“My first Bollywood film at the cinema was my point of no return: I was eight years old and after my Bollywood cinema experience I had fallen head over heels, unconditionally, completely, entirely in love with Bollywood. As far as I can remember, Hum Aapke Hain Kaun was the first Bollywood film to be screened in our area. The whole idea of watching a Bollywood film at the cinema on a big screen was giving me butterflies. I can still remember the excitement I felt, as my cousin and I were stood queuing outside the local cinema. The entire family was there and the atmosphere was electric. It felt like we were going to a wedding! I remember the lights going low in the cinema hall, aunties whispering loudly to each other eagerly as we waited for the film to start. I held my breath as Salman Khan and Madhuri Dixit appeared on the silver screen. I couldn’t believe my eyes. The stars I had seen on our TV screen were now on a cinema screen right in front of me! I watched with wide eyes, my hands gripping a cold drink can tightly. The songs would take my breath away as they blasted through the cinema surround sound. It felt like I was actually in the film as I stared at the cinema screen, absolutely star struck. But what really moved me was to see my cousin begin to cry when the sister-in-law passes away. I didn’t quite know how to react because my cousin was ‘too cool for school’. However, what I did understand at that point was how powerful films can be and that a good film is one that forces you to feel.”- Aashi says as she reminisced the days she clutched her grandfather’s hand and scanned the local Asian store’s DVD library each week in her childhood.

Rumnique confesses to an obsession as she elaborates her early impact: “Perhaps I wanted to be that ‘Ek Ladki Ko Dekha’, that Anil had seen in my ripe old age of 3-years-old. Vidhu Vinod Chopra’s underrated gem 1942: A Love Story was the most formative film in my life since it spawned so much of my overactive love for Indian cinema. It has an innate vintage touch with its gorgeous and evocative music that was Pancham Da’s final soundtrack to the little period details in Anil Kapoor’s outfits. However, its that famous song where I learnt the words by heart and often stopped watching the rest. I responded to it on a visceral level, it had singing and Anil and Manisha’s love in that film was so overt and swooningly rendered. Even as I grew up, I never tire of it because the emotions it conjures up in that famous song and Anil’s winning smile are enough to make me fall in love all over again. Usually for special films, it’s recalled in chunks, that scene where this happened or that song where the lead couple snogged! The cassette was played in our crackly kitchen radio and the songs certainly helped in my indoctrination. It’s the same when I see it now, there’s the charged romance with the backdrop of colonialism and the Quit India movement. Yet, I revisit it time and again because it has so many of my projections on it, it’s my childhood staple and the one film that led me down the fortunate rabbit hole of Bollywood!”

Yet, it wasn’t jut the girls that went gaga. Anjum had his copycat moments as well. -”The year was 1981 and the film was Naseeb. It was directed by Manmohan Desai and was one of the early Bollywood films shown on national UK television, raising the numbers of people who had a chance to watch the film abroad. The greatest memory for me was Amitabh’s entry song ‘John Jani Janardhan’, sung by the legendary Mohammed Rafi. It remains the definitive multi-starrer song video, which featured all the leading stars of the day, from Raj Kapoor down to Rajesh Khanna, with reigning superstar Amitabh dancing amongst them all. The concept was later recreated by Farah Khan for her Om Shanti Om. In the song Amitabh, a waiter in the film, enacts a scene where he flips his tray of drinks from one hand to other, behind his back, onto his foot and up in the air! Rest assured, this stunt was recreated many times over, by a young child dressed up in his waiter’s suit with a tray in his hand!”

In Anjum’s defense, I don’t think there are many that haven’t played dress up or memorized every fact about the favorite. Take a peak at Samreen and Bodrul’s memory lane magic, as they step up the fanism. -”Bollywood is renowned for its exquisite take on love stories. Yet the film which captivated me most and ultimately solidified my passion for Hindi Cinema was an unconventional love story about a mentally-deranged man who was obsessed with a woman already in a committed relationship with someone else. Yes, it was Yash Chropra’s blockbuster thriller Darr (1993) which turned me into a Bollywood maniac for life. While watching this film, the person who amazed me the most was Shah Rukh Khan and his skillful portrayal as Rahul, who was stalking and tormenting Kiran (Juhi Chawla), the woman he worshipped the most and whom he was determined to attain as his lover. I loved the way in which Shah Rukh managed to provide conviction to his character and it was due to this that made Darr an edgy and adrenaline-pumping film for me. While my sisters were obsessed with the young Salman Khan; it was I who was one of the first in my family to show appreciation for Shah Rukh and the variety he had to offer as an actor.

Darr simultaneously turned me in to a Bollywood fan and a Shah Rukh Khan fan. After only playing three villainous characters, the other two being Baazigar (1993) and Anjaam (1994) (all of which were brilliantly played by Shah Rukh), this talented actor went onto play largely romantic characters. Though I still remember my childhood crushes on Sridevi and Madhuri Dixit, it was these romantic characters that were played by Shah Rukh Khan which reinforced my respect and admiration for him and he ultimately became a huge Asian role model for me. Moreover, given that the films he starred in were done in typical Bollywood fashion, they also contributed towards me becoming a devoted lover of Bollywood and I felt (and still feel) proud to be a patron of this fascinating film industry. Though I also hold affection for the yesteryear actors like Dilip Kumar, Raj Kapoor, Dev Anand and Amitabh Bachchan, I still consider Shah Rukh Khan to be the man responsible for my attraction to Bollywood.”

For Bodrul it was Shah Rukh Khan, Samreen aka Sammy had Karishma Kapoor. “A complete Karisma Kapoor fan at the age of 4, I made sure I’m taken to the nearest theatre as soon as possible to watch Raja Hindustani, which was my first film in a cinema hall. I was too young to really understand the story, but I could still distinguish between the ‘happy’ and ‘sad’ parts and of course, the lovely songs! My favourite scene of the film is when Raja and Aarti (Aamir and Karisma) realize their love for each other at the end of the song Pardesi Pardesi. My favourite song of the film is Pucho Zara Pucho as it was one number that I would dance to whenever I heard it. Karisma’s untouched beauty and expressive eyes were unmatchable, while I fell in love with Aamir’s innocent layman character. This is one film that I remember very well not only because it was my first, but because a lot of aspects of this film (including Karisma’s red dress from the market of Palankhet) are still a part of my Hindi Cinema ”

But love isn’t love without learning from it. and Neelofar has proof. “From a young age, I had always been fascinated by the colourful, fun, filmy duniya that is Bollywood. And who wouldn’t be, right? From dancing to ‘Rangeela Re’ and ‘Gore Gore Mukhde Pe’, I was a young girl who couldn’t get enough of this wonderful, cheesy, Technicolor world (and still can’t!) So when I first saw Anjali (Kajol) in Kuch Kuch Hota Hai, at 5 years old, I was mesmerised – I’d never before seen the heroine of the film be as sporty and tomboyish as she was (up until then, all I’d seen heroine’s doing were dancing on hilltops with their dupattas!) The fact that there was not just 1 but 2 Anjali’s in the film only added to my curiosity – what is this film actually about? And why did the mother of the little Anjali help her to make Rahul and Anjali fall in love? Growing up and watching the film again, I realised that there was indeed more to this film than just 2 Anjali’s and a Rahul – it was about friendship, family,  the loss of a mother, a single parent family and of course; love and the sorrows and joys it bring. But the thing I loved most about Kuch Kuch Hota Hai was that both mother and daughter – Tina and Anjali came together for Anjali and Rahul to be together.  This film, to me symbolises the way that even  through hardships, that love will always conquer – call me filmy – but that’s what I am!”

“My first Bollywood memory was more so a song rather than an actual film. I must have been about 5 years old when I saw Madhuri Dixit dance to the song ‘Ek Do Teen’ in the film Tezzab. The catchy lyrics and of course Madhuri’s colourful outfit caught my eye and made me take notice. From that day on my love affair with Bollywood movies began. Thinking about it nothing beats the late 80′s when it comes to Bollywood movies, they just don’t make them like they used to.” – A twinge of nostalgia as Meera unravels her turning point.

However, there are those who have their entire life changed, as Stacey recaps her journey. “Looking for Bollywood movies on Netflix, I came across Dilwale Dulhania Le Jayenge and decided to watch it, because it said it was the longest running film in Hindi cinema. I did not know Shah Rukh Khan, I did not know Kajol or even Yash Raj films but I thought lets try it; maybe I will like it. Understatement of the century!

I remember at some point in the first half of the film, I called my husband and said I have found the perfect movie. Then the scene in the station, when SRK gives her that look before he leaves and it is all said with his eyes… I was done! This movie is magic and will always be one of my favorite movies of all time. Not only for the film itself but because it literally changed my life. Without seeing DDLJ, I would have fallen into the world of Bollywood, experienced all the amazing films, music and more and would not be writing this right now. The music, the dance, the romance, DDLJ has everything! The say Come Fall In Love on the DVD of DDLJ and I do every time!”

On personal note, the impact went beyond a career change, and a new love. For me, Hindi cinema became the starting point for a new language to learn, a new passion, a means to express a skill, a path to find new friends and  a benchmark for my personal standards. How does one movie do this? Well, it was over time but the one that started it was Chaahat. Love, romance, action, revenge, comedy… Nothing is left out from it, well according to me. I had seen Pooja Bhatt first in her debut Tamil film Kalloori Vaasal and Ramya Krishnan from several Tamil films so Shah Rukh Khan didn’t mean much yet but boy, did that turn around quick. Not to mention changing Daddy Cool to Mummy Cool being the mummy’s girl I was (still am I think). I didn’t understand much more than what mum translated but goddamnit, I was determined to watch it till the cows come home. The VHS copy I had travelled with me wherever possible and by the time I was finished with, I don’t there was much of it left. Singing, dancing, romancing a teddy, bucket loads of crying. It all happened in the confines of my bedroom. Till my mum forced me to move on.

In the end, its 100 years of Indian Cinema and this is but a drop of water in the ocean to one segment. There are so many other successful films in other Indian languages. But these are our first moments with Hindi cinema. Not a recommendation or even a review. This is pure unadulterated  fanism for Hindi films. So while you warm up Bombay Talkies or any other Hindi film, we too will be there. Waiting for the charm to take over. From us to you, Bollywood. Happy Birthday.

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Straight off the bat, we have a duet with Jeene Laga Hoon. It has the Atif Aslam effect. Soul stirring and oozing with sensuality. The rhythm is even paced and is completely for the melody lover. Shreya Ghosal pipes in for her routine sweetness thrills but after about the 3rd or 4th listen, you get the feeling this is an Atif number. Having said, the two are almost pitch perfect for the lovesick newbie lovers as described in the lyrics. Romantics are the target and it works.

After hearing Hip Hop Pammi, its obvious this one is for the clubs. Loud, lots of toing toing dhol and very catchy chorus. Towards the end, it even shifts into its own bass beat pumped up remix version. Yet besides the intrigue for what the visuals will be (Prabhudheva is said to be shaking a leg with Jacqueline Fernandez but no promos yet to determine if this is the item number in question), Mika Singh and Monal Thakur aren’t able to save this one. All the Pammis out there may get a kick out of having a song with their name in it but its not rocket science nor amazing. Pretty average and disappointing for the first dance track on the album. Yawn.

Back to melodies, Bairiya is another duet with Shreya Ghosal and Atif Aslam, and again complimenting each other quite well. Even if you get instantly attached to Priya Panchal’s lyrics, the song actually takes 2-3 listens before it sits comfortably on the ears and has you humming along. Sachin-Jigar maintain the slow pace to form the main beat then raise for the chorus without getting too loud since this a soft number. The percussion has a American western twang in it initially but smoothly transitions to desiness and from there on, its all love. .

Peecha Chhute is a bit of a throw back to the village visitor tracks associated to 80-mid 90s but actually talks about a boy looking for his heart and the girl who stole it, instead of how beautiful the village surroundings are. A peppy little  desi number updated a tad with the drum beat, yet you can picture the ukulele-ish violin hero in the fields. And of course, the versatile Mohit Chauhan on the mike for good measure and you have an easy listen to tap your feet to, with the occasional Rama Rama in the background. Possibly the only time a portion of the title comes up.

If the peppy, happy feel on the album was a bit dominating for you, Rang Jo Lagyo is different in tuning and feel. Third time collaboration, Shreya Ghosal is a little tame while  Atif Aslam goes gung ho with Priya’s proving my worth expose but it does get a bit loud in a live rock band kind of way. Even if you look Atif for help, its distracting since its one of the longer songs. This may be due to the visuals making up for the gap but on its own, it can grate on you. Not entirely bad but not exactly special enough to remember afterwards.

Pinching the phrasing from Munnabhai MBBS, Jadoo Ki Jhappi has 2 versions with both Mika Singh and Neha Kakkar on both.  Not much of a difference tune wise but Neha dominated version 1 and there is definitely a more defined wedding/baraatish feel to version 2. This has a party on its own effect on version 2. Either way, fun and dancey number is on the menu. Mika Singh as usual, is charming the Punjabi pants off the lyrics and Neha Kakkar is returning to the mike after what feels like ages although we just heard her on Second Hand Jawani. The two bounce off each other well and could possibly be the new singing Jodi for desi item numbers. Not much room for Priya’s pen on this one either but will be accepted with open arms at your next wedding affair.

So now comes to the final verdict. A perfect world would have awesome music and equally amazing lyrics. But this isnt it. Honestly speaking, this isn’t Sachin-Jigar’s best, but where they have a complex setup or major western influence in their previous work, barring Hip Hop Pammi, the desiness dominates badly on this one and its kept simple. Which is majorly welcomed. I’d love to dwell on the music alone but besides the melody and rhythm, there is a little gap in the lyrics. My pick? For the long run the whole album but for now, Jeena Laga Hoon and Jadoo Ki Jhappi.

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“There is a lot of innocence and at the same time there is a lot of love in the way he approaches everything” said Players actress who is working on Nupur Asthana’s next and the Khoobsurat remake that is doing the rounds in the rumour mill.

Raanjhanaa is slated for release on June 21st, 2013.

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The 53 year old actor, fresh off the success of Shootout At Wadala, refrains from commenting about how he thinks the “earthy love story” as he calls it, will fair at the box office but is all praise when talking about the leading pair, daughter Sonam and Dhanush, at the success meet for SAW recently. “The chemistry between Sonam and Dhanush is looking great. There is an innocence and passion in the film, which is very visible in the promos. After a long time audience will get to see an earthy love story, which they will really like.”

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Many of the current mothers on screen were yesteryear leading ladies but their charm and grace is felt even now. We loved them then and we love them even more now. So for Mother’s Day, we celebrate this wonderful person and compiled a random list of Bollyspice’s favourite filmi Ma’s.

First up, we have the lovely Zohra Sehgal. At the full of life age of 101, Zohra gave Big B himself a run for his money in Cheeni Kum as the wrestling-loving street smart mum who nags her son to go to the gym. Whether it’s Buddhadev’s bossy momma or the cheeky Bebe that makes you cry a little as well from Veer-Zaara, she plays mother dearest in a full feisty form.

But she isn’t the only one. Throw anything at Kirron Kher and she will lap it up, douse it with her theatre artist charm and make kheema out of the critics. In 2002, she dazzled as Sumitra in Devdas, switching from excitement to betrayal so elegantly, her on-screen daughter Aishwarya Rai would have gotten a complex. But like a flip of a coin, her Bela Makhija in Om Shanti Om and Seema Acharya in Dostana give you the giggles as this spunky mama, quirks and all, tries to get her head around your ideas but loves you no matter what till then.

Moving onto the subdued filmi Ma and Deepti Naval’s portrayal of Kavitha Bahadur in Guddu sheds light to the devotion side. It would be too easy to show her up against society and her family. Guddu throws in all the stops, with faith in god vs. atheism, father vs. son and life vs. death to show it in full glory. In the end, she loses her life but hey, that’s multitasking on film for you and there were bound to be a few bruises.

Another woman that breathes life into the loving Mrs Sharma in Kuch Kuch Hota Hai, with grace that brings a tear to our eyes and  is nothing short of stellar in performance as the torn Mamta in Hum Saath Saath Hai, juggling fear of reality and her own children’s future is Reema Lagoo. Between these two films (even though she plays his mother in law to be), it’s hard to deny Reema has this special connection with Salman Khan that is awesome to see on screen. No matter the length of her role, Reema delivers. Period.

Wherever you stand with Farida Jalal, there is no denying her as one of the free spirited filmi Ma’s out there. Yes, Lajwanti Singh aka Lajjo initially tries to tame her fantasy fluttering daughter Simran in DDLJ but she stepped out of her boundaries for her love and happiness. Mrs Chaudhary and Mrs Khanna (incidentally both SRK flicks, Duplicate and Kuch Kuch Hota Hai) may be ridiculed as they look at life within their principles but doesn’t let that stop them or their children from achieving happiness. Proceed to take a turn left on memory lane to the 60’s, when films like Mughal-e-Azam, Love in Simla and Dil Apna Aur Preet Parayi creating history in their own way. Here, you will find Durga Khote dancing from the kind hearted but distraught Maharani Jodhabai in Mughal-e-Azam to the trouble making mother in law in The Householder. She is likable even if you hate her actions and shows how the intention may never make up for the act. An actress who played a huge part in Filmi Ma history and one that is sorely missed.

Flash forward in time again and to the introduction of the very famous “Angry Young Man” and we bring out the strong will that is the driving source. The virtuous Sumitra Devi played by Nirupa Roy in Deewar, a hard-working single mother defined sacrifice, pride and all that was motherly. Even as she walks away from a strayed son, with the words “You have yet to earn enough to buy your mother, Vijay”, you knew she would survive. But hell hath no fury like a woman, scorned, especially when she is Durga Singh and Kali Mata behind her. There was no timid, frail woman who lost her sons in Karan Arjun. It’s about evil getting its just desserts, even if Durga has to pray for her son’s to be reborn. The one –up man ship between the brothers is towered over by the faith of Durga and Rakhee plays it like she means it. Jai Ma Kali!

Okay, so when our filmi Ma is not dealing with crazy situations that life throws at her, she strives to keep her family together and make ends meet. Jaya Bachchan may be royalty off-screen but on-screen and as Jenny Kapoor, sometimes emotional baggage isn’t a choice. All emotions are diverted into making it work and we simply see her as the bread winner. Rekha takes it a step further with her character Saritaji who takes on the responsibility of raising the illegitimate child that constantly reminds her of her on screen husband’s affair and hold the fort at work too, in Dil Hai Tumhaara. Both women are prime examples of doing the right thing comes before preference. Jaya’s Nandini Yashvardhan in Kabhi Khushi Khabie Gham and Rekha’s Sonia Mehra in Koi…Mil Gaya, take on the challenge from life to sustain the roots for the family.  Even if that family includes an alien, named Jaado.

If an alien can be accepted then taking on a peculiar profession with a culture-shock inducing girlfriend should be a piece of cake! Not exactly. Dolly Ahluwalia brought life to Mrs Arora, a hard working middle class woman but shifting gear from Nirupa and Jaya on righteousness, this filmi Ma runs a beauty parlour and loves her drink in Vicky Donor. She earned it, I say. Probably didn’t expect her son to drop a few bombshells as well though.  But no worry. She comes to terms with life, passes her judgement and that’s final. Time for beta to toughen up and who better to show him the ropes than Ma. Regardless if we feel these lovely beings can go overboard to the point being control freaks. Err… in a good way.

Kajol may have been the saving grace of We Are Family but Maya sets the rules, shows how it’s done and there’s no two ways about it. K3G had Anjali add in nagging as well out of fear if she doesn’t, her son would lose the connection she has to her roots. For Zooni, the same concept is delivered in a more learn from my mistake in Fanaa. But whichever role is followed, the rules of life are planted firmly, with love.

So there you have it. There are many more and possibly more to come. However, we love our mothers, whether we can enjoy their presence or live in fond memory. Or resort to the never-ending list of Filmi Ma’s. She is the source of fun, love, compassion and dedication like no other. And deserves so much more. Happy Mother’s Day to all from Bollyspice.

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Take it from me, the film crazy romantic fool, when I say that there is always another love story our Btown directors want to explore. And with the remake mania going on, there should be no surprise when you hear Ramaiyya Vasthavaiyya came from the Telugu Industry.

So what makes Ramaiyya Vasthavaiyya different? Well, I’ll give you 3 reasons:

1. The film sees the debut of TIPS Kumar Taurani’s son, Girish Kumar in the lead.
2. Although we have seen Shruti Hassan on screen before this can be considered her 2nd full length lead (Dil Toh Baccha Hai Ji is more like a special appearance).
And ..
3. (My personal favorite) The director is Mr Masala-Action-Magic himself, Prabhudheva.

However, it wouldn’t be fair to say that is all. So here’s some background on the movie. Prabhudheva was initially signed for Girish’s debut film more than 2 years ago when father Kumar Taurani watched Wanted. But it was director saab that steered him away from action and towards his own debut film as director in Telugu, Nuvvovasthanate Nenoddantana, a story of lovers stuck between the love for their respective family members and for each other. The suggestion of the title was also made by Prabhu and translates to “Ram, will you come?”. Not only does this come from the Hindi classic but happens to be a Telugu phrase and links back to the original film’s language.

If anything can be learnt from Prabhu’s filmography, it’s that dance flows through his veins onto the screen so naturally, the charm of a dancer is infused in the characters one way or another. So to get Girish to sink into character, the actor has apparently undergone almost up to 6 months of training for a physical and dance-ical transformation under the guidance of Prabhudheva and South African expert Bruce Clessen.

Moving onto the ladies, first we have Shruti Hassan. After her debut in Luck, this the first time in Hindi Shruti goes total desi with her character, Sona, a girl brought up on a farm, and is said to have a touch of comic appeal to it too. A candid shot of her look (in an obscure way) was posted on Twitter by the director back in September last year. The film will also see the return of Poonam Dhillon after Dil Bole Hadippa and Jacqueline Fernandez in a cameo appearance alongside Prabhudheva himself. Yet this is just the cast.

We still have the music directors, Sachin Jigar after the success of ABCD and joining hands with Prabhudheva again, behind the camera.

Now I can go on and on about the original, Nuvvosthanante Nenoddantana, but from the looks of things, Prabhudheva has done quite a bit of shape-shifting on this one. Nevertheless, it’s been a while since a desi based love story has come out. So to catch onto to the romance and dance to the arrival of Ram (Girish’s character’s name in the film), walk into the theater halls on July 19th.

http://www.youtube.com/watch?v=fVAaYZQ31TE

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The news articles we’ve seen have done nothing to appease the curiosity surrounding the film. Right from the location of Varanasi to the on location sneak peak shots up, right until the latest confession by Sonam Kapoor that Jaya Bachchan’s role in Guddi inspiring her. But it didn’t stop there. News of A. R. Rahman becoming so impressed with the story, he requested to keep the script given to him added fuel to the fire. But where’s the connection? Whats the story?

The “intense love story” as so referred to by director Rai, is supposedly to showcase Sonam and Dhanush’s journey together through varying ages, which would explain the high school uniform pics of the two on set for the film. So while we were patient with the delays in filming, the culmination came about on Holi this year – The First Look.

Bright colours, beautiful smiles and an aura of love brimmed to the border. Simplicity was Anand’s modus operandi previously and it appears it is again for Raanjhanaa. The Eros Entertainment production is set to release June 21, 2013!

Discover the colours of love with Dhanush & Sonam Kapoor in their upcoming romantic film ‘Raanjhanaa’. Presenting the exclusive theatrical trailer of ‘Raanjhanaa’ a Anand L. Rai directorial film.

http://www.youtube.com/watch?v=ER9vmhxFucg

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“We will direct the film (Vettai). To suit the sensibilities of mass audience here, we have made certain changes” the duo has said to Times of India as they also confirmed the two actors have given the nod to the project with filming slated to begin early next year.

An action entertainer, the film is about the bond of 2 brothers and the challenges they face together as they become the target of the local gang war.

Stay tuned we will be bringing you more!

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Now, we have seen our fair share of movies in Hindi cinema that depict love birds and the selfless friends that help them succeed in their love story. Yet, have we ever seen what happens to these friends AFTER the escapade they venture on, all in the name of friendship and their belief in that four letter word- LOVE. Rangrezz is about 3 men that step forward for a friend and take on the battle against the odds to get him his girl. And, after risking it all, shattering their own dreams and even losing part of themselves, what happens when they find out it’s all in vain.

This isn’t sob story. Nor is it an artsy film. It’s a commercial film. Street slang, comedy sequences and even a desi version of PSY’s Gangnam style is there but the major difference is, this is the kind of story that not only sheds light to how devoted a friend can be but also, how badly that four letter word is abused and how not every friend is worthy of a sacrifice nor every friend willing to let that fact slide.

The refreshing aspect of the film is that life is bound to introduce you to one or more of the characters in Rangrezz. A young man who dreams to go abroad. A father who is more like a best friend to his son. A girl who gives ideas to her sweetheart so she can marry him with her father’s approval. All of them. Seen them, met them or even are them. But the world isn’t perfect and there is a flip side of human nature, even if we don’t own up to it. There are those that will use and abuse that four letter word like newspaper. Purists will say love is divine and the same for all but life will show the emotion is tailored to each of us. Priyadarshan sheds light to this fact and the best bit is that it’s not an attack on love but the lovers themselves. Add in the blind faith friends go by and the outcome of inadequate understanding of relationships in a fast-food, faster-life generation run society that can and has changed lives and BOOM, Rangrezz.

With a topic that is relatable yet rips the mask off to show reality, it is imperative to have a cast that breathes life to the characters. Jackky Bhagnani plays Rishi Despande and shows much more promise (even if he still needs to work on his emotions) than his last film Ajab Ghazabb Love. Priya Anand was last seen in English Vinglish and if anyone missed her then, you will surely not miss in the role of Megha Joshi. She is cheeky cute and full of beans in a 3rd person talking role that you will learn to love. But along with Jackky, it’s his two friends that stand out the most. Amitosh Nagpal and Vijay Verma as Winu and Pakkya respectively, couldn’t be more worlds apart in their characterisation. Yet, they work amazingly well together, with Vijay stealing a little bit more limelight for sheer brilliance. Rajpal Yadav is almost a regular on Priyadarshan’s films and gets a few good lines but disappears after a while.

National award winning director-cinematographer Santhosh Sivan joins hands with Priyadarshan after almost 15 years and for those that remember their last venture, Kala Pani (dubbed as Saza-E-Kala Pani), you will remember how delightful their work together was. Rangrezz doesn’t skip a beat to their tune and its gritty dynamics make the film. With the base of the original story by director Samuthirakani intact, Mushtaq Sheikh tweaks the screenplay just enough to keep the authenticity and adaptation on par but while the adjustment is admirable, the film does flake in parts due to predictability and length. The realism in the first part of the film doesn’t continue consistently in the second, adding the woes. The editing by T.S.Suresh could have saved the film in those moments, but sadly does not, making it hard to keep the interest that the film secured in the first part.

Unfortunately, there are more woe points with the OST consisting of 2 composers. First we have Sajid-Wajid, who have clearly missed the bus on this occasion and Second, Sundar C. Babu, the original movie’s composer, making his debut in Hindi. The only song that stays with you is Shambo Shiva Shambo by Sundar which is also from the original film. Lyrically, it’s changed but the song has travelled with the story and has been used in every remake. So while OST has a 2nd version by Sajid-Wajid with Sukhwinder Singh on the mike, the impact Shankar Mahadevan has on the song is obvious and consistent as he sang for every other version of this song as well.

Dont get me wrong, Rangrezz is definitely a film to watch. Even if the diluted message may not hit as hard home as the makers wanted it too. But take along your friends for good measure, and to make up for the rest.

Rangrezz Movie Review is a post from: BollySpice

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The movie opens with Dr Nirupama (Pooja Kumar) talking to her psychiatrist about her husband Vishwanath aka Wiz (Kamal Hassan). Married to him out of the convenience he was a green card holder in the US, she overlooked his age and other issues but when it came to the point when she finds the right person that she feels for, she wanted to be sure she wasn’t the only one doing the dirty deed. Now, the psychiatrist is confused and so are we. After all, domestics are common and rationalizing an affair is what most unhappy partners do. That is till Kamal Hassan makes his entrance. Then everything sinks in. His age, his behaviour and his manner that makes you think his preference lies elsewhere. Nirupama advises her doctor, and us, she hired a private investigator to do the digging and he becomes our main story follow character. But what seems like a domestic issue between 2 individuals that are bound by marriage, turns into much more when the private investigator loses his target but ends up getting killed on his pursuit a secretive group of men seeming to be working for a disabled man named Omar (Rahul Bose). Why was he killed? Who is Omar? And how this all links back to Wiz? Is something that must be seen to be understood.

The normal format I take in a review consists of discussing a bit about the performance of each character then moving onto the crew. But with Kamal Hassan at the helm, one can’t really find words that haven’t been said before. As Wiz, he cannot be seen as anything more than what he shows you but the catch is how much more he actually is. Not once has he overdone his role. Pooja Kumar who plays his wife may not have been around for a long time but there is nothing short on her skill. It would not be fair to say she provides the comic relief in the film since it’s the dialogue is what gives you the giggles. Andreah Jeremiah makes a beautiful entrance as a Kathak dancer Ashmita in Kamal’s class but as the story unfolds, a hidden extra kick in attitude comes up her character. Shekhar Kapur follows suit but next the main man Kamal Hassan, its Rahul Bose that stand out the biggest for obvious reasons. The stern, sinister and calculative exterior is only enhanced by prosthetic makeup. Yet you will be farfetched to find another actor that shines as much under all the restrictions. Jaideep Alhawat downplays the second in charge well while still retaining his own identity in the film. Samrat Chakrabarti is apt.

From here, we move on to the technical side of things. Honestly speaking, there is very little that is to be said about the technical side of the film. The reason? Sheer brilliance. Right from the cinematography (Sanu Varghese) to music/background score (Shankar-Ehsaan-Loy). The way the team has come together and become the backbone support to the mastermind behind the camera is something definitely worth watching and I personally, would love to see again. Each aspect is crisp clear and balances the film. Editing by Mahesh Narayanan is only person that could have used his craft a little better. With a story teller like Kamal at the helm, we mustn’t forget that the proceedings need to be taught as well as captivating. The trailer showed that there is more than meets the eye for this film and its characters and that’s what Kamal delivers. The sensibility and detailing he has as an actor is common knowledge and Viswaroopam he brings it to the fore as a writer and director once again after his 2004 critical and commercial hit Virumaandi. An example can be seen in the pigeons that are seen in the posters. Another seen-to-be-believed act of brilliance by the legend.

It would be juvenile to say Vishwaroop is not without flaws. However, what unfolds in front of your eyes stays with you longer than the editing that needs a little work. Some may even complain of repetition with a few scenes. In defense though, one would not have figured out the proceedings without them. One thing can be said, this feature is not for mindless movie lovers. You need to use your brain a little. Yet, this is not a setback for some to dismiss it as a little boring in parts. Vishwaroop can be commended for many things as even beyond the controversy that surrounds it with the content, you can be safe in saying that you have watched a film that is both up to date in content but in technical brilliance. While some may say this is an Indian version of Mission Impossible, this writer would prefer to step away from comparisons since the story has not be handled with such maturity and sophistication in her lifetime.

Even as this reviewer finishes with a big thumbs up for the suspense action flick from the Maverick that is Kamal Hassan, the only thing that leaves a feeling of disappointment after watching Vishwaroop is the delay, and subsequent anticipation, for the release of Part 2.

Vishwaroop Movie Review is a post from: BollySpice

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