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‘Ra. One’ has finally released and one thing is obvious – It is indeed a brave and fruitful effort for sure since nothing like this has ever come out of Bollywood. From the sheer experience perspective of seeing something as big as this being unveiled, ‘Ra. One’ turns out to be a major win for the makers as well as the industry.
It is established in the very opening sequence of the film that with the way technology has advanced, there is a thin line between real and virtual world. This pretty much happens in the real life of a game developer as well (Shahrukh Khan) who creates the biggest ever virtual villain (Ra. One) who ends up entering the real world as well. However the villain’s endeavour here is not to destroy the whole world; it is basically a game of one upmanship (pun intended) where all he wishes for is to get even with the developer’s son (Armaan Verma) who had once challenged him on the game.
With a plot like this, it is pretty much announced that the superhero ‘G. One’ has one basic task cut out – Save the young boy and get ‘Ra. One’ way from him forever. Now this basic virtue of the plot has it’s strengths as well as weaknesses. Strength, because most in the heartland of India would relate to a father-like figure standing up for a boy instead of someone who is trying to stop a global warfare. Weakness, because those exposed to the superhero flicks from the West can well be expected to become impatient whenever the focus moves from action and thrills to family affairs.
This is what happens in ‘Ra. One’ as well where initial 15-20 minutes are dedicated to typical moments around a nerdy father, his supportive wife (Kareena Kapoor) and an evasive son. However it’s the points after the interval where ‘G. One’ accompanies Kareena and Armaan to their ancestral house where the film slackens a bit. Attempt to create emotional moments between Shahrukh and Kareena don’t quite bring a lump in your throat while humour too passes muster as one keenly awaits ‘Ra. One’ to return on track.
Thankfully it’s the thrills and action which ensure that ‘Ra. One’ stays on to be a largely engaging affair. Creation of ‘Ra. One’ in the lab, the sequence where it accumulates it’s powers, the one where it takes on Chinese game developer (Tom Wu) or the point where he comes face to face with Shahrukh for the first time – one can well experience the kind of grandeur that is about to explode. However the best is reserved for the sequence just before the interval point where ‘Ra. One’ runs after Kareena and Armaan on busy London roads. This action sequence could give any Hollywood action film a run for its money. The train sequence is simply fantabulous and though there would be obvious comparisons with a similar sequence in Rajnikanth’s ‘Robot’, this one not just stands on it’s own but also manages to surpass it.
On the other hand the sequence just after the interval point (outside the Mumbai airport) is good, though not extraordinary. Even much talked about Rajnikanth sequence doesn’t quite build on well after a good promise. The fight in the climax between Shahrukh and Arjun is fine though not exceptional.
A film belonging to this genre can’t be expected to have too many songs but still ‘Chammak Challo’ (though arriving all of a sudden) brings the right energy in the film and so does ‘Criminal’. However the background score (also by Vishal-Shekhar) is terrific and boasts of international standards with a good ‘desi’ touch coming in during the train sequence with ‘Raftaarein’ playing in the background.
Shahrukh does well in playing his role well though there isn’t scope to get any histrionics in place. While he is fine as ‘G. One’, he is endearing as the nerd. Kareena does what is expected from her though she does look like a million bucks in both of her dance numbers. Armaan is efficient and thankfully doesn’t go overboard. Arjun appears only towards the later part of the film’s second half and one does miss his presence for a long time.
Let’s admit it – today everyone and his grandmother as well as the driver is aware of the fact that Anubhav Sinha directed ‘Ra. One’ is the biggest movie ever to come out of India. In that aspect results can be pretty much seen on screen with all the crores spent on the making being quite visible. It is indeed the hugest ever film that one could have ever imagined to be emerging from Bollywood in the current times and that by itself is a good enough reason to check out what the film is all about.
Starring: Salman Khan, Kareena Kapoor, Raj Babbar, Hazel KeechDirection: Siddique
Music: Himesh Reshammiya, Pritam
Production: Atul Agnihotri, Alvira Agnihotri, Reliance Entertainment
The story goes thus. Lovely Singh (Salman Khan) is a strict and loyal bodyguard to Sartaj (Raj Babbar) a local statesman whom he idolises. Sartaj appoints Lovely the task of protecting his daughter (Kareena Kapoor) by being her shadow in college. The military-like Lovely is a mystery to the girls, especially to Kareena and her friends. Soon however, Lovely Singh is the most wanted man as he starts getting calls from a secret admirer. The bodyguard’s search for the voice on the phone and the consequences of the caller’s decision to remain anonymous forms the rest of the plot.
The usual Salman ingredients like a mass intro song to a topless fight sequence are all there. The purpose of any remake is to learn from past mistakes and improve the film which doesn’t seem to be the case here. Kareena is supposed to have equal footing in this as the hero but certain sequences that introduced the heroine’s character in the film have been omitted which leaves us clueless about Kareena’s character in this film. The first half of the film is passable. The second half is overbearing with too many song sequences which have been forcibly fitted into the screenplay. The film does have a decent climax. The helicopter sequence is very badly thought out. Overall, the screenplay fails to pack a punch.
After a very long time Salman has come back as a romantic hero. However, his romantic appeal appears to have waned in comparison to similar outings in the 90s. He shines as an action hero and in the comedy sequences. Kareena Kapoor is a live wire. She excels in her role but her character is not well developed and therefore, fails to impress. The comedian Rajat Rawail, fails in his attempt to imitate the character in the Tamil version of the film. His performance is below average. Raj Babbar is adequate in his role. Mahesh Manjarekar and Aditya Panscholi are wasted in insignificant roles with minimum dialogues.
Technically the camera work by Sejal Shah is good. He has stuck to the basics without much experimentation resulting in a good looking film. Editing by Sanjay Sankla is done well. Action by Vijayan is over the top. There are a few well planned out sequences but the rest are too superficial. The background score by Sandeep Shirodkar compliments the story well. There are two good tracks in an otherwise passable album by Himesh Reshamia with ‘Teri Meri’ taking the centre stage.
Overall, this is an average Salman film which tries too hard to satisfy everyone. A one time watch for this holiday season.
Verdict: Salman’s fans will whistle but the rest will sigh.
‘Zindagi Na Milegi Dobara’ opens on a familiar note. Three boys get together for a bachelors’ road trip where it would be them and only them in Spain. As their journey continues through the scenic locations of Spain, something which actually eats up at least a quarter of the screen time of ZNMD, Hrithik, Farhan and Abhay indulge into various sports activities.
So while an oh-so-extended scuba diving with Katrina Kaif in company hardly manages to excite and actually starts boring after a while, the second sports activity comes way too late in the day. Thankfully it is the most exciting of the lot as the three guys get into some sky diving mode. And then there is this enthralling but abruptly cut short ‘running with the bulls’ (which incidentally was the original title of the film) sports which could have been just the kind of climax that would have raised the film’s fortunes. However it turns out to be an anti-climax of sorts where one ends up wondering whether the concluding reel has gone missing from the final print.
So while the first half of the film actually keeps you engaged for most part of it, the second half doesn’t quite carry much steam and even though there are a few good sequences thrown in, one does feel as if something is really missing. As for the end then well, it makes one truly believe that in an attempt to break rules, ZNMD has actually gone a little too far.
Thankfully there are witty one liners as well as realistically narrated sequences between the trio that keeps one’s interest alive in ZNMD. So whether it is Farhan’s constant ‘bag worship’, his mildly flirtatious ways or pulling Hrithik’s leg time again – it all works in favour of the film, especially during the film’s first half. Ditto for various tricks that Abhay plays on not just a few unsuspecting victims but even his friends when he claims to know their ‘hidden secrets’. Continue reading
Finally ‘Chillar Party’ turns out to be an outing which despite featuring children isn’t quite a ‘kiddo flick’. To put it simply, just around 20%-25% tweaking in the film’s script could have easily allowed kids to be replaced by youngsters in their 20s and the impact would have still been the same. In that context, the script is flexible enough to cater to audience across all age groups, something which is its biggest strength.
So the moment audience is introduced to all kids in the story, you know that ‘finally’ this is going to be a different affair. There is a unique treatment indeed as there is a back story told about how each of the kids got their nicknames, something which is out and out hilarious and sets you in the right mood to watch what the rest of ‘Chillar Party’ has to offer.
At the core of ‘Chillar Party’ carries a simple agenda – save a stray dog which is the best friend of ‘tapori’ boy who works in the same society where all kids reside. Though there is a Minister who wants to boost his ego by trying to make this as a city wide issue, the kids go the whole hog to ensure that they have their way.
This is exactly makes the first half of the film absolutely terrific as quite a few scenes leave a solid impression and also make one pine to revisit them all over again. While introduction of all the kids is the pick of the lot, the scene where ‘Jhangia’ (the most memorable of them all) reaches out to the ‘tapori’ boy multiple times to induct him into their local cricket team is priceless. And then not to forget the part where all kids start acting like ‘bhai logs’. In fact Panauti, Encyclopaedia, Akram, Silencer and of course Fatka are the kids who leave a very good impression even after the film is through.
Though time and again it does happen the second half of an interesting film goes for a toss, it doesn’t quite happen in case of ‘Chillar Party’. The story continues from where it has left and now the kids face a bigger challenge to retain the dog by getting a ‘no objection certificate’ from the society members. Just when one felt that all of this could turn into a preachy drama, the makers come to the rescue as they ensure that the humour quotient doesn’t die down. Watch out for the interactions that kids have with their parents at this juncture or the entire ‘breaking news’ episode. Hilarious.
In fact the entire idea of stepping into a ‘chaddi march’ is done well too. However the moment kids hit the road in their ‘white chaddis’, the drama (unfortunately) starts going downhill. From this point on till hundreds of kids coming together at Flora Fountain to the evil plans of the Minister to the entire conversation between the parents to the TV show – last 20-25 minutes end up being a little haywire. Worse, Ranbir Kapoor’s ‘Tai Tai Phis’ appears even after ‘behind the scenes’ feature during the end credit title rolls. Not fair because many leave the auditorium by this time.
Still, all said and done, hats off to the makers who actually took a brave decision to back this story as a full fledged feature film. ‘Finally’ – That’s the sigh of relief that one gets during the very first 15 minutes of the playtime of ‘Chillar Party’. A classy product makes it’s presence felt from a distance and ‘Chillar Party’ pretty much succeeds on doing that from the word ‘go’.
This is one of the major reasons why ‘Chillar Party’ deserves to be a success because only when this happens would others also start thinking on these lines.
Murder 2 – A perfect addition to the franchise
In the past director Mohit Suri has told quite a few interesting stories. At such a young age, he is the only director to be enjoying one film of his release practically every year. However ‘Murder 2′ will certainly be one of his finest films till date as he takes further strides as a filmmaker. First and foremost he gets the story right and secondly, he injects enough moments in it that justify the franchise. Also, he lends a polished feel to the film technically as well by means of superb background score, striking cinematography and an overall dark look and feel.
The film’s setting is Goa where women are either getting killed or disappearing for weeks. When ex-cop Emraan Hashmi investigates the cause behind this, he comes across a startling revelation about a psychopath (Prashant Narayanan) behind it all. While most films end at the culprit being caught and his confession closing the case, ‘Murder 2′ takes a different path altogether. The reason revealed behind all the killings is what makes ‘Murder 2′ different from other thrillers.
What strikes one’s attention at the very beginning is the fact that ‘Murder 2′ doesn’t take even a minute to get to the point. You know that there is a transsexual who is after young women, mostly prostitutes. You also know his modus operandi and the place of crime. Also, you get a fair idea about the gruesome killings that would continue for many more days to come. However what makes ‘Murder 2′ interesting is the fact that while audience is constantly with the killer, it is the lead protagonist on a chase that makes the proceedings engaging.
Also, the very setting of the scene of murder is haunting to the core. So when a petite girl enters Prashant’s den, you know for sure that she would be tormented. Also, when Prashant continues to hum along ‘Bheege Hoth Tere’, you know for sure that there is terror lurking somewhere out there. Moreover his chameleon like act where he makes conflicting statements, whether in front of women, Emraan or the cops makes one totally engrossed in the proceedings.
On the other hand Emraan plays his part perfectly well for a man who doesn’t believe in God, has a past of his own, isn’t quite happy in life, doesn’t like speaking too much and makes ferocious love to his woman. In fact at places one also finds traces of the character that he played in ‘Awarapan’, especially the part where he eventually makes peace with God. Jacqueline Fernandez provides quite eye candy moments as she is uninhibited in her body display. However since she isn’t playing a happy character in the film, she doesn’t really get those feel-good moments for herself that make for a quintessential Bollywood heroine.
Overall the film unfolds as a dramatic thriller and thankfully there are still quite a few individualistic scenes with various twists and turns that keep the thrilling element on right through the 2:10 hours duration. So whether it is Prashant tormenting women in his den, him and Emraan finally coming face to face, the scene at the police station, one of the girls in a hapless situation, Emraan’s endeavour to collect clues, the scene at the temple and the psychological investigation – all of these are etched in one’s memories way after the film is through.
This doesn’t mean though that the film isn’t without any blemishes whatsoever. The sob-story sequence between Emraan and Jacqueline is totally pass and doesn’t add anything to the film’s plot. The scenes featuring the girl who is trying to make her escape eat up a little more footage than needed. Moreover the episode featuring a ‘hijra’ politician starts off well but doesn’t cut much ice towards its culmination. This is the time when there is some repetition too that sets in around Prashant’s murderous ways. Also, music – though good – isn’t really the highlight here and just fills in as a part of the narrative.
Dark and haunting – This is what describes the mood of ‘Murder 2′ which is definitely not for the faint hearted. In fact it won’t be wrong to say that despite not belonging to the horror genre, it turns out to be far more disturbing than many so-called horror movies that have released in the recent past and have claimed to have brought a new idiom to the genre. So while one did expect sex and violence to form a major part of ‘Murder 2′, more so due to the franchise that it belongs to, the film throws in a surprise by not just boasting of a strong and a fresh new storyline but also some very strong performances.
Watch it if you can digest blood and gore.