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The lives of four people intersect in Mumbai: a washer-man who wants to become an actor, a banker-turned-photographer, a painter looking for inspiration, and a newly-married immigrant who journals her experiences on home video.
Inspector Surjan Shekhawat, who is dealing with a depressing past, has to investigate a high profile murder case, deal with his crumbling marriage and use the help and solace of a prostitute by the name of Rosie.
Kareena Kapoor Khan,
Harbans Rai and Ranjit Rai are two wealthy businessmen who absolutely *loathe* poverty and poor people . As fate would have it , Harbans Rai's daughter Madhu falls for a poor mechanic Raja ... See full summary »
Ghulam means a slave. Sidharth (Aamir Khan) is an amateur boxer who does not work, preferring to loaf about with friends. His older brother Jai (Rajit Kapoor) works with a gangster who ... See full summary »
The story of six young Indians who assist an English Woman to film a documentary on the extremist freedom fighters from their past, and the events that lead them to relive the long forgotten saga of freedom.
Delhi-based Sonia agrees to deliver a package for Vladimir Dragunsky and asks her rather unkempt and debt-ridden fiancé, Tashi Malhotra, to do it for her. Tashi, in turn, asks one of two of his room-mates, Nitin. But Nitin forgets to do so due to an upset stomach ailment commonly known as 'Delhi Belly' as well as his plan to blackmail their landlord, Manish and asks the third roommate Arup to deliver the package. A gangster, Somayajulu, who was the recipient of this package, starts by brutally questioning Vladimir, and finds out that the package may be in the possession of the trio. While Tashi must deal with his attraction for Journalist Menaka and incur the wrath of her husband, Rajiv, he still has to fully come to terms whether or not he wants to marry Sonia. And the entry of ruthless Somayajulu and his gang seriously jeopardizes any plans Tashi and his friends may have for the future. Written by
The plot device, where Arup's character (played by Vir Das) shaves his head off after being rejected by the girl he loves, has been apparently borrowed from a real life experience of Aamir Khan, who is also the producer of this film, when he was in his late teens. See more »
When Tashi and Menaka are leaving the party, Tashi mentions that it's the middle of the night. When they arrive at the hotel, they're able to slip into an elderly tourist couple's room because the chambermaid is cleaning it - at an hour when most people, particularly most older people, would be in bed already. See more »
...mujhe pataa hai ki yeh tera dahej hai, par saali badi badsoorat gaad ihai. Jab gadhaa rickshe ki letaa hai to yeh paida hota hai.
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Rib tickling and hard hitting reality of urban youth
I had liked Abhinav Deo's GAME too for its style and had not known at
that time that he was directing DELHI BELLY or was from the advertising
world. I mention this fact about being from the world of advertising
because this would factor into the director's understanding of urban
realities, most of all the language of real life.
Language is the MAIN character of this movie. The plot, the actors, the
music, the songs, the chases-- all lean heavily on language and that's
the most unique feature of this film. The language of the by now
infamous lyrics, the "heroes" and the "villains" alike reflects the
grim, gritty, sometimes squalid reality of urban India and translates
it into images that are at once shocking, disgusting, entertaining and
Once the director has decided that he is going to use this language
(both literally as well as metaphorically) he has complete freedom to
depict urban realities-- sexual, emotional, physical, financial,
marital, professional et al. The film is funny because beneath all the
crudities and cuss words lies the recognition of ourselves in our day
to day life, its frustrations, the curve balls that it throws us from
time to time and our desperate attempts to keep our sanity in a
completely insane world.
In a recent interview, Abhinav Deo thanked Amir Khan for his vision.
This vision is possible only in a man who has the creative genius to
shed the hypocrisy and double entrendres of Bollywood cinema and move
on to a cinematic form that is so completely in tune with the 21st
century India, the metamorphosis of our youth, the blurring lines that
divide morality (as we knew it) from immorality, even amorality,
cynicism from romanticism and so on.
The movie from start to finish is tightly held together. The cast is
well chosen and so are the locales. Nothing jars in the movie. People
look as much at home in a five star hotel as they do in the clogged by
lanes and streets of Old Delhi. The screenplay is tautly held together
by an equally taut editing. I loved Vijay Raaz who is able to depict
the malevolence of a sleepy looking but deadly reptile with such
finesse, the two young men who share Imran's filthy apartment and the
young woman who tempts Imran to break his engagement. The contrast
between the old Maruti and the red new (Santro?) car that can zip
through the flyovers of Delhi is as meaningful as the black eye that
Imran sports through most of the film.
I am sure some reviewers and certain sections of the audience will slam
the movie for various reasons. But that is because the movie is ahead
of its time and will make people uncomfortable because of its
iconoclastic nature. I salute Amir and his team for this and wish them
many many years of great film making.
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