But now Vishal is taking on the small screen with his first ever daily soap, Kuch Toh Log Kahengeas Dr. Ranganath.

Talk about Vishal and the first image that comes to mind is his presenting the Disney Houror playing a college boy in Hip Hip Hurrayand his debut movie Ishq Vishk. But many years have passed since he did those shows and movie and he is not the same young teenager any more.

Vishal, who is now in his 30s (doesn't feel like it, right?!) and even got married last year to his long-time girlfriend Rashi Chopra, is now at ease with himself. He says, "I feel much more comfortable in my own skin now.

I am at ease with myself. You know so many years of experience and maturing adds a lot of value to your life; you start respecting yourself.

And that is exactly how I feel right now." Vishal, who will complete one year of his marriage in December this year, feels that marriage has made his life much more systematic and focused (less)

..

From a Shirish calling "Ra.One" a fizzled cracker to a Thackeray almost calling you a Pakistani loyalist, within a week - what did you do to trigger this? Both unimportant.

..

let me say something sincerely. I hope it doesn't sound too rude.

Successful people do things, and get over with it, and leave others to live their life off it. I DO them.

And then I leave it to others to live their life off it. It is so strange - if anyone takes my name, I have the ability to make them famous.

Just by taking my name. And that's God's gift.

My son asked me this the other day, 6 'o' clock in the morning he called me, and asked me, Papa, people say things about you. Don't you get angry? Don't you want to beat them up? And I said no, your father is gifted with this.

That if you want to be famous, you take your dad's name. And I said the only persons I don't want to be famous by taking my name are you and your sister.

Let the rest of the world do that. And I truly mean that.

I hope that comes true. I endorse so many people free (laughs)! But surely statements such as Thackeray's must provoke you to respond? Sometimes I don't want to dignify things with answers.

And it takes a huge amount of self-restraint, patience, control, and love for your own family, to keep quiet. And dignity, and perhaps the status that I have in the eyes of the people.

I was told by Amitji once - we were sitting backstage for a show - beta, jab stardom aati hai na, koi bhi aadmi aa kar tumko thappad mar kar chala jayega. Tum use kuch nahin keh sakte.

Kyunki agar tumne kuch kaha, to tum ameer ho, gareeb pe apna dum daba rahe ho. Tumne sharab pi hui hai.

Tum gundagardi kar rahe ho. Tum arrogant ho.

Tum apne aap ko samjhte kya ho? He said these are the things they'll say. You have to keep quiet, put on your blinkers, keep walking.

And that is why successful people finally become a little reclusive. It's not the reclusion of loneliness; my reclusion is the reclusion of avoiding, of ignoring, of saying, let's move on.

Hemaji told me something like this long ago, when I was new. Somebody wrote an article which said that I'd said that Hemaji was not a good director - while I'd said nothing like that, but you know how press mein aata hai.

..

so I was very scared and I said, ma'am, I didn't say anything like that. Hemaji told me see, this means, either I am very famous, or you are very famous.

And my fame has sort of reduced now, so this means you've become famous, and now this will be part of your life. The other night, I met her for the launch of her film, and she asked me - you remember na everything I said? And I said, yes, I remember everything.

So, yes, success makes people - people not related to you or to your field - like to take a dig at you. Sometimes I go to social networking sites for a while and I'm like, arre! Kaafi personal ho gaya! Quite vicious, the online tenor can be, on a bad day.

Yes, very. But then, I'm like, this is maybe a small dusty man in a small dusty room, taking out his angst, his loneliness, by taking someone's name, abusing him, and feeling happy that his achievement has been recorded.

So then I feel I'm also a source of inspiration for them, even if in a strange, negative sense. God bless them.

There is no dearth of actors - stars, rather - who share your surname. But the "Nishan-e-Pakistan" sort of compliments are usually directed exclusively at you.

Why's that? (Laughs) I know, I know what you mean. Maybe I'm too flamboyant.

Maybe like my son, I don't answer back enough..

. But why are you a target of angst across the range - from the guy in the dusty room to irked political leaders? I think I invoke radical passions in people - and that is why I am such a big star! I'll walk out with you just now, and you'll have men, women, of all nationalities, just hugging me.

I think it is the same intensity on the other side, in those who don't like my face. And I will choose to believe in the hugs more than the hatred.

Just like Hyundai uses me, as a professional, a lot of people use me unprofessionally. I've become a free-for-all brand.

I hope they come out with a rule that they can't use a person's name without paying him for it! And the most irritating part of it is one word - opinion. You ask someone, how could you say this about him? And the answer is - it's an opinion.

You're a dog - that's an opinion. You're an actor - that's also an opinion.

You're a Muslim - that's an opinion. Anything can be twisted into an opinion.

That's not good. Ek "Trimurti" mein line thi - kabhi picture mein shoot hi nahin kari woh! - mujhe badi achhi lagti thi: "Jisko dekho mera baap banna chahta hai" (laughs).

It's a strange thing. Jisko dekho mera baap banna chahta hai.

Lekin theek hai. God bless them.

So long as my children don't want to be my baap, it's ok! "RA.One's" revenues have been the subject of much national debate the past week.

Yeah..

. right now, as we sit down and talk, it is supposed to be the highest grosser, as of five days.

The business is different - number of theatres, screens, audience going in big numbers..

. so obviously the reactions are also larger, more volatile.

The projectionists have also become part of the reactions - and they like to make projections telling you that agle din business itna achha nahin hoga. Everybody has become hugely associated with the tangibility of this business.

It is unfortunate that it is so; a film should ideally be allowed to breathe, to reach people at its own pace. That was the old style.

But if you release it in the new style, like we have, with 5,000 theatres, which is the American way of doing it - and the right way - because there are no longer Silver or Golden jubilees, there's only a weekend or two of business. In the future, all big films will release in 5,000 theatres.

In an earlier interview, you said that films and filmmakers are part of a strange art form which is only measured by the yardstick of commerce. And that dichotomy is one you have to live with.

..

You have to live with it, yes, you have to. Earlier, the business of films was not discussed on every platform.

Now, if I'm getting off the plane from LA, people come up to me and say, 'Sir, congratulations, what big figures!' Earlier they would come and say nice film, good role - now they talk about earnings. The applause is mixed with the jingling of coins, you have to hear both together.

It doesn't make me too happy. My heart doesn't crunch numbers.

But my business partners are happy - mazaa aa gaya reactions. I'm like, ok.

..

I think a film should be measured differently also. Is it the media's obsession with you vs Salman that got translated into the almost hourly comparison of "RA.

One" vs "Dabangg"? I don't think it's just the media, honestly. I think there is a section of people related to the trade who also talk in these terms.

A trade person or a producer, he'll tell you it did well, but it didn't quite do as well as that one, or better than that one on the second day, or whatever..

. I feel conversations are not viable anymore; it's just communication.

And communication boils down to monosyllabic terms. Yes, no, ok, good, like, dislike, bye, 170 (crores).

It is no longer ki kaisi lagi picture..

. Nobody converses.

Reactions are like, wow, thumbs up, smiley. New genres, new stories are like a new shoe for a day or two.

And I've been in the business long enough to know ki yeh joota theek ho jayega. Now it'll swerve to the opposite - these figures are unheard of, etc, etc.

I would not like to participate in either of these discussions, Day 1, Day 2, week..

. the messages I get are like, '7 crores on a Monday! Super duper!' The first four days are just about communication, then it comes to conversation about a film.

Appreciating a film is like opening a wine..

. good wine needs a little breathing before you drink it.

On the point of commerce vs art: Wouldn't you be remembered for a role like "Chak De" even if that wouldn't be a movie that made a fraction of the money that "RA.One" is making? No, I don't think so, I don't think that's a case in point.

I work for now. I don't work for two things - I don't work for posterity, and I don't work for prosperity.

Some people work for prosperity. I've worked for that.

But now I am prosperous, I am ok. And I don't work for posterity.

Yaar main yeh kya nishaan chhod ke jaa raha hoon? Because posterity is not created by you; it's created by talk, by cinema, by life itself. If you're working for either of the two, you're on a shaky wicket.

I work for NOW. I want to be untouched by this whole tangibility factor.

I was speaking to Lady Gaga, I had this long interview with her, and she said some very nice things. I really appreciated it because when I say those things, I sound as if I am philosophizing too much.

But she was saying the same thing. If finally someone were to give her a choice between giving up her money, her stardom, all that she's earned, or give up singing, she'd choose not to give up singing.

If someone were to give me the choice between giving up all my cars and my money and giving up acting, I'd say, yaar, acting karte rahenge, will let those go. Maybe if you are as successful as I am today, you have that choice.

Maybe that's not a choice one has in the first two years of one's career. But this is my reality today.

I don't work for the prosperity; yes, it happens along the way, Mashallah, it's very good for the business. And I don't think about posterity.

I will not think about posterity because I still haven't ended; I think my posterity will be when I sit down and start watching my own films, which I still don't do. Never? Never, yaar.

I can't watch my own films. I've kept that for old age - ki baith ke dekhoonga, kiya kyaa.

What is old age? Old age, for me? The way I'm going, about 140. That's what my friends say.

I'm 46 now - so about a hundred to go! Your dad was 50-something when he passed away. You've talked about thinking more of mortality, and of him, when you approach 50.

Yes, then I did. But now I don't.

..

because I am the healthiest I ever was right now. And I am also more relaxed.

In a happier space as a person. To me it's no longer about wanting to have my finger in every aspect of life, like I used to be maybe 15 years ago.

But ya, it is strange to think that my son today is as old as I was when my father died. I do get reminded of that, ya.

Not necessarily about mortality..

. but it's good to be reminded of that, too.

Like Steve Jobs said, if you know finally you're going to die, there seems to be no risk in anything you do in life. He said this when he had cancer.

I think our fear of mortality stops us from living life to the fullest. I am living my dreams - how many people get a chance to do that? Lady Gaga tweeted a picture with you and said 'screw Hollywood!' That must have made you happy! Yeah! Actually all the reviews of my movie in Hollywood are like that.

You should read the reviews in LA Times, New York Times..

. a journalist said to me, 'It's like we've been saying this for 8-10 years, suddenly, seeing "RA.

One", we're telling Hollywood, dude, even technically they're here now - and the cost is one-hundredth of your films.' I think it's a sign of the times, whether it's Akon or Lady Gaga, they all want to come to India.

In reverse, it took an Oscar for us to recognize the genius of a Resul. As to Lady Gaga, she's a sweet lady, really, really upfront, honest.

I spent three hours chatting with her. It was fantastic.

Simple, down-to-earth middle-class girl..

. 'Simple' and 'middle-class' are not the first words that come to mind when you speak of Lady Gaga.

..

An image. An image that's bordering on the bizarre.

And it's just an image. Amazingly intellectual.

A philosopher. She is very clear.

As a person, she is so deep, she knows the philosophy of the world, she ad verbatim knows the philosophers..

. It was a great learning experience - and I say that about very few people, more so those who are 25 years old.

She said a great thing to me. She said, an artiste's personal life should not be discussed beyond a point, because it somehow blunts the art of the artiste.

People start taking the art less seriously than the personality. She says my personality is me, my art is what you see - and they are two distinct, two clear thoughts.

Seeing her on stage, you expect her to be this really wild, vivacious girl - she's actually a calm, normal person who says her most interesting pastime is cooking food for her father whenever she's in New York. Middle-class girl.

She's very clear - I just want to sing. It was a fantastic learning experience for me, and it was also stuff that I completely believe in.

Whatever I am out here is for the people - I'll dance for you, I'll do a "Chammak Challo", I'll wear a tight suit and fly if that makes you happy. But in my personal life, I'm a deeper person.

So when you say silly things about me..

. I have to disassociate and say, these guys don't even know me personally.

So the comment is unfounded. This guy doesn't even know me.

I was flipping through an article and somebody had written, 'This is the most expensive mid-life crisis of a person'. Why are you talking about my mid-life crisis? What do you know about my crisis? Or where I am? Talk about the film - that's what you're paid for.

Review the film. Don't review my personal life.

I don't sell my personal life to you. Talk about the actor, don't talk about the person.

When you make a personal remark about me, without knowing me, I have to take it like that - it's your own issues in life maybe, you're just putting it upon me because iske paas yeh sab kyun hai, hamare paas kyun nahin. I guess it's just that, finally.

Are you still an outsider in the system after all these years? Well, if you look at it, I'm an outsider, which my son won't be, so maybe he'll have it easier..

. but it's not that.

I'm told that I may be coming across as rude. I'm not really very social.

Maybe it's because I don't bend. Maybe because even in the face of bad things, I'm smiling.

It irks people sometimes. They're like, saala, akele yeh sab kaise kar leta hai? I do that because I sleep less, I work harder.

Everyone finds a different reason for my success except the fact that I act. 'Yeh marketing guru hai yaar'.

'You know what, saale ki luck chal rahi hai'. Luck chal rahi hai, for 20 years? Haan, saala, bees saal se luck hi chal rahi hai! It's 'Arre wohi kare ja raha hai, love stories karta rehta hai'.

'Gaane nikal jaate hain iske; gaane achhe mil jaate hain saale ko'. 'You know what, Muslim audience bahut pyaar karti hai isko.

' 'Overseas! Overseas ki wajah se itna chalta hai.' They find strange reasons for my success.

But the real reason is - early to bed, early to rise, work my a** off, and advertize. It's as simple as that.

I am my one man walking talking team. I can handle 5-6 things at a time.

I can handle a cricket team, I can handle production, I can set up a VFX studio, I can make the most expensive film in the country. I can still come and launch a kabaddi tournament in Bhatinda and deliver a speech at Adasia which everybody loved and still go back home and celebrate my birthday with my kids.

And I can play video games with them. And I'm not tired.

And I'm everywhere. But your being everywhere was a point of much talk in the run-up to "RA.

One" - he's on every show, everywhere..

. And why not? An actor once told me - I won't name him - 'I don't like dancing at weddings'.

I said, and how often have you been invited to dance at weddings? The answer: 'I'll never do it'. I said, pehle chance toh mile! If I'm invited, if I'm put on people's shoulders, if I'm asked to be on, from "KBC", to whatever programme - if I'm called, I like to do it, I'm ok.

This is what I'm here for. I like doing that.

You do that if you're called. Just because you're not invited, don't run down my party.

I'm invited to every party. And I like to attend all of them.

And I enjoy myself. Life is beautiful.

I am beautiful. And the few things around me that are not beautiful - I like to think of them as nazarbattoos - tils.

Woh kehte hain na, tere chehre pe yeh jo kaala sa til hai, lagta hai daulat-e-husn pe darbaan bitha rakha hai. So yeh jo negative baatein karte hain mere baare me, yeh mere daulat-e-husn ke darbaan hain, mujhe nazar lagne se bachate hain.

You looked tired, run-down sometimes while being everywhere..

. I got tired.

I fell sick, actually. I got a bronchitis attack but I couldn't stop, film ke premieres they.

Then I was on antibiotics. Superstars don't rest, do they? I sleep an average of 30-35 hours a week.

Today I slept just an hour, but on the flight from LA, I slept for 16 hours straight. I guess it comes out to an average of 5 hours.

I don't sleep very early anyway. I like that time at night.

That's the only time I get to be with myself. No cars, no clothes, no films, nothing, just my thoughts.

That's important. People think insomnia hai, but it's not that.

I like that time - 2, 3am. You hear crickets, it's quiet.

I like that time of the night. For 20 years, when so much is asked of you, and you want to give it with happiness and love, you deserve that time by yourself.

I just sit quietly, I do nothing. I'll write, or surf channels, or read a really silly book.

That time, I feel, gets me ready for the next day, more than the sleep (less)

"Shammi's was a joyous celebration of life; he was the first dancing star of the industry. Before him, our superstars, including the great triumvirate of Raj Kapoor , Dilip Kapoor and Dev Anand, didn't dance," says Rakeysh emphatically.

Shammi brought with him a sense of positivity and hope that independent India desperately needed at the time; he sounded a wake up call for India's youth, says Rakeysh. "From the pessimism of Guru Dutt's Jinhe naaz hai Hind par woh kahan hain, Shammi took us kicking, screaming, singing and dancing Hum pyar ke toofanon se ghire hain hum kya kare," he explains.

"Shammi's presence was liberating. With him, heroes became boys, and I'm not talking about their age.

It was the attitude of exuberance, positivity, wonderment and celebration. From Shammi to Ranbir Kapoor , our heroes continue to be boys to this day," Rakeysh continues.

Apparently, the director's search for Bollywood ended with Shammi while researching his documentary, Bollywood The Greatest Love Story Ever Told. "One evening, I was with Shammi till the wee hours and we talked cinema, both his and mine.

I remember he held my hand and told me never to lose sight of my creative vision. I've held on to that," reminisces Rakeysh.

Work on the Shammi documentary is slated to begin after completion of Rakeysh's Bhaag Milkha Bhaag in July. "It's something I need to do for myself more than anyone else," he says on an ending note (less)

The movie should surely be renamed ‘Cash for idiots’. Cash is a heist film, but made with zero intelligence and for an audience of zero intelligence.

There wereno skills whatsoever on the part of every single person who’s worked on it, barring perhaps the action director who’s designed some cool stunts. The film is like one of those mindless video games in which all characters walk and talk like zombies and the game, sorry movie moves from one stunt to another without any link between the two or even related to the story line, which is definitely missing.

The director has spent so much money on the stunts that he definitely decided to give the script writer a miss. The instructionsto the heroines is clear cut – show off your toned bodies, that’s it, don’t try to act.

What’s wrong with A-Grade actor Ajay Devgan? At one time he used to be my fav actor – the actor with brains and heart. Does he really need money so desperately to produce his own films that he has taken to acting in C-grade films? I am throughly disillusioned.

Free weekend? Don’t waste Rs 150 on Cash (even Rs50 is tooooo much!) Watch Indian Idol / SRGMP instead. Better entertainment.

Rating 1/5 (That too because of the stunts) Sphere: Related Content Posted in (less)

"At the end of the day you are an outsider and it doesn't help you much when you don't even belong to the country. You can't imagine how it feels for a young woman to come back to an empty apartment, be all lonely and face her demons.

"The city starts seeming far more alien while the sheer unpredictability of Bollywood as an industry starts intimidating you," Jacqueline told PTI. It has been just three years in the industry for the former model, who began her acting career with Aladin in 2009, followed by Jaane Kahan Se Aayi Hai .

But both films bombed, making it tough for Jacqueline to make a mark in Bollywood. "I had a very rough last year.

Jaane..

. and Housefull released back to back and though 'Dhanno' was a good enough reason to smile, honestly I expected much more from my career," she said.

Jacqueline, whose only silver lining was the item number Dhanno in Housefull , said, "At the end of the day you do expect bigger and better movies coming your way in Bollywood. Item numbers are fine but acting is something that I wanted to continue.

Unfortunately things weren't quite looking up at that time." But Murder 2 has brought some respite to her unstable career this year and Jacqueline has a bevy of films lined up.

Even though Hindi is an alien language for her, the actress says she has tackled the problem. "Language hasn't been an issue as I have pretty much picked up Hindi in the past three years.

" She recently bagged Krrish 3 opposite Hrithik Roshan and is looking forward to Housefull 2 and Raaz 3 . "I am feeling a lot more settled and now is the time to prove myself.

I have been working my very hard and feeling a lot more secure as a person. "These are far happier times for me.

I am a lot more content than before. I have no complaints or regrets.

I have been given these opportunities and now it is up to me to make the best out of it," said Jacqueline. Tweet (less)

Right from the vintage drama songs Ambili Ammava Thamara Kumbililenthundu , Marivillin Thenmalare to classic songs like Kasturi Manakkunnallo , Kayampoo Kannil Viriyum and from the rivalry between Udaya and Merryland Studios to the suicide of actor Vijayasree. But one may wonder why, with all these nostalgic ingredients, Nayika fails to impress and ends as an average flick! The major setback is the lack of a proper platform to place the characters, be it Sharada's Gracy, Jayaram's Anand, Sidhique's Stephen Muthalali and Mamta Mohandas' Aleena.

The first three characters have resemblance to some prominent figures who ruled the Malayalam industry once but it is slightly twisted. Jayaram lends the gestures and mannerisms of the late Prem Nazir to his character, and since imitating Nazir is his masterpiece as a mimicry artiste, it really came out well.

But with the absence of a strong script, all the characters ended up as bygones and at many points, were left clueless. Scriptwriter Deedi Damodaran, who made a promising debut through Gulmohar , knitted a tale by placing the mystery behind the death of actress Vijayasree in the centre.

The actress, who was known as the Marilyn Monroe of Mollywood, committed suicide following an incident while shooting for the movie Ponnapuram Kotta . While enacting a scene in a waterfall, her dress got removed accidentally and the cameraman continued with the shooting.

Her nude images appeared in the film and it is said that the actress committed suicide following the incident. Though Gracy is in a mentally-challenged state, Aleena succeeds in interacting with her with the help of the actress' personal assistant Rangannan (Jagathy).

Travelling through the memories of Gracy comes Padampriya (depicting the youth of Gracy) and her relationship with actor Anand. Kudos to Jayaraj for casting Padmapriya as the young Gracy.

Her beauty and acting skills helped in portraying the role to perfection and 'young Gracy' ends as the saving 'grace' of the film. Apart from these references to the past, Deedi's script fails to blend all these characters together into the plot.

The director, apart from following the script, has not tried anything extraordinary leaving the spectator indifferent in the end. If director Ranjith's Thirakkatha - a recent Malayalam film that narrated a tale from the 1980s Mollywood - was a serene and haunting experience, Nayika , which could have been made crispier - has failed to reveal its truest possible form at its best.

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Jaswant Sisodia (Manoj Bajpayee) rules supreme in the town of Bijnor and one of his indulgences involve forcing a girl Anshu (Tia Bajpai) to be his mistress. Anshu's parents are as helpless and humiliated as the vulnerable victim, who ironically gets willfully raped every night by Jaswant.

Jaswant's close aid (Arjan Bajwa), who he as well considers his younger brother, comes to the town and supervises his illicit operations. His loyalty towards Jaswant remains integral until his empathy towards Anshu overpowers it.

That's when he decides to betray his mentor. Visibly Tia symbolizes Sita, Manoj Bajpayee represents Raavan, and Arjan Bajwa stands for Vibhishan in this selective depiction of Ramayana.

And through its dense drama, the film justifies Vibhishan's stand to stand against the morally wrong Raavan. Where debutante director Maqbool Khan's expertise comes is in giving Manoj Bajpayee's character a poised tone wherein, on one hand he is despicable for the heroine, on the other hand he is role model for the hero.

As an audience, you relate to both the extreme shades in his personality, which can also be immensely attributed to Bajpayee's persuasive hold on the character. The plotline isn't entirely inventive and one has seen thematically similar interpretations, notably in Rakesh Roshan's Koyla (1997) or more recently Kites (2010).

How it steers clear from other cinematic adaptations of Ramayana is from the fact that it intentionally avoids incorporating Ram as the ideal protagonist and substitutes it with Vibhishan who might not be perfect yet opposes evil. So the entire essence of the film lies in the camaraderie between Raavan-Vibhishan (Bajpayee-Bajwa) and their subsequent conflict.

Thereby the director keeps the romance track between Arjan Bajwa and Tia Bajpai to the minimal and thankfully the narrative never branches out into their individual love story. A better alternative would have been to restrict their bonding only till empathetic emotions (like in Emraan Hashmi's Awaarapan ) over the avoidable streak of romance.

The focus is more on the conflict between men than highlighting the trauma inflicted on the woman. Thereby the lust and obsession that fuels Jaswant's desire to dominate Anshu, both, physically and psychologically, remains peripheral to the plot and doesn't register effectively enough.

In fact their back-story is never fleshed out. Somewhere there is more amity between the male leads than animosity with Arjan Bajwa's duty-bound character being a mute spectator for the major runtime before he rebels in the very end.

And post his revolt, the film comes to a quick end with a solo climactic confrontation scene between the men. The climax, however, seems hurried and convenient in the bigger picture.

It's sad then that what could have been shown as a rare account of ethical unfaithfulness ends up being a generalized preachy epilogue on how men should treat woman with respect and how wronged woman should not lose hope and continue their fight against injustice and blah blah blah. It almost changes the tenor of the male-dominated drama to a woman-liberation film.

Shashank Dabral's writing is fairly interesting to the extent that it never strikes your engaged mind that Arjan Bajwa's character name is never mentioned in the film. However the political nexus in the narrative isn't seamlessly integrated with central plot and rather runs parallel to it.

Also the dialogues could have been more effective over the trite lines. The film is completely designed in and around Manoj Bajpayee's character and the actor justifies the immense scope he gets with an authoritative performance.

He has a menacing attitude, his eyes speak volumes, he laughs hysterically and thankfully never goes overboard (despite a strong tendency to ham). Arjan Bajwa is impressive as the man of few words and despite Bajpayee's towering persona; he still commands good screen presence.

Fortunately Tia Bajpai is given the least lines, scenes and footage in the film and one doesn't complain. Yateen Karyekar as the defenseless father is impressive.

The immensely talented Manish Chaudhari doesn't get much scope here. Yashpal Sharma is regular.

Director Maqbool Khan shows restraint and refinement in crafting his first film. This Lanka, though not full of gold, has some shining moments.

Finally there's a film about Raavan which belongs to its Raavan! Verdict: Good (less)

But alas! the terrain is a tad too familiar to give his legions of fans their long wished-for catharsis. The plot is simple.

Jai (Pawan), an orphan, is a loyal lieutenant of a don Bhagwan (Jackie Shroff) and when not making a mince meat of his godfather's rivals, he's busy basking in the lap of nature at his own nursery which he runs with his pal Chotu (Ali). Life turns upside down with the arrival of Munna (Adivi Seshu), son of Bhagwan, who covets Jai's childhood friend Jhahnavi (Anjali Lavania).

Meantime, Jai runs into a green peace activist Sandhya (Sarah Jane Dias) and sparks fly between the duo. The plot thickens when a jilted Munna batters Jhanavi to death and is dispatched to hell by an enraged Jai.

The ungrateful act has the don turn his ire against Jai and the rest of the story unfolds along predictable lines. Director Vishnu Vardhan of Billa fame, who has also scripted the film, lives up to his reputation with his stylish frames but the story, a mash up of Pawan's old movie Balu and Sai Kumar-starrer Prasthanam , is at best old wine in a new bottle.

Action sequences by Shyam Kausal, cinematography by Vinod and music by Yuvan Shankar Raja breathe life into the film. The comedy track involving Pawan Kalyan and Brahmanandam, who plays a cop, is insipid.

What's refreshing though is the absence of in-your-face dialogues with which Pawan has come to be identified in recent years. The star, sporting a beard, plays a subdued character who exhibits controlled aggression.

Though welcome, the characterisation veers off track during his comic scenes with Brahmanandam. The rest of the actors deliver decent performances.

The director and editor ought to have used their scissors more liberally as the supposed action thriller drags at a snail's pace. It's surprising and in fact, it is a cardinal sin to have omitted the racy title song from the film.

It's another lost opportunity for Pawan but definitely an improvement over his films since Khushi. One cannot but sympathise with the star who seems to be nostalgic as are his fans about his glorious days.

Panjaa is set in Kolkata, an obvious journey back in time for Pawan. But then, nostalgia doesn't compensate for novelty.

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A dam's basic purpose is to stock water and perhaps the director's idea of making the viewer correlate with the water reservoir is by testing how much can they hold on to the film that has everything on show but the dam. And by the time Mr.

Dam makes a special appearance in the final reel, audience ke sabr ka baandh toot jaata hain. So you are supposed to endure multiple tales including a star-crossed couple, a love triangle, a child longing for his mother's love, a mother yearning to have a child, a sailor-turned-author, a scheming politician, his wheel-ridden wife and an old man who specializes in alternate treatment therapies.

Imagine the director going that extra mile for character development in a film that is primarily about dam destruction and moreover none of them are even remotely connected to the dam or its disintegration. Dam 999 also seems to be culturally confused cinema.

The setting is in Kerala yet the locals insist on speaking in heavily accented English and whenever cupid strikes, the love songs play in Hindi. Add to it, with the collapse of a dam that is located somewhere in South India, the film attempts to give a tribute to a dam disaster in China.

Intermittently the film seems like a documentary highlighting the miracles of Ayurveda, though that again has nothing to do with the dam. Simultaneously it also promotes astrology and strongly endorses the belief that some mismatched horoscopes influenced the dam wreck.

Which makes us wonder whether other categorical issues like the dam's structural weakness, political intervention and an earthquake were insignificant for the climatic catastrophe! Coming to the 3D aspect of the film, the stereoscopy merely adds depth in some frames but who cares for 3D effects in a film which has 2 hours of human drama and (literally) 2 minutes of dam-break footage. And even the special effects in the film's two minutes of fame are so tacky that you curse yourself for sitting till the end.

The performance from the lesser known cast is mediocre and nothing much to rave about. Both Vinay Rai and Joshua Fredric Smith lack screen presence.

The leading ladies - Vimala Raman , Megha Burman and Linda Arsenio have face appeal, but nothing beyond that. Child actor Jineet Rath irritates with his mugged up lines.

Thankfully Ashish Vidyarthi doesn't go overboard. Rajit Kapoor tries to get the body language and accent of his character correct, though he stresses a little too much at times.

This is one damn boring film. Avoid or be damned.

Verdict: Below Average (less)

It is director Sachin Kundalkar's brainchild, and has Rani all charged up. Together they sat down and shortlisted a few songs.

Rani personally narrowed down the three tracks to be used." Choreographed by Vaibhavi Merchant , the song will have Rani dressed up as the characters from three signature hits: Mohini in Ek Do Teen (Tezaab), Manju in Na Jaane Kahan Se (Chaalbaaz) and Radha in Tu Tu Tu Tara (Bol Radha Bol), made popular by Madhuri, Sridevi and Juhi respectively.

The outfits and the dance steps will be similar to the original. Adds the source, "Neeta Lulla has replicated the minutest details of their costumes.

" Sachin confirms, "This is a personal tribute to Sri, Mads and Juhi. They are actresses we both adore and whose films we've grown up watching.

It's a dream sequence, about which Rani and I are super excited." Needless to say, the inspiring icons will see the film.

"We both can't wait to show Aiyya to all three ladies," concludes the director (less)

But most of the times for the wrong reasons (anglicized accents, ludicrous scenes, ham acts). And even they are far and few between.

The story keeps beating around the bush and by the time the narrative actually comes to point, the film bores you to death. The good-for-nothing Atul (Chandan Roy Sanyal), his mom (Suhasini Mulay) and dad (Kallol Banerjee) are surviving on the assets of Atul's wife, Sonia (Yuki Ellias).

Her late parents have left behind a fortune for her, which the in-laws want to exploit to their advantage. But when Sonia refuses to fund Atul's new security system project, he and his mother decide to terminate her.

What follows is a series of misadventures in her murder attempt. While the burning-the-bride conflict might sound hoary and hackneyed, director Rafeeq Ellias' treatment to this crime-comedy is way away from conventional.

But so hatke is his direction that in making things wild and wacky, the film ends up turning weird. There seems to be a deliberate attempt to devise crazy characters who have crazier conflicts.

Like the father is wildlife enthusiast, the mother indulges in play-station sessions with the domestic help and Sonia is obsessed with astrology of any kind. None of these attributes contribute to the central plot and so the film tries too hard to be funny.

Amongst the genuinely funny sequences are the one where Atul and his mother negotiate Sonia's murder with a theatre director (Chetan Shashital) and a condolence speech given at a dog's funeral attended by dogs of all castes and 'breeds'. Otherwise the film has a very unusual tone of humour where you see a sexologist (Sohrab Ardeshir) who doubles up as a rockstar - a preposterous 'turnoff'.

Initially the viewer has no idea where the story is heading towards. And by the time one apprehends, they seem to be least interested.

The climax set in the Priyadarshan-Anees Bazmee mould, getting all the characters together, thankfully doesn't get commotional and is smartly executed. While the approach to the humour is never full-blown, much of the wit is lost in the film's subtlety.

The performances are kind of dramatic. One can't help but notice a strong Urmila Matondkar hangover in Yuki Ellias' looks.

She comes up with a decent act. Chandan Roy Sanyal isn't bad but gets overtly expressive at times.

Suhasini Mulay is good. Kallol Banerjee is funny in the restaurant and funeral sequence.

Sheeba Chadha and Chetan Shashital are fine for their parts. Sohrab Ardeshir hams.

Nicholas Brown (last seen as the villain in Kites ) doesn't get much scope. All said and done, Love you to Death had the potential to be a much funnier and entertaining film.

Sadly it shows only sporadic sparks of life! Verdict: Average (less)

But the Kannada remake is certainly not well-crafted with its poor production values and very ordinary narration killing the soul of the movie. The essence of the movie which is reflected in the relationship between a very good son and his strict and enraged father fails to penetrate deep in the minds of the viewers mainly because director Umakanth's narration lacks seriousness.

Despite very good performances by Diganth and Avinash, Puthra does not rise up to the standards of the original. The two actresses have competed with each other in delivering drab expressions and even the senior technicians have worked without any imagination.

Despite being good to his family members and others, Krishna is much misunderstood by his short-tempered father Narasimha who runs a grocery shop. Despite being cowed down by his father, Krishna remains obedient and takes on all the insults heaped by him with composure.

In his college, Krishna's classmate Madhu loves him intensely. He likes his relative Thulasi but the two families have a long history of misunderstanding which separates them.

He tries to unite the two families which further enrages Narasimha. Krishna and Thulasi leave their homes and lead a separate life.

How Krishna respects his father even after he acquires good reputation in society forms the climax of the film. Diganth surprises with his convincing emotional performance.

He tries to save the film by understanding the nuances of the complex role. Veteran Avinash has excelled in the role of a tough father.

The two heroines of the film fail to make an impact. Veteran actor Tennis Krishna has done a good job while Sundar Raj fills in perfectly for his role.

Naveen Suvarna's camera work is ordinary while Raja Ramesh's music does not raise above ordinary levels. Puthra is an ordinary film despite a good story and neat performances from the two lead male actors.

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But an excessive lifestyle of sex and substance abuse, not only makes him lose focus towards work, but also leads to a permanent physical disability. In his world dominated by loud music, Raunak turns completely deaf and is unable to pursue his dreams to make music.

Things change when Raunak meets Gauri (Soha Ali Khan), who too is hearing impaired but has mastered the art of lip-reading. In Gauri, Raunak finds a tutor and life-partner.

Also his passion for music is rekindled, as he attempts to sense sound (if not hear) and study digital waveforms of tunes he knew, to create new music. Thereby a deaf DJ turns a renowned composer.

Debutante director Neerav Ghosh attempts to give a docu-drama shade to the narrative to make it seem like a biographical take on the life of his protagonist. Thankfully the documentary treatment never overcomes the actual story, which has enough scope for drama per se.

The first half seems obsessed with close-up shots of alcohol, drugs, smoke and sex. Raunak boozes as if he were drinking water and smokes like he is breathing air.

The idea might be to give a dark and disturbing shade to the film like Anurag Kashyup brand of cinema (the maverick filmmaker also has a cameo), more so with ample scope for substance abuse in the narrative. But after a point of time, it only gets repetitive and seems forced.

The tone of the film suddenly changes in the second half when the narrative turns more soft and sober, as Raunak goes on a self-rehabilitation drive, shunning all addiction. His romance track (with Soha) is blithe as compared to his hardcore sex-drive (with Mrunalini Sharma) in the first half.

But beyond the somber shade and his chemistry with costars, the narrative isn't able to create as much contrast between the first half and the second that would have resulted in relating and feeling for the protagonist's plight better. The depth that it adds to Raunak's relearning process of music (which is the soul of the film) in the second half pales in comparison to the intensity that it lends to the buildup of substance abuse in the first half.

Which means the film adds intensity where not needed and vice versa. A basic idea of a deaf person composing decent music makes for an inspiring story.

While the promising premise of the film doesn't let you down, one still feels the entire account could have been more stimulating, esp. when the director had straight reference point in the form of the original film.

The entire track of Raunak's fight with his inner demon (clowning around him in a joker-faced mask) looks ludicrous over being symbolic. It gets exasperating after a point and the entire track could certainly have been avoided.

For a film dealing primarily with music, the actual 'soundtrack' isn't as stimulating as one would have expected. Also the length could have been shorter and the film could have done away with several repetitive portions.

However, the dialogues, esp. in the second half, are well-worded and leave an impact.

Soundtrack works to a big extent because of the persuasive performance of its protagonist played by Rajeev Khandelwal . At the onset, one seems uncertain if the sober-imaged actor would be able to pull off a character as wild and weird as this.

But as you see him getting more and more into his character, you are amazed at the conviction he brings to his role. Soha Ali Khan not only plays a deaf character, she has to lisp in her diction too.

And the actress does it with absolute subtlety (as compared to the Bollywood stereotypes that go overboard) and brings grace to her role. It would have made more sense if the story enlightened on the reason behind her lisp.

Mrinalini Sharma looks refreshingly sexy and is not one-bit vulgar in her skimpily-clad character. Mohan Kapur hams.

Manu Rishi doesn't get much scope. Yatin Karyekar is decent.

While it had potential to be a rocking film, Soundtrack, at least, turns out to be sound cinema. Worth giving an ear (and eye) too! (less)

PS: This isn't in any order. It totally depends on what you are in the mood for.

1 "Jaadu Hain Nasha Hain" ("Jism"). If this song doesn't stir up the sex, then nothing will.

The lyrics that would put Agent Provocateur to shame ("Dekhti Hai Jis Tarah Se Teri Nazrein Mujhe Main Khud Ko Chupaao Kahan") and visuals that just beg for a little role-play. 2 "Kaate Nahin Kat Teh" ("Mr India").

Guaranteed to get you going even before you've even started getting undressed. Raunchy, ribald and with enough juice to bring a ravenous smile to your face.

3 "Zara Zara Touch Me" ("Race"). If the mood is for nasty, dirty, imaginative passion, this one is for you.

The chorus goes, "Oooooo, Can I Touch Ya, Oooooo, Can I Get Ya". A little turned on just reading it, aren't you? 4 "Ooh La La Ooh La La" ("The Dirty Picture").

In a tearing hurry? The beat will compliment your willingness to be naughty, and it's quick enough to go wham-bam. Prepare for some carnal-craziness.

The song climaxes with a climax. 5 "Bheege Hont Tere" ("Murder").

Some parts are slow, but all parts sexy. It's the perfect foreplay song, where you can slowly strip and sashay to the rhythm.

6 "In The Night No Control" ("Khiladiyon Ka Khiladi"). A desi rip-off of the Laura Branigan classic works as the perfect song to switch dramatically from foreplay to instant gratification.

Works very well, when combined with No. 5.

7 "Dhak Dhak Karne Laga" ("Beta"). This is the song to get your kink on to the thumping beats of this intense desi wonder.

Reserved in the 'salty & sweaty' category. 8 "Jiya Jale" ("Dil Se").

Lutao your libido on this racy one! For those who like moving slowly between the sheets and then speeding up like you are in a rally, this track is just the right way for you. 9 "Raat Ka Nasha" ("Asoka").

The rhythm and melody in this song make sweet love. The ultimate aphrodisiac for anyone with a passive libido.

Perfect song to let the woman take charge. 10 "Chupke Se" ("Saathiya").

This one is for when you wake up in the mood. The lyrics streaming in with the first light of the sun; the morning still bedraggled, the room fervent with a bouquet of hunger.

Start slow, and stay steady. 11 "Hai Rama" ("Rangeela").

This track breathes raging sex. It is raw, animalistic and promises to help you bring out the masterstrokes in a rhythm.

All desi role-play is supported in this one. 12 "Jaane Do Na" ("Saagar").

An old classic that is more for the mature afternoon of passion. This one is all candles and aromas and you will want to hum every word as you tease to please.

13 "Humma Humma" ("Bombay"). This calls for Hollywood style love-making! Clothes are ripped off, objects are knocked over, glasses smash to the floor.

Grabbing, aching, biting, scratching, pushing..

. You get the picture? 14 " Zara Zara" ("RHTDM").

Dirty, naughty and totally fatal. For the women, unleash your wild side with these grooves.

For the men, sit back and enjoy. 15 "Kehti Hai" ("Raju Ban Gaya Gentleman").

Sexy silky vocals, subtly suggestive lyrics, and visuals of Shah Rukh Khan in a super-deep V neck makes this the perfect lotion of lyrical love. Just let it flow.

..

16 "Dheere Jhalna" ("Paheli"). Literally setting your loins on fire.

Earthy and rustic, basic and primal! Perfect to lose your virginity. 17 "Baahon Ke Darmiyaan" ("Khaamoshi") A slow dreamy sexual saga! Smooth and sensual, slow and seeped in syrup.

This isn't Bhansali's imagery - it's the magic of this lilting number that can loop endlessly on a full moon night (less)

So much has changed for us over the last few decades, in that we have the opportunity for better education, for many different kinds of jobs, for being independent in ourselves. "But we all still find ourselves wanting the same thing at the same time-to be swept off our feet by the perfect man.

"We all think that perfect love is going to change our lives immensely. And of course love does change your life.

But what we also have to understand is that happiness lies in our own hands, not someone else's." The Hung Up hitmaker--whose directorial feature W.

E is releasing in January--insists no one has ever given up their "kingdom" for her but she wouldn't want anyone to make big sacrifices for her happiness. She added: "No one's ever given up their kingdom for me yet.

And to tell you the truth, I wouldn't want them to. "When a man gives up his kingdom for you, then it's your job to make him feel like he's still a king for the rest of his life.

That's a tall order." Tweet (less)

But unlike "Only Vishnuvardhana" which was released a week earlier, this film does not use the name of the iconic actor extensively and show the clips of his many films. But a photograph of Abhijit and Vishnuvardhan is displayed with a note that the film has been dedicated to the late actor.

The film has a revenge-based story which is full of commercial elements like action and thrills. A little bit of comedy is also thrown in with actor Bullet Prakash trying to pull a few comedy punches here and there.

But the story is too predictable to sustain any interest among the audience. Even the technical value of the film is below the average standards that are exhibited in many contemporary Kannada films.

The camera work is pathetic but the graphics work is slightly better. Krupakar has done just average work in his music compositions.

The first half is badly narrated while the second half is little interesting. But overall, the film suffers from low quality of production and a haphazard narration.

Vishnu is a do-gooder who comes to his native village to help one of his friends who is trying to marry his lover -- the daughter of a village ruffian who torments the villagers. When Vishnu finds that most of the villagers treat him specially and give a lot of respect, he goes deep into the reasons for such reverence.

He understands it is all because of his father Narasimha who tried to protect the villagers and do good things for the benefit of the village. His attempts to help out the villagers for constructing a lake are not to the liking of his relatives who kill him.

Vishnu avenges the death of his father by killing his relatives responsible for the murder. Abhijit's attempt to have a new look in both the roles has not yielded good results.

His hair styling is atrocious. However, he has excelled in action sequences.

The film's heroine Catherine is only there for her glamour quotient and nothing else. The veteran actors, including Ashish Vidyarthi and Sharath Lohitashwa who play the villain's roles, just shout and scream rather than showing their talents.

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And devoid of a star-studded cast, the film still boasts of high production values. What goes horribly wrong with the film then is that it's backed by an outmoded plotline that is certainly not jo hum chahein .

What annoys you is the hero's (Sunny Gill) incessant arrogance and cockiness. He reeks of overconfidence which impresses everyone from his babe (Simran Kaur Mundi) to boss (Alyy Khan) but the audience.

He takes his girlfriend to spiritual dates across temples, churches and gurudwara across the city. Until he wakes up one morning to realize he has lost his virginity to a nymphomaniac aunty (Achint Kaur).

As the narrative wanders aimlessly amidst ambition and love, the viewer seems more lost about the central plot of the picture. Until you realize it archaic and nothing more than Shah Rukh Khan's Raju Ban Gaya Gentleman (1992) revisited or for that matter Raj Kapoor's Shree 420 (1955).

The lovers part ways, the hero turns toy-boy of aunty and the heroine inevitably has to be pregnant. The only thing you derive pleasure from in the otherwise predictable proceedings is to see the downfall of the hero who was so full of himself throughout the first half.

The film certainly might be having its heart at the right place but the dated chronicle fails to touch your heart by any means. The romance is cheesy, the writing is verbose and the emotions are so soap-opera that it seems like watching a TV serial.

A multitude of songs only add to your tedium. And the second half almost seems like an endless saga with the hero trying to mend his ways.

While director Pawan Gill doesn't impress much in terms of storytelling, he ensures that the film is a technically sound product and extracts notable performances from the cast. The film is tailor-made as a launch pad for Sunny Gill and he makes a confident debut.

Unlike the recent amateur lot of first-timers, Sunny is natural in his act and appeal and has good screen presence (though he could let himself a little loose). A better script could tap the immense potential of this actor.

Simran Kaur Mundi is decent. Achint Kaur and Alyy Khan play their parts well.

But largely, Jo Hum Chahein certainly doesn't have what we wish from a film - entertainment! Verdict: Below Average (less)

Tell us about it. A It is the latest song from the film Rocking Dard-E-Disco.

Apart from composing the song, I am the film's music director. I am also acting in the film.

The lyrics go (Bappi sings over the phone) Boka chor boka chor boka (Bengali) dil ka chor ( Hindi), main uddu uth (Tamil), don't be deepitdas, don't be Mr Trass, don't be depression das ( English). It is a comedic song and people will love it.

Q It definitely sounds humourous. But how did you manage to incorporate four different languages into the song? A The lyrics of Boka Chor are very catchy.

Why do you think Oh La La worked because the song had very unique lyrics! (Pauses and sings) Chedenge hum tujko, ladki tu hai badi bombard, it sounds so different, especially the word 'bombard'. Q The tune seems very similar to your previous composition Naino mein sapna.

Yes, Boka Chor does have a similar tune to Naino mei sapna, which starred Jeetendra and Sridevi..

Maine apna gaana khud chori kiya (laughs). But I am very lucky to have got great songs in every decade of my music career.

Q Go on..

. A Next year, I will complete 40 years in the music industry.

Every decade, I have had a few hit tracks that have defined my work. In the '70s there was Bambai se aaya mera dost, in the '80s I had Yaad aa raha hai, yaar bina chain kahan hai, raat baki baat baki, in the '90s there was Tamma tamma loge and in this decade there was Bambai Nagariyan from Taxi no.

9-2-11 and of course the latest being Ooh La La. Q Have you heard Kolaveri Di? A Yes, but Kolaveri Di is a very negative song as it is about a lover who is very sad (less)

But alas! the terrain is a tad too familiar to give his legions of fans their long wished-for catharsis. The plot is simple.

Jai (Pawan), an orphan, is a loyal lieutenant of a don Bhagwan (Jackie Shroff) and when not making a mince meat of his godfather's rivals, he's busy basking in the lap of nature at his own nursery which he runs with his pal Chotu (Ali). Life turns upside down with the arrival of Munna (Adivi Seshu), son of Bhagwan, who covets Jai's childhood friend Jhahnavi (Anjali Lavania).

Meantime, Jai runs into a green peace activist Sandhya (Sarah Jane Dias) and sparks fly between the duo. The plot thickens when a jilted Munna batters Jhanavi to death and is dispatched to hell by an enraged Jai.

The ungrateful act has the don turn his ire against Jai and the rest of the story unfolds along predictable lines. Director Vishnu Vardhan of Billa fame, who has also scripted the film, lives up to his reputation with his stylish frames but the story, a mash up of Pawan's old movie Balu and Sai Kumar-starrer Prasthanam , is at best old wine in a new bottle.

Action sequences by Shyam Kausal, cinematography by Vinod and music by Yuvan Shankar Raja breathe life into the film. The comedy track involving Pawan Kalyan and Brahmanandam, who plays a cop, is insipid.

What's refreshing though is the absence of in-your-face dialogues with which Pawan has come to be identified in recent years. The star, sporting a beard, plays a subdued character who exhibits controlled aggression.

Though welcome, the characterisation veers off track during his comic scenes with Brahmanandam. The rest of the actors deliver decent performances.

The director and editor ought to have used their scissors more liberally as the supposed action thriller drags at a snail's pace. It's surprising and in fact, it is a cardinal sin to have omitted the racy title song from the film.

It's another lost opportunity for Pawan but definitely an improvement over his films since Khushi. One cannot but sympathise with the star who seems to be nostalgic as are his fans about his glorious days.

Panjaa is set in Kolkata, an obvious journey back in time for Pawan. But then, nostalgia doesn't compensate for novelty.

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Unlike in the original, the monologue plays pretty late in the remake, whereby it establishes Vijay's identity over merely introducing him and with such individuality and elegance that it pays a perfect homage to the original, while at the same time not blatantly imitating it. That is how a remake is supposed to be! Retaining the spirit of the original and having a soul of its own.

This dialogue kinda summarizes the overall aura of the remake. The basic backdrop remains the same.

Kancha Cheena (Sanjay Dutt) is the uncrowned king of Mandwa Island and terminates the rebellious village schoolmaster. The master's son swears revenge and grows up to be Vijay Dinanath Chauhan (Hrithik Roshan) under the wings of Rauf Lala (Rishi Kapoor).

Lala who trades in human and drug trafficking, rules the Mumbai underbelly. Vijay uses Lala to reach Kancha and thereby reclaim his island and self-esteem.

While the primary plotline remains the same as Mukul Anand's classic, director Karan Malhotra along with co-writer Ila Bedi Datta refreshingly revamps the screenplay giving it a new structure and approach. So you never miss the omission of Mithun Chakravarthy's award-winning Krishnan Iyer from the original and welcome the induction of Rishi Kapoor's foul-mouthed and despicable kasai character.

If at all the film falls into predictable zone, it's not because you are familiar with the original but because at the core of it, the story remains a basic revenge drama. The film employs the age-old conflict of a reformist school-teacher versus the conniving zamindar, duping the villagers of their lands.

The remake isn't essentially remodeled to modern times because the film retains its original era thereby reviving the raw essence of the 1990 film. And beyond the epoch, Malhotra also imparts the cinematic treatment of that time period to his film.

So both the villain and hero have stylized entries, their confrontations boast of high-voltage drama and, in the climax, when the bruised and battered protagonist rises to take revenge (in exactly the same manner like his father was killed), he wins instant applause. Also the idea of Vijay concealing his identity from his teenaged sister is so intrinsic of the era (a la Anil Kapoor's Jeevan Ek Sanghursh ).

Where the new Agneepath raises the bar is by casting Sanjay Dutt as the baddie. In his black-attire and bald-look, Dutt has such solid screen-presence that the director makes things difficult for himself with a challenge of how would Hrithik's hero overpower the villain.

Thereby the film employs some extreme action, which is more brutal than boisterous, to justify Kancha's imposing persona and the subsequent seethe in Vijay's revenge. Thankfully, what puts Agneepath a notch above the recent mindless actioners is that it has a basic human connect which it reasonably balances with the extreme action and never blatantly exploits any emotion.

Piyush Mishra's dialogues are impressive with rhetoric punches every now and then. And even when the lines go unrefined for Rishi Kapoor's crude character, it leaves immense impact without crossing the familial domain.

Cinematography by Ravi K Chandran and Kiran Deohans is remarkable. Akiv Ali's editing is accomplished and despite the film having a three-hour runtime, you never lose the narrative for a moment.

The only slacker is the obligatory romance track (Priyanka Chopra) but thankfully even that is kept short. Ajay-Atul's music and esp.

the background score are effective. Abbas Ali Moghul's action is raw and unrestrained.

Beyond his hold on the subject, Karan Malhotra succeeds in extracting inspiring performances from the impressive cast. The usually suave Hrithik Roshan convincingly glides into his coarse character here and has a towering presence.

He completely redefines Vijay Dinanath Chauhan and never in his act do you see even a glimpse of the original. Sanjay Dutt reeks of menace and malice through his sadistic laughs.

At times he overdoes his guffaws but therein lays his strength, which he uses to the hilt. Rishi Kapoor has never looked or played so mean onscreen before.

As the kohl-eyed Rauf Lala, the affable actor reinvents his screen image with a beastly streak to his character. So good is the actor that you never get enough of him.

Arish Bhiwandiwala as the young Vijay Chauhan puts in a confident act. Priyanka Chopra, Zarina and Om Puri are functional.

With Bollywood being obsessed with remakes in recent times, Agneepath is an important lesson on how to pay proper tribute to the original. Despite the original being his home production, Karan Johar attempts playing with fire (treading uncharted territory) with Agneepath and emerges victorious.

Agneepath has the fire for a lustrous entertainer! Verdict: Better than Good (less)

.guess who? Well it's none other than Veena Malik.

Well you see the actor in the item song of the Akshaye Khanna starrer 'Gali Gali mein Chor Hai' where he gyrates along with Malik on the tunes of channo hai khidki pe aayi..

.composed by Anu Malik.

'It was fun', quips Murli who's also got another film with Malik called Zindagi 50-50 where he plays a corrupt cop and we get to know he's got some really hot steamy scenes with Veena who plays a call girl. And.

..

that's not all; we hear they are all set to do a short film together soon. 'She is very professional and it's great working with her', says he (less)

In a country governed by corruption, the common man is still ruled by red-tapism. The maximum that he can do is hurl a shoe at bureaucracy or slap the system.

And that's precisely what the hero of the film does. Beyond that he and his story are as powerless as the common man.

Bharat (Akshaye Khanna) works as a bank cashier who plays Hanuman in the local Ram Leela and aspires to upgrade to the lead role of Ram someday. When he refuses to offer his house for the political campaign of a local candidate (Murli Sharma), the politico's younger brother (Amit Mistry) gets him embroiled in a bureaucratic mess.

He is forced to reclaim from court, a table fan supposedly stolen from his house, for which he has to bribe everyone from the constable, witness, lawyer to even the thief. He ends up paying a fortune for the fan, which, in first place, was never his.

Problems persist when he wishes to get rid of the ill-fated fan. The basic theme and treatment of this political satire is right away reminiscent of Pankaj Kapur's popular TV series ' Office Office ' which highlighted the common man's vulnerability against a corrupt system.

The struggle for retrieving an object, which was neither yours nor desired by you, gives way for an interesting black comedy. Moreover in a society bogged down by bureaucracy to extremities and where anything and everything is possible, writers Mumukshu Mudgal and Rumy Jafry don't need to go that extra mile to make the black comedy believable enough.

Things fall into place in the script almost through the inherent spirit of bribery. The narrative also smartly establishes the irony that when another household object is actually stolen, the cynical Bharat never reports its loss.

But once the 'systematic' exploitation is firmly established in the first half, the audience expects the tables to turn in the second half with hopes that the hero would give his detractors a taste of their own medicine. Sadly what follows is more turmoil for him in his attempts to get rid of the fan that boomerangs back.

Since you identify with Bharat's common man character who is repeatedly at the receiving end, it becomes distressing after a while because you see your defeat in his. Some sequences are genuinely funny but by large the screenplay seems 'fan'atically stretched over a single conflict.

The actual scope for some (courtroom) drama in the climax is hastily edited in a transition song. While the social satire mocks at corruption through its runtime, in the climax, the hero has to resort to corruption to set himself free.

Thereby this anti-graft drama sets a sad example for itself and endorses bribery, when everything else fails. And when you expect the politician's payback time to have actually started when the hero slaps him, you are surprised to see the end credits roll.

Director Rumy Jafry never makes his common-man protagonist larger-than-life, perhaps implying that there is no practical solution to the widespread disease of corruption. Unfortunately his film hangs between neo-realism and escapism.

The hero waving the national flag in end credits can induce artificial patriotism but not curb corruption. The narrative is needlessly corrupted with love song and item number - both of which are absolutely avoidable.

What's more redundant is a tangential track where Bharat's wife (Shriya Saran) doubts him of having an affair with the paying guest (Mughda Godse). The family drama remains unconnected with the core corruption saga and the film could have easily done without a romance track.

The Ram Leela episodes that play in parallel makes for an interesting setting but the director could have used its analogy with the central plot more effectively. Akshaye Khanna, for a pleasant change, doesn't go theatrical despite his staged Ram Leela acts.

He maintains restrain in his performance and convincingly brings out the susceptibility of a common man without overdoing it either. Annu Kapoor, as the corrupt constable, dominates the bureaucratic escapades and is the scene-stealer.

Vijay Raaz is funny in his two-bit role. Satish Kaushik , as the plump papa, plays his part well.

Amit Mistry makes for a good villain. Shriya Saran looks beautiful.

Mughda Godse was absolutely avoidable. Veena Malik's item number is downright vulgar.

Despite a decent premise, this one falls short of being a fan-tastic film. Alas Gali Gali Bore Hai ! Verdict: Average (less)

This zillionth Bollywood spin-off on the second half of Kuch Kuch Hota Hai is no different! Jai (Zayed Khan) and Naina (Dia Mirza) are in their individual mismatched relationships. Until they meet in a common friend's wedding.

Amidst song-dance routine, cupid strikes Jai by the interval point. Naina is uncertain until her doting mother advices ' wahi karo jo tumhara dil kehta hai ' (how pioneering and profound!) Alas she takes a little too long to decide while the viewer has already reached to the conformist conclusion.

Till date, Bollywood has devised only two alternatives for the climax of a film like this. In the feel good format, the other man willingly decides to let go his ladylove for the main hero (like Salman Khan did in Kuch Kuch Hota Hai ).

The other option is when this other man acts difficult (Jimmy Sheirgill in Tanu Weds Manu ). This film belongs to the former feel-good variety.

While the film could have brought some variety with its other assorted couples, the problem with the writing is that all the supporting tracks are half-baked. Jai's friend (Cryus Sahukar) falls for a 'Sheila' (Tisca Chopra) who isn't exactly 'jawaan'.

While this odd-aged couple has its moments of charm and comedy, their bonding could certainly have been explored in a better way. The girl from Dairy Milk ad (Umang Jain) has graduated to having ice-creams here after her multiple break-offs, but her sweet revenge spree was far from funny.

The film does have a lighthearted mood throughout but one does feel that its sense of humour, though not bad, could have been more fine-tuned and sharp. While this brand of comedy is anytime better than a senseless slapstick, there is a feeling that the film could have been funnier.

At the same time while the director tries to keep things subtle and avoid melodrama, some situations lack the basic intensity that the drama demands. Like Jai's breakup with his first girlfriend (Pallavi Sharda) comes across so casually that it seems as if nothing has happened.

The pacing is slow and the length is a little too long for a predictable film. Zayed Khan and Dia Mirza share good chemistry and are decent in their acts.

Dia has a natural charm. Cyrus Sahukar underplays his character and is the butt of most jokes.

Tisca Chopra looks delightful despite playing a (slightly) elderly female. Umang Jain is cute but has a short-lived character.

Vaibhav Talwar plays in a limited range but pulls off his part. Satyadeep Mishra is good.

Pallavi Sharda and Auritra Ghosh get no scope. From all the special appearances, Boman Irani is hilarious and leaves more impact that Shah Rukh Khan who doesn't do much beyond playing himself and endorsing furniture brand.

Director Sahil Singha doesn't show any innovation in the storytelling of his debut venture but he still has the command to bring a smile on your face, thanks to the breezy romance and the film's optimistic outlook. While being conventional cinema, it isn't essentially exasperatingly cliched.

Neither utterly lovely nor breakthrough! Love Breakups Zindagi is that variety of predictable cinema that is passable (less)

But unlike "Only Vishnuvardhana" which was released a week earlier, this film does not use the name of the iconic actor extensively and show the clips of his many films. But a photograph of Abhijit and Vishnuvardhan is displayed with a note that the film has been dedicated to the late actor.

The film has a revenge-based story which is full of commercial elements like action and thrills. A little bit of comedy is also thrown in with actor Bullet Prakash trying to pull a few comedy punches here and there.

But the story is too predictable to sustain any interest among the audience. Even the technical value of the film is below the average standards that are exhibited in many contemporary Kannada films.

The camera work is pathetic but the graphics work is slightly better. Krupakar has done just average work in his music compositions.

The first half is badly narrated while the second half is little interesting. But overall, the film suffers from low quality of production and a haphazard narration.

Vishnu is a do-gooder who comes to his native village to help one of his friends who is trying to marry his lover -- the daughter of a village ruffian who torments the villagers. When Vishnu finds that most of the villagers treat him specially and give a lot of respect, he goes deep into the reasons for such reverence.

He understands it is all because of his father Narasimha who tried to protect the villagers and do good things for the benefit of the village. His attempts to help out the villagers for constructing a lake are not to the liking of his relatives who kill him.

Vishnu avenges the death of his father by killing his relatives responsible for the murder. Abhijit's attempt to have a new look in both the roles has not yielded good results.

His hair styling is atrocious. However, he has excelled in action sequences.

The film's heroine Catherine is only there for her glamour quotient and nothing else. The veteran actors, including Ashish Vidyarthi and Sharath Lohitashwa who play the villain's roles, just shout and scream rather than showing their talents.

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Anant Mahadevan's well-intentioned film Staying Alive falls in that category. The story is about two men who suffer a heart attack and share the hospital room.

Aditya (Ananth Mahadevan) is a newspaper editor who has already survived two strokes in the past and has somewhat adapted to the crisis. Shaukat Ali (Saurabh Shukla), an underworld kingpin who has often witnessed death closely, gets paranoid with his first heart-attack.

The story is about their interactions and exchange of ideas in the ICU room that changes Ali's perspective towards life. The film is more or less a single-setting drama largely happening in the hospital room and intermittently cutting into flashbacks.

But what brings more monotony is Sujit Sen's one-dimensional screenplay, with the verbose drama between the two patients not leading to anywhere. The wordplay is mostly about the art of living or the smaller joys of life that never have a bigger meaning.

Outside the hospital room, their wives try to console each other almost initiating a soap-opera of sorts. The characters are directly introduced at the hospital and aren't established enough that you would feel for them.

Like Shaukat Ali's criminal activities, in the first place, never dawn on you that you would want him to mend ways in life. The film attempts to be a simple drama without any twists or turns making it more predictable fare.

But at the heart of it, the gist of the story is the conversational chemistry between the two characters that leads to the mobster's change of heart by the climax. Unfortunately this expected rapport between the two never registers, making the core conflict of the film hollow.

The idea of inducing emotions in the climax through humane conduct with an impassive coma-patient has been already employed to better effect in Rajkumar Hirani's Munnabhai MBBS . Also a melodramatic end to the story was pretty-much avoidable.

The film works, to an extent, only because of Saurabh Shukla, who largely tries to make up for the lack of his character-development and shallowness in script with his 'lively' act of the paranoid patient. Ananth Mahadevan is too idealistic in his act.

This is amongst Chandan Roy Sanyal's early acts. The actor seems raw and has an Imtiaz Ali hangover in his hairstyle.

Navni Parihar and Sunita fill in as the soapy female leads. Alas, Staying Alive is low on life! Verdict: Average (less)

Sadly, in the subsequent decade, all he served in the name of stress-free slapsticks is noise and commotion. While we aren't demanding that the filmmaker upgrade with times, all we expect is that the one-time king of comedy merely maintain his original brand of humour.

Is that asking for too much? Rascals is what one can call a 'vacation' filmmaking stint where everyone works on the film as if they were on a 'holiday' and the audience is expected to 'leave' their senses behind. The actors make least efforts to add conviction to their performances and the patchy writing just allows them to play as they please.

Invariably the director tries to camouflage the shallowness in the story by adding depth only in the decibel levels of the dialogue delivery. So you have conmen Chetan (Sanjay Dutt) and Bhagat (Ajay Devgn) in one-upmanship game to win the girl (Kangana Ranaut) loaded with assets (both financial and physical).

It's never clear what they love more - her body or her bank-balance. And their lecherous rivalry only seems to be about who would get to hug the cleavage-popping girl more number of times.

One-upmanship has been a popular plot for several comedies since the times of Amitabh Bachchan - Shashi Kapoor's Do Aur Do Paanch (1980). Even David Dhawan had smartly handled the concept in his earlier comedies like Govinda-Anil Kapoor's Deewana Mastana (1997) and Akshay-Salman's Mujhse Shaadi Karogi (2004).

Unfortunately it doesn't quite work this time, primarily because Kangana Ranaut doesn't share any chemistry with either men and so their persistent pursuit to get the girl falls flat. Also thanks to the dull camaraderie, the viewer never really bothers which hero would actually win the heroine in the end.

Thereby the small surprise in the climax (no, there isn't a cameo by a third hero) also doesn't register much. The storytelling in the animated title credits is more appealing than the conventional narrative structure.

While one has already left logic behind, the problem is that Yunus Sejawal's screenplay is inconsistent, convenient and uneventful. It lacks the imagination or wit for some real exciting clash between the male leads.

One can easily see through most of the worn-out gags. Sanjay Chhel's synchronized rhyming dialogues are occasionally funny but seem forced otherwise.

You laugh more on the corniness of the scenes than the comedy per se. The tone of humour is consistently loud and commotional.

Expectedly Ajay Devgn keeps screaming most of the time and hams outrageously. Sanjay Dutt is better in comparison, which isn't saying much.

He gets the funnier lines, gags and scenes. Kangana Ranaut is ill at ease in comedy.

She struggles to hold her own and emerges as a bimbo in her act. Lisa Haydon is merely employed to look hot and she does a fair job at it.

Hiten Paintel is used as an add-on and his presence in the film is immaterial. Satish Kaushik attempts to induce few laughs with his gibberish brand comedy.

Bharti Achrekar gets no scope. Chunky Pandey overacts.

Arjun Rampal has pretty much nothing to do. Rascals ends up being a silly and stupid comedy! (less)

Aarakshaka is a curiosity inducive film with intelligently written sequences and Vasu's script impresses despite the fact that as a director he has not shown such consistency. Though the film is heavily inspired by Hollywood hit Shutter Island , Vasu has given it a desi touch by adding comedy, songs, fights and emotions into the script.

Aarakshaka wins because the film keeps the audiences engaged. There is plenty of juggling between emotions and thrills in the script.

Some interesting twists, mind boggling thrills and suspense will keep the audience on the edge of their seats. The last 20 minutes is the best narrated part in the entire film.

Certainly Vasu has excelled in writing a totally out of the box script for the Kannada cinema. But Vasu failed to extract the best from the composer also, some comedy sequences do not gel with the film, and the first half drags.

The story is about Arun Kumar, a police officer, who has to find Stephen Raj, a witness to three murders. Arun suspects that Raj is hiding in a mental asylum as a fake patient and the doctors in the hospital are shielding him.

The hospital dean asks doctor Maya to assist Arun in solving the mystery of Stephen Raj. Whenever Arun tries to investigate Stephen Raj's past, he reaches a dead end.

Meanwhile, he reveals his past to Maya and says Stephen Raj is responsible for his missing wife. During the course of his investigation, Arun spots his look alike in the hospital and wants to find out the real identity of his look alike.

The entire secret behind Aun's real identity is revealed in the climax as well as the mystery behind the three murders. Upendra delivers a strong performance in both the roles he has played.

His body language and mannerism are perfect. His dialogue delivery is another high point.

Raagini is good and Sada is also impressive. Shahaji Shinde overacts, but Aadi Lokesh is impressesive.

Seetha and Rajesh have played their respective roles aptly. Sharan's comedy irritates, but he has been able to raise a few laughs in some sequences.

P.K.

H. Doss' camera work is exceptionally good.

His superb craft can be seen by the way he has shot some visually spectacular outdoor scenes in Kerala. Music director Guru Kiran is inconsistent, but two songs - Kalli kalli and Anna Hazaare - are well composed and picturised.

Editing work of Suresh Urs is top class. Aarakshaka is an impressive film and can be watched despite flaws.

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Muraliraman Music: Aruldev Cinematography: Gopi Amarnath Potta Potti is all about two teams playing a cricket match to decide upon a suitable bridegroom for a girl, who is the daughter of a big landlord in a village. It might remind you of films like Aamir Khan's Lagaan or Venkat Prabhu's Chennai 600 028 , but the similarity starts and ends with cricket.

Debutant director Yuvaraj has no pretensions about what he wants. He makes it pretty clear and obvious that he wants to present a comedy film making use of the most popular game in India - cricket.

The story kicks off in a picturesque village. Two locals, Kodaivaanan (R.

Sivam) and Kolaivaanan (Umar) have a girl, Ranjitham (newcomer Harini to fight for. Kolaivaanan is violent and serious while Kodaivaanan is a happy-go-lucky kind of a guy.

He has Avatharam ('Avatar' Ganesh) as his right hand. Kodaivaanan's group kidnaps former cricketer Sadagopan Ramesh (playing himself) to coach them.

On the other hand, Harichandran (Mayilsamy), a fake coach, joins Kolaivaanan's group. Later, they get professional support with the help of some businessman eyeing to get advantage from Kolaivaanan after the match.

Ranjitham doesn't like either of the guys and instead falls for the cricketer who also likes the girl. Watch the movie to find out the outcome of the match and the affair between Sadagopan and Ranjitham.

The task of making people who have never touched a cricket bat play has been shown in a funny manner. Yuvarj has managed to present the movie with ample dose of humour.

He has been effectively complemented by Avatar Ganesh, S. Sivam, and Mayilsamy in making the film entertaining.

The first half is racy while the second half is relatively slow. The build-up for the match is neither fun nor engaging.

Strangely, Ranjitham never expresses her disinterest towards the two contenders. Everything has been handled in a casual manner.

Sivam and Umar have played their parts well but it's Avatar Ganesh who's the pick of the lot. He is the one who makes the proceedings interesting.

Harini looks good and does what the director has told her to do. Period.

Sadagopan's appearance throughout the movie doesn't strengthen the script. He's a misfit in comical fare.

Mayilsamy has done his job neatly. The cinematography by Gopi Amarnath is an asset while the music by Aruldev is just about okay.

Potta Potti doesn't have the excitement of a movie based on sports but it doesn't disappoint as a fun-filled movie. Watch it for the innocence with which the villagers approach the game and some hilarious moments presented by the characters of Kodaivaanan and Avatharam.

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Ruth eventually finds herself living in a dilapidated apartment with a drug dealer boyfriend who lives off her. She makes a living by working in a shady massage parlour, offering ‘ happy endings ’ to sleazy old men.

Her every effort towards finding her father, whom she vaguely remembers, culminates in discovering darkest and terrible secrets. Still from That Girl In Yellow Boots An alien to the city, Ruth’s stay here is fraught with unending problems and misery.

The story looks promising in the beginning, but slowly loses its essence as the movie unfolds. It loses all and any sense of reality somewhere in the middle, with Ruth struggling to make ends meet at one place and dishing out thousands of rupees to find her father and protect her lover at the same time.

The movie is not very believable in this regard. Also the characters in the movie are played with a certain amount of intensity but do not develop as the story progresses.

The title of the film is quite fun. The bright yellow boots stand out in a mundane environment just as Ruth stands out in the city of Mumbai putting across the whole concept of being out of place.

Veteran actor, Nasseerudin Shah has outdone himself once again. He’s a father figure to Ruth who visits her at the parlour for treatment to a painful leg ailment.

Chittiapa (Gulshan Devaiah), a gangster who threatens Ruth when her boyfriend (Prashant Prakash) runs away with his money, and Maya (Puja Swarup), the receptionist at Ruth’s parlour provide comic relief to the otherwise heavy script. Anurag Kashyup’s cinematography is admirable.

Most of the scenes are shot in natural light and on the city’s roads. As for the background score, composer Naren Chandavarkar has made sure it supports and adds life to the script.

The film rather ends on an abrupt note and the climax isn’t a surprise but it is disturbing. Watch only if you’re in the mood for something not run-of-the-mill.

Rating: 2.5 /5 (less)

Aarakshaka is a curiosity inducive film with intelligently written sequences and Vasu's script impresses despite the fact that as a director he has not shown such consistency. Though the film is heavily inspired by Hollywood hit Shutter Island , Vasu has given it a desi touch by adding comedy, songs, fights and emotions into the script.

Aarakshaka wins because the film keeps the audiences engaged. There is plenty of juggling between emotions and thrills in the script.

Some interesting twists, mind boggling thrills and suspense will keep the audience on the edge of their seats. The last 20 minutes is the best narrated part in the entire film.

Certainly Vasu has excelled in writing a totally out of the box script for the Kannada cinema. But Vasu failed to extract the best from the composer also, some comedy sequences do not gel with the film, and the first half drags.

The story is about Arun Kumar, a police officer, who has to find Stephen Raj, a witness to three murders. Arun suspects that Raj is hiding in a mental asylum as a fake patient and the doctors in the hospital are shielding him.

The hospital dean asks doctor Maya to assist Arun in solving the mystery of Stephen Raj. Whenever Arun tries to investigate Stephen Raj's past, he reaches a dead end.

Meanwhile, he reveals his past to Maya and says Stephen Raj is responsible for his missing wife. During the course of his investigation, Arun spots his look alike in the hospital and wants to find out the real identity of his look alike.

The entire secret behind Aun's real identity is revealed in the climax as well as the mystery behind the three murders. Upendra delivers a strong performance in both the roles he has played.

His body language and mannerism are perfect. His dialogue delivery is another high point.

Raagini is good and Sada is also impressive. Shahaji Shinde overacts, but Aadi Lokesh is impressesive.

Seetha and Rajesh have played their respective roles aptly. Sharan's comedy irritates, but he has been able to raise a few laughs in some sequences.

P.K.

H. Doss' camera work is exceptionally good.

His superb craft can be seen by the way he has shot some visually spectacular outdoor scenes in Kerala. Music director Guru Kiran is inconsistent, but two songs - Kalli kalli and Anna Hazaare - are well composed and picturised.

Editing work of Suresh Urs is top class. Aarakshaka is an impressive film and can be watched despite flaws.

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But the Kannada remake is certainly not well-crafted with its poor production values and very ordinary narration killing the soul of the movie. The essence of the movie which is reflected in the relationship between a very good son and his strict and enraged father fails to penetrate deep in the minds of the viewers mainly because director Umakanth's narration lacks seriousness.

Despite very good performances by Diganth and Avinash, Puthra does not rise up to the standards of the original. The two actresses have competed with each other in delivering drab expressions and even the senior technicians have worked without any imagination.

Despite being good to his family members and others, Krishna is much misunderstood by his short-tempered father Narasimha who runs a grocery shop. Despite being cowed down by his father, Krishna remains obedient and takes on all the insults heaped by him with composure.

In his college, Krishna's classmate Madhu loves him intensely. He likes his relative Thulasi but the two families have a long history of misunderstanding which separates them.

He tries to unite the two families which further enrages Narasimha. Krishna and Thulasi leave their homes and lead a separate life.

How Krishna respects his father even after he acquires good reputation in society forms the climax of the film. Diganth surprises with his convincing emotional performance.

He tries to save the film by understanding the nuances of the complex role. Veteran Avinash has excelled in the role of a tough father.

The two heroines of the film fail to make an impact. Veteran actor Tennis Krishna has done a good job while Sundar Raj fills in perfectly for his role.

Naveen Suvarna's camera work is ordinary while Raja Ramesh's music does not raise above ordinary levels. Puthra is an ordinary film despite a good story and neat performances from the two lead male actors.

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And though it has its share of inconsistencies, the desi duo is entertaining enough in the larger picture. In a recession-hit UK, it doesn't take too long for the jobless duo of Jerry (Akshay Kumar) and Nick (John Abraham) to rename themselves as Rocco and Hunter and turn towards the morally-low but highly-paying profession of male escorts.

They strip at hen parties though never cross the preset (Bollywood hero) limits of sleeping around. Things go wrong when Nick's girlfriend Radhika (Deepika Padukone) discovers of their clandestine career.

Jerry and Nick fall apart and the narrative divides into their individual episodes with Sajid Khan's Heyy Babyy being a strong influence for both tracks. Nick tries every trick in the trade to seek forgiveness from Radhika.

Anupam Kher, as her dad, reprises Boman Irani's part from Heyy Babyy supporting the repentant boyfriend. On the other hand, the flippant Jerry turns serious in life to win the custody of his orphan nephew.

For that he walks that extra mile - to the university, bringing back memories of Farah Khan's Main Hoon Na also. Rohit Dhawan's storytelling is simple and swift and the comedy never takes the no-brainer route with adequate conviction in the writing.

He smoothly establishes the comic chemistry between Akshay and John and never lets anyone overshadow the other, thanks to their reasonably written roles. Renuka Kunzru's dialogues, ranging from the witty to the wacky variety, are a major highlight and pack the requisite comic punches with some much-needed freshness over the customary synchronized lines in most recent comedies.

Certainly Desi Boyz isn't unblemished and has its set of flaws and formula. The basic conflict of Akshay Kumar going back to college to acquire a clean-chit image that could help him legally win back his nephew sounds too silly.

If that was not enough, he graduates in less than half a year, thanks to private tuitions by his super-hot teacher (Chitrangda Singh) who gives economics lessons through salsa and striptease sessions. Then the film treads in absolute unnecessary territory, taking its desi title a little too seriously, giving sermons on the intelligence of Indians amidst firangs who demean our country.

Sadly the Namastey London gimmick seems completely out of place in this film. After an interesting graph to the narrative, the film is marred by a weak end, which lacks the high point that a climax demands.

A courtroom drama, which drastically changes the scene tone from being comedy to contemplative, isn't a befitting culmination for the otherwise engaging flick. Nevertheless, on second thoughts, you find it as a much better end as compared to the commotional climax that most slapsticks resort to in present times.

And like its climax, the film underplays in its humour and romance. The decibel levels don't go deafening in an attempt to make you laugh and you prefer the half-baked Akshay-Chitrangda track rather than the plot straying into an extended love story.

Thankfully the film balances the Desi Boyz' acts and smartly summarizes their striptease stunts in a couple of songs. The strip-shows never go crass and are classily captured with the requisite gloss and glamour.

Akshay and John's sculpted bodies save the show and the average audience is never grossed out. With striking cinematography, crisp editing and vibrant costume design, the film's a technically superior product.

Pritam's music is catchy and peps up the mood of the film. Akshay Kumar is in good form and after long a film does justice to his impeccable comic timing.

He often steals the scene even where his presence is not primary. John Abraham is cool, convincing and glides effortlessly through his part.

Their casual chemistry makes the film work big time. Deepika Padukone is charming and makes her presence felt in the male-dominated flick.

Chitrangda Singh might not have as much extensive role but brings a refreshing appeal and immense screen presence to her character. Anupam Kher is funny.

Omi Vaidya is hilarious in his short role. Sanjay Dutt, in a cameo, perhaps gets the best lines in the film.

So make some way for the Desi Boyz . And be sure, they won't disappoint you! Verdict: Good (less)

And like the title, the viewer is openly informed about Ricky Bahl's job profile though people around him take a while to figure it out. So Ricky (Ranveer Singh) is Sunny, Dev, Iqbal for different girls who he cons in individual instances.

Charm or cleverness, he uses whatever works best to his advantage to swindle the unsuspecting target. But then three of his female victims - Raina (Dipannita Sharma), Dimpy (Parineeti Chopra) and Saira (Aditi Sharma) team up to get even with him.

They hire the services of a smart salesgirl Ishika (Anushka Sharma) who they use as a bait to trap the conman. Ishika poses as daughter of a NRI hotelier who's on a business visit to Goa to invest in property.

The idea is to lure him into a business partnership and rip off his riches for revenge. But then cupid strikes and everything goes for a toss.

The film starts off impressively and comes straight to the point without wandering aimlessly. At times it seems too convenient for the victims to part off with their money at the drop of a hat.

And consequently it seems even more convenient for a certified conman like Ricky to fall for the trap set by the girl gang. However, the con-games are crisp and executed with such swiftness that you never get time to notice any loose ends.

Since we are conversant with the con artist from start, any major suspense element in the plot is ruled out. Structurally the film reminds of the Hollywood flick John Tucker Must Die with it's plotline of three girls trying to get even with a guy by setting him up with another girl.

What saves it from getting into the chick-flick mode is that the girls are not merely betrayed in love but also in business and their revenge mechanism involves smarter cons over momentary cheap-thrills. That takes Devika Bhagat's screenplay a notch higher (though the confessional climax is evocative of her earlier work in Bachna Ae Haseeno where Ranbir Kapoor seeks forgiveness from three girls).

Also the Ranveer-Anushka smooching chemistry seems directly derived from their last flick Band Baaja Baaraat . The major hiccup in this otherwise engaging film is that it falls prey of the typical trappings of Bollywood.

As romance takes over the con-games, the smart-n-saucy film is substituted by a tepid tale where the conman wants to come clean and change his ways for that one girl in life. That makes for a lame climax and a conventional end.

The graph of the narrative drops somewhere in the second half and plunges even further as one realizes mixing con with cupid might not be the best of ideas. Thankfully the pacing is perfect and the film never seems stretched.

Irrespective of its minor blemishes, director Maneesh Sharma succeeds in striking a constant connect with the audience and also extracts decent performances from the entire cast. Ranveer Singh glides into his multiple con-artist characters effortlessly and radiates such charm that you don't blame the ladies while falling for him.

Anushka Sharma comes across as affable but a standard smile pasted on her face sometimes seems overdone. Nevertheless she is alluring in her act and appearance.

Thankfully the other three ladies never get overshadowed. Dipannita Sharma is amazingly confident.

Aditi Sharma is endearing. Debutante Parineeti Chopra as the blabbermouth gets the best lines and never overdoes her Punjabi kudi part.

While Ladies vs Ricky Bahl doesn't exceed expectations (like Band Baaja Baaraat ), it doesn't con you in the name of entertainment either. Verdict: Good (less)

Rehman Singer(s) :Sukhvinder Singh,Tanvi Shah,Mahalaxmi Iyer Lyricists :Gulzar Jai Ho Jai Ho Jai Ho Jai Ho Aaja Aaja Jind Shamiyane Ke Tale Aaja Jariwale Nile Aasman Ke Tale Jai Ho Jai Ho Aaja Aaja Jind Shamiyane Ke Tale Aaja Jariwale Nile Aasman Ke Tale Jai Ho Jai Ho Jai Ho Jai Ho Ratti Ratti Sachi Maine Jaan Gavayi Hai Nach Nach Koylo Pe Raat Bitayi Hai Akhiyon Ki Neend Maine Phoonko Se Uda Di Neele Tare Se Maine Ungli Jalayi Hai Aaja Aaja Jind Shamiyane Ke Tale Aaja Jariwale Nile Aasman Ke Tale Jai Ho Jai Ho Jai Ho Jai Ho Jai Ho Jai Ho Jai Ho Jai Ho Chakh Le Ho Chakh Le Ye Raat Shahad Hai Chakh Le Rakh Le Haan Dil Hai Dil Aakhri Had Hai Rakh Le Kala Kala Kajal Tera Koi Kala Jadoo Hai Na Kala Kala Kajal Tera Koi Kala Jadoo Hai Na Aaja Aaja Jind Shamiyane Ke Tale Aaja Jariwale Nile Aasman Ke Tale, Jai Ho, Jai Ho Jai Ho Jai Ho Jai Ho Jai Ho Kab Se Ha Kab Se Tu Lab Pe Ruki Hai Keh De Keh De Ha Keh De Ab Aankh Jhuki Hai..

Keh De Aisi Aisi Roshan Aankhe Roshan Dono Bhi Hai Hai Kya Aaja Aaja Jind Shamiyane Ke Tale Aaja Jariwale Nile Aasman Ke Tale Jai Ho Jai Ho Jai Ho Jai Ho Sphere: Related Content Posted in (less)

. I don't believe in measuring the success of a year based on my professional life.

For me, a year is fantastic only if I've achieved my goals, personally and professionally. The year 2011 will be a high point for me because it was the year I married Avantika.

My journey with her has been great. I couldn't have asked for more.

Yes, on the professional front too, both my films "Delhi Belly" and "Mere Brother Ki Dulhan" did well at the box office..

. So, yes, the year has been good.

So you expect the good run to continue this year as well? Well, in our business you never know what to expect. Everything is so unpredictable that no matter who you are - big star or small -you have to leave everything to fate.

As far as I'm concerned, I believe in giving my best. After that I just sit back and let the audience decide the fate of the film.

But yes, as an actor I do try to do something different each time. "Delhi Belly" was different from the usual Imran Khan fare.

But then after that you did "MBKD" and now, "Ek Main Aur Ekk Tu". Critics say it's a return to your comfort zone.

I don't think so. Look, I believe in striking a balance as an actor.

With "Delhi Belly" I went risque and then to balance that out I did "MBKD", which was a complete masala flick. Similarly, now I'm doing "EMAEK", which is a typical commercial fare that the usual movie-goer likes.

After that I'll be starting work on Vishal Bharadwaj's "Matru Ki Bijli Ka Mandola", which again is not commercial. Yes, post "DB" people expected me to do movies like that, but no one knows that the film sat in the cans for three years with no one willing to buy it.

I don't believe in restricting myself at all. And honestly it's tough to know what the audience will like.

So how do you decide on your films? Like I said, you cannot second guess the audience. You make a film and by the time it reaches the theatres, it's almost a year and by then, the tastes of the audience has changed.

So, I chose my films depending on what I would like to see. I ask myself if this is the film I would watch and only then do I sign on the dotted line.

Apart from that, the script, director and producer are very important to me. The script has to be appealing and entertaining.

The director - even if he is a first-time filmmaker - needs to know how to translate the story on celluloid. And finally a good producer is important to market your film well to the audience.

See, it's tough to make a movie relevant with times. I think it's a movie that makes time relevant.

Look at "DDLJ" or "Qayamat Se Qayamat Tak" - people watch them even today. Coming to "EMAET", many are drawing similarities to the Hollywood flick "What Happens in Vegas".

The only similarity between our film and "What Happens In Vegas" is that the characters get married in Vegas after a drunken night in town. But this premise has been used in other films as well - "Hangover", "Two to Tango" heck, even in an episode on "Friends", Ross and Rachael get married after a drunken night.

But that's where the similarity ends. "EMAET" is a coming of age film.

My character is rather sad, because he has never done anything fun in life. He has only done what his parents tell him.

And this changes after he meets Kareena's character. So, rest assured, there are absolutely no similarities between our film and the Ashton Kutcher-Cameron Diaz flick.

The film is also been talked about for your pairing with Kareena. Ah! Working with Kareena is such a joy.

I've been friends with director Shakun Batra since my "Jaane Tu..

." days and he wrote the script keeping Kareena and me in mind.

When I read the script, I knew exactly why the movie needed an actor like Kareena. Her character has shaped up so well and to tell you the truth, no one could have played that role other than her.

Do you mind playing second fiddle to an actress in a film? I always believe in one thing - there are no small parts, only small actors. I would love to do a role in a heroine-centric film.

Look at what Vidya did in "The Dirty Picture". She carried the entire film on her shoulders and it's one of the top grossers of 2011.

You know, there is no dearth of good leading ladies in our industry. It's only the scripts that fail them.

Once you have a strong script for them in place, it works wonders. Hats off to directors like Milan Luthria who came up with "TDP".

Priyanka propelled "Fashion" to number one slot, Vidya did the same with "TDP", and now Kareena will steal the show with "Heroine" later this year. Any wish-list for 2012? I don't have any expectations as such.

I don't believe in them. I only hope that my endeavors bear fruit this year too.

As a person, I'm very optimistic in nature. I take life head-on and see the best in it.

Hopefully, the outcome of this year too will be great (less)

To divert him from duty, Divya starts flirting with Lovely on phone posing as an anonymous caller. Until she expectedly falls in love with him! This love story clearly brings back memories of the Ghajini romance track with merely a gender-reversal.

Like Aamir Khan who never discloses his true identity to Asin in Ghajini , even Kareena Kapoor refrains from revealing to Salman that she's her secret caller. Where does Kuch Kuch Hota Hai come into picture, you ask? Well, while there isn't any love-triangle as such, there's an ailing mother on deathbed who writes personalized notes to her son, unveiling the entire narrative in flashback mode.

And like the daughter in K2H2 , the son of Bodyguard finds a substitute for mother through his biological mom's diary. What still works in the film's favour is that, unlike most overblown Salman Khan capers, Bodyguard doesn't go slapstick in humour, loud in attitude or crass in conduct.

Salman continues to be a glorified hero who does the customary topless act in the climax but, in the character of Lovely Singh, he is refreshingly restrained and comes across as down-to-earth guy (esp. after his regular recent ostentatious antics).

The story isn't much innovative but at least it stays true to its theme. Regardless of the title, theme or Salman's biceps, Bodyguard is more of a love story than an action film.

It remains lighthearted for its major runtime until when the villains suddenly surface in the climax. Unlike the Tamil or Malayalam versions, there isn't much buildup or back-story about the baddies in the Hindi Bodyguard and Salman makes mandatory mincemeat of them in a single action sequence.

Popular South filmmaker Siddique , who already directed the Malayalam and Tamil versions, seems at ease while making the film for the third time. He works more for a surprise element in the climax but it isn't something that you can't see coming.

And though the climax is predictably cliched, he doesn't leave much scope for melodrama. The pacing is quick, music is peppy, action is stylized and editing is crisp.

Karisma Kapoor's dubbing for Kareena's telephonic conversations seems seamless. Salman Khan is cool and convincing in the title role.

His subdued act and charming innocence wins your heart. Kareena Kapoor is likeable.

Hazel Keech as Kareena's friend is alluring. Rajat Rawail, as the bloated comedian, makes you laugh with his funny T-shirt captions and gibberish lines.

The graceful actress of yesteryear, Vidya Sinha, is criminally wasted. The villains from Aditya Pancholi to Mahesh Manjrekar have nothing much to do either.

Bodyguard doesn't catch you off guard. But it's a decent entertainer nonetheless (less)

And if IIT is unaware of such exploits, it needs to take stringent action against the opportunists. With Love Delhi is essentially a spin-off on Naseeruddin Shah starrer ' A Wednesday ' where an anonymous abductor (Tom Alter) holds as hostage a prolific real-estate developer (Kiran Kumar) without any monetary aspirations.

All he expects from the people he is negotiating with is to decode some cryptic clues which will lead them to an array of historical monuments across Delhi. For the developer's daughter (Pariva Praniti) history seems to be a closed chapter.

So she summons her historian friend..

. rather prospective boyfriend (Ashish Lal) who cracks each clue as if he was born for it.

The daughter meanwhile seems seldom stressed in the state of affairs and remains immaculately decked-up throughout, showing more lip-gloss than anxiety on her face. And the guy never misses any opportunity to hug her on the pretext of consoling.

After Wikipedia lecture on every tombstone in the capital city, one presumes that the film would be an implied (and extended) public service message on the restoration and relevance of heritage structures in present times. While that would have still made some sort of sense with the endless 22-charade in the film, the central idea of the film is as disconnected with history or heritage as filmmaking is from the Indian Institute of Technology.

The abductor reveals that his only intent was to avenge some ancestral rivalry with the hostage. If that was the case, what was the elaborate historical tour across Delhi all about? The running around the bush happens for a whole two months in the film.

In fact, the makers themselves seem so uninterested after a point that several monuments are rushed off merely in montages. To be honest, the film had an interesting (connect-the-dots) premise but the potential remains untapped thanks to its patchy writing and amateurish direction, not to mention its pathetic performances.

The male lead Ashish Lal, who also triples up as the producer and writer, is entirely focused on showing-off his heroism and know-how and, in process, solves the puzzles in such a way that only he understands the question and also the answer to it. It would have certainly made more sense to also involve the audience in unraveling the encrypted hints.

It is important to mention here that the film has an extremely pretentious demeanour. It is made as an English language film but seems desperately wannabe like a desi-turned mod faking a firang accent, just to come across as a cool dude.

First of all, the choice of language seems sham in the given milieu and secondly the actors hopelessly struggle to deliver lines in English. Especially irritating is Ashish Lal in his desi drawl and conceited act.

Same holds for Pariva Praniti who shows more makeup than emotion. Seema Biswas is consistently bad in her two-line English or two-scene act.

Be grateful to small mercies that there is Tom Alter, the epitome of English in Hindi films. Kiran Kumar has pretty less to do as the captive though the audience gets the feeling of being a detainee.

The makers perhaps believe they have a trump card in store in the climax but the supposed suspense is lame and pretty-much predictable. What's more ludicrous is the basis on which the hostage forgives his kidnapper.

Also the makers seem to be under an impression that they are at their creative best in the opening and end credits but it's only laughable. What is more surprising is that the heroine in the end-credit song changes to some random face!!! With Love Delhi is a 'historic' lesson on how not to project a seemingly substandard college-project film as a feature film - forget an intelligent thriller! Verdict: Poor (less)

Thank god for Hindi masala films that helped revive the art of punch-lines. Now you have new age commercial filmmakers rediscovering the relevance of smart one-liners in helping create blockbusters.

Everytime superstars like Salman Khan, Ajay Devgn and Amitabh Bachchan voiced their thoughts on screen, you could hear the thunderous round of applause and the almost unheard, ceetees. The year 2011 will go down in cinematic history as one that redefined the way our stars speak.

On screen, of course! Don 2 The year ended with SRK's dhamakedaar dialoguebaazi. From well-versed one liners that included that cult 'Don ko pakadna mushkil hi nahin.

..

namumkin hai' to new tongueteasers like, "'Sir' bahut shareef lagta hai, call me 'Don'" and 'Mr Mallik, aap meri maa ko nahin jaante the'. The dialogues of the film also started an entire series of 'Donisms' that's on everyone's lips now.

Bodyguard Mr Salman Khan had already played his pivotal part in kick-starting the trend of powerful punch-lines with Wanted and Dabangg; but he's not had enough of them. Sample this, 'Bodyguard hoon, dhoondh nikalunga' to the almost memorable, 'Mujh par ek ehsaan karna, ke mujhpe koi ehsaan mat karna'.

There are more Salman-isms after every 15 minutes with one random line in Sallu-ishtyle. Who wants story-lines and plots? After directing the same film in three other languages, Siddique got his punch power right in his Bollywood directorial debut.

Ready 'Main kutta hun, yeh meri kutiya hai; aaya mausam kat ne ka..

. Bow Wow' is an almost spoof of a song from "Maine Pyaar Kiya" and now a film dialogue too! Salman Khan re-established the old Bollywood saying, 'dialogues alone can bring audience to cinema halls, was re-established in this Anees Bazmee flick that saw Salman mouthing lines like, 'Teen cheezo ko kabhi underestimate mat karna; I, me and myself'.

Singham Years after he thought standing on two speeding bikes was the coolest thing ever, Ajay Devgn did something cooler (and we are not talking of his tattoos). Clad in khaki hues, he said, 'Abhi ke abhi' to 'Meri zarooratein kam hai, isliye mere iman me dum hai' - Ajay was surely dumdaar enough to carry the movie to the next level - the opening collections created new BO record.

Even baddie Prakash Raj got his share of one-liners, 'Ata mazhi satakli', to which Devgn replied, 'Ata tujhi satkel.' The dirty picture Director Milan Luthria and producer Ekta Kapoor clearly understood how badly the audience wanted to wolf-whistle and throwing chillars everytime the hero/heroine spoke her/his lines.

Here was a heroine who delivered one liners that could give her male counterparts (in the film and the industry) a run for their money. Vidya Balan topped the year with her impeccable performance and flawlessly dished out an entire series of witty punch lines that might have been also instrumental in the film's A-certification.

Vidya's 'main entertainment hoon' and 'Mera naam badnaam hokar hua hain' were simply teasers that sent the audience drooling in collective fantasy in the dark confines of a movie theatre. Ooooh la la anyone? Buddah Hoga Terra Baap The original angry young man and the principal packs some more power-packed lines in his new, revamped macho avatar.

In Puri Jagannath's Hindi directorial debut Big B's is the angry not so young man whose dialogues are 'beeped' into silence (this one is to save the Censor Board some time and hassle, and leave the room open for imagination). His epic one-liner 'Hum jahan khade hote hai, line wahin se shuru ho jati hai' shared space with many brand new ones like 'Yeh aaj-kal ke bachche hamen copy karne lage hai' in the film.

Dialogues abhi baaki hai The five minute long frustrated lover's rant and rave in Pyaar Ka Punchnama by the character of Rajat (Kartik Tiwari), the giggling trio of "Delhi Belly" and many other movies like "Yeh Saali Zindagi" and "Sahib Biwi Aur Gangster" also deserve mention here for working hard to live up to the trend of 'dialogues are back'. With upcoming remakes like "Agneepath" and "Chasme Baddoor" (remembered for their witty one-liners), looks like there will be plenty of bindaas bol moment for us in store.

In upcoming films like "Rowdy Rathod" ('Ilaka tera, dhamaka mera' and 'Faulad ki aulaad') the dialoguebaazi continues unabated (less)

"Like Bollywood films are promoted, these days even television shows are also marketed. We do see banners and posters, events and interactions etc.

Besides, this I feel there are no exciting roles for middle-aged women in Bollywood. The last I saw was Jaya Bachchan's role in Khabhi Khushi Khabhi Gham ," Aruna told PTI in an interview.

"Television is doing pretty good. Everything is of high standard like even the sets are huge, costumes and it is so colorful.

Even in terms of roles there are strong character roles in television for everyone," she said. She would seen essaying the role of Rajmata Mrinalini Devi in Dekha Ek Khwaab .

It is a story of an ordinary girl called Monica, played by Priyal Gor, whose suddenly finds herself becoming the princess of a royal family of Devgarh. "In the past few years, I have done roles which were negative but this role has so many edges that I was not able to say no to it.

I loved the way Mrinalini Devi portrays elegance, charm and glamour without being overboard. There are no exciting roles for women of my age in Bollywood and even if they get there are hardly few scenes.

Everything has changed in Bollywood in terms of technology to genre to scripts and concepts to film-making business. It seems today there is not much requirement for family oriented films," the 59-year-old actress said.

Aruna made her debut in Bollywood with Ganga Jumna (1961). After doing small roles in several films she shot to fame with Caravan (1971).

She went to do lead roles opposite Amitabh Bachchan and Vinod Mehra in the films like Bombay To Goa (1972), Garam Masala (1972) and Do Phool (1973). Later she played grey and supporting roles in Beta (1992), Raja Babu (1994), Chhote Sarkar (1996), Dil Toh Pagal Hai (1997), Haseena Maan Jayegi (1999) and others.

She was last seen in a movie in the Akshay Kumar-starrer film Khatta Meetha (2010). Tweet (less)

Oomph is wow! The lady, who has already given an inkling of the things to come in her sweltering item number Umrao Jaan of Damadamm, says without any inhibition: "Till date I have played the good gal in films like Aashayein, Jaane Kahan Se aayi Hai and Radio. But, I am loving my sexy avatar in Damadamm now.

I play the other woman, who completely floors Himesh with her chilled-out viewpoint and oomph quotient, and is in sharp contrast with his seedhi-saadhi wife. I know I look sizzling hot in the movie and I am sure audience will love this makeover of mine!" Stork can wait! When she is all ready to sizzle, ask her when is the stork visiting, and Sonal says with a throaty chuckle: "My husband Naresh Kamath is very busy as the bass guitarist of Kailash Kher's band, and I am also enjoying my stint in Bollywood.

So, stork will have to wait for a while. Later, we definitely have plans to welcome a baby in our world!" (less)

But the sequel, more or less, turns out to be a remake or rather rerun of the original. So in this sequel to their 1978 film Ankhiyon Ke Jharoke Se , almost 80% of the screen-time is an exact replay of the original film.

So it doesn't matter whether you have watched the original film since you get to see most of it in the sequel. But that's precisely why the sequel doesn't work for you either, because with the repeat telecast of the original, it sets a direct contrast and thereby highlights the mediocrity of the sequel.

After losing the love of his life Lily (Ranjeeta) to cancer in the prequel, it is but obvious for the affluent Arun Prakash Mathur (Sachin) to start a cancer hospital in her name. He is a philanthropist and unable to forget Lily, has remained single so far.

What follows is the most convenient way to initiate a sequel. A lookalike of Lily is introduced in the form of novelist Asha (Ranjeeta).

And coincidentally Asha is commissioned to pen a biography on Arun. Arun agrees and narrates his personal account through liberal flashback footages from the original film.

Predictably they fall in love by the end. While Ankhiyon Ke Jharoke Se was based on Eric Segal's popular novel Love Story (which was also made into a Hollywood film in 1970), the sequel Jaana Pehchana is a mundane plot of falling for the lookalike of your lost love, witnessed zillion times in Bollywood from Kasme Vaade, Agar Tum Na Hote to Kaho Na Pyaar Hai .

The sequel's basic brainchild of falling in love with the facsimile, in a way, stresses on the film's shallow belief that love is more of physical attraction. The beauty in the narrative of the prequel lied in its tragic culmination, which made it an immortal and elementary love story.

Sachin, who doubles up as the director this time, attempts to start-off the sequel from where the original ended (tragedy) and take it forward to a happy ending. But that's where the film loses, both, its original essence and charm.

Not just extensive scene footage from the original is revisited in the sequel, almost every song is replayed too. Though Ravindra Jain's compositions are soulful, one can easily see through the commercial considerations of the sequel in exploiting the popularity and purity of the original, since it doesn't has much of its own merit.

With the prequel footage serving as an obvious reference point, one can't escape noticing age having caught up with both the leads. The natural charm of Ranjeeta is replaced by her plastic beauty and Sachin's youthful appeal is substituted by his venerable conduct.

While the chemistry between Ranjeeta and Sachin was youthful and charming in the original, here there is no palpable camaraderie between the two. The film is replete with regular Rajshri brand elements like conflict-free screenplay, convenient writing and slow pacing.

Also there are customary characters like the doting Ramu kaka and a gajar-ka-halwa making neighbour. And god forbid, even Lily's spirit is revoked in the climax.

Comparisons with the prequel are inevitable and both Ranjeeta and Sachin are plain average in retrospect. Also one can't really say it's a pleasant surprise to see yesteryear actors like the jaded Junior Mehmood and the bespectacled Birbal in itsy-bitsy parts.

Irrespective of whether you have watched Ankhiyon Ke Jharoke Se or not, it's no point seeing the sequel. Eyes wide shut for this! (less)

If we go by this theory, most audiences of this film will walk out of the hall as rockstars, since the movie will largely leave them heartbroken. But for heartbreak, it is imperative to fall in love first and that's exactly what director Imtiaz Ali does.

He starts off the film on a promising note and just when you fall in love with the amazing first half, the narrative nosedives with a stagnant second half. So you have the naive Janardhan Jakhar (Ranbir Kapoor) who aspires to be a rockstar like Jim Morrison .

His yearning for heartbreak gets him close to Heer (Nargis Fakhri), as they bond over soft-porn cinema and country liquor. Soon after, the girl is married off to some NRI, the boy is thrown out of his house, he seeks solace in a dargah and next you know he's a singing sensation rechristened as Jordan.

A foreign tour reunites him with Heer and their passive passion rekindles until Jordan is obsessed with her. What follows is another tribute to Devdas or rather Dev.

D with the neurotic, lovelorn protagonist unable to get over his mixed emotions and confused definition of love. But that's not all as the plot meanders to culminate into an undesired arena of Erich Segal's Love Story .

Imtiaz Ali is known for his old-wine-in-new-bottle brand of cinema. Rockstar is very much engaging as far as it is in that familiar territory, where the director adds a refreshing touch to the regular romance drama.

The casual chemistry that he induces between the lead pair through their wacky and eventful escapades has its moments of charm. The passion-play between them when they reunite after years is spontaneous, smoldering and yet tastefully achieved.

Their reunion is also faintly reminiscent of the Jab We Met reunion, where the character-conduct is reversed with the burbling boy now trying to make the gloomy girl's life more exciting. And like Love Aaj Kal , Imtiaz Ali kick-starts the film with a montage song highlighting select significant sequences from the entire film.

But beyond that when the director ventures into uncharted zone, the narrative loses track. While one can still overlook the Dev.

D influenced intoxicating attitude of the proceedings (which you can somehow attribute to the convoluted rockstar protagonist), the subsequent terminal illness conflict takes the film towards an unwelcome and undefined end. After an interesting graph to the narrative in the first half, the story almost turns stationary in the second half.

The screenplay seems stretched and gets monotonous with repetitive media-bashing scenes and flashback shots of what has been already served to you. Another problem with the plot is that it is neither a standalone story about the rise-of-an-underdog who becomes the biggest rockstar nor is it merely a love story with a rockstar backdrop.

The director somewhere attempts to correlate the rockstar's rise with his romance but isn't able to achieve that impeccably. In fact the original one-liner plot with which the movie starts (a painful heartbreak gets out the real artist inside you) goes for a complete toss by the end.

One can never clearly perceive when Jordan's heart is broken in the assorted scheme of events and that's where the film loses objectivity. The storytelling pattern of the film is needlessly intricate for a simple romance-drama genre.

While it is very much linear, the frequent use of multiple montages can have you confused. Initially the montages aid brisk storytelling but subsequently there are so much of them that it gets puzzling.

Editing the film would surely have been a difficult task. Anil Mehta's cinematography is brilliant as he captures the beauty of Kashmir, Italy and Delhi with panache.

AR Rahman's wide range of music has numbers which are instantly infectious ( Sadda Haq ) and others that take time to grow on you. If Rockstar keeps you engaged even after you have given up on the story by the end, it is only because of Ranbir Kapoor.

From his innocence in the opening reels to his arrogance in the climax, Ranbir breathes life into Jordan and keeps you riveted. Whether he adlibs his songs, gives a dance-tribute to Shammi Kapoor or dictates the concert crowd, Ranbir gives cent percent to his character.

How much ever you try to ignore, but Nargis Fakhri fervently reminds of Katrina Kaif through her looks, acting, lip movements (and seemingly also has the same voice dubbing artist). Nevertheless she is likeable and shares good chemistry with Ranbir.

Kumud Mishra as Jordan's advisor-turned-manager is impressive. Aditi Rao Hydari is confident but marred by a short-lived character.

Piyush Mishra makes for an animated-yet-interesting negative lead. And it's pleasing to see Shammi Kapoor is his last decent cameo.

Rockstar rocks you but only partially thanks to the star called Ranbir Kapoor. Verdict: Above Average (less)

Born in a conservative Muslim family, Zainab is the eldest amongst half a dozen daughters of Hakim saab (Manzar Zehbai). The father's quest for a male successor in his family is thwarted when a son is born but with effeminate traits.

As the son Saifee (Amr Kashmiri) grows up amidst sisters, the father almost disregards his presence in the family. Director Shoaib Mansoor uses this family as a paradigm to address almost every concern correlated with the community.

The film primarily objects to the idea of reproducing human beings into this world (blinded by faith and self-centered intentions) without taking complete responsibility of their existence. Concurrently it also highlights the regressive attitude of a male-dominated society that offers no liberty to woman in choosing life-partner, refusing reproduction, gaining education or working independently.

And the concerns are very much contemporary with the film set in modern-day Lahore . At the same time, the film never stereotypes the state or its citizens but attempts to represent the intellectual illiteracy of a vast majority who haven't upgraded with times.

Almost all the issues are brought to light by the conformist characterization of the father figure. And with the outlook of the film focused only on domestic issues, the director refrains from giving any political overtones to Hakim's characterization and attributes his extremism to his orthodox upbringing and bigoted beliefs.

His fanatic philosophy makes him renounce his earnings from a plebeian pimp even in desperate times. You hate his chauvinistic attitude as much as you pity his penniless state.

While he is the only breadwinner of an extended female-dominated family, his ancestral physician profession is losing charm and clientele in an era when medical science has much evolved. So while on one hand you detest the fact that he doesn't allow his daughters to find employment, you also sympathize with him for having to stoop to the panderer's demands.

At several instances, the narrative smartly underscores the irony of life. While we have often witnessed woman getting into the flesh trade for survival, here the male species falls prey of the situation.

The fact that all his offspring were only girls, which had always been his biggest weakness, turns Hakim's strength when he gets money to impregnate a courtesan (Iman Ali) with a girl child. So while on one hand his second daughter gets secretly married to the boy-next-door (Atif Aslam), on the other hand the father surreptitiously ties the knot with the courtesan.

Like Khuda Kay Liye , Shoaib Mansoor's take on the subject is comprehensive and despite the long runtime, the narrative never gets tedious. The writing is riveting, and the dialogues in particular, are crisp, clear and caustic.

Despite the serious demeanour of the film, the director infuses sporadic moments of unusual humour, like in the scene when the siblings are fighting over an India-Pakistan match and the father believes that the sincerity of their prayers would be solely responsible for their country's victory or defeat. Even when the sissy brother is physically abused, the film never gets into titillation mode and remains refined.

There are portions in the narrative that the director never touches beyond a menial mention, like Zainab's failed marriage. But there is so much and more that the film explores that you never bother to learn about the omitted chunks.

A rock-concert number by Atif Aslam seems somewhat out of place in this film. Also the entire media circus and bureaucratic drama surrounding Zainab's death sentence could have been avoided.

Nevertheless, while the film could have easily started and ended as Zainab's story, the director intentionally takes it to legislative level to make a strong statement on national level. The film ends with an epilogue, which, despite being a little too optimistic, shows a ray of hope.

Bol is blessed with superlative performances by seasoned actors. Manzar Zehbai, undoubtedly, is the scene-stealer in his fanatic father characterization.

He remains in his character of a stern, angry and frustrated personality but never hams. Humaima Malick is absolutely brilliant in her author-backed rebellious character.

Amr Kashmiri never goes overboard even for a moment, a common tendency while playing an effeminate and stammering character. Atif Aslam doesn't get much scope but is decent in his part.

Mahirah Khan Askari is charming. Iman Ali looks alluring and is graceful in her short role.

Shafqat Cheema as the brothel proprietor convincingly alternates from being a friendly person to a menacing foe. Zaib Rehman as the vulnerable mother is compelling.

Shoaib Mansoor voices a strong and progressive viewpoint with Bol . Some good 'word of mouth' for his bold cinema please! (less)

But beyond that when it strays into entirely different terrain, the movie loses its audience. Vidyadhar (Vinay Pathak) works in a private company but lives (as an illegal tenant) in a government colony in Mumbai.

Mehek Malvade (Neha Dhupia) who works as a backup dancer in films shifts next doors. She is anything but the girl-next-door and her cheeky conduct initiates enmity with her neighbour.

When a vigilance raid renders her homeless, Mehek moves in Vidyadhar's apartment, much against his wish. As their initial hostility is replaced by a friendly bond, they come close.

But the ambitious Mehek is besotted by glamour world and will stop at nothing to make her starry dreams come true. Writer-director Saurabh Shukla starts the film on a promising note and though it never gets outrageously funny (like one expects it to be), it doesn't bore you either.

The pace is slow and the tempo keeps dropping every now and then. The Bambaiyya v/s Banarasi attitude of brawl between Vinay Pathak and Neha Dhupia defines their cross-connected chemistry here.

The tone of humour is inconsistent ranging from some hilarious moments to some plain passable ones. But beyond humour, the film focuses more on the heartwarming bond that it subtly develops between its odd pair.

But as Mehek's journey to reach the stars takes over, the film loses focus. Going on a completely different tangent, it highlights the turmoil of a struggling actress and how her family disapproves of filmdom.

Furthermore it distances her from love. Disillusioned in the city of dreams, Vidyadhar moves back to his hometown and the film attempts to give an insight on the urban-rural divide.

Until Naseeruddin Shah (reprising a role immortalized by Anupam Kher in Bollywood ) persuades his son to seek true love. And just when you presume that a seemingly lecherous producer (Rajat Kapoor) would make a pass at Mehek, he plays agony uncle guiding her to true love.

Finally when the end credits roll in a film-studio, showcasing the behind-the-scene existence of the movie industry, one wonders why the film needlessly treads into Zoya Akhtar's Luck By Chance zone. What was the central plot after all? The murky side of movie world? Despair in city of dreams? What point did the film attempt to make after wandering off into so many offshoots, when we were always under the impression that it was a minimal tale of mismatched romance? The performances are perfect.

Vinay Pathak doesn't fall prey of overdoing his underplaying act and is poised in his character. Neha Dhupia completely justifies her meaty role with an audacious act.

Rajat Kapoor is restrained as usual in his small bit. Naseeruddin Shah gets a cliched character.

Brijendra Kala and Sanjay Mishra lend decent support. The film ends with an off-track moral to the story - to accept a person without expecting them to change.

But it's difficult to accept this partially engaging film, unconditionally! On that note this pappu doesn't pass muster. Alas pappu fail ho gaya ! Verdict: Average (less)

So the film's actor-writer-director Shubh Mukherjee plays Aniket, who with his group of friends, aspires to make a documentary film on terror attacks. And you can actually see Aniket's attempt at making a college project film resulting into an amateurish filmmaking attempt by Shubh Mukherjee.

While taking random video shots within the international airport vicinity, the boys are taken into custody by police and detained at airport under suspicion of being terrorists. A potbellied anti-terrorist officer (Saurabh Shukla) comes to investigate.

Amidst all this, one Omama Bin Laden, who heads some terrorist group Al Bakaida, is planning an actual attack at the airport. Noise, disorder and confusion ensue for hours until Shubh comes to the point - to launch himself as the hero.

And for that he just has to diffuse a bomb by snipping off one of the red-green-blue wires - a trademark gimmick of the 80s potboilers. Only if bomb diffusing and filmmaking were so easy, a lot more souls would have been saved.

Despite starting on a promising premise, writer-director Shubh Mukherjee isn't able to develop the plot in an interesting way and the potential for a fresh comedy is substituted by a formulaic film. The boys remain detained for more that half of the film and with nothing substantial happening through their confinement (other than repeated and redundant interrogation sessions), the narrative turns static and one-dimensional.

The remaining film turns into a (supposed) comedy of mistaken identities inside the airport premises with beings and bags shifting hands every ten minutes. The tone of the comedy, though not slapstick, is juvenile, inconsistent and ineffective at places.

Neither is it supported by witty lines, nor by good comic-timed performances. The second half goes on and on and seems like an endless exercise where every character shouts their lungs out.

An India-Pakistan live cricket match that plays in parallel has no relevance whatsoever with the central plot. Shubh Mukherjee makes an earnest effort but gets the tone of humour wrong as the director.

As an actor his dialogue delivery is suggestive of Shahid Kapoor, his acting is reminiscent of Riteish Deshmukh but, in totality, he comes across as a cheap imitation of Ali Zafar. Chitrak Bandhopadyay, employed as a prototype to the fat-bearded comic sidekick in films like Hangover or Delhi Belly , is not half as amusing.

The only thing he makes noise for is his flatulent farting and fake firang accent. Child actor Pratik Katare isn't partially as funny as he was in Paa .

Harsh Parekh lacks screen presence. Saurabh Shukla keeps 'shouting' at everyone around to lower their voice.

Raghuvir Yadav appears malnourished. Pretty face Umang Jain is underused in an inconsequential role (once again after Love Breakups Zindagi ).

Aamna Shariff is hardly there. And why is Joy Sengupta even there.

The film essentially had in it to be a humble entertainer but it's unfortunate that the potential couldn't be tapped appropriately. So Shakal Pe Mat Ja.

..

apni akal lagaa . Verdict: Below Average (less)

"Like Bollywood films are promoted, these days even television shows are also marketed. We do see banners and posters, events and interactions etc.

Besides, this I feel there are no exciting roles for middle-aged women in Bollywood. The last I saw was Jaya Bachchan's role in Khabhi Khushi Khabhi Gham ," Aruna told PTI in an interview.

"Television is doing pretty good. Everything is of high standard like even the sets are huge, costumes and it is so colorful.

Even in terms of roles there are strong character roles in television for everyone," she said. She would seen essaying the role of Rajmata Mrinalini Devi in Dekha Ek Khwaab .

It is a story of an ordinary girl called Monica, played by Priyal Gor, whose suddenly finds herself becoming the princess of a royal family of Devgarh. "In the past few years, I have done roles which were negative but this role has so many edges that I was not able to say no to it.

I loved the way Mrinalini Devi portrays elegance, charm and glamour without being overboard. There are no exciting roles for women of my age in Bollywood and even if they get there are hardly few scenes.

Everything has changed in Bollywood in terms of technology to genre to scripts and concepts to film-making business. It seems today there is not much requirement for family oriented films," the 59-year-old actress said.

Aruna made her debut in Bollywood with Ganga Jumna (1961). After doing small roles in several films she shot to fame with Caravan (1971).

She went to do lead roles opposite Amitabh Bachchan and Vinod Mehra in the films like Bombay To Goa (1972), Garam Masala (1972) and Do Phool (1973). Later she played grey and supporting roles in Beta (1992), Raja Babu (1994), Chhote Sarkar (1996), Dil Toh Pagal Hai (1997), Haseena Maan Jayegi (1999) and others.

She was last seen in a movie in the Akshay Kumar-starrer film Khatta Meetha (2010). Tweet (less)

When we caught up with Dharam paaji in the capital, he said, "Malik ne itna pyaar diya hai ki bas man karta hai wohi pyaar mein logon mein baant ta rahoon. I'm writing the book for everyone who loves me.

I want to tell my story to the people who look up to me for inspiration to point out that if I can do it, so can anyone else." But why in Urdu? "That's because Urdu is a very beautiful language.

Aur kyunki maine Urdu padhi hai, mujhe lagta hai ki jo main kehna chahta hoon, woh main iss bhasha mein bohot asani se sabko keh sakta hoon." Speaking about what readers should expect from the book, Dharam paaji said, "I write when I get emotional.

And I can analyse myself through my writings. Also through this whole process, I feel I am reliving my life - going through all those emotions, struggles, achievements and everything - all over again.

" Recalling a few episodes, Dharamendra said, he fondly remembers the time when his daughter (from his first marriage) Vijeta was getting married. He said, "You know how houses are in Mumbai, there is always a space crunch.

So, when my daughter was getting married, I had so many guests that I was finding it very difficult to accommodate each and every one of them. But then Yash Chopra came to the rescue.

Yash and I are neighbours and we have a common wall between our lawns. So, during that time, Yash told me, 'let's break this wall, so that all your guests can move around and enjoy freely.

' And we actually broke that wall and combined the lawns. This gesture of his touched my heart and it is one that I will never forget.

" (less)

"(The year) 2011 came really unexpected..

. because I was almost ready to leave the industry and then 2011 just caught me by surprise and things just started getting better," Jacqueline said on the sidelines of a performance rehearsal.

The former beauty queen made her Bollywood debut with "Aladin" in 2009, and went on to feature in "Jaane Kahan Se Aayi Hai" -- both of which turned out to be duds. She also featured in "Murder 2", but she was most appreciated for her item song "Dhanno" in Sajid Khan's "Housefull".

And now Jacqueline is looking forward to a promising new year. "2012 is going to be a really important year for me.

It will have the most amount of releases in a year. I've always had a maximum of one release in a year but in 2012, I am going to have three releases.

It's going to be really exciting year for me and it will be focused completely on work," she added. Among the films lined up for Jacqueline are "Housefull 2", "Race 3" and "Raaz 3D" in the coming year (less)

It may have backfired like in Easan . But by and large, it has worked out for the duo.

Poraali , which Samudrakani has scripted and directed, and Sasikumar has produced and played the lead in, is one such off-the-routine fare that engages you for the most part. The struggle of two men Kumaran and Nallavan, to eke out a living in the city, forms the core of the plot.

Working at a petrol bunk, Kumaran hits on an innovative idea. Getting into the business of making door deliveries for a small price, it is about the transformation it brings in the duo's lives, the changing relationship with their neighbours, the women in their lives, and the past casting its shadow.

All narrated with humour, sentiment and action. As the reticent angst-driven Kumaran, Sasikumar gets to sport two different looks.

He brings out impressively the various nuances of his character. A perfect foil is Naresh as Nallavan (a strong comeback after Kurumbu ), who makes an impact in the moments where a terrified Nallavan battles his inner demons.

The colony has some interesting characters with their own quirks, who add to the humour quotient. The women get their space too - whether it's Bharathi (a cute Swathi) whose dislike for Kumaran turns to affection; or the gutsy rural belle Selvi (a very impressive Vasundhara) who fights his cause.

The flashback of Kumaran and his avaricious relatives could have been trimmed. If it's Ganja Karuppu who regales us as the duo's slippery friend in the earlier part, it's Suri in the latter.

The plight of the mentally challenged at an institution and the callousness of the relatives is touching and insightful. The finale fight is well choreographed.

Shifting his ambience, bringing in multi characters and issues, the script may seem a tad loosely etched at times, unlike his earlier Nadodigal . But Samudrakani manages to get his grip back on the narration, knotting it all up into a fairly engaging whole.

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Don 2 , the sequel starts off almost from where the earlier episode ended and while it attempts to maintain some continuity with the last installment, it fails to bring back the intelligence of the original. Don (Shah Rukh Khan) emerges in Malaysia and gets himself arrested only to get the convicted Vardhan (Boman Irani) out of jail.

Vardhan has keys to a video footage which they use to blackmail a bank vice president (Alyy Khan) to get access to a German bank's security systems. The big plan is the old-fashioned and formulaic robbery of the currency printing plates from the bank.

So the sequel to Don merely boils down to being a heist film. The film, more or less, starts as an action flick with Don's one-man-army introduction in Thailand , a convenient escape from Malaysian prison and some conventional car-chase sequences in Germany.

None of them excite much until you realize you have already reached the interval. The plotting and scheming starts in the second half with an easy induction of a hacker (Kunal Kapoor) who can not only barge into the security systems of the vault but also seems to have blueprints of the bank building to the minutest details.

The writing by Ameet Mehta, Amrish Shah and Farhan Akhtar is more style over substance attempting to camouflage cliches with the cool quotient. Even the central heist seems confusing and convoluted but Farhan Akhtar intentionally keeps the pacing swift enough, leaving no time for the viewer to notice any loose ends.

However, the more he makes the situation easy to suit his script, the more it becomes difficult for the audience to digest things. Even the robbery seems mundane Hollywoodish exercise with no moments of thrills in particular.

However the highlight isn't the heist per se but Don's hidden agenda behind it. While it isn't much difficult to decode the mystery, it makes for a decent climax.

The director mercifully keeps mush away from the major proceedings though he can't resist the temptation in the climactic portion in his attempts to induce chemistry between Don and his rival, Roma (Priyanka Chopra). But Don would have been better-off as the suave and stonyhearted killer rather than a 'Rahul' prototype.

Thankfully the chemistry is peripheral and never blooms into romance. Also one would have preferred to see Don as more brain over brawny hero but the director makes him a jack of all trades giving him James Bond kinda complete-man characteristics.

Vulnerability is alien to Don, essentially making him larger-than-life. But despite being an unethical drug-lord, Farhan Akhtar's treatment is such that you still adore him as the hero over abhorring him as an outright villain.

Don 2 never gets into the good v/s evil battle. The cinematography by Jason West is striking.

However Shankar-Ehsaan-Loy's musical score doesn't leave a mark this time and the background score has to repeatedly resort to the theme-piece from the original for some impact. Farhan Akhtar's punch-lines in dialogues are initially amusing but with a Don-ism in every second line, it sounds hackneyed and hollow after a point.

Shah Rukh Khan is in his comfort zone as the Don bringing more charm than cruelty to his character. He rules supreme and the film's indulgence with him is as much as Don's obsession with himself.

Everyone else is overshadowed. Priyanka Chopra is passable.

Lara Dutta , as the Don's moll, is simply a substitute for Isha Koppikhar from the prequel and is hardly there for a few scenes. Boman Irani is underused.

Kunal Kapoor fails to register any impact. Om Puri, Alyy Khan and Nawab Shah are plain functional.

Sahil Shroff irritates. Don 2 ends with the promise of Don 3 (that's what the number-plate of Don's bike reads) and the trademark dialogue ' Don ko pakadna mushkil hi nahi, namumkim hai ' (It's not just difficult to catch don, it's impossible).

But we would surely want to 'catch' up with a more worthy sequel to this. It's not impossible Farhan.

Is it? Verdict: Above Average (less)