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Reviews
Rab Ne Bana Di Jodi (2008)
A delicious over-cooked Indian dinner.
A poorly tailored trailer does not begin to describe what is one couple's journey from the ordinary Jodi to extraordinary Jodi.
It's a Simple life story of a ordinary couple which goes from many ups and downs and finally typical Indian ending. What else one can need ?? My first impressions were, 'WOW, this Shahrukh guy has a tremendous screen presence (but, yikes, what a profile!)' and 'I love the old guy with the black hair' but still the potential of the character is very real with a touch of grass root and it's totally judged by king Khan. This is ShahRukh's best performance after "SWADES". "Rab Ne Bana Di Jodi" is a common man real life drama made into a modish glamorous movie. The film has a knowable love story made to look like an extraordinary film by Aditya Chopra as it comes with intense emotions, songs, dances, drama and succeeds in touching hearts of audiences. You enjoy, cry and have fun watching the film. Performance of Shahrukh is at its best and Anushka is made to match him.
Aditya Chopra writes and directs ably proving that his first movie "DDLJ" was no fluke . In fact "MOHABBATEIN" carries the same theme of love way ahead of "DDLJ" but in case of "RNBDJ" it's really disappointing. The dialogues are average but yes Shahrukh is surely over the top... but isn't that the reason why he is where he is today. no character has to justify their actions but for the fact that they are driven by their emotions... which is pretty common among common human beings..
The problem I have is with what exactly message the movie wants to spread? I feel that the movie is trying to say, love first other things later. Other things including personal relationships, office work and careers.
But to be honest, I didn't like this movie much, and after seeing about 100 Hindi films since then, I still don't like it much. It has some great songs that are almost completely destroyed by the ancient and I still can't sit through the endless love stories of the couple.
You don't have action thrills suspense but those going for Shahrukh Khan's film, can watch the movie. Since the film is coming with high expectations many won't find it up to their thoughts.
Overall, the story and the execution is a let down. The performances are decent and the movie sure has some light moments that would make you smile and laugh. The film fits all generations, families and ages and it can be expected to be a hit film. At the all important box-office, the opening has been surprisingly not upto expectations for such a huge film. It should pick up over the weekend. Going past the Week 1 figures of either Singh Is King or Om Shanti Om seems highly unlikely.
Aamir (2008)
An excellent unique plot of patriotism.
I really wasn't expecting much, other than a few Action sequences and chasing scenes, which would have been OK for a low budget movie. But Aamir exceeded all expectations. The story is simple but the execution is superb. It would be really difficult to find something to improve on the production. The acting are really good, esp Rajeev Khandelwal and the prostitute. No one can expect this wonderful direction from a debut director. The Plot is very rich with the colors of typical Mumbai city. A testament to this fact is that almost the whole crowd stayed for the end credits. This is a very rare occurrence nowadays.
Really, A fine piece of work.
Black (2005)
Not Red ..not Blue....Be BLACK
Good movie With Good Star Cast...excellent Performance by Big B...And in plain words Rani is Supeb...
Black focuses on a part of life that every human has to go through. A dark phase of despair that every human has to overcome*
Black is based on a real life character, a legend so to speak in Sanjay's words.
The budget is 15 crore. The story of Black is set in Shimla and the cold snowy weather will be shown on screen to its full affect. The film 'BLACK' seems to be set in the Winter early last century Other shooting spots are Kufri, the Ridge, a 120-year-old building, Mall and other surrounding places of this erstwhile capital of the British Raj. A large cross has been constructed on the set at the hotel where the mahurat was shot. There is a Christian angle to the story and the Church of the Ridge, has also been apart of the shoot. BLACK was to be shot in both English and Hindi but now it seems only Hindi version will be released initially. With "Black" Hindi cinema has turned a corner. And it will never be the same again.
Veering passionately away from the norm - creating an entirely new definition of entertainment and giving us a work of art that transcends every given qualification of the motion-picture experience - Sanjay Leela Bhansali has created a work that freezes all superlatives.
From the opening when the blind-and-deaf Michelle (Rani Mukherjee) runs into her old blind and dying teacher Debraj (Amitabh Bachchan), "Black" clamps its emotional tentacles around our heart and refuses to release us until its last dying breath exhales on screen, permeating the film's fragrant and irradiant aura with fumes that we have never smelt before.
"Black" unleashes a fury of never-felt emotions. Master-creator that he is, Bhansali peels away layers and layers of passionate pain. The characters stand stark naked on camera, their souls exposed for us to see. We can't turn away. Bhansali doesn't give us that choice.
It takes a while to come to terms with the awesome and overpowering emotions of Bhansali's world. Getting a fix on Michelle's world isn't easy.
What is this twilight zone of resplendent suffering where every hurt is felt like a whiplash? Indeed the quality of cinematography by Ravi Chandran and the background music by Monty is so steeped in the ethos of anxious yearnings, we feel the characters' hearts are forever on the verge of bursting open.
We first enter little Michelle's pitch-black world with Debraj. The relationship that grows between the impossibly difficult little girl (debutante Ayesha Kapoor, playing Rani as a child) and the equally difficult teacher is underscored by an immense and acute irony.
As Debraj makes Michelle 'see' into the light through her blindness, he goes blind and finally loses his mind. In the best most heart-wrenching moments of the film, Michelle rattles the chains that are put on her guru to prevent him from causing himself bodily harm.
That frenzied chain rattling becomes symbolic of everything that Bhansali's incredibly grand cinema attempts to do. The darkest most inexpressible thoughts acquire shape in Bhansali's tortured and yet incredibly beautiful realm of self-expression.
Credit for giving shape to his vision goes in no small measure to Bhansali's technicians who miraculously find just the right voice for the director's anguished feelings.
A special word for Bela Sehgal's editing. Incredible as it may sound, she gives to this tale of dark visions and deafening silences the same tempo of time-on-the-run as Bhansali's "Devdas". As the narrative follows Michelle's progression from darkness to light, we move along in a choked and suffocated numbness, as though life in all its darkest shades had suddenly opened up in front of our eyes.
The film actually belongs to Amitabh Bachchan. It's impossible to imagine any actor playing Debraj, the tutor of manic proportions raging into the darkness like a Shakespearean tragic-hero.
To say this is Bachchan's finest ever isn't enough. For, what he has done with his character in "Black" is to endow Indian cinema with a flavour of flamboyant excellence, unparalleled by anything we've seen any actor from any part of the world do or say...I say 'say' because the way Bachchan has used that well-known baritone has to be heard to be believed. Dropping his voice to a whisper he raises it again to challenge destiny, and toast immortality.
Rani Mukherjee as the blind and deaf protagonist looks and acts as though she was born specially to do what she has to in "Black". Bhansali is no stranger to performing magical tricks with his performers. But what he has done with Rani is immortalise her, entomb her in a shimmering shrine of glorious revelations. Michelle's unseeing eyes become the window to the actress' untapped potential. Under Bhansali's direction, Mukherjee opens the petals of her histrionics to give one of the most nuanced performances by a female actor.
Every actor big or small creates an impression of imperishable excellence. Shernaz Patel as Michelle's agonised mother and Nandana Sen as the jealous but kind sister, are just flawless. But the little girl playing the young Michelle steals many a critical scene from the players. Besides its many other unheard-of virtues, "Black" gives us an extraordinary little actress in Ayesha Kapoor.
There are innumerable moments of the purest, most classical cinema in "Black". Moments such as the ones where Michelle expresses sexual yearning or when the old and dying Debraj breaks into a jig with Michelle, tear a hole in our guts.
"Black" isn't a film that we can categorise or classify. It creates a new genre, which can tentatively be called Pain-Sublime. Rays of light pierce the black darkness of the protagonist's life and permeate into our lives to bathe us in a feeling of rapturous contentment rarely experienced in cinema before.