India Movie Station

On April 29, 1999 a shot was fired from a .22 bore pistol whose loud reverberations lasted over a decade. The shot that killed a vivacious, aspiring model Jessica Lall was fired in the presence of more than 100 ’socialites’ present at a party in New Delhi. Yet, accused Manu Sharma walked free in 2006 prompting a newspaper headline that read “No One Killed Jessica”.
In the ensuing decade, Venod Sharma, father of the accused and a high profile congress leader, paid millions of rupees to silence witnesses. It was not until the Tehelka Magazine did a sting investigation and Star News aired the footage that justice was finally served.
“No One Killed Jessica” faithfully follows the case to emerge a winner.
Almost everyone knows the story. Yet, the film makes some interesting departures to keep the momentum going. A Barkha Dutt type character has been introduced in Rani Mukerji though the former did not have much to do with the case or its reinstatement. However, Rani lacks the intensity to pull off such a strong role and the strain shows.
On the other hand, Vidya Balan soars with the unglamorous, distraught and hunchbacked portrayal of Jessica’s sister.
Director Raj Kumar Gupta makes direct comment on the society we live in, its voyeuristic tendencies and the judiciary’s disregard for justice. Everyone knows the extent of corruption and rot in the system as symptomised by the acquittal of Manu Sharma, but the question as always is who would bell the cat if the police and judiciary do not.
In this case Tehelka, who did the sting investigation and Star News (and not NDTV that walks away with the praises in the film) that aired the footages did manage to right a wrong. But the question is not just of Jessica Lall, but the thousands like her whose cases have not had the light of justice shine upon them.
The Jessica Lall murder thus became an emblem of the rot in the democracy, police and judiciary.
The truth is, the culprits were not just Manu Sharma, his friends and his family, but Shayan Munshi who redacted his statements leading to Manu’s acquittal and Bina Ramani, both of whom continue to have successful careers, one as an actor-model and the latter as a heedless socialite. The culprit is all of us who stay silent to the injustice all around us.
The injustice done in Jessica’s case has been corrected, but the question remains of the millions of other cases of injustice in the country.
Gupta’s film on a true incident bodes well for Bollywood, which is normally not too keen on reality, and the concept of justice itself. Yet, the question is not who killed Jessica Lall, but as the gross miscarriage of injustice in Kashmir, central and northeast India and the thousands of pending cases in the country show — it is: who killed justice in India?





Source: Bollywood Movie {www.radiomaska.com}

Dabangg Bollywood Hindi Movie

Dabangg
Director: Abhinav Kashyap
Actors: Salman Khan, Sonakshi Sinha, Arbaaz Khan
Mr Pandey is a policeman, of course. In the midst of a shootout and while chasing criminals, he never yet lets go of his sense of humour. A Bollywood ‘item song’ recurrently blasts out of a cellphone ringtone, from one of the goon’s pockets. Pandey stops. He starts to gyrate to the song instead.
This undisputed cop hero makes no bones about making black wealth from his uniformed job, openly pockets cash, stashes them in his mother’s locker, answers politics with his own deceit, is still the hero, without any signs of redemption (unlike, say, Bachchan’s Shahenshah). He also lives for the moment he could literally tear his shirt off to finally reveal at the end, homoerotic biceps and a shaven, bare torso. The public will accept with open arms this hero, who’s both naked and nakedly corrupt. The producers are convinced. Mainstream movies in that sense, aimed at what they call the masses, subtly confirm a truth or two about a disturbingly changing India. This is stuff for sociology!
Mr Pandey’s a super-hero in the tradition spawned by children’s cinema since the ‘70s (films of Bachchan, Dharmendra, thereafter Mithun, Devgan, Sunny Deol etc). Where the leading man serves for his audience poetic and vigilante justice in three hours flat. This one is merely two hours long. And for a change is relatively richly set, in the under-scaled, dark interiors of Uttar Pradesh.
Salman Khan, perhaps for the first time in his career, sports both a moustache to suggest his provincial maleness, and local accent to suit a lead role. He even stretches his stiff facial muscles occasionally to lend to his fans the rare grin; throws in the odd public service message on polio drops and religion in politics. He is but no underdog up against any system.
It’s difficult to figure what the hero is fighting for really, but his own self. This makes the villain (Sonu Sood) terribly weak; eventual salvation, deeply unsatisfying; plot, fairly pointless. But if you were in with the flow, I suppose, you wouldn’t care.
Salman’s puzzling swagger alone is probably what you walked in for. And this swinging pastiche is a whole lot less of a Bollywood bore than the super-star’s recent event pictures: Yuvraj, Wanted, London Dreams, Veer…. The balance between soulless spoof and self-serious senselessness is also easier consumed here than similar attempts of the recent past (Tashan, Jhoom Barabar Jhoom…). Each time, for instance, the camera swish-pans to a soap operatic scene, the filmmakers make sure to switch into a corny background score from the American Westerns! The genre remains untouched.

The music, largely inspired from Vishal Bhardwaj’s Omkara – title track, or the nautch number Munni Badnaam Hui (the new Bidi Jalaile) – it appears, comes with hoots and whistles as an inserted underlay. Something you suspect about scenes as well. The audience is suitably informed. The action is comically balletic, and when there’s no humour to complete the masala, standalone jokes play out before the screen. This is that epilogue-film-prologue, super-B movie, with reasonably A-budgets.
It'd be a shame to watch this anywhere outside of an old, decrepit single screen theatre, in the spirit of the loud tribal tradition that Hindi movies have always been: severely light on both the brains and the wallet. Mad stuff! Really.




Source: Bollywood Movie {www.radiomaska.com}

3 Idiots Bollywood Movie Online

What's It About: Bring out the bugles for the biggest celluloid celebration in a long, long time. God bless Rajkumar Hirani for ending an otherwise mediocre Bollywood year on a smashing note.

You go in to see 3 Idiots expecting the genius combination of Hirani and Aamir Khan to weave magic on screen.

But despite the mental conditioning, the impact of the film is so overwhelming that it leaves you spellbound for hours after it has ended.

Based on Chetan Bhagat's novel, Five Point Someone (though only a miniscule part has been adapted from the book; the rest is all original), here's a story of three friends studying in an engineering college Rancho (Aamir Khan), Farhan (R Madhavan) and Raju (Sharman Joshi).
Rancho is the rebel among them always questioning things and believing that learning is more than just the usual mode of education.

He encourages his friends to look beyond the ordinary and soon earns the wrath of the college director Viru Sahasrabuddhe (Boman Irani).

Despite his fun and frolic, Rancho always surprises everyone by topping the class. He even manages to win the affections of the director's daughter Pia (Kareena Kapoor). But Rancho's greatest contribution lies is making his friends realise their true calling.

The twist comes when on Graduation Day. After being awarded the Student Of The Year title, Rancho mysteriously disappears into oblivion.

Years later, Farhan and Raju, finding a common thread, embark on a journey to find their friend. 3 Idiots is a story of friendship, hope, aspirations and most importantly, the goodness of life.

With 3 Idiots, Rajkumar Hirani proves beyond doubt that there's no better storyteller than him in the present generation.
This isn't an easy film to make the interplay between characters and the narrative is interestingly woven.

The film switches from present to flashback mode often but not once does Hirani lose the momentum. The medley of emotions that he brings forth as he establishes the film's structure is indeed commendable.

Like the peppy Aal Izz Well song drawing towards a tragic climax it's so cleverly done that it has the desired effect. There are scenes that'll make you laugh, they'll make you cry and they'll make you think.

Hirani does it all so beautifully that you want to go back to college and relive all those moments.

The falling in love, the harassment by professors, the secret drinking sessions, the ragging of fellow students it's all there.

Hirani also sends across a message on student pressures but there's no preaching here it's all done in his inimitable style.

Most films have their own set of 'highlight' scenes.

3 Idiots is different because every scene is special and brings with it something that's out of the ordinary.

But there are a few that have a far lasting impact the entire ragging sequence; the camaraderie between Rancho and Pia; Chatur's (the 'brainy' student) hilarious speech; the entire black-and-white depiction of Raju's family; most of the scenes between Rancho and Viru; the sequences that lead to Raju's recovery in the hospital and many more. After a point, you just stop counting.

Dialogues are snappy and totally effective ("In India, you get a pizza in 30 minutes guaranteed but not an ambulance"). The soundtrack, background score and cinematography is top class.

Among the performances, Madhavan delivers his most retrained act ever. He takes the film back and forth with his narrative and is splendid even with comedy.

Sharman Joshi is brilliant, especially in his breakdown scenes. Boman Irani is sincere as expected, with his lisp act getting all the right nuances.

Kareena Kapoor gives her finest portrayal in recent times as Pia. Her "dhokla, fafda, thepla, khandwa, khakra" scene is simply too delicious. Here's a performance that proves why she's indeed the best we have.

The life and soul of 3 Idiots is of course Aamir Khan. His perfection lies in the fact that he makes everything look so easy and spontaneous.

And at all the right moments, he brings the film alive with his sheer brilliance. From his look to his walk to his manner of speech, Aamir breathes life into Rancho and that's what stays with us.

If you thought Aamir Khan couldn't get any better than he is, think again. Aamir is the heart and soul of 3 Idiots and he proves why he's simply a class apart.





Source: Bollywood Movie {www.radiomaska.com}

Dabangg Bollywood Movie Online

Dabangg

'Dabangg' is a story of inspector Chulbul Pandey and his life. Too many elements like love for mother, romance, struggle with step-father and step-brother, an effort to fight corrupt politicians and much more is packed in this film.The Salman Khan and Sonakshi Sinha starrer movie received a mixed reviewed from the janta. The opening is record breaking. Many eager youngsters queued up to see the much hyped movie ‘Dabangg’ at a city multiplex. And at the end of the movie this is what they have to say:-

 

Madhavi Kulkarni says, “It is like a movie from the 90’s. Too much masala and I would like to say that it is a fun-watch but its only one-time watch.” Roshani Dattani took a very tough stance against the movie. She says, “I didn’t like the movie. And Sonakshi Sinha is also strictly okay. There is too much action in the movie and at many places unwanted.”

 

Balvinder Singh claims that he is a die-hard Salman Khan fan and has watched all his movies. He says, “This is definitely a must-watch for all Salman Khan fans. He looks great, the action is also good and so are some of the dialogues. I would also like to add that Malaika’s item number ‘Main Zandu balm’ is total paisa wasool.”

 

Mahesh Shatbhute thinks that ‘Dabangg’ is an average movie. “It is neither bad nor good. It is an okay movie. And if you have nothing else to do during this long weekend, you can definitely watch the movie.”

 

And our 5th respondent Namit Hasnandani liked the movie. “According to me it is a total entertainer. Its like a true Bollywood ishtyle entertainer. A typical Salman flick.

Source: bollywood movie {www.radiomaska.com}

Dhobi Ghat Bollywood Movie

Dhobi Ghat is an acquired taste. Either the film will sink into your skin like a slow ache or it will be bewildering and downright boring. Kiran Rao’s first film is an atmospheric mood piece. There is no overt plot – four lives randomly connect in Mumbai. There are fleeting moments of happiness and pain and the eventual realisation that the journey never ends. The struggle to survive and to connect is eternal.

The characters are Shai, played by Monica Dogra, an NRI investment banker who is back in Mumbai for, she says, a change of pace. Arun, played by Aamir Khan, an angst-ridden artist who has a one-night stand with Shai but has little affection or time for her the next morning.Munna, played by Prateik, a dhobi with dreams of becoming an actor. And Yasmin, a young married Muslim girl, played by Kriti Malhotra, who makes video diaries that Arun discovers.

These people intersect in the disparate spaces of the city – posh art galleries and narrow gullies in slums; the dhobi ghat and high-rises. Munna and Shai make a connection but can something too fraught and tenuous to even be called a friendship, transcend class difference? The fifth character in the film is Mumbai, a teeming city of migrants that remains unknowable, alienating, harshly beautiful and brutally indifferent. Kiran Rao and cinematographer Tushar Kanti Ray construct a rich and intimate portrait of the city. In places, the locations almost overshadow the characters – there is a terrific shot of Arun walking down the bustling Mohammed Ali Road during Ramzan.

In another scene, Munna covers his shanty from the torrential rain as local trains whiz by.
Rao also observes human behavior keenly – so when Shai first asks Munna to sit down in her up-market apartment, he hesitantly feels the sofa before placing himself down. And when Shai’s disapproving maid serves them tea, she brings one nice cup and one glass that befits Munna’s status. Prateik is achingly lovely as Munna but the star of the film is the luminous Kriti Malhotra who revealingly loses the hope and shine in her eyes. 

This saga of love and longing is punctuated by a haunting background score created by Oscar-winning composer Gustavo Santaolalla. What doesn’t work as well is the pacing. Rao’s build-up of characters is painfully slow with the first 30 minutes or so being the most problematic. Some of the early scenes are clumsy and the disjointed narrative just isn’t engaging enough. I was also confused by the suggestion that Munna is having a relationship with an older woman customer – so does the dhobi routinely offer more than just clean clothes? Intriguingly, Aamir Khan, otherwise such a fine actor, strikes a false note.

With constantly furrowed brows, he seems to be performing at a different pitch from everyone else. You can almost feel the weight of being in an art house film on his shoulders - the early scenes with him and Monica are particularly awkward. Still, if you are willing to have patience, Dhobi Ghat comes together nicely. It has a poetry and melancholy that stays with you. I recommend that you give it a shot.





Source: bollywood movie {www.radiomaska.com}

latest bollywood movie station

Have you ever seen a filmi film? The kind of film where everything is larger than life? The bullet hits the Rolex which stops so you know a man's time is up? The woman has a hole in the heart and has only a few years to live? The man looks out at the sea and wants it to be in his "baahen" (arms)? Heroines flutter their false eyelashes and fans get signatures on Rs 1,000 notes which they then tear with great flourish. Films spout lines such as, "Main tumhare bachche ki maa banne wali hoon.
Well, Milan Luthria's film is that sort of film. It's overwritten, over acted, overcharged but also super fun. Nothing is simple here. Every dialogue is like a philosophical statement. "Jab dost bana kar kaam ho sakta hai to dushman kyon banaye," says Devgn's Sultan Mirza as he speaks to the dons of Mumbai--each one has had a movie made on him. "Jinki manzil ek hai woh raaste par hi milte hai," so says the heroine to her soon-to-be hero. As everyone knows the story is a fictional recreation of the rise of Mumbai's underworld, of the replacement of the gentler anti-social smuggling of Haji Mastan with the hard nosed, hard hearted gangsterism of Dawood Ibrahim. Devgn is Mirza/Mastan and Emraan Hashmi is Shoaib/Dawood. Mirza has his Madhubala (?) and Shoaib has his Mandakini. Mirza has his all white attire and Shoaib has his all black heart. Mirza is a boy who came to Mumbai in a "machli ki tokri" and Shoaib is the son of an honest police officer.

Well, Milan Luthria's film is that sort of film. It's overwritten, over acted, overcharged but also super fun. Nothing is simple here. Every dialogue is like a philosophical statement. "Jab dost bana kar kaam ho sakta hai to dushman kyon banaye," says Devgn's Sultan Mirza as he speaks to the dons of Mumbai--each one has had a movie made on him. "Jinki manzil ek hai woh raaste par hi milte hai," so says the heroine to her soon-to-be hero. As everyone knows the story is a fictional recreation of the rise of Mumbai's underworld, of the replacement of the gentler anti-social smuggling of Haji Mastan with the hard nosed, hard hearted gangsterism of Dawood Ibrahim. Devgn is Mirza/Mastan and Emraan Hashmi is Shoaib/Dawood. Mirza has his Madhubala (?) and Shoaib has his Mandakini. Mirza has his all white attire and Shoaib has his all black heart. Mirza is a boy who came to Mumbai in a "machli ki tokri" and Shoaib is the son of an honest police officer.

Yes, yes, with some changes of character here and there it could be Company. It is not, not even because of Devgn's presence. It is part costume drama, part period film and part crime thriller. It is also all glamour, from the hair on Kangna's elaborate wigs to the tips of Devgn's white shoes. Luthria, a Bollywood talent who has for one reason or the other, been languishing on the periphery should come full front and centre with this, fullfilling the early promise of Kache Dhage. He is in command of his film, however melodramatic it may be. A love letter to Mumbai, this is a film that trots out every possible placard signalling it is the 70s. Yes, "Amit" has the intense eyes required to play Mirza in a film (Deewar, anyone?). Yes, Bobby's polka dot lie-up shirt and hot pants became quite the rage. Yes, Mastan was a Robin Hood character who helped the poor whenever he could. And yes, Dawood was a new age criminal who believed the "ghoda" (gun) was the source of all power and the supari was the solution for all ills.
The movie takes us back to the last years of innocence, when it was clear that the social fabric of Mumbai was tearing. When it was clear that crime paid, got you the bangla, the gadi and the girl. When the police tried to prop one gang against another to create chaos in the underworld. When the economy of shortages meant no opportunities for youngsters. When criminals started becoming more powerful than politicians.
You can understand why then that dialogues like this: ''duniye raakh ki tarah neeche hogi aur khud dhuye ki tarah upar'' make so much sense. As does this: "Himmat batai nahin jati, dikhai jati hai." The clash of civilisations, between Mastan's gentler way of doing business and Dawood's criminal ways could not be sharper. Hashmi has played impetuous upstart before and can now do this sort of role in his sleep but he brings a new sleeker danger to Dawood's role. Devgn is also now a past master at playing the conscience striken criminal--I smuggle those things for which the government doesn't give permission, not for which my conscience doesn't. Kangna has never looked lovelier and been more playful. This is one girl who has not come out of a bottle, or even if she has, the bottle is broken. Prachi Desai as Dawood/Shoaib's girlfriend, who is as "garam" as the food she serves, is suitably tremulous and pleading.

The tragedy is even Dawood's beginnings look so modest by today's hugely corrupt standards. He has a two-in-one and phone and expects his girlfriend to be happy. He is not. He is greedy. He wants Mumbai, never mind if the city becomes as dirty as his deeds.
You get the picture, hmm? The film is directed with precision, the drama at a tone that matches the decor, the cabaret, the dialogues. Its cinematography is by Aseem Mishra who shot New York as well. And even the walk-on parts are played pitch perfect, from Randeep Hooda's policeman, Agnel Wilson, who blames himself for creating a monster, and Naved Aslam is stoic as Patrick, Mastan/Mirza's Man Friday. As Mastan would say "har kitab ki kismat main library nahin hoti, kuch kabadi ki dukan main milti hain". But this little number belongs to a full house.
Watch it. It's like watching a retro fashion show with some cool gun battles thrown in. Lots of rain, lots of crashing of the waves, moody lighting, and dialogues that echo Salmi-Javed at their purplest prose. Ahh. Mumbai when it was still Bombay



Source: bollywood movie {www.radiomaska.com}

Peepli Live bollywood movie

Radio Maska is owned and operated by audacious music nuts whose goal is to provide India with music satisfaction. Started by the three ambitious Indians with their brains, souls and hearts melt in music, Radio Maska aims at making internet radio available at every listener's desk

A film which lacks big names & bollywood characters how often succeeds to catch the eye of the audience?

But Peepli Live is an exception & the theater artist also proved their mantle. Know it’s a proven fact that even Aamir Khan’s name can work wonders… just kidding basically the story, acting and the perfection of the banner that has enlightened us yet again with a classic concept.

Raghubeer Yadav as Budhia is a character who is cunning & jugadu. Omkar Das Manikpuri as Natha is a simple, shy man around whom the story revolves. Nawazuddin Siddiqui as Rakesh is a depiction of a young budding journalist who can’t differentiate between fact & fiction. Naseeruddin Shah as Agriculture Minister has done justice with his part. The two news anchors will make you feel like you are watching a realistic Indian news channels one Hindi & the other English (I don’t want to name them).

 The premise of the film is extremely powerful, as it plays around, in a stark black comedy, the expected death of a poor farmer, Natha. But in spite of brilliant performances, sharp and intelligent lines, and a different, 'real', and believable setting, there seems to be something missing. And that 'something', in my opinion is the mantra all screen writing gurus insist on. I would name it: “Progress & Peace”.

After establishing the primary conflict of the film, the writer is supposed to take us on a journey. Not to a circus where we sit and wait for performers to exhibit their vibrant colours but to an active, involving journey of human emotions. Irwin Blacker brilliantly puts it as: "Plot is more than a pattern of events: it is the ordering of emotions." To invoke the desired emotional response, the writer has to establish a serious 'want' for the protagonist – what exactly is at stake; the higher the stake, better the chance for drama. But to actually achieve drama, the writer needs to elaborate and enhance the conflict. Create obstacles in the path of the protagonist who is striving to achieve his dramatic need. These obstacles, preferably as harsh as they could be, and the protagonist's efforts to overcome them is what makes drama affecting. His success or failure in doing so is hardly important. And this entire act of confrontation has been crafted with intelligence and an acute critical eye, making sure that each scene takes the story forwards – it progresses from one plot point to the other with a definitive sense of purpose, remembering that each tree is important without losing the idea of the forest.

Peepli Live' would work better in its repeat viewings, when you already know the story, its nature and limitations. It's then that the wonderful detailing and the 'moments' in its narration will make you smile. Its business story and importance, or the lack of it, in Hindi cinema history will always be worth discussing. But to understand the triumph of cinema, we need to keep these aside. The intent of a movie and the courage behind its making must be applauded if it deserves that. And after having done that justly, to really understand the cinematic achievement of it, the craft of the film should be analyzed. Perfection is not the prerequisite for great art, it is the stimulation that it provides to the audience is what matters. 'Peepli Live' does that, by not only making you think about the social issue it addresses but also, if you are interested, by inspiring you to diagnose the merits and demerits of its craft as a work of cinema. That, I believe, is enough of an accomplishment.

And don’t forget to miss the hidden sarcasm about our Hindi media & their reporting style. As for the ending is concerned I feel the last scene should have been interchanged with the second last one & it would have delivered a heavy punch. If you can’t get it go and watch it LIVE..!

Source: bollywood movie {www.radiomaska.com}