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}

Krish Bollywood Movie

Yes, finally, the much-awaited KRRISH has arrived. Armed with monumental expectations, this sequel to KOI� MIL GAYA is touted to win the hearts of kids from 6 to 60. Most importantly, KRRISH is expected to rewrite box-office history.

Since the inception of the character during the 1930s, Superman has been fodder for a variety of movies and television series, both live and animated. Though Hindi film heroes have had the qualities of Superman, it�s for the first time that a lead man with a mask and robe is about to invade the Hindi screen.

KRRISH is a crucial release for yet another reason. The Rakesh Roshan-Hrithik Roshan combo has given us back-to-back successes: KAHO NAA� PYAAR HAI and KOI� MIL GAYA. Quite naturally then, the expectations from KRRISH are humungous.

The great news is that KRRISH more than meets the expectations. The film works, and works big time, due to several reasons. Besides a novel premise for Indian moviegoers, it has Hrithik Roshan enacting a role that fits him like a glove. Mind you, the role of a man with superpowers and a robust personality to match would�ve fallen flat in inept hands and the best of techno-wizardry would�ve, hence, been ignored, unobserved and unnoticed.

But one of the major highpoints of KRRISH is its penultimate 40 minutes. The fight between good and bad, noble versus immoral, virtuous versus corrupt has been depicted in film after film. And if the fight between the two extremes is portrayed in the most convincing fashion, the viewer is bound to carry the film home and most importantly, return to the movieplex to watch the on-screen clash once again.

The collision of righteous [Hrithik] and wicked [Naseer] in KRRISH and the usage of special effects and thrills takes the film to an altogether different level. It wouldn�t be wrong to state that Hindi moviegoers haven�t witnessed something like this ever. Also, the re-emergence of Rohit [the lead character of KOI� MIL GAYA] in the story is a master stroke from the writing and execution point of view. It only strengthens the climax and makes the fight utmost convincing.

KRRISH also reaffirms the fact that Rakesh Roshan has adapted to the changing times well. While most of his contemporaries have slipped into oblivion, Roshan Sr. has moved with the fast-changing times and gathered courage to narrate a tale that�s present-day and at the same time, inventive. At the same time, KRRISH is soaked in Indian emotions [the relationship Hrithik shares with his grandmom Rekha], talks of astrology using computer as a tool and shows the protagonist with superpowers -- a story Indians can absorb very easily. Concurrently, Roshan Sr. relies on dexterously executed special effects to narrate the tale. And the pulsating stunts and thrills only act as sone pe suhaaga.

In a nutshell, KRRISH is a terrifically exciting and compelling experience. Move over SUPERMAN, BATMAN and SPIDERMAN. KRRISH, the Indian superhero, has arrived!

Krishna [Hrithik Roshan] is born with magical powers -- a legacy from his father, Rohit Mehra.

Free as a bird, he runs like the wind�
Like an eagle, he soars across rivers and mountain tops�
As a lion, he conquers rugged rocks without fear�

Priya [Priyanka Chopra] comes into his life and becomes his world. When she beckons him to Singapore, he follows her there. Little realizing it is destiny that has summoned him. Having sheltered him from the world, his grandmother Sonia [Rekha] reluctantly gives in to him and lets him follow his heart.

In Singapore, Dr. Siddhant Arya [Naseeruddin Shah], the megalomaniac scientist, is on the verge of changing the future forever. Only one man stands between Dr. Siddharth and his destructive dreams. Only one man has the power to block his ruthless ambitions. Krrish.

KRRISH is essentially three movies rolled into one: It starts off as a love story, changes gears and becomes a traditional superhero story and in the pre-climax, it�s the clash between good versus evil. While the first part seems like any other love story, it has its moments. Note Hrithik�s introduction and also, Hrithik saving Priyanka from an accident [their first meeting] and you know that there�s more to the film than a saccharine-sweet love story.

The first hour, in fact, may give an impression that it�s a routine fare, but knowing Roshan Sr.�s style of showing his cards in the second hour, you await the post-interval portions with bated breath. And lo! KRRISH takes giant strides in this hour. The story actually gathers momentum when Sharat Saxena spills the beans and the film goes into a flashback. From thereon, right till the end titles, it� a different film altogether. And that�s its biggest achievement. The team of writers [Sachin Bhowmick, Honey Irani, Robin Bhatt, Akash Khurana and Rakesh Roshan] deserve brownie points for padding the film with pulse-pounding moments.

The film has its share of blemishes too. The pace slackens intermittently in the first hour, primarily because the story doesn�t move beyond the romantic scenes. Also, the music [Rajesh Roshan] isn�t as mesmerizing as the Roshan brothers� previous works. The songs of KRRISH are functional, barring the �Dil Na Diya� track, which is complimented by an energetic picturization.

The action scenes [Tony Ching Siu Tung from Hong Kong and Sham Kaushal] are superb and will be greeted by claps and cheers. Hrithik�s stunts in Naseer�s den are simply awe-inspiring. Prior to that, the chase portions -- Hrithik chasing Naseer on land, water and air -- is astounding. The special effects [Marc Kolbe and Craig Mumma, both from U.S.A.] are incredible. In fact, the special effects are a pillar of the enterprise. Santosh Thundiyil�s cinematography is exceptional. The film bears a stunning look all through. Salim-Sulaiman�s background score is of international quality. It only heightens the impact further.

To state that Hrithik is the soul of KRRISH would be an understatement. If the actor walked away with all noteworthy awards in KOI� MIL GAYA, it�s going to be an encore with KRRISH. You cannot imagine any other actor enacting the role of a gifted child with aplomb. If his mask and robe look is splendid, watch his make up, gait and mannerisms as the aged father and you�d agree, he�s one of the finest talents on the Indian screen today. KRRISH is yet another ground-breaking film in his dazzling repertoire!




Source: bollywood movie {www.radiomaska.com}

Dil To Bacha Hai Ji bollywood hindi movie

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t is best to leave the mush mush to the Chopras and Johars of the world and comedy to Anees Bazmees and Raju Hiranis. They have done it so often that their seasoning in the genres is so perfect that they almost give the law of diminishing marginal utility a run for its money. Now this is not to say directors shouldn’t experiment or dabble with new stuff but our man Bhandarkar seems to have gone a bit too far with his new rendezvous with rom-com. From hard hitting real subjects to three love sick men, Bhandarkar hasn’t been able to make a smooth transition.

Ajay Devgn plays Naren, a divorcee who moves into his parents’ house after his separation. To split the expenses he keeps Abhay (Emraan Hashmi) and Milind (Omi Vaidya) as flat mates. While Naren gets smitten by his young bubbly secretary, Abhay lives life as a boy toy for rich women and Milind is the geeky poet who will do whatever it takes to pursue his lady love, an RJ who will exploit him in every way possible.

Now Dil to Baccha Hai Ji has three major failings. Firstly it is excruciatingly slow, secondly it has poor gags, that don’t even allow you intermittent laughs, and thirdly it wastes three good actors. There is almost nothing that works for the viewer in a film whose fate is sealed even before the interval. The gags almost never work and the performances and character peculiarities fail to add that dash of missing humour. 

Barring one song, the music of the film is abysmal and we keep waiting for the movie to get over quickly because there isn’t much happening any which ways. Unless, desperate, I would recommend you give this Madhur Bhandarkar flick a slip. It makes no sense to spoil your predilection for comedy especially in a film industry that rarely panders to it.
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latest bollywood movie online

 Story: Susanna is a sad woman. All she wants is love. But all she ends up with is weirdness, wickedness and bestiality in the form of her sundry husbands. Naturally then, there is only one option left for her to end her bitter ordeal. Murder. The embittered woman devices innovative measures to rid herself of her unsavoury husbands, hoping to find the elusive happy-ever-after sentiment some day. Does she succeed?

Movie Review: Vishal Bhardwaj takes a leap from Shakespeare to Greek tragedy. After having successfully rendered Othello and Macbeth in a purely desi idiom, the avant garde film maker transforms Priyanka Chopra into a Medea-like inferno who is hell-bent on revenge, after she fails to get her due from love and life. Is this leap successful too? 

And this brings us to the second stirring note of 7 Khoon Maaf. The film is based on a seven-page story by Ruskin Bond. Vishal not only fleshes out the characters and adds immense details to the plot and the narration, he also balances the moral fulcrum at an interesting point. Priyanka may be a murderer, but is she evil? Never. Like all good and realistic crime and passion plays, this one too showcases the protagonist as a woman with a purpose. She may have used poisonous snakes and mushrooms and loaded guns to do away with her husbands, but you don't really blame her. Because somewhere through her dark and devious journey, Susanna carries the pain of every woman wronged: either by a two-timing husband, a wife-beating husband, a junkie husband, a murderous husband, a dictatorial husband, a sadistic husband, a husband who treats his wife as a sex object. The poor soul has no option but to end her anguish, any which way.

In terms of performances, 7 Khoon Maaf would undoubtedly end up as a milestone in Priyanka Chopra's career graph. The actor displays exquisite command over a complex character that is definitely a first in Indian cinema. She renders a subtle and restrained portrayal of a lonely and wronged woman who wanted love and only love from life. Amongst her husbands, it is Neil and Irrfan who excel as the brutes, even though it is hard to find fault with any of the characters in a Vishal Bhardwaj film. The music score (Gulzar and Vishal) is riveting too and boasts of the mesmerizing Darrrling number, amongst other tuneful songs. A word about the length: a bit of editing and tightening would make the experience more compelling.

Serious, sensitive and stirring, 7 Khoon Maaf is a whole new cinematic experience. Watch how Indian cinema is metamorphosing into something more substantial and glocal.








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Peepli Live bollywood movie

A television crew intrudes into a village hutment and plonks a camera bang in the middle of its cramped, messy space. It is looking for an exclusive, TRP-boosting ‘conversation’ with a suicidal farmer. The latter, dread and bewilderment writ large on his face, cringes in a corner of the room.

The star reporter, doing her best to exude sympathy, seeks to assuage the man's fears. "Don’t be afraid," she says. "This camera cannot do anything."

Well, the TV cameras do an awful lot of things in Peepli Live, and not all of it is of a salutary nature.

Writer-director Anusha Rizvi's debut feature, a disarmingly simple but remarkably powerful is a major triumph. She taps into the power of the medium to narrate a  rooted firmly in the depressing realities of rural India, but without ever going into paroxysms of self-righteous indignation.

Peepli Live lampoons an entire range of usual suspects – voyeuristic media persons, smarmy bureaucrats, scheming local-level political goons and self-serving rulers, all of whom want a piece of the sleepy village where a farmer is about to kill himself so that his family can survive. Thanks to the film's nifty blend of humour and bathos, it does not slip into diatribe mode. It instead acquires the spiky edge of a pulsating yet biting satire.

Rizvi collates elements from the t of the absurd to craft her sly portrait of a grim scenario that urban Indian moviegoers are rarely, if ever, exposed to.

The film explores the clinical and incongruous response of the media and the ruling establishment to what is a life and death question for a farmer on the brink of becoming just another statistic in a never-ending tale of woes. This coldness is best captured in the nonchalant refrain of the natty agriculture secretary: "we must wait for the court's order."

The peasant-protagonist Natha (amateur a Omkar Das) cannot wait. He and his elder brother, Budhia (Raghuvir Yadav), are in danger of losing their plot of land, having failed to repay a bank loan.

By way of one last desperate throw of the dice, Natha decides to commit suicide in the hope of securing a government compensation of Rs 100,000 for his dependents. But as word gets around, the media descends on the village for a scoop and opportunistic politicians jump into t to draw mileage from Natha's predicament. 


As the frenzy peaks, cold drink kiosks and tea stalls come up around Natha's house in next to no time. The whole world wants to know whether Natha will really die. But does anybody really care?

We laugh as everybody in Peepli seems to cut a sorry figure. But do we feel guilty as well? Peepli Live seeks to push us across the line that divides detached glee and genuine concern.

The film is set in a fictitious state, Mukhya Pradesh, where, as the film's theme number, Des mera rangrez yeh babu (from the Indian Ocean album, 'Jhini') asserts, surprises, shocks and quirks lurk at every corner. Its vast gallery of characters is brought alive by actors who, in keeping with the backdrop and the situations, look and sound real.

A Dalit leader called Pappu Lal gifts Natha a huge television set, while an eager-beaver babu hands out a 'Lal Bahadur' (a hand pump in bureaucratic parlance) to the farmer. He has no use for either. A local henchman whose mobile ringtone goes Pappu can't dance saala throws his own rough and ready brand of politics into the mix.

And the cocky chief minister of Mukhya Pradesh declares grandly: "Natha nahin marega." For the first and the last time, a faint smile flickers on the farmer's lips. It is certainly not the all-knowing smile of a man who is in control of his destiny.

Natha's descent into hell is complete when we see him, in the film's final scene, covered in grime in a big city construction site, having lost the battle for dignity. 

A film that ends by informing the audience that "8 million farmers quit agriculture in India between 1991 and 2001" and does so with the muscular backing of Bollywood superstar Aamir Khan and UTV Motion Pictures, one of the biggest production houses of the Mumbai movie industry, is nothing short of a miracle.

However, that is the least of the many reasons why Peepli Live should rank among the best films made in India since the new millennium began. It has its heart in the right place, and it's a heart backed by a ticking mind.

(Saibal Chatterjee is a National Award-winning film critic who has covered film festivals around the world, including the ones in Cannes and Toronto. He will be writing reviews exclusively for NDTVMovies.com) 





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main hoon na bollywood movie

What happens when you put too many spices in a single recipe? The result is a stodgy dish which is hard to digest. That is exactly what Main Hoon Na is like. In the times when filmmakers in Bollywood are experimenting with more realistic themes, Farah Khan comes up with a flashy movie conforming to all the stereotypes of an out and out commercial flick.

Main Hoon Na has a little bit of everything in it. It has a youthful setting of a college campus, it has a patriotic angle harping on Indo-Pak relations, it has desi humor, videsi style of filmmaking, it has a good number of songs, it has stunts, action and pyrotechnics for adrenalin rush, it has emotional and romantic moments.

But what Main Hoon Na lacks is logical progression of story and believable presentation of its characters.

For instance, SRK looks out-of-place impersonating as a student in college. He looks too mature to pass off as a student. And it looks absurd to see him indulging in fun and frolic in college when his father (Nasseruddin Shah) has expired just a few days back in the story. Even Sunil Shetty looks odd impersonating as a professor in the same college.

Not everything can be justified in the name of entertainment. The genre of entertainment to which Main Hoon Na belong can be traced to seventies when stories were hyperbolized and then laced with overtly sentimental songs with the inclusion of a special qawwali.

The story of Main Hoon Na couldn't have been more hyperbolized. A young Major (SRK) in the army has his personal aim of fulfilling his Mission Milaap to join the hearts of people living in India and Pakistan. But there are some anti-national elements (Sunil Shetty) who want to foil this mission. Major's mission takes him to a college where he indulges in teenage fun and frolic and also falls in love with the chemistry teacher (Sushmita Sen). But terror comes closer after the bad guy too comes into college impersonating as a professor.

Farah has taken too much cinematic liberty to tell an overblown story. But the movie will certainly appeal to those who want unadulterated entertainment with a pinch of everything from romance, humor, patriotism, action and songs.

SRK's portrayal of Major Ram Prasad Sharma is convincing, but the actor appears to be getting straitjacketed in his acting style with every film he does. His facial expressions, his body language and that customary glint in his eye are so much similar to the characters he has played in other films. Even his style of dialogue delivery is predicable. It seems SRK adheres to just one formula of acting - that is flamboyance intermixed with an affected intensity. And this is taking out any surprise element from his acting coz whichever character he plays, he does it in same style, using the limited repertoire of his histrionic skills.

Zayed Khan is better than his previous movie and comes forward as a promising actor. He looks well suited to play the role of a young college going kid who is full of vanities at first but later grows into a matured person. Newcomer Amrita Arora matches Zayed in equal stead.

Sushmita Sen doesn't get to show much histrionics but she looks resplendent dressed in free-flowing saris.

In marginal roles, Boman Irani and Kiron Kher leave an impact.

In a nutshell, Main Hoon Na contains wholesome entertainment in a glossy package. It has an inflated story strewn with flashy songs shot in stylized way. But it lacks subtle subplots. It is not the kind of a movie that stirs a viewer from inside.




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Band Baja Barat Movie

Directed by Maneesh Sharma
Genre: Comedy, Romance
Produced by Aditya Chopra
Screenplay by Habib Faisal
Story by Maneesh Sharma
Starring: Anushka Sharma, Ranveer Singh
Music by Salim-Sulaiman
Cinematography: Aseem Mishra
Editing by Namrata Rao
Studio: Yash Raj Films
Distributed by Yash Raj Films
Release date(s): December 10, 2010
Country: India
Language: Hindi
Budget: 10 Crore
Shruti (Anushka Sharma) and Bittoo (Ranveer Singh) are two 20-something years olds who have just graduated from Delhi University’s Hans Raj College. Apart from this the two are otherwise very different one from the other. Indeed, Shruti, coming from a middle-class household, is very driven, ambitious and focused, while Bittoo is a bit of a slacker and mostly interested in having fun with his friends. A chance meeting leads them to reluctantly start a tumultuous business venture as Wedding Planners together, however with one strict rule: not to mix business with pleasure. Through their business they experience the ups and downs of the lavish world of the glamour and glitz of Delhi weddings, something which will test their friendship over time and eventually make them discover one another

Movie review of Band Baaja Barat – Band Baaja Baaraat or BBB featuring Maneesh Sharma and Anushka Sharma and newcomer Ranveer Singh in the lead roles. BandBaajaBaraat is a romantic comedy set around the world of wedding planning. The best song is “Ainvayi Ainvayi” as it got Punjabi flavors along with wedding bash vibes. This is the reason why the entire look of the film is so vibrant. This new Yash Raj film BBB love story of two wedding planners, played by AnushkaSharma and RanveerSingh, has a charm and sweetness that’s been missing from YRF movies for many moons now. The first half has great fun, with weddings and struggle and second halfs twist that will surprise you. Overall, Band Baaja Baaraat is entertainin




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7 khoon maaf bollywood movie

Director: Vishal Bhardwaj
Cast: Priyanka Chopra, Vivaan Shah, Annu Kapoor
Before coming to Susanna's central story, let's highlight a small backstory of hers. As a kid, she had the option of two equidistant roads that led to her school. She always chose the same street from the two. When a mad dog started troubling her on that street, rather than changing her path, she chose to shoot the dog. This trivial background account justifies Susanna's quest to kill her husbands over simply leaving them.
The story is about the beautiful Susanna (Priyanka Chopra) who, over the years, gets married almost half a dozen times. Each of her husbands dies under mysterious circumstances - from the dominating Major Rodriques (Neil Mukesh), to the doped rock-star Jimmy ( John Abraham), to the sadomasochist poet Wasiullah (Irrfan Khan), to the bigamous Russian Vronsky (Aleksandr Dyachenko), to the exploitative inspector Keemat Lal (Annu Kapoor) to the premeditated Dr Tarafdar (Naseeruddin Shah).

Arun (Vivaan Shah), who had a childhood crush on Susanna and, more or less, has been a part of almost all these stories, narrates each episode to his wife (Konkona Sen Sharma) as the story unfolds to the viewer.
Post a quick and deceptive prologue, Vishal Bhardwaj unveils each marital episode of Susanna through simple and straightforward storytelling. With seven weddings and as many funerals in the offing, the screenplay written by Bhardwaj and Matthew Robbins enters late in each episode and keeps them short and succinct.
The chemistry between Susanna and her partners which leads to their subsequent marriage, is cut short throughout, since almost every chapter starts with Susanna being already married or Susanna tying the knot early in the episode. But then the film, essentially, is not about how Susanna gets married several times but, more importantly, about how each of her marriage ends. Also the animosity in each track is as quickly established as their implied chemistry.
None of the husbands are supported by any background accounts and you never feel the need either. Each of them is instantly introduced in the narrative and only to the extent that's essential to the plot. Through each episode, Bhardwaj attempts to touch diverse human emotions from envy, addiction, obsession, faith, lust and greed. The pacing is slow as the director gradually works to add intensity in every frame through the unique shot-takings, dialogues and performances.
Granted that a story so episodic as this could not have been told but linearly. But why, pray, is the jumble of Susanna’s matrimonial misadventures reduced to the incessant yo-yoing between her elation at finding the ‘right’ man and her subsequent dejection at the discovery that he’s actually a scumbag. So while the hubbies are kicked to the famished man-eating panthers, or are drug-overdosed, or snake-bitten, or buried alive, or shot point blank, not once does a yawning viewer see a scrap of ingenuity so expected of a Bhardwaj film.

Of course, the bleakly-lit frames and Susanna’s own darkening complexion serve as metaphors to the dark side of her personality, and Bhardwaj does throw in time-references in the tale -- from the falling of the Berlin wall to the Mumbai terror attacks -- but come on, a viewer expects more than such customary symbolism. Even the film’s music gives the impression that its composer (Bhardwaj) was battling a creative block.





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dhobi ghat bollywood movie

Dhobi Ghat is a film directed by Kiron Rao. The film has been made under Aamir Khan's production. As a director this is the debut film of Kiron Rao. In this film she has immensely tried to discover the city of Mumbai in a totally different way through four main characters of the movie. Each of the characters are different from each other with different background and profession but they get connected somehow throughout the story.

The film traces the lives of four individuals living in the vibrant city of Mumbai. Shai (Monica Dogra), an investment banker on a sabbatical meets artist Arun (Aamir Khan) in his exhibition and the two get involved in a one-night stand. The next morning, Arun has guilt pangs for his actions. He blames it on drinking too much making a hurt Shai leave untimely.

Shai meets dhobi Munna (Prateik Babbar) and the two soon share a weird relationship. She shoots a portfolio for Munna, who's also a wannabe actor. They are soon seen watching films together and having a good time. Munna has feelings for her, but she is ignorant about the same.

In the new flat that he has shifted to, Arun discovers some belongings left behind by a previous tenant, which includes a video diary. Being intrigued and fascinated by the woman Yasmin (Kriti Malhotra) in the video, he starts painting a series of pictures of what he comprehends. The rest of the film showcases how certain incidents have an everlasting imprint on their lives.

Performance wise, All the actors are fine with their roles. Aamir Khan has a small role and he does it with ease. Prateik Babbar is perfect for his role. He delivers a natural performance. Debut actresses Monica Dogra and Kriti Malhotra are okay. Kittu Gidwani is alright. The actor enacting the role of Prateik's friend does a fine job.

On the whole, Dhobi Ghat is not a film for masses.





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action repalay bollywood movie

Action Replay; Cast: Aishwarya Rai, Akshay Kumar, Aditya Roy Kapoor; Director: Vipul Amrutlal Shah; Rating: ** – back to the future of Bollywood.
Hollywood and Bollywood, despite similarities in their names, hardly have anything in common. Except that the latter often borrows concepts from its older cousin. Yet, it manages to make something different from the original. ‘Action Replayy’ is an example of that.
When proposed to, Bunty (Aditya Roy Kapoor) refuses to marry his girlfriend because he has seen his parents Kishan (Akshay Kumar) and Mala (Aishwarya Rai) fight since he was born. Even on their 35th marriage anniversary, they fight as if they were sworn enemies. A determined Bunty steals a ride on a time machine invented by his girlfriend’s grandfather to go back in time to make it all right.
Also the paper thin, cliched villains of the film shows that Bollywood is still in a time-wrap. But ‘Action Replayy’ can perhaps afford to, it being a time-wrap story and all.
Lot of efforts have been made to get the sets right, and surprisingly it often works. Vignettes of ancient advertisements, painstakingly made a part of the set by the filmmakers, make it a thrill to watch, especially for those from that era.
The costumes, however, try too hard to be retro. If you watch films of those period, they were not so flowery and jazzy as in this film. However, given the lighter vein in which the film is made, it is perhaps justified.
Aishwarya and Akshay are as good as Bollywood can get, which isn’t much. Pritam’s music is average and only when we do an action replay from the high plinth of the future, will we come to know the corners of the world he has plagiarised from.

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latest bollywood movie

Directed by Maneesh Sharma
Genre: Comedy, Romance
Produced by Aditya Chopra
Screenplay by Habib Faisal
Story by Maneesh Sharma
Starring: Anushka Sharma, Ranveer Singh
Music by Salim-Sulaiman
Cinematography: Aseem Mishra
Editing by Namrata Rao
Studio: Yash Raj Films
Distributed by Yash Raj Films
Release date(s): December 10, 2010
Country: India




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latest bollywood movie

Dil Toh Baccha Hai Ji is a light hearted movie from serious filmmaker Madhur Bhandarkar. Before we review about the film we should admit that there are ample doubts expressed about Madhur’s sense of humor and his take on comedy genre. However, the director surprises everyone with his excellent comedy.

Starring Ajay Devgn, Emraan Hashmi etc. in the lead roles, Dil To Bacha Hai Jee is a movie that deals with real characters and funny incidents in day to day life. Every character in this film is well known or seen somewhere in our life. DTBHJ success key holds in that point. It is a comedy with a different approach. The story in unpredictable especially in the second half. First half is full of lighter moments and sets the right mood for the second. Director Madhur shows why he is different from the bunch in the second half.

We won’t reveal any story of Dil To Bacha Hai Jee movie in this review as we leave it alone to surprise you. Despite all the plusses this film had some hiccups in the middle. Narrative slowed down here and there but picked up at the right moments. Music by Pritam-Ajay-Emraan is not up to the mark. A good soundtrack might have done world of good to this film. Performances of the lead actors are an asset. There is no match for Ajay Devgn and Emraan Hashmi. Omi Vaidya is in his comfort zone. Shazahn Padamsee, Shruti Haasan and Shradha Das have done justice to their roles.

Go watch Dil Toh Baccha Hai Jee and have fun. As we promise in our review, it won’t disappoint you. 





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