Things Best Left Forgotten

The Priyadarshan/Akshay Kumar/Paresh Rawal has been alive and kicking since Hera Pheri proved an unlikely success seven years ago. Somewhere along the way, a Rajpal Yadav was thrown into the mix, and along came a progression of films ranging from hilarious to reasonably funny to downright awful. The team's latest offering, Bhool Bhulaiyaa, sadly falls into the latter category, making one wonder...should this team just give it a rest?

There's no point in getting into the story, because there isn't really a coherent one as such. Priyadarshan, much to our dismay, seems to have taken a leaf out of Ram Gopal Varma's book and opted to make his own comedy/horror flick, a la Darling. Perhaps someone should have informed Priyadarshan of Darling's unfortunate fate (and the pain it inflicted on the few of us who actually watched it)...

Actually, let me take that back. Before delivering the slightest warning on how RGV is no longer a source for inspiration, someone should have informed Priyadarshan that you should never, not even in your wildest dreams, cast Amisha Patel in your film. Her wrath remains unbearable, and her acting capabilities remain non-existent. One wonders how she even managed to get the role given this is not a Vikram Bhatt production...yes, that was most definitely an intentional innuendo...

As if casting Amisha was not enough, Priyadarshan then decides that he will not introduce Akshay until nearly the intermission. So every one's favorite comic boy is very much absent from the first hour of the film, if not more...subjecting us to more tears than laughs. And lo and behold, as soon as Akshay emerges from whatever hiatus that was, the film picks up and shows slight promise.

And that is when the director mixes in the RGV influence and decides to shoot for some lousy combination of The Exorcist and ...Dumb and Dumber? Yes, I was confused, too.

No folks, this is not a remake of any known film...it's just a horrid mixture of one too many genres. Hell, there's even a love triangle in there.

Oh, and wasting Akshay's talent was not enough ...Priyadarshan opted to sign on two of the most promising new kids on the block, Shiney Ahuja and Vidya Balan, was tarnish the reliable reputations they so carefully built with their first few films. (And, of course, there's Paresh Rawal who can only watch the proceedings and probably wonder what he's even doing in the film in the first place).

There's a nice tune or two...Labon Ko is the only one you vaguely remember after the debacle you were made to witness.

Priyadarshan, where did we go wrong with you? First Phir Hera Pheri, then Dhol and now this? Why don't you go back to making another Virasat? It looks like you've milked your comedies for all that they're worth.

Verdict? Best...Left...Forgotten

A Spoonful of Sugar

While it is quite common to hear people argue that Mr. Amitabh Bachchan is now overexposing himself by appearing in one too many films, one cannot help but deny that there is still an element that draws you into watching him on-screen. Indeed, he will always be one of the finer Indian actors, and that is precisely why it is hard to resist a film that pairs him with one of the country's finest actresses, Tabu.

Touted as "A Sugar Free Romance", Cheeni Kum is precisely that. A film that, without the conventional hero/heroine, college campus setting and barrage of background dancers, tells the simple tale of how two individuals share a couple of chance meetings and proceed to fall in love. Only there is no real declaration of their love - no shouting from rooftops or pouring buckets of tears while mouthing the standard 'Main tumse pyaar karti hoon' shannanigans - but a simple mutual admiration that develops over time.

The catch is that these protagonists share an 30-year age gap (Bachchan is said to be 64 and Tabu, 34). Bachchan works as a scrooge-like head chef at "Spice 6", the top Indian restaurant in London, while Tabu frequents his joint and teaches him a thing or two about real zafrani pulao. All the while, they are surrounded by a wise-beyond-her-years cancer-striken child (Swini Khera), a bumbling kitchen staff, Bachchan's Sex and the City-obsessed mother (Zohra Sehgal) and Tabu's drama queen of a father (Paresh Rawal).

What works for the film is the fact that each individual enacts his or her role with utmost ease. Yes, we could have gone a lifetime without having to witness Bachchan shop around a drug store for contraceptives, but the truth is that he is good in any role he takes on. This is also an uncharacteristically understated performance from the senior, complete without the echoing baritone voice and piercing looks we are so used to.

Tabu interprets her role with the perfect element of sarcasm and wit. It's a shame we don't see more of her, and it really is a loss to the industry that they do not give her the credit she deserves. After The Namesake, she continues to show why she is one of the best in the business.

Fans of Paresh Rawal who enjoy him at his over-the-top, Hera Pheri best will be disappointed that this is not such a role. He does have moments of humor, but his purpose is more to provide conflict in the otherwise casual love story.

Newcomer Swini Khera is very impressive as the smart-talking child. It's nice to see Indian filmmakers finding less annoying children of late (other welcome additions include Ali Haji from Fanaa/Ta Ra Rum Pum/Partner and Angelina Idnani, also from Ta Ra Rum Pum). Zohra Sehgal is just right for her role.

The music dominates the background and is not really something you pay much notice to, even if it does sound reasonably ear-pleasing.

Of course, there is a downside. At times the film fails to hold your interest. You find yourself flipping through a magazine or getting up to grab something from the kitchen - in other words, it's no film that you feel the need to give your 100% attention to.

Also, there is an overall feeling that something is missing from the film. It's one of those ventures where you don't really feel like you're watching a film. It's almost like watching an hour of Eastenders ...

Nonetheless, it's something different - not at all to be compared with Nishabd, another recent film that paired him with a significantly-younger actress, as the two films are poles apart in terms of theme and content.

Verdict? What harm can a little sugar do?

A Family Affair

From the moment the promos of Gandhi My Father hit the screen, one got the impression this would be a very special cinematic experience. Right from the montage to the tag line ("To the nation, he was a father...To his son, he was a father he never had"), everything about the film shrieks of the art genre, something made for the film festivals. Not to mention, the film marks the return of Anil Kapoor the producer, after the disastrous Badhaai Ho Badhaai in 2002. Can't remember Badhaai Ho Badhaai? No worries, there's a good reason for that.

Moving along, the film brings the focus back on Mahatma Gandhi after last year's blockbuster Lage Raho Munnabhai made gandhigiri the latest fashion. Any comparison between the two would, however, be entirely inappropriate - one is a serious biopic and the other a moral comedy.

Gandhi: My Father essentially traces the tumultuous relationship between Gandhi and his son, Harilal. It literally runs like a biography with the occasional flash from past to present. At times you ponder the overall point of the film, only to realize that it has no conflict or resolution as such - it is simply an untold chapter of Gandhi's life.

What works for the film is the fact that it is a compelling story. While it is certainly not for those of you looking for a bit of song and dance, it is definitely recommended for art cinema enthusiasts. Yes, the film moves at a sluggish pace and is often hard to get through, but a part of you remains curious enough to explore this part of Gandhi's life, a facet seldom encountered both on celluloid and in the history books.

In addition, the film is laden with excellent performances from the lead cast. Akshaye Khanna may forever be known as the untapped talent of Indian cinema, but here he gets the license to show everyone what he's made of. At times you may think he is resorting to histrionics, but not if you take into consideration the intensity of Harilal and the torment he undergoes throughout his life. It's almost sad that Akshaye is never really given his due, as he has a fair amount of reputable performances in his repertoire.

It's a bit of a breakout performance for Darshan Jariwala as well, whose prior acting credits include bit roles in films like Honeymoon Travels Pvt. Ltd. and Aap Ka Suroor. At this point there have been so many representations of Gandhi on screen that it is hard to decipher a stand-out performance from an ordinary one, but Mr. Jariwala makes his presence felt.

Shefali Shah is outstanding as Kasturba Gandhi. Again, we have an underrated performer who makes the most of the opportunity bestowed upon her.

Bhumika Chawla is an improvement from her previous ventures, although one really wonders what sort of future she has in the industry. Good on her for doing some nice work in a critically-acclaimed film such as this, but after a reasonably successful debut in Tere Naam, one feels like she never really took off.

But the film is certainly not without its flaws. Even after the film reaches its climax, there is a sense of it being incomplete. So much effort went into fact-checking the history, bringing into light another side of Gandhi, etc. etc...one only wishes the filmmakers had gone that extra mile and left a lasting impression on the viewer.

Instead, the viewer comes out of the film thinking it was "a nice film", when it is clear the intent was to be more of an epic. Also, the aforementioned pace is an issue - perhaps some small scenes could have been cut or better transitions utilized, because there are several moments when the film is unable to hold its grip on your attention.

Having said that, there are also scenes that should have been inserted into the film. Quite a few details remain unexplained, and some of these are the details that escalate into serious conflicts. Why does Gandhi encourage Indian youths to study abroad and then discourage his own son from doing so? This is just one of a number of questions that should have been answered.

Verdict? Watch if you can appreciate good acting and offbeat cinema.

Nobody's Darling

After the Bhatt camp, it looks like Ram Gopal Varma is the latest to have lost his marbles. With the atrocious RGV Ki Aag failing to ignite even the slightest flame, Varma has come out with a second film hardly a week later - curiously titled Darling, the film somewhat recasts Fardeen Khan in his Pyaar Tune Kya Kiya role, only with Isha Koppikar and Esha Deol forming the other parts of this deadly love-triangle.

The beauty of Pyaar Tune Kya Kiya, however, lied in Urmila's superior performance in the Hindi version of Fatal Attraction. This time, we are relegated to watching Esha amateurishly resort to smirks and glares while she makes Fardeen and Isha's married life a living hell...only, this time, the stalker is a ghost whom Fardeen accidentally killed in a scene very reminiscent of Anil Kapoor's My Wife's Murder.

What works initially is the 'different' nature of the film. You are curious enough to watch the proceedings and see how long the Fardeen-Esha love affair will last, most importantly when the murder will occur and subsequently when the stalking will begin. The first reels post-Esha's death, where Fardeen is aware of her presence even though she is invisible, are intriguing enough to make you think this may be a worthwhile endeavor after all. Things take a turn for the worse, however, when Esha actually begins to stalk the married couple.

The first scene or two are handled with aplomb, before the entire act gets repetitive, to say the least. The concept is amusing at first, but then it starts to drag to the extent that you are anxiously awaiting the end credits.

The performances are also not strong enough to save the film. Fardeen tries extremely hard but ends up hamming his way through the second half in particular. Esha, as mentioned before, is given about two main expressions and a couple of scenes where she can shout a la Ankahee. Isha Koppikar is the one who trumps the rest of the cast with a restrained performance in a role that is very uncharacteristic of the work she has done in the past.

Zakir Hussain as Fardeen's co-worker/friend is perhaps the most annoying of the lot. One wonders what Varma was thinking when he let Zakir overuse the emphasis on the word 'yaar' in just about every sentence he speaks. The cop and his assistant are all right, but Varma has the silly tendency to leave things unexplained. Why does the assistant stare at Fardeen without ever saying a word? It's almost a mockery, after a certain point.

There are only two actual choreographed songs in the film. The opening credits number, Aa Khushi Se Khudkhushi Karle, subjects us poor and unsuspecting viewers to another RGV insertion of...Nisha Kothari. We get it, Varma, she's your new muse...the casting couch indeed exists...blah blah blah...but there is no need to place her in every film.

Tadap Tadap is slightly better, if you are willing to tolerate some more Himesh Reshammiya.

Overall, the initial plot may be original but after all of a half hour the entire exercise seems rather stale. Barring a surprise climax - that almost makes the entire film pointless - there is nothing particularly fresh about Darling.

Verdict? Not worth the effort.

Why God Why?

Some films should never be made. They may have all the elements of a good film - a competent director, a reasonably exciting star cast, a couple of catchy tunes and visibly high production values. Nonetheless, I repeat, they should never be made.

Now it is one thing if the script on paper seems like a worthy idea. There are many instances when you watch a not-so-great film and, while you are disappointed with the outcome, you can see how the original plan seemed fine but the execution was flawed.

In the sad case of Jhoom Barabar Jhoom, one can't seem to comprehend how the idea ever seemed appealing to begin with. The film tells the sorry tale of four blithering idiots: Abhishek Bachchan, a smart-talking and good-for-nothing pendu, most commonly found standing around the corners of Southall; Preity Zinta, an absurd and so-called Muslim who simultaneously shouts out in defense of Pakistan and Muslims while also chanting about how she has slept with some ridiculous amount of men; Bobby Deol as a very wooden millionaire who talks in a monotone, clearly reading from the script voice; and Lara Dutta, a French/Indian hotel manager whom it is difficult to understand more than half the time.

Ah yes, there is also Amitabh Bachchan as a horrendously-clad gypsy of some sort - you know, the kind your parents once told you to avoid at all costs? The very sight of him in this film is shocking and frankly, completely unnecessary.

Maybe the characters are somewhat unique, but they are for the most part incoherent and intolerable. The first half of the film - where Abhishek and Preity are telling one another about their (not-so) respectable love interests - is downright unbearable. You almost contemplate switching the film off, but something inside of you wonders if it could possibly get better. Instead, the story goes no where and instead you encounter a 30-minute dance marathon with the same title song reappearing for a second and third outing in this blasphemous enterprise.

One would hope the star quality would lift the film, but the performances leave much to be desired. Abhishek tries very hard, but it's not some fantastic role that can lift the film from the dumps in which it resides. Bobby is a poor excuse of an actor in the first half, but his Mama's boy routine in the second half is far more appreciated. Preity is loud, obnoxious and Botox-ed like there is no tomorrow. It's sad, really, given one of her better performances just came last summer in the form of Kabhi Alvida Na Kehna, but it seems that was nothing short of a diamond in the rough. Lara somehow manages to speak in French-accented Hindi and sound plausible - sadly, the act itself is so irritating that it overbears her effort. She's done quite well in the film, but once again - no single actor is about to salvage this disaster.

The music consists of the same song, Jhoom Barabar Jhoom, in three forms. The best two are those showcased in the dance contest - JBJ and Jhoom Barabar Jhoom. Bol Na Halke Halke is a very nice song, but the entire sequence involving the song is completely nonsensical and one of the worst attempts at triggering romance in a Hindi film. The less said about songs like Ticket to Hollywood and Kiss of Love, the better. The titles themselves say enough.

The biggest question mark in the film? Shaad Ali. For someone who made his directorial debut with Saathiya, something that was unique, consistent, laden with fine performances and, of course, a musical gem, Shaad has certainly catapulted into an almost B-grade venture. There was an all right Bunty Aur Babli in the middle, thanks to the charm of Abhishek and Rani, again a fun musical score and, barring the climax, an enjoyable ride. Yet how the same director could create such a massacre will perhaps remain the unsolved mystery of his career.

Verdict? Don't even THINK about it.

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.

Treading the Fire

It was many years ago that Ram Gopal Varma announced himself as one of the most skilled filmmakers in the industry. He is perhaps most fondly remembered for giving Aamir Khan an unforgettable role in Rangeela, a film that also turned Urmila into an overnight star. His Satya undoubtedly won him the most critical acclaim, but it remains difficult to single out just one film from a director whose resume reads of Sarkar, Company, Kaun or even a Bhoot and a Mast. And so far we've only talked of direction. The list of creative films he has written and/or co-produced and the many assistants who turn director and attempt to mimic his style is rather endless. And now, after much talk, hype and controversy, his Sholay-inspired RGV Ki Aag is finally set to release this Friday.

Let it be said right now that the intention of this post is not to undermine Varma or any of his skills. I think the introduction rather proves that I am fully aware of his talent and also believe in his ability as a director. Nevertheless, Sholay is, in my most humble opinion, a film best left untouched. Especially when, as is this case with this endeavor, copyright laws are restricting you from using the same title or repeating character names, thus you end up with names that make your project sound more like a parody than a tribute.

With that, let's have a look at the casting, and where it all went wrong...

Ajay Devgan as Heero (Veeru)

We all know if there is one thing Ajay Devgan cannot do, it is comedy. He has tried and tried again, be it an Ishq or a Golmaal; or how about the recently disastrous Cash (see second post)? And for some reason beyond the world, RGV thought Ajay a good fit to Veeru.
True, Dharmendra was an action hero, too. But Dharmendra also had a flair for comedy that Ajay does not possess. On the contrary, Ajay would have been a perfect choice for Amitji's character, Jai. He's brooding and he's sarcastic - that is, if I'm not wrong, what defines Jai. Ajay getting silly drunk and climbing a tower to declare his love for the chatterbox Basanti? Yeah, I see it as a potential massacre, too.

So who should have been cast as Heero? Good question. I understand Varma's reservations about casting either of Dharmendra's actual sons. Let's face it - neither Sunny nor Bobby are good enough actors. And sure, like I said, you don't have to be a great actor to play the part. So maybe someone like Salman Khan or Akshay Kumar could have very well done it. The character is that of a drinker/skirt-chaser - last time I checked, that was Salman Khan as we know him. As for Akshay, the flirtatious quality + impeccable comic timing also would've made him a good candidate. Plus - both in both age and physique - they are in the right place to make a good Veeru/Heero.

Prashant Raj as Raj (Jai)

I'm sorry, who? While I am all for launching new talent, casting the first runner-up of Mr. India 2004 in a role even the most accomplished actors could have difficulty with is a recipe for disaster. Don't get me wrong - I'm not writing the guy off without even seeing him, but his boyish looks already render him too young for the role and certainly far too young to be playing Ajay Devgan's partner. And why create a cast of strong names like Amitabh Bachchan, Mohanlal, Ajay Devgan and Sushmita Sen, and then throw in a random newbie into the equation?

Young Prashant could turn out to be a surprise package, but he looks like a carbon copy of that James fellow Varma was so adamantly (and unsuccessfully) trying to push into the industry at one point. So who should have been Jai? I know what all of you are thinking - two words - Abhishek Bachchan. But let's face it: while Abhishek is turning out to be a fine young actor, he very much likes to imitate his father. It's only natural. But casting Bachchan junior in a role that his father originally played could really just end with him trying to literally reproduce his father's work. I could just see him playing it the same way his father did. Like I said earlier, Ajay should have been Jai. Even Akshay Kumar could've played Jai - he has that sarcastic humor in him, too.

Nisha Kothari as Ghungroo (Basanti)
RGV seems to have this strange tendency to latch onto one actress and milk her for all she's worth. In the case of Urmila, she actually turned out to be an underrated talent. With Nisha Kothari, I get more of a 'waste of space' impression than I do serious actress. Last I saw her, she was doing what she seems to be known for so far - shedding off clothes and calling it a performance. I don't want to make rude comments on why Varma is so obsessed with her, because well...yeah, I think I just implied it. But he gives her roles that she really shouldn't have.

Again, I understand apprehensions about casting Esha Deol in place of her mother. Esha, too, would probably mimic Hema Malini's classic performance, and given her limitations as an actress she probably would not even mimic all that well. My picks? Kajol, for starters - she could be that fast-talking, borderline annoying but funny village belle. She did it quite well in Kabhi Khushi Kabhie Gham, for that matter. I would even call Madhuri Dixit out of retirement to play a role that probably fits her to the T. Sadly, due to the decreasing amount of actresses in the industry who actually know how to act, there is no one younger I can even come up with. Yes, Rani Mukherjee is a great actress. But no, her take on comedy is not her forte. Which is what takes me to the next bit...

Sushmita Sen as Durga (Radha)

Sushmita Sen is a very capable actress. But does she give off a vulnerable, almost weak vibe? Not at all. If anything, the lady is known to play strong, independent women. And here she is cast in Jaya Bhaduri-Bachchan's place as a widowed woman who says and does very little in the film. Now, I'm sure Varma has changed this, because no fool casts Sushmita in a quiet role. But honestly, Sushmita could have been Basanti rather than Radha.

I would have brought the aforementioned Rani in to play a role that is all about giving an understated and soft portrayal. She has that sense of traditionalism that sums of the essence of Radha.

The Ones We Allow

Amitabh Bachchan as Babban Singh (Gabbar Singh)

This one, we will condone. Of course Amitjit is one of the greats of Indian cinema. Nonetheless, he appears in so many films/TV commercials/who knows what else these days that he seems to suffer from overexposure. And, as a result, I worry that people are growing sick of him and will therefore not appreciate his reprisal of India's most celebrated villain as much as they normally would have. Still, if there's anyone who can even try to do what Amjad Khan did, it is Mr. Bachchan.


Urmila Matondkar as Mehbooba Mehbooba dancer (as played by Helen)

Finally, a good match. I was almost worried that Varma would fall into Farhan Akhtar's trap and give the cameo to...Kareena Kapoor. It is well known that Ms. Kapoor was perhaps the worst choice to do a Yeh Mera Dil in last year's remake of Don. With her two left feet, it was almost like an unwarranted ambush toward the audience.

Urmila, on the other hand, can dance. So age is no longer on her side and she no longer carries the hour-glass figure, but she is a fair enough choice to fill Helen's shoes. Abhishek Bachchan as the male dancer, on the other hand, will be interesting. He's good at the nautanki style dancing, but his pairing with a visibly older Urmila is rather odd.

Verdict? Watch at your own risk. If you are a fan of the classic, you'd best keep away. If you have not even seen the original, don't even think about laying eyes on the remake before witnessing the masterpiece itself.

Who knows? We may love it. This is all just a cautionary post. I will most definitely share a real review once the film is released.