Covering Cannes

Cannes Film Festival regular Aishwarya Rai-Bachchan finally got her Red Carpet right at the opening day of the 2009 edition. After numerous misses in the past, coupled with just a few hits, the former Miss World looked stunning in a strapless white Cavalli with a regal ruffled train. Not crazy about the up-do, as it is too much given the weight of the dress, but totally digging the bejeweled Swarovski clutch. Looks like India's original international film star is not about to be outshone by the combination of Freida Pinto and her acclaimed stylist George Kotsiopoulos.






Now why Abhishek Bachchan opted for the waiter look is rather puzzling, much as the white blazer is in line with the Bachchan family's 'match much' fetish. Shahrukh Khan tried and failed with the same look at the 2009 Filmfare Awards, but clearly celebs seldom learn from each other's mistakes.

Entertainment in Times of Strike

The battle between the producers and the multiplexes might mean that no films will be hitting the marquee any time soon, but certainly there are a couple of DVDs you could (and should) enjoy from the comforts of your home...hence I am going to do this in more of a 'round-up' format rather than the detailed review to either persuade or dissuade your trip to the local cinema.

The President is Coming

What: One of the earlier and largely overlooked releases of 2009, this hilarious film (adapted from a play of the same name) chronicles a contest in which one 'young Indian' will be chosen to shake hands with President Bush during his 2006 visit to India. Get ready for a lighthearted running commentary on topics ranging from feminism to homosexuality and regionalism to globalization.

Who: Konkona Sen Sharma leads the way as a pretentious novelist whose lyrics poke fun at the likes of Arundhati Roy and Jhumpa Lahiri; acclaimed character artist Lilette Dubey's daughter - Ira Dubey - makes a welcome entry as an Indian version of Paris Hilton. Vivek Gomber (Rohit), Namit Das (Ramesh), Satchit Puranik (Ajay)...everyone deserves a mention, really. Hats off to debutante director Kunaal Roy Kapur for bringing together a quirky ensemble cast that is more than up to the challenge.

Warning: Certainly not a family film by any means...if you are embarrassed easily, watch it with your friends or on your own.

Verdict? The mention of George W. Bush has never spelled this much fun.


Billu Barber

What: It's the stuff child bedtime stories from your nani/dadi were made of: a small town with simpleton people interrupted by the grandeur of a popular but humble king. Albeit here it refers to a barber (Irrfan Khan) and his unbelievable friendship with superstar Sahir Khan (Shahrukh Khan playing a variation of his real-life persona). It's actually made more so with the kids in mind, but adults will find a nice message and perhaps enjoy what is at the film's sweet core.
Who: Irrfan seldom gets it wrong, and here he is able to be his unsuspectingly good self. Lara Dutta is a pleasant surprise in an ordinary role as his wife. And yes, there is Shahrukh who struts in every now and then to perhaps be a little kinder to everyone than he is in real life. But he certainly does a nice job in the climax by keeping his monologue on the restrained side (see what happens when buddy KJ isn't at the helm?).
Warning: Don't be fooled by Shahrukh's item numbers with various members of the industry's elite. Those are about the only aspects of 'commercial' cinema to be found, but rather the film is essentially about an extremely simple tale of friendship. It moves at quite a sluggish pace, so you must have patience.
Verdict? Shahrukh the producer is even smarter than Shahrukh the actor - the film does not promise great heights and therefore doesn't necessarily deliver them. Instead it is what it is: a sweet and simple film laden with a downright absurdly catchy soundtrack and welcome item number insertions featuring Gen X Deepika Padukone, Priyanka Chopra and Kareena Kapoor; ah yes, and with a proper moral of the story to boot.

Winner By Chance

It is perhaps one of the greatest tragedies of Hindi film viewers that any seemingly intelligent film, one that invites its audience to use their minds and embark on a truly engaging journey, are immediately branded as a form of parallel cinema, also known as being 'offbeat' or on occasion referred to as 'art films'. As a result, these realistic and often thought-provoking projects - that are so few and far between - seldom get their due. Zoya Akhtar's directorial debut Luck By Chance could very well be a prime example of one such endeavor, a film that is truly a cinematic treat and in any thinking cine-goer's book ranks far ahead of the more commonly-found commercial successes with absurd titles along the lines of Hum Aapke Dil Mein Rehke Bhi Aap Se Shaadi Na Kar Paaye (HADMRBASSNKP for simple reference).

With her insight into the trials and tribulations of the world's largest film industry, Ms. Akhtar emerges like a breath of fresh air with a cohesive script, stellar cast, appropriate balance between humor and hardship and, above all, an eye for continuity and purpose. Rather than simply creating an exposé on the inside world of Hindi cinema, Ms. Akhtar rather hits the nail on the head in showcasing the deeper facets on the other side of the camera: the personalities, the aspirants, the networking, the production; you name it, she addresses it.

To aid the director is an outstanding cast that would be a shoe-in for Best Acting Ensemble in a Motion Picture, alas if only such an award existed in the subcontinent. In the lead is Ms. Akhtar's own brother Farhan, who recently made his foray into acting via the cult hit Rock On, and you better believe he does not disappoint. Transitioning from director to actor is no piece of cake, but Farhan truly gets right the nuances of his character and delivers a performance that is both understated and as good as any accomplished actor.

By his side is the wonderfully gifted Konkona Sen Sharma who wouldn't know bad acting if it came knocking at her door. She remains as delightful as ever, someone who achieves the rare habit of silently suffering from the sidelines without ever losing grip of her integral role in the proceedings.

But what truly separates LBC from your average fare is that every member of the supporting cast more than pitches in with their best efforts. Rishi Kapoor is in full form, downright hilarious at times and walking away with most of the laughs, while Juhi Chawla's return to the screen is a pleasure in the role of his wife. Dimple Kapadia is elegance personified and particularly shines in her character's telling moment toward the climax, whereas Isha Sharvani is miles better than her outings in Kisna and Rocky. Sanjay Kapoor gets into the spirit of his role, while Arjun Mathur strikes a significant chord as Farhan's secretly envious friend.

Hrithik Roshan, although credited as having a Special Appearance, is around for many of the proceedings and is downright perfect for the role. He exudes confidence and charm and, of course, he dances his heart out in Baware. A plethora of celebrities make fleeting appearances, but Aamir and Shahrukh Khan register the most impact, the former poking fun at his perfectionism and the latter sharing his haunting words of wisdom.

Shankar Ehsaan Loy once again come up trumps for the Akhtars, lending a soundtrack that is both catchy and situational, a rather rare feat. From a listening perspective, Sapno Se Bhare Naina is perhaps the pick of the lot, while visually Baware is worth the admission price alone. The homage to all the behind-the-scenes individuals during the opening credits is admirable and beautifully shot.

Verdict? Luck By Chance is a monumental achievement for a first-time director, a film that is simultaneously enlightening and enjoyable, full of character and even replete with an underlying moral message. Hats off to Ms. Akhtar for a welcome entry into direction, and here is hoping for more films of this caliber to come soon.

'Bromance' Pe Chance Maarle...

Spotted: King Khan strutting his stuff with Queen G on a literally "Globe-al" Red Carpet. Looks like someone brought boy toy KJ to the proceedings, but then we hear royalty seldom comes without a jester. Indeed 'an extraordinary love story in a far-from-ordinary jodi'. And we're not talking about the Mrs...

Beauty and the Geek, a la Bollywood

I'm going to do this a little different than I normally do, so as to break the mold a little and make for easier reading. That Aditya Chopra's Rab Ne Bana Di Jodi - coming eight years after Mohabbatein (2000) and more than a decade after his modern classic debut with Dilwale Dulhaniya Le Jayenge (1995) - is the year's most anticipated film is no secret. It is also no secret that in these past two weeks alone it has broken about every worldwide record around as far as Hindi films are concerned. But to what extent does the film itself live up to the hype? The question can perhaps best be answered with a classic case of the Good, the Bad and the Ugly...

The Good:

Novelty: An average, working man marries a much younger girl due to unforeseen circumstances and decides upon the best way to win her heart. Since when do Yashraj films even depict the average, working man? Many plus points for this one.
Loveable leads: 1) Shahrukh Khan's Surinder Sahni is incredibly sweet, someone you truly feel for, even if his logic does irritate you at times. He's like that awkward neighbor who meets you in the lift and very politely says 'hello' but never oversteps his boundaries, and 2) Anushka Sharma's Taani, too, is at times tough to understand, but it's nice to see that she is far from the perfect, saccharine heroines we are often accustomed to. You see her lifestyle with Suri, and you just get her and her motives in what she does.
Performances: Shahrukh truly shines as Suri - it's a heartwarming effort from someone who has pretty much tried and tested just about everything. You can see the little bits of improv that were there in a film like Om Shanti Om, not to mention every time Suri looks at Taani, you can almost see the love in his eyes. Anushka is a welcome addition to the plethora of new actresses on the scene. She is mighty cute and charming and never overplays her part, nor is she simply makeshift. She is given a variety of emotions to work with, and she essays the part like a natural, no simple task when you are matched up against Shahrukh in your first film.
Melodious music: It takes a bit of time to grow on you, but seeing the songs on screen make them somewhat irresistible. Haule Haule is an instant favorite, the accordion also making up a significant part of the background music, while Tujh Mein Rab Dikhta Hai is simply lovely. There are only four songs, which help proceedings greatly in a 2 hr 45 minute film.
Choreography: In a film largely centered around dance, they do well to incorporate the dances, as well as elevate the level of skill in the actual sequences. Anushka is a great dancer, although it is the number she is not in - Phir Milenge Chalte Chalte - that stands out as a work of visual art, a fitting tribute to Bollywood heroes/heroines over the years, even if you do sense a major Om Shanti Om hangover.
Beginning and End: The film opens extremely well, setting up a very intriguing journey, and it ends almost equally well. The last half hour really pulls you back in, as emotions run high and you feel you are in familiar Yashraj territory.

The Bad:

Faulty plot: The premise is novel, but the plot is not without its glaring flaws. How Taani cannot see that Raj is Suri's alter-ego is beyond anyone, with even his voice being the same as that of her husband's. Also, the transition Suri makes to Raj is far too immediate, even if he is trying to mimic what he sees in films. It would have been so nice to see some awkward moments of Suri trying to become Raj, figuring out a walk, a way of speaking, interacting, rather than just being him with the snap of a finger.
Shahrukh Khan: How is he both good and bad? If his portrayal of Suri is touching, that of Raj is downright obnoxious. He is too loud and too much of a caricature to even like, let alone love. How Taani can fall for him is anyone's guess, as it is only in Tujh Mein Rab Dikhta Hai that we see any nice gestures from him. Yes, he's a mockery of a lot of on-screen personas that Shahrukh himself has played, but somewhere the joke is lost, and Raj becomes Shahrukh Khan just "playing Shahrukh Khan". And that, my friends, is my most unbiased opinion as an ardent Shahrukh admirer since the time I began watching Hindi films.
Pacing: Dear oh dear does this film drag in the middle. For that wonderful beginning and end, there is a repetitive middle where you aren't really sure what they are going for. Raj is annoying, Suri and Taani hardly interact, and you wonder where the 'extraordinary story in every ordinary jodi' went. The placing of Phir Milenge Chalte Chalte is also as random as they come, and it hardly makes sense why Taani will imagine Raj with other leading ladies rather than herself, not to mention why she imagines Raj as a capable dancer when he has been nothing short of disastrous in front of her.
Sumo Suri?: The entire scene with the sumo wrestler leans more on the absurd side and overstays its (non-existent) welcome. Wasn't there any other extreme activity Suri could have engaged in to make his lady love smile?

I suppose the Good and the Bad should suffice, fortunately it doesn't get too 'ugly'. The main plus point is the film's simplicity, in that there are basically three characters, Shahrukh, Anushka and Vinay Pathak as Suri's best friend and one main storyline. At times it's perhaps too simple, but the best thing about keeping it simple is that people will come out calling it a 'nice' film. So maybe we expect more than 'nice' from Adi Chopra, but let's face it - he is unlikely to recreate DDLJ for as long as his career goes, and not every film he makes will be epic.

Verdict? The love story may not be 'extraordinary', but its jodi is heartwarming enough to justify the price of admission.

Kismat (Dis)Konnection

Typically my reviews are thorough and detailed, but I've been told I need to make a marked effort to shorten my analysis to hold the attention of my faithful readers. As a result, I'm going to get straight to the point...Aziz Mirza, best known for his work with Shahrukh Khan in Raju Ban Gaya Gentlemen, Yes Boss, Phir Bhi Dil Hai Hindustani and Chalte Chalte, returns for the first time in a long time without Shahrukh by his side. And to make up for his old pal's absence from the film, he seems to have 1) coaxed Shahrukh into narrating the beginning portions of the film and 2) cast the undisputed King Khan clone, Shahid Kapur.

What we end up with is a strangely half-baked effort from an otherwise competent filmmaker. It's simple and sweet, sure, but for some reason there is something largely missing from Kismat Konnection. One is certainly the chemistry between alleged off-screen pair Shahid and Vidya Balan. Vidya not only looks too old opposite the ever baby-faced Shahid, but the two look far from on-screen lovebirds.

The next thing missing is a powerhouse performance from either of the leads. Shahid tries, but he tries a little too hard. He puts on his best Shahrukh expressions and essentially does a repeat of his Jab We Met performance. Vidya acts reasonably well, but her wardrobe remains ever atrocious, and the woman just looks some 15 pounds too heavy to be a leading lady.

The third and also important factor that's missing is good music. Save for Atif Aslam's new gem Bakhuda Tumhi Ho, there is no other track that really sticks with you. Aye Papi may be popular, but it is certainly no Mauja Hi Mauja.

Finally, what is missing is the ability to captivate and hold the viewer's attention. After a while, one can't help but wonder what the film is about. Is it a love story between two enemies-turned-friends or a social message about respecting the elderly? In the end, the film seems to be about neither. Instead, we yearn for continuity and a purpose, one that the film overall clearly lacks.

Verdict? Worth a look purely for the sake of good old timepass. Ah yes, and it's nice to see Juhi Chawla back on-screen, even if she is some strange psychic.

Makdee Man?

Rumor has it Shahrukh Khan will be starring in the Indian version of comic book/Hollywood blockbuster Spiderman.

Am I the only person who is slightly disturbed by this?

Last time we checked, our beloved Peter Parker was most certainly not 42. Unless Shahrukh wants to create the first ever Pranay Patel urf dadaji Spidey, we're pretty sure he should leave the building-hopping to a certain Hrithik Roshan.

Then again, if he can romance 21-year-olds, he can become the web-spewing hero. Any guesses for Mary Jane?

Apparently the film will be the most expensive venture to ever be launched, and at this moment Shahrukh is searching for a 12-year-old who can swing through buildings and atop cars along his side.

He could just ask beta Aryan. Although, age-wise, methinks Aryan himself would make a better Spidey...

Farah's Wit and Shahrukh's Charm

Illogical. Insipid. Outrageous. Extreme. Confused. Call it what you will, but there is no denying the fact that Om Shanti Om is one of the most entertaining films to release this year. Scratch that. It's one of the most entertaining films to release in a long time. Those who choose to actually analyze the film may find it reeking of flaws, but it is their mistake if they honestly think Farah Khan wanted to create a film that makes you think. Because what Farah has created is quite the opposite: it makes you laugh; it makes you smile; and it makes you believe that sheer entertainment is worth choosing over thoughtful cinema any day.

A parody of two generations of cinema, beginning with the 70s and later focusing on the new millennium, OSO tracks the life of junior artist Om Prakash Makhija (Shahrukh Khan) and his fascination with popular actress Shantipriya (newcomer Deepika Padukone). Somewhere along the way a reincarnation saga very reminiscent of Karz is introduced, and next thing you are dealing with starry brat Om Kapoor (SRK again), popularly known as OK. Without giving away too much of the story - although most of it is very much available online - there are also interesting characters in the forms of Pappu Master (Shreyas Talpade) and villainous producer Arjun Rampal.

Similar to Main Hoon Na, much of OSO is a parody of the film industry. What sets OSO apart from its predecessor, however, is that it is truly a laugh riot for the first two hours, at least, if not more, and never tries to become too serious. In edition, as a director Farah has improved leaps and bounds in terms of creativity and wit; it truly is a very clever film with so many digs at film cliches and stereotypes that film aficionados would be more than pleased with her efforts.

Watch out for scenes such as the South Indian shooting ("Mind it") scene, the 'all organ failure' film shoot and the Filmfare Awards ceremony; people who watch enough Indian films will know how hilarious and yet true the jokes are.

Also, every actor and actress under the sun makes an appearance in Farah & Shahrukh's labor of love. It really is heartwarming to see the support and unity that ties the industry together and shows that, despite the fights, drama and reported heat, they are willing to all come together and return the same good will that people like Farah and Shahrukh have shown them in the past.

Speaking of which, it's commendable that Shahrukh can take on two completely different roles (and many roles within these roles), make fun of himself (think Mohabbat-man, his tendency to arrive late on the sets and his identical Filmfare nominations), romance a heroine 21 years his junior and still come off convincing. He's lovable, he's charming, he's cute and he's funny. And he's not just being Shahrukh Khan. You can tell how much he loves this film, being produced under his banner and directed by one of his best friends, and Shahrukh clearly puts in his 200%. So if Farah tells him to build a six-pack and go Village People on the audience by dancing in a shirtless firefighter getup, he does it. And if she tells him to put on a red leather cowboy suit and fight a stuffed tiger, he does that, too. And never once does he come across like he's trying too hard.

Shreyas is also superb as Shahrukh's second-hand man, particularly in the first half. He's truly talented and oddly similar to fellow comedy colleague Ritiesh Deshmukh in both looks and style. It's a shame that Shreyas has to take a backseat in the second half, because he is at his best pre-intermission.

Arjun adds style and persona to the negative role he is given. He has come a long way over the years (and this is after he had already impressed in earlier films like Aankhein and Moksha), and he is sure to be talked about after OSO.

As for the alleged 'Find of the Year', Deepika Padukone, she more than lives up to the hype. Farah and Shahrukh have very smartly handled Ms. Padukone's debut, in that they do not give her any histrionics to display. Instead, she has a simple yet glamorous role and does very well with it. In addition, she looks absolutely stunning and excels in the dance sequences as well. Finally, there is a new find who not only looks good and dances well but has actual acting talent and potential, too! One thought that with all the know-nothing models walking around attempting to act of late, there would be no hope for finding future female acting talents, but Deepika defies that logic and makes the most of her debut. She will surely get offers galore. As mentioned, there may be nothing exceedingly difficult for her to do in terms of performance, but her dialogue delivery and expressions are spot on, particularly in the latter portions of the film.

The songs are all in good fun and a treat to watch. Deewangi Deewangi is the most thrilling due to cameos from virtually the whole industry (one cannot help but wonder where Sushmita Sen, Aishwarya Rai and Kareena Kapoor are, however). Dhoom Taana is hilarious to watch, while Aankhon Mein Teri (Ajab Si) and Main Agar Kahoon are beautiful in terms of lyrics, vocals and melody.

The only downside of the film is that it gets carried away in the last half hour. The climax is a little over the top, but a so-so final 30 minutes are more than forgiven when the first 2 hrs and 15 minutes are full of pure entertainment. And do not leave during the end credits - it is highly admirable that Farah gives each and every unit member a moment to shine. She clearly recognizes the worth of her entire team, and her own appearance at the end is sure to put a smile on your face. Gauri Khan looking positively radiant is also one to watch out for.

Verdict? Absolutely recommended. But if you're looking for logic, don't say I didn't warn you.

When SRK is Away, KJ Will Play

Spotted: Karan Johar attending the Saawariya premiere in Mumbai. We wonder what boy toy Shahrukh Khan thinks of his BFF making an appearance at a film that was most definitely not Om Shanti Om...

Babies are cute (as are Akshay, Ritiesh and Fardeen)

I'm just going to tell it how it is. When you have three cute actors sharing warm, fuzzy moments with an adorable baby girl, you are bound to be intrigued enough to survive a film that is about just that. Heyy Babyy, contrary to popular belief, is not a rehash of Three Men and a Baby. Sure, the premise of three single men finding an infant girl at their doorstep is lifted from the Hollywood hit, but with Sajid Khan at the helm as first-time director, there is bound to be a good amount of Indian masala thrown in.

Hence, we have three Indian playboys settled in Australia, romancing as many as 15 actresses in one night (and in one song). We also have a high quotient of Hinglish spoken throughout, blended with borderline crude jokes that could only come from Sajid himself. In fact, as the film starts, you feel slightly uncomfortable watching it while in a family setting (wasn't this supposed to be about fatherhood, babies, tears, laughter etc.?). Luckily the film sobers down with the arrival of the baby, and it is rather rib-tickling watching Akshay Kumar, Fardeen Khan and Ritiesh Deshmukh trying to handle the baby girl.

There's no point delving too much into the plot: firstly, because there isn't really a consistent plot and secondly, because the film honestly isn't so much about the story as it is about the chemistry among the three actors and between them and the child. This is precisely where the film works, as the three lead males make a good enough trio whom you can tolerate for the two and a half hours...(more or less). And the baby is so damn cute that each time she comes on screen, you kind of just sit there and let out an 'aww'.

The emotional scenes are also surprisingly handled with care and ease by the mostly comedian director. Yes, there is some going over the top, particularly as the film reaches its climax, but then that is where the old-school Indian factor of the film really kicks in.

The main problem actually lies in the film's imbalance. It's almost as though Sajid is confused as to whether he's after a comedy or an emotional drama. He seems to strive for both here and, while it's a fairly good attempt, there is so much back-and-forth between the comedy and the drama that sometimes you don't even know if you are meant to laugh or cry. It's not a huge problem, but it gives an unwanted level of inconsistency to the script.

Also, some scenes are plain over the top, and dragged out beyond what's necessary. One such example is the fight between Ritiesh and the children before he loses his job; it looks a funny concept in the first minute or so, but then the entire sequence proceeds to last well over 5 minutes. Another such scene occurs when Akshay and Ritiesh disguise themselves as Arabs in the restaurant - comedy is usually best when it is straight to the point, and Sajid should have known better in instances such as these. The climax is also a bit of a drag at one point; you almost ask them to just end it already!

Nonetheless, there are enough redeeming factors for you to sit back and enjoy the film. The aforementioned chemistry, for starters, and the performances from the principal players. Akshay is by now a veteran when it comes to comedy, and he does not disappoint here. He also does well in the emotional scenes, proving that he can play the all-rounder part when required.

Ritiesh is yet another mainstay in comedies nowadays, and once again he shows why. He seems to have this natural approach to acting that a lot of Indian actors are without - no shouting his lines, overdoing the expressions - he just performs the role how it is. One hopes he will stay away from the likes of Cash and other such films that will peg him back in his early career.

Fardeen comes across as a surprise. This is one of his better performances, after being overshadowed by Anil Kapoor and Salman Khan in his last comic outing, No Entry. His Parimal/Chupke Chupke tribute is rather amusing, and almost a jab at the critics who are constantly after his Hindi-speaking capabilities.

Vidya Balan appears in a Westernized role for the first time in her career, and she both looks great and performs well. She doesn't show up until the second half, but she will definitely be appreciated for trying something different. Boman Irani is himself - goofy and uptight at the same time.

Shahrukh Khan's not so private guest appearance is amusing; SRK lights up the screen as always, even though he's there for all of 2 minutes.

Special mention to the baby simply for being one of the cutest babies ever.

The music is not exactly Shankar, Ehsaan and Loy's best, but there are enough tracks to take home with you. Mast Kalandar is the obvious favorite, while Dholna is more than a makeshift romantic number. Meri Duniya Tu Hi Re is one of the nicer parent-child songs in a while and is particularly elevated by the trio's chemistry with the baby.

All in all, it's very sweet to watch, that's for sure. One would still expect more from someone as funny and creative as Sajid, however, it's a nice and refreshing break from the sex and money based films one encounters these days. He's no match for his sister Farah Khan - her Main Hoon Na was a far better directorial debut - but there's definite promise. Not to mention, the most recent comedy that comes to mind is the intolerable Partner, so after that...this comes as somewhat of a blessing.

Verdict: Worth a watch.