Category Archives: Bijou
DAAWAT-E-ISHQ: The story of a shoe-sales girl disillusioned with marriage because of her encounters with dowry-seeking (jehez) men and a cook extraordinaire, coming face to face in the clash of diametrically opposite but equally spicy cultures of Hyderabad and Lucknow.
A story line with a sea of potential however gone to waste! Imagine going to a lazeez restaurant and being served an 18 course meal that slowly loses its flavour as it becomes cold and by the time you get to the dessert you just need to get out! That’s what this movie is. What started off as a ‘Dhaakad Tau’ movie lost the plot towards the end! Another ‘dhatt tereki’ feeling movie!
What really turned me off was the sloppy handling of the very issue it claims to address and making a mockery of a law that protects victims of dowry harassment. Secondly, the romance between the two leads feels hurried and unconvincing, established quickly over a bunch of songs. The music in general is lack lustre missing the X-Factor. The lyrics are better than the music itself. And a stickler for language, I found a little Punjabi Hindi sneaking into a Hyderabadi accent which was a bit off putting!
But what the film lacks the actors more than make up for it! Parineeti Chopra is becoming better at her stereotypical role of the spirited, emancipated and new-age woman! Aditya Roy Kapur, in a part more flamboyant than he’s tackled previously, gets the body language just right and builds from there. I think I have fallen in love with his versatility! Portraying a devilishly handsome, supremely confident of his looks yet uneducated, uncouth and bloody damn good at his job – cooking, he makes the character superbly believable! Anupam Kher, proves once again that he is the undisputed king of character acting, striking the right balance between comical and vulnerable, constructing a character that feels immediately recognizable.
The other thing I liked was the way they have successfully woven food into their narratives befitting the title of the film. Kababs, biryanis, jalebis and phirnis all get their close-ups and I love how realistic Pareeniti’s love for good cuisine is! I haven’t seen it done quite so well, not even in Cheeni Kum! Ironically, in spite of this food fiesta the film is unmistakably bland.
So I am going with 4/10! Watch on DVD or better still “Colours” and you won’t feel like you could have spent the money on a new shoe 😉
Yup I spent my precious Saturday morning watching Himesh Reshmmiya’s The Xposé!!!!!
A review of this movie definitely deserves a few paragraphs and hence a note and not just a status update!
Firstly, and almost the best part about it is that its a short film… running just under two hours!!! Finally someone in Bollywood gets it!!! Secondly, it’s a mind numbingly stupid film that knows it’s a mind numbingly stupid film and loves it and revels in it, without being melodramatic!!! No one will go and watch the movie for its directorial prowess (Anant Mahadevan… come on!!) or the Hero (Himes!!! you must be crazy) or Music (Himes and Yo Yo Honey Singh… really?!?!?) but a combination of all these topped with the fact that you expect very little to nothing make the movie – dare I say – watchable!!!
Everything in the movie is a copy! Michael Jackson’s background score in Bad – copied. Hai Apna Dil – copied. Ashiqui2’s hum tere bin ab reh nahin saktey – copied. The sets of The Great Gasby – copied. Rivalry between sirens like Parveen Babi and Zeenat – copied. The hero Ravi Kumar is Rajnikanth and is even referred to as Thalaiva in the film – copied. The scene where Zeenat Aman comes in front of the camera for the first time in the temple in Satyam Shivam Sunadaram in the sets of film named similar Ujjwal, Nirmal, Sheetal – copied (remember the song?!?!!)The list goes on. I am sure you will pick up some that I missed out. Honestly there’s very little in the movie that’s original. But the good part is that it doesn’t seem like there was any attempt in trying to hide this fact. Actors, directors, cameramen all of them perfectly comfortable picking up bits and bobs from every available source and “danke ki chot pe” with a “yaar ki frak painda” attitude!!!
And honestly, the dialogues are a treat!!! Would give Navjyot Singh Siddhu a run for his money! One wonders where this guy picked up golden lines like “Tere shareer mein itna khoon nahin hoga jitna Ravi Kumar ek baar mein mooth deta hai” and “Na kafan mein jeb hain, na kabr mein almari aur maut ke farishtey rishwat bhi nahin lete!”. “Sir aap is movie mein hero toh nahin toh aapka role kya hai?” Response by Hime, “SuperHero”! A classic response to the question, “Subbuji, mera role kya hoga?” and he replies, “Na dance na expression na pose sirf expose”… wah wah wah taaaliyaaaan!!! This kind of unintentional hilarity is rampant and one forgets to see how much time till the movie finishes!
A word for Anant Mahadevan he has used Himesh’s inability to act as a feature in this film. A wooden faced cop, turned, actor, turned sleuth, turned lawyer does it all with as much expression as a goldfish in a China shop! And the best part is he is allowed to take credit this time for acting the part and not acting at all!!! Ok ok I don’t mean to confuse you but suffice to say he is so bad he is actually good and exactly what the director and the script expected of him!!!!
Yup, music is the mainstay for me in every movie and I would happily give this one a miss. Copy paste effort everywhere somehow didn’t resonate with me at all!!! Himes bhai forgets that naql ke liye bhi aqal ki zaroorat hoti hai. But we do have a winner in Ankit Tiwari’s rendition of Sheeshe Ka Samundar.
The ghazal-esque reprise by the brilliant Rekha Bhardwaj is pretty spot-on too!!
All in all a kingly 3.9/10 for a movie I wouldn’t have been caught dead watching!
Director: Subhash Kapoor
Cast: Arshad Warsi, Boman Irani, Saurabh Shukla, Amrita Rao & Ramesh Deo
Inspired by the Sanjeev Nanda’s hit-and-run case, Subhash Kapoor’s latest venture has its heart in the right place but lacks consistency. Its about a rich Delhi kid, who is accused of mowing down six pavement dwellers with his speeding car and is let off for lack of evidence, a small-time lawyer spots an opportunity and gets the case reopened in a bid to get name, fame and wealth.
Meerut-bred Jagdish Tyagi, or Jolly (Arshad Warsi), whose ambitions are clearly bigger than the modest court in his town heads to Delhi where in bid to gain publicity he reopens a hit-and-run case where he has to take on legal heavyweight Tejinder Rajpal (Boman Irani), who is defending the accused. However the story turns when egged on by his fiancée (Amrita Rao), and in a powerful but silent moment by the Canteen Manager (Ramesh Deo) he wants to find the TRUTH. Rajpal, whose defense is built around a bunch of lies and a “botched-up police investigation”, resorts to everything from treachery to bribery to physical assault to scare off Jolly from pursuing the case.
Director Subhash Kapoor tackles these scenes with fantastic humour but gets carried away in histrionics, and a bunch of unnecessary songs which reminds you that its after all a Hindi film!!! A satirical sequence in which a corrupt cop (Sanjay Mishra) openly auctions off a promotion in the police department to the highest bidder amongst a fleet of dishonourable officers though extremely funny was unnecessary or way too long. While a scene in which Jolly witnesses the plight of pavement dwellers first-hand is genuinely moving, other bits feel contrived and ring untrue. The aged spindly bodyguard assigned to Jolly mans up in the hour of need bringing a lump to your throat. The poignant and silent scene where veteran actor slaps Jolly speaks of all the pain and disappointment he feels without a word. A sequence of melodrama in the court was unnecessary & only helped to lend it a lame feel.
Jolly LLB’s screenplay maybe predictable, with lavish melodrama but what the story lacks in terms of surprise, the cast makes up with its performances. The film benefits from some fiery courtroom exchanges between its two leads and a very effective Saurabh Shukla playing the seasoned judge. Arshad Warsi brings Jolly to life giving him depth, revealing a simmering frustration beneath that cheery exterior. Boman Irani is superb as a corrupt lawyer, constantly texting, conniving and scheming, who revels in the dread he inspires in others. But the game set and match went to Saurabh Shukla Shukla for the ease with which he plays the oddball eccentricity of the wise ol’ judge. Not once does he strike a wrong note, as he dutifully witnesses the circus before him. Hell, he turns even the seemingly innocuous act of eating lunch into a riveting performance.
The movie is a perfect weekend arvo watch throwing up some relevant points about society’s apathy towards the poor, the loopholes in our judicial system, and the ease with which the rich often manipulate the truth while maintaining its levity through some great dialogues and strong performances from its three lead actors!!! An easy 2.5 out of 5!!!
Raga Name: Kedar
Aroha: S M P, M P D n D P S’
Avaroha: S’ D n D P, M P D P m,S R S
Jati: Audava – Sadava
Swarupa: S M P, M P D P m, S R S
Prahar: 7th Prahar (9 PM to 12 AM)
Raagon mein Raag Kedar, the ancient (among our oldest raagas), all time favourite, late evening raag. Complex, rich, and uplifting, the raag derives its name from Kedar Nath or Lord Shiv who is the Lord of deep silence, of serious contemplation, the Destroyer, a formidable deity of ascetic temperament. However, in its contemporary form with some melodic enhancements this austere raga has adopted a more romantic/sensual aural image.
One of the most profound raags of the Hindustani system she occupies a pride of place in the Hindustani pantheon and is much loved in the ranks of both the lay person and the connoisseur. Its complex structure reveals a kaleidoscope of complex melodic gestures, conduct and richness of character giving it an intoxicating melody. And it is this very quality renders it suitable to any genre of music such as classical (Khayal, Thumri, Drupad and Dhamars), semi classical light classical or bhajan singing forms.
Maybe it’s the mysterious aspect and complex turns of the raag created by the way it meanders between notes that makes it brilliantly melodious and attracts me to it. One of my most favourite compositions based on Raag Kedar is from a film called Mughl-e-Azam. Janaab Naushad’s melody perfectly rendered by Lata Mangeshkar is “Bekas pe karam kijiye”
Aap Yunhi Agar Humse Miltey Rahey – EK Musafir Ek Haseena
Uthaye Ja Unke Sitam – Andaz
Kanha Ja, Ja Re – Tel Maalish Boot Polish
Aapki Aankhon Mein Kuchh – Ghar
Bahaut Shukriya Badi Meherbani – EK Musafir Ek Haseena
Humko Mann Ki Shakti Dena – Guddi
Bekas pe karam kijiye – Mughal-e-Azam
Pal Do Pal Ka Saath Hamara – The Burning Train
Mai Pagal Mera Manva Pagal – Ashiana
Saajan Bin Neend Na Ave – Munimji
Mil Ja Re Jane Jana – Benazir
Boley To Bansuri Kahin – Sawan Ko Aane Do
Ban Ke Chakori Jhoom Jhoom Re – Hum Matwale Naujawan
Tumhein Husn Deke Khuda Ne – Jabse Tumhein Dekha Hai
Malargale Malargale – Lovebirds
The wonderful, vivacious, versatile voice that enthralled three generations of cine music lovers in India turns a precious 80 today. Asha Bhonsle the living legend, unmatched in variety is ‘the’ voice with ebullient attitude, inimitable style, dynamic vivacity and a supreme quality. Today’s music is just to see, not to hear. What modern musicians achieve by loud blaring rhythm and cleavage she achieved with her seductive voice. Be they playful love songs or lusty cabaret numbers, soulful ghazals or funky pop, she trod everywhere, with aplomb making it all look so easy. From the early rock ‘n’ roll of Eena meena deeka, to the seductive Burman number Piya Tu Ab To Aaja in Caravan, to the unforgettable ghazals of Umrao Jaan, from the classical Sooni Sooni Raag Ke Sitar Par to the soulful love songs of Ijazzat, she has enthralled her listeners who never actually needed to see the songs to feel them. A different Asha for every decade, every heroine and vamp or stars on the ramp. Her voice suited the mischievous Madhubala as much as it matched the oomph of Urmila Matondkar’s gyrations in the sexy Hoja Rangeela Re and Kambakt Ishq. A tribute to the true legend from her greatest fan…