The fascination with gangster movies has been immense worldwide. On this side of the Atlantic, several gangster films have left giant footprints on the sands of time. Films like DEEWAAR [Yash Chopra], DHARMATMA [Feroz Khan], NAYAKAN [Mani Ratnam], ANGAAR [Shashilal Nair], PARINDA [Vidhu Vinod Chopra], AGNEEPATH [Mukul Anand], SATYA and COMPANY [Ramgopal Varma], VAASTAV [Mahesh Manjrekar], GANGSTER [Anurag Basu], D [Vishram Sawant] and SHOOTOUT AT LOKHANDWALA [Apoorva Lakhia] have tremendous recall value to this day.ONCE UPON A TIME IN MUMBAAI recreates an era that so many of us have left behind and for those who arrived on this planet post 80s, I am sure, they must have visited the era through some medium or the other, mainly movies and internet or during their academic careers.
ONCE UPON A TIME IN MUMBAAI is not part of history, but it attempts to portray on celluloid tales that are now considered legendary, that continue to make news to this date. Of course, the disclaimer claims that it bears no resemblance to a particular person, but you can't help but draw parallels with real-life characters. It could be a coincidence, though!
ONCE UPON A TIME IN MUMBAAI is a fascinating story that talks of how the mafia came into force for the first time in Mumbai. A thriller that depicts the crime scenario in Mumbai during the 70s and 80s. The rise to power of two young boys, in different age-groups, who grew up to 'rule' the streets of Mumbai.
Since there's tremendous speculation in the media that ONCE UPON A TIME IN MUMBAAI chronicles the lives of Haji Mastan and Dawood Ibrahim, the curiosity to watch the film increases manifold. Of course, I am no one to comment if it's actually based on their lives or merely borrows a few incidents from their lives or is pure fiction, but as a cinematic experience, I couldn't help getting transported to the bygone era, getting sucked into a world I had no clue of. Besides the gangster chapter, one enjoys this film also because of its riveting drama and the power play. It could've been set anywhere, in the corporate world, in politics, in the film industry. Anywhere. The rise and subsequent fall of the King and the emergence of the Prince as the super power is what makes this film a compelling watch. The icing on the cake is the magical and lilting song compositions that are juxtaposed so beautifully in the goings-on. On the sidelines of the power play, a game of hearts is being played and that's what makes ONCE UPON A TIME IN MUMBAAI a wholesome movie experience.
Final word? ONCE UPON A TIME IN MUMBAAI is not to be missed. Set everything aside this coming weekend and watch this one. Strongly recommended!
The film, set primarily in 1970s Mumbai, follows the rise of Sultan Mirza [Ajay Devgn] and the conflict that ensues, when his protégé Shoaib Khan [Emraan Hashmi] challenges his supremacy and usurps power to rule the murky underbelly of Mumbai.
ONCE UPON A TIME IN MUMBAAI is a power-packed drama that makes you thirst for more. You rewind to an era of romance, smuggling, cabaret and mafia, but director Milan Luthria and writer Rajat Aroraa ensure that there's no sleaze or bloodshed-n-gore. In fact, there's hardly any violent sequence in the movie, except for one when Ajay hammers a cop during a naaka-bandi. ONCE UPON A TIME IN MUMBAAI is not a biopic, but narrates the story through the eyes of a police officer [Randeep Hooda], who traces the changing face of the Mumbai underworld. The screenplay encompasses several moments that may compel you to draw parallels with real life, but talking strictly from the movie-going point of view, it satiates you completely. In fact, the writing is cohesive, smart and watertight and there's never a dull moment. Besides, there's no time to think whether it's factual or loosely based on someone's life or a work of fiction.
As I look back and recall the movie, a number of sequences flash across my mind. Note the sequence when Ajay divides the city amongst gangsters... The train sequence at the very start... The introduction of Emraan Hashmi's character... Randeep Hooda's landing on a film set and confiscating the equipment... The subsequent sequence, when Randeep is framed for accepting bribe... The romantic moments between Emraan and Prachi in the jewellery shop... Emraan starting his business and the confrontation that ensues between Ajay and Randeep... The showdown between Ajay and Emraan, with Ajay slapping Emraan in full public view... The conclusion to the story is equally novel. It stays in your memory and sets you thinking.
On the flipside, the story begins with Randeep attempting suicide, but the writer should've cited the reason that prompted him to take that drastic step. Sure, there's a mention at the start, but it doesn't register well. Also, you are keen to know the chain of events that drove Randeep to suicide. Also, the pace slackens in the middle of the second hour, but picks up dramatically when Ajay returns from Delhi and confronts Emraan. Besides, how I wish the film had a shorter, mass appealing Hindi title to attract more eyeballs and a big jump in footfalls [at single screens and smaller centres mainly] for a mass appealing subject like this. This is director Milan Luthria's best work to date, no two opinions on that. Recreating the bygone era is tough and the director, the writer and the art director [Nitin Chandrakant Desai] deserve brownie points for giving the film that authentic feel. In fact, the film wears a chic retro look throughout. Even otherwise, Milan's handling of the subject material is exemplary. This film is sure to catapult him to the top league. Rajat Aroraa's screenplay is powerful and engaging. The writer marries heavy-duty drama and subtle and delicate emotions beautifully. I would like to make a special note of the dialogue, also penned by Rajat Aroraa, which are simply fantastic. In fact, the dialogue writing is such it elevates even an ordinary sequence to great levels. One rarely comes across such potent dialogue in today's times.
Pritam's music is another ace. Injecting songs and that too a terrific soundtrack in a gangster film is tough. He did it in GANGSTER. He does it again in ONCE UPON A TIME IN MUMBAAI. 'Pee Loon', 'Tum Jo Aaye' and the remix of APNA DESH track are super compositions, which are also placed appropriately in the plotline. Cinematography [Aseem Mishra] captures the look to perfection. Akiv Ali's editing is sharp. ONCE UPON A TIME IN MUMBAAI is embellished with fantastic performances. Ajay Devgn is splendid as Sultan. The actor had enacted a similar role in COMPANY, but it must be said that his interpretation is so different in ONCE UPON A TIME IN MUMBAAI. He adds so much depth to the character, which only goes to prove his range and versatility. This is, without a trace of doubt, Ajay's finest work so far. Emraan Hashmi is brilliant as the power greedy, wildly ambitious rebel. He plays the dark character to perfection. He's incredible in the penultimate moments of the film in particular. Besides carrying the look to perfection, Emraan is sure to break-free from the lover boy, serial kisser image with this film.
Kangna Ranaut is extremely natural and performs very well. Also, she brings so much of sensuality and glamour to her character [an actress of the 70s]. In fact, Ajay and Kangna make a wonderful on-screen pair. Prachi Desai is a bundle of talent who proves her mettle yet again. She's proficient in emotional scenes and sizzles in the BOBBY song-sequence. Besides, the chemistry between Emraan and Prachi is exciting. Randeep Hooda is top notch. Even though the film belongs to Ajay and Emraan, Randeep makes his presence felt with a powerful performance. This film should prove to be the turning point in his career. Avtar Gill [as Home Minister] is good. Naved Aslam [as Patrick, Ajay's trusted lieutenant] is perfect. Mehul Bhojak [as Emraan's friend Javed] is competent. Ravi Khanwilkar [as Vardhan] is satisfactory. Gauhar Khan sizzles in the remix track.
On the whole, ONCE UPON A TIME IN MUMBAAI is an extremely well-made film that lingers in your memory. The realism coupled with stellar direction, power-packed writing, exceptional performances and ear-pleasing tunes are its trump cards. An outstanding cinematic experience!
RATING: 4/5
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When Priyadarshan and Akshay Kumar join hands, you expect the cineplex to reverberate with laughter. Let's not forget, the team has regaled us with some terrific entertainers in the past. Naturally then, you expect KHATTA MEETHA to take the legacy forward.
KHATTA MEETHA raises a finger at the corruption in government establishments, but what it tries to say, or expose, has been witnessed over and over again. In fact, it's the writing -- sorry, the absence of it -- that makes matters worse. The beginning is good, the middle falters and the end is exasperating. 
While the romantic track is the weakest link [half-baked; the songs are forced down your throats, without valid situations whatsoever], the flashback portions, depicting Akshay Kumar as a college student [!!!], is just hard to digest. Even the end is worn out and doesn't give the feel of contentment that one expects at the conclusion of a film. 
Akshay Kumar plays the common man with gusto. He looks his part and more importantly, not once do you feel that he's repeating himself. However, he goes over the top in a few sequences. Trisha carries the Plain Jane look well, but fails as an actress. The fiery attitude, so vital when you're enacting the role of the Municipal Commissioner, is missing. Rajpal Yadav is in terrific form yet again. What a splendid actor! 
During the showcasing of LAMHAA at the recently held I.I.F.A. in Sri Lanka, I was compelled to ask director Rahul Dholakia about the catch line of the film: 'The untold story of Kashmir'. Obviously, I was curious. What was Dholakia going to narrate that we, the viewers, hadn't witnessed in films earlier or read in newspapers or watched on news channels? Dholakia gave a convincing response, justifying the catch line, but obviously not revealing much about the film.
To solve this conundrum, Vikram teams up with Aziza [Bipasha Basu], Haji's young, aggressive and outspoken protégé. The intensity of their beliefs and their will to survive against all odds creates a special bond between them. They embark together on a journey to uncover the truth. 
Honestly, LAMHAA comes across as a disjointed effort, in terms of writing. It's more of a collage of several isolated incidents, which explains why the screenplay lacks the power to keep you engaged. Sure, a few sequences are attention grabbing, but showing the heroic side of Sanjay Dutt [rescuing Bipasha all the while - from the cops, from Rajesh Khera's henchmen, from a lecherous Yashpal Sharma] appears very filmy. Even the finale - Sanju busting the conspiracy - comes across as child's play. 
Kunal Kapoor is royally sidelined in the first hour, but has a few interesting scenes in the second half. His speech in the finale is flat and devoid of the required emotions. Anupam Kher is the lone actor who actually looks the character he has been assigned to portray. 
Freshly cooked, piping hot food is savoured instantly. Similarly, a film that radiates freshness catches your eye instantaneously. Conversely, if a film takes a really long time to hit the screens, it generally doesn't find a place in your things-to-do-this-weekend list, unless the word of mouth is electrifying. MILENGE MILENGE suffers for this reason. Even the man on the street knows that it's a dated product!
But MILENGE MILENGE has 'kismet' keeping the lovers apart. Imagine a love story where the lovers have already expressed love for each other, but some force beyond their control gets in their way and keeps them apart till the end of the film. The script indulges in bringing its leads together, but also makes sure that they stay far away from each other till minutes before the film is about to conclude. Sure, this thought sounds interesting on paper, but there's a flipside to it. With Facebook, Twitter, Google and also cellphones at one's disposal, is it difficult to trace anyone in today's times? Naah, not anymore! 
Immy tries to regain her trust by telling her that they are destined to be together. Priya decides that if it is destined that they be together, then they will find each other in Delhi again, although both do not know each other's whereabouts in Delhi. Three years later, Immy returns from abroad, while Priya is now settled in Mumbai. Immy is engaged to a family friend's daughter [Aarti Chhabria], while Priya has also moved on in life. She is in a relationship with a pop singer. 
Both Shahid and Kareena play the hopeless romantics to the hilt. Their [then] off screen chemistry comes across very well on screen. Although the film was shot several years ago and Shahid looks boyish all through, his performance is consistent and believable. Kareena is equally convincing. Aarti Chhabria has nothing to do. Delnaaz Paul [Kareena's friend] and Sarfaraz Khan [Shahid's friend] get ample scope and are noticeable. Satish Shah is hardly funny. Kirron Kher sparkles in a brief role. Himani Shivpuri is wasted. 
The first thing that attracts you to I HATE LUV STORYS is its title. Let's face it, we adore love stories... at least I do. We idolise the characters decades after the movies have come and gone. The songs that come on our lips instantly while playing a game of antakshri are romantic songs as well. In fact, the biggest moneyspinners, let's face it, have been love stories, right? So how can we 'hate' a love story?
'I hate love stories' is the maxim Jay [Imran Khan] lives by. But as an assistant director to Veer [Samir Soni], the most famous romantic film-maker of Indian film industry, Jay has little option but to live with larger than life, glossy, cinematic love on an everyday basis. Things only get worse when he is made to work under the new production designer on the film, Simran [Sonam Kapoor], with whom he shares the strangest first encounter. 
Let me draw parallels with another love story, also starring Imran Khan. Recall the finale of JAANE TU YA JAANE NA, which had Imran riding a horse to reach his sweetheart [Genelia] at the airport. I distinctly recall, a lot of people found the end bizzare and rightly so. Can you imagine anyone galloping to the international airport in Mumbai? But I was truly surprised when I learnt that the youth were whistling and clapping all through. The finale is different here [no horses, please] and you exit the auditorium with a smile on your face. 
Imran enacts his part effortlessly. Though the role doesn't demand histrionics, you keep reacting to Imran because of the magnetism he radiates. The devilish streak in his character is sure to appeal to the youth. Besides, Imran has been photographed and presented very well. Sonam is a revelation. From salwars [SAAWARIYA, DELHI 6] to skirts in I HATE LUV STORYS, Sonam finally gets a role that does justice to her as an actress. The ease and class with which she carries off the glam look is fantastic. She's like a whiff of fresh air and you actually wonder, is she the same girl from SAAWARIYA and DELHI 6? In fact, I HATE LUV STORYS will only multiply Imran and Sonam's fan base manifold. 
It's time for the modern-day version of 'Ramayana' to unfold this Friday, exactly two weeks after 'Mahabharata'. The very thought of watching an epic in the present-day milieu only enhances the curiosity for the film. And if the present-day adaptation of 'Ramayana' is helmed by a master storyteller [Mani Ratnam], the moviegoer should, and must expect the moon. Nothing less would suffice. After all, a Mani Ratnam film is not merely an experience, it's an event!
Final word? RAAVAN comes with the baggage of humungous expectations, mainly for the one name attached to it: Mani Ratnam. Even though comparisons with the genius film-maker's earlier accomplishments like MOUNA RAAGAM, NAYAGAN, AGNI NAKSHATRAM, GEETHANJALI, ANJALI, ROJA, BOMBAY and GURU are sacrilegious since all belong to diverse genres, RAAVAN is nowhere close to those epics. The benchmarks only get higher and higher every time Mani Ratnam makes a film and RAAVAN, unfortunately, is a step down. Sorry, several steps down! 
Also, his makeup and also the shabby avtaars of his family/henchmen is not something that makes them looks menacing. In fact, it makes the entire gang look repulsive. 
I've admired Abhishek's work in Mani Ratnam's earlier films YUVA and GURU, but despite putting his best foot forward, for some strange, inexplicable reason, Abhishek doesn't look convincing for the part. Also, the dialogue delivered by him aren't coherent at times. Aishwarya is wonderful, looking ethereal and enacting her part with conviction. Vikram is first-rate, although the role isn't substantial enough. Govinda fails to create any impact whatsoever. Amongst the plethora of actors, Nikhil Dwivedi [a revelation; very good], Ravi Kishan [nice] and Priyamani [perfect] stand out. 
Actor turned debutante director Parmeet Sethi made a startling confession on my show, a few days ago. He said, he had completed the entire script, with dialogue, in six days flat. I was apprehensive initially, but not once does BADMAASH COMPANY give you the feeling that it's a hurried job or the debutante writer-director, in a bid to start his first film, had left blanks incomplete.
The best thing about BADMAASH COMPANY is that you identify with the mindset of those who aspire to reach the pinnacle of success using shortcuts. The scams and the con games the youth indulge in are easy to decipher and least complicated, which works in its favour. Another strong point is the camaraderie that the four actors share on screen. The film would've fallen flat if the chemistry was missing, but the bonding looks so real that you forget that they are merely enacting those roles. 
Anushka is a revelation. She looks stunning, her performance is livewire and the chemistry with Shahid is electrifying. Strangely, she took a backseat after her debut in RAB NE BANADI JODI, but BADMAASH COMPANY will bring her back in public eye. Vir Das is another surprise. He's in terrific form here. The film marks the 'birth' of another talent -- Meiyang Chang -- who adds a lot of freshness and zing to his character. Anupam Kher is wonderful. Kiran Juneja makes her presence felt. Pawan Malhotra is extremely likeable. 
Hollywood has come up with so many movies on memory loss, while Bollywood too has had its share of films which depicted the protagonist losing his memory, GHAJINI being the most recent example. But what if someone robs your memory? Quite an interesting thought, isn't it?
He is being hunted by the secret service of India, the CBI and the biggest white collared criminals in the world. He is the most wanted man in the country because only he knows the whereabouts of the heist, which contains a secret that is linked not only to his loss of memory, but threatens the future of the human race. 
Director Kookie Gulati has an eye for visuals and that's evident from the very start of the film itself. The film looks magnificent and wears an international look as well. Shiraz Ahmed's screenplay is watertight in the first hour, but leaves a lot to be desired in the latter portions. Dialogues [Mayur Puri] are well worded. Cinematography [Vishnu Rao] is top notch and the eye-filling locations are a visual treat. Allan Amin's stunts and chases are mesmeric. Sachin Gupta's musical score is trendy and catchy. 
Love stories seem to be the fav genre of dream merchants here. I've a hunch, if we ever do a count of romantic films made in Bollywood, it would easily score over other genres. The question is, how innovative can a love story get in today's times? Milap Zaveri provides the answer: Man from Earth, woman from Venus.
But the problem arises when the focus shifts to the prem kahani in its second half. For, the story follows the trodden path [it becomes a love triangle] and embarks on the same old route that all love stories usually embark upon. If Milap had the courage to think out of the box, he should've ensured that the film remained true to its essence. Why didn't he think of an equally wacky second hour? 
Milap tickles your funny bone at the very outset. The story of a loser, his search for true love, his 'naughty' father, his 'oversexed' friend and his experiences at his work place [on a film set] bring a constant smile on your face. In fact, one of the key factors why the first half works is because the casting is just right and the actors carry off the assigned roles so well. 
Riteish enacts his part efficiently. That he's at home in comedy is well-known by now, but the actor is equally at ease in emotional moments and also romantic sequences. Jacqueline is easy on the eyes. In fact, she seems more comfortable this time. Vishal Malhotra is superb and contributes enormously in making the proceedings lively. Ruslaan carries the teen heart-throb look very well. Sonal Sehgal is competent. 
The recipe is simple and uncomplicated...
Let me elaborate. Debutante director Mudassar Aziz, who has also penned the script, borrows from the past, going for the tried-and-tested stuff, but the narrative, already low on fuel, comes to a grinding halt by the time it reaches its finale.
To give the credit where it's due, DULHA MIL GAYA has some interesting moments, but the problem is they are few and far between. One expects things to perk up when SRK's character is introduced [in the post-interval portions], but your hopes go crashing as nothing worthy of note occurs.
Sushmita excels in a role that demands her to be hoity-toity. She enacts her part effortlessly. One wishes to see her more often on the big screen! Fardeen does a good job, especially towards the end when he's about to confess something vital to Ishita. Ishita delivers a sincere performance. It's a pity that a superstar like Shah Rukh is terribly wasted in an inconsequential role. It may not go down well with his fans.
