel Reisez's THE FRENCH LIEUTENANT'S WOMAN and Mrinal Sen's AKALER SANDHANE) gives the narrative the texture of a life lived in layered luminosity.
Not for a second does Rakeysh Mehra falter in his vision. The story of today's youth, their lack of connectivity with their past, and the prevalent moral degeneration of the nation, could quite easily have lapsed into a holier-than-thou jingoistic exposition.
RANG DE BASANTI works wonderfully and exceptionally as both a political parable and a spanking story on the scars of the times. In the fusion of fact and fiction, style and content the film is both teasing and tempting. While you applaud the filmmaker's immense stronghold over his storytelling the characters never seem dwarfed by their ambience.
You come away, haunted and bewildered by the issues that Mehra raises without letting his story suffer in the process of linking the modern tale with history. You come away from RANG DE BASANTI enchanted by the natural verve of its songs and dances, its director's flair creating fissures and feeling from within the characters rather than imposing creative authority from outside.
This is the most aesthetic 'Indian' film since Sanjay Bhansali's DEVDAS, though miles removed in colour and mood. The 'actors' (if what the cast does can be described as acting!) mesh so well with each other that the volatile thematic strands (for instance the friendship that grows between the rabid Hindu played by Atul Kulkarni and the liberal Muslim Kunal Kapoor) never bind down the narration.
The free-flowing enchantment induced by this film about the simmering discontent of a nation and a generation hurling into damnation is so real and yet so surreal, you wonder if there can ever be a film so filled with indignant ideas and yet so calm and spacious in its storytelling.
In hundreds of ways Mehra could've milked every frame for emotions. Where he could've opted for melodrama he pulls back… and lets the tears flow only when the MIG pilot (Madhavan, in an endearing cameo) perishes. The song during the funeral sung by Lata Mangeshkar, picturized on the mother (Waheeda Rehman) rips your hearts open.
There're interludes and visuals in RANG DE BASANTI, which shall remain alive forever. There may be better films. But there will never be another one quite like this one.

Mere Jeevan Saathi

"Mere Jeevan Saathi"

Director : Suneel Darshan
Music : Nadeem Shravan
Lyrics : Sameer
Starring : Akshay Kumar, Karisma Kapoor, Amisha Patel

The anti-heroine as a predator has been done to bludgeoning death by actresses as varied as Glenn Close in "Fatal Attraction" and Urmila Matondkar in "Pyar Tune Kya Kiya".
Karisma's obsessive act is watchable. Though she doesn't really get sturdy support from the script (which wobbles more dangerously at times than Karisma's rising voice pitch), she leaves us with the feeling that she retired a little too soon.
This isn't the first time that Akshay plays a man sandwiched between two demanding women. Moving effortlessly away from the comic cosmos of his recent films, he plays his role with quite an abundance of native charm.
Here's an actor who has grown more watchable with every passing year. And yes, it wouldn't be wrong to say he prevents "Mere Jeevan Saathi" from crashing loudly to the ground.
Amisha's sweet, oblivious, angel's act careens dangerously between ham and cheese. That's understandable when Akshay is the pet squeeze.
But the ones who bring down the film's precarious credibility considerably are Gulshan Grover and Ashish Vidyarthi. Their archaic and bland comic villainy grate on your nerves.
Pick up pieces from this fragmented triangle if you want to.

Saturday, February 04, 2006


Director : Aparna Sen
Starring : Shabana Azmi, Konkona Sen-Sharma, Rahul Bose, Waheeda
Rehman, Soumitra Chatterjee, Dhritiman Chatterjee, Shefali Shah
Coming from the creator of the timeless 36 CHOWRINGHEE LANE, 15 PARK AVENUE is a bit of a downer. Sen's superb sensitivities seem to peep out at us from all quarters in this attractively packaged, wonderfully performed film about coping with an illness.
The trouble is, nothing fits. Not the relationships, not the narrative pieces that keep slipping in and out of Sen's hands with infuriating impunity.
Of course the director's heart is in the right place. Isn't it always! But what is she trying to say here? Is this the story of two sisters, one older wiser and normal, the other all messed up in the mind… or is it a treatise on the real and the unreal?
And the fact that Mithi (Konkona Sen) in a totally uncalled-for plot convulsion, is gang-raped by Bihari louts during a dangerous mission in Bihar, doesn't help the poor girl's psychological equilibrium… Or our understanding of how painful life could be for those who don't fit in.
Trouble is, Sen's screenplay is too troubled by the task of getting the mechanics of the illness right. We get shots of Konkona puking fashionably all over the bedroom carpet, shots of blood from her slashed wrist splattering the bed… or the blood on her thighs after she's raped in a hotel room and thrown out in the corridor.
The brutality of life and the beauty of the filmmaker's vision do not fuse in any combustive alliance.
We feel for Mithi and her vocally harassed sister. But the feelings aren't allowed to run deep enough. Instead of focusing on the troubled traumatic relationship between the two sisters and how the elder balances her siblings overpowering imbalances, Aparna Sen brings in a crowd of vacationers into the plot.
One moment we get a vivid glimpse into the elder sister's scarily solitary battle to keep Mithi's illness in check. The next moment we're privy to Rahul Bose's introspection on the mentally ill girl's romantic liaison with him. Rahul is, as usual, staunchly supportive. You wish a director of Aparna's sensitivities would use him and the other talented male actors (Dhritiman Chatterjee, Soumitra Chatterjee) as more than mere supportive emblems in a ladies' tale.
As Rahul’s suspicious and jealous wife Shefali Shah delivers a surprisingly punch-packed performance. She has limited space. And she uses it to the optimum… sometimes a little too much so, as though she knows Hemant Chaturvedi's steady and searching camera would soon move on to the two other distinguished actresses who form the core of the conflict.
That again is symptomatic of the narrative's problem with creating proportionate shadows in its architectural design. Light and shade fall in unmeasured patterns, often creating a strangely sterile kingdom of crisis in characters that are driven by demons that they don't comprehend.
Finally, what you're left with are the performances. Shabana towers over almost every aspect of the film. Watch her closely when she watches her screen-sister being whisked away to the asylum - a predictably sentimental moment lifted by Azmi's ability to ferret out the truth even in maudlin moments. At times, specially when flirting mildly with the shrink (Dhritiman Chatterjee) Shabana gets skittish, as though she was purposely trying to lighten the burden of being.