Kajra re new song

ajraare is an upcoming movie Hindi language Bollywood film, directed by Pooja Bhatt. The film stars Himesh Reshamiya and actress Mona Lizza. The film will be released on August 6, 2010. Himesh plays a lawyer in this film,the lawyer falls in love with a prostitute and it is the story of how they find true love. The Kazraare music album was released on 30 May, 2010. The Kazrare album has 7 tracks and 4 remixes, all Kazra re songs are composed and sung by Himesh Reshammiya with lyrics by Sameer.

Lyrics of kajra re

KAJRA KAJRA KAJRA KAJRA kajra….

KAJRA KAJRA KAJRA KAJRA kajra….
KAJRA KAJRA KAJRAARE
KAJRA KAJRA KAJRAARE
KAJRA KAJRA KAJRAARE……
KAJRA KAJRA KAJRAARE
KAJRA KAJRA KAJRAARE
KAJRA KAJRA KAJRAARE……

yeah everbody come on
pump it ohh
yeah move it now
come on just do it
yeah right now i wanna see u move ur body
i wanna have a good time
come on now bring it down now
bring it down now
bring it bring it bring it down now

KAJRA KAJRA KAJRAARE
KAJRA KAJRA KAJRAARE
KAJRA KAJRA KAJRAARE……
KAJRA KAJRA KAJRAARE
KAJRA KAJRA KAJRAARE
KAJRA KAJRA KAJRAARE……

mati maar gayi
mati maar gayi
matware
KAJRA KAJRA KAJRAARE
KAJRA KAJRA KAJRAARE
KAJRA KAJRA KAJRAARE……
na main jaaga na main soya, tujhko dekh ke sudh budh khoya
na main jaaga na main soya, tujhko dekh ke sudh budh khoya
maar gayi………
mati maar gayi matware
KAJRA KAJRA KAJRAARE
KAJRA KAJRA KAJRAARE
KAJRA KAJRA KAJRAARE……

yeah everbody come on
pump it ohh
yeah move it now
come on just do it
yeah right now i wanna see u move ur body
i wanna have a good time
come on now bring it down now
bring it down now
bring it bring it bring it down now

kasmakash hai dhadhakon mein, chahton mein
aalam bada bebas hai
deewangi ka….
teri deewangi ka
lut gaya main pehli nazar mein,
bas gaya palkon ke ghar mein
maar gayi
mati maar gayi matware
KAJRA KAJRA KAJRAARE
KAJRA KAJRA KAJRAARE
KAJRA KAJRA KAJRAARE……

band karke jab bhi dekhoon apni aakhein,
aaye nazar ek chehra
woh hai chehra tumhara

tumhara tumhara tumhara

neend se bhi rishta toota,
hosh mere dil ka loota
maar gayi
mati maar gayi matware
KAJRA KAJRA KAJRAARE
KAJRA KAJRA KAJRAARE
KAJRA KAJRA KAJRAARE……
KAJRA KAJRA KAJRAARE
KAJRA KAJRA KAJRAARE
KAJRA KAJRA KAJRAARE……

KAJRA KAJRA KAJRA KAJRA kajra….

Anupam Kher is the dictator, Neha Dhupia his wife – will it work?

Indian history has been revised time and again on celluloid, but debutant director Rakesh Ranjan Kumar moves into a global canvas with ‘Dear Friend Hitler’ to capture the last few days of the Nazi dictator in his Berlin bunker and Germany after his downfall in 1945.

"My film aims to recapture the last days of Adolf Hitler," Rakesh, who is perhaps the first Indian filmmaker to attempt a movie on Hitler, said.

"It shows Hitler in his underground bunker and portrays his relationship with his close associates. It aims to capture the personality of Adolf Hitler and his insecurities, his charisma and his paranoia during the last few days of his life," he added.

World War II and Hitler have been subjects of enduring fascination through the decades with films like ‘Hitler: The Last Ten Days’ (1973), ‘Downfall’ (2004) and the Tom Cruise-starrer ‘Valkyrie’ (2008). But this will be a first for Indian cinema.

Rakesh has roped in the versatile Anupam Kher to play the lead role; Neha Dhupia will portray his wife Eva Braun who was 23 years younger to him.

Rakesh maintains that the film also shows how Hitler contributed to India's independence and what happened to soldiers in Subhas Chandra Bose's Azad Hind Legion in Germany.

"It shows Hitler's love for India and how he indirectly contributed to Indian independence. It also depicts the struggle for survival of the lesser known Indian Legion soldiers who were left in Germany by Subhas Bose to fight for India's independence and Germany's prestige," said Rakesh.

Though volumes have been written about the dictator, very little information is available about his wife Eva who was a model before she met him. ‘Dear Friend Hitler’ focuses on that too.

"The film will not show the love life of Adolf Hitler. It will show Eva who had been rarely spoken about in the history. Eva had been Hitler's girlfriend since she was 17 years old. The film shows how she comes in his life in his last days. They got married 42 hours before he died (April 30, 1845)."

Though the backdrop is World War II, Rakesh insists his is not a war movie.

"By the title, people might take it as a periodic or war film, but we have portrayed neither. Rather it's a war of conscience going on in the mind of Hitler," he said.

The film is expected to go on the floors next month.

Pankh Music Review

EXPECTATIONS
In normal circumstances, arrival of a Sanjay Gupta album on stands is a matter of celebration. Your expectation is straight forward - The songs would boast of a Western flavour, would have some unconventional voices and definitely some new lyrics. However, this time around the situation is different as Pankh arrives on stand. No, it's the not the art house flavour of the film which is a worrying factor here. Instead, it the manner in which both the film as well as soundtrack are being released. With more or less zero promotion preceding the release, one can only hope that the songs (composed by Raju Singh and written by Sudipto Chattopadhyaya) would be good enough to hold by themselves.

MUSIC

There are just three songs in the album and the first to arrive is 'Ji Jala' which comes with a cabaret flavour of the 50s/60s. Crooned by Suinidhi Chauhan, this slow moving track has a Western garb to it and as it moves at a leisurely pace, one gets an understanding that this would be picturised on Bipasha Basu in the film. An okay number which won't really have created much ripples even if presented in a mainstream commercial film while being backed by adequate promotion, 'Ji Jala' just about manages to hold on for its 4 minutes duration. 

The track that follows is strictly situational with a divine touch to it. Titled 'Mamma...', this English track is rendered by Dibyendu Mukherji where a young man is shown interacting with his mother. Moving at an extremely slow pace, 'Mamma...' is more of a one sided conversation than a song per se.

Finally arrives a three minute 'Pankh Theme' which has Marianne D'Cruz and chorus coming together to create a haunting outing. Bearing an 'enigmatic' touch to it, 'Pankh Theme' can be expected to play in the background during a dramatic situation in the film. In a regular Sanjay Gupta directed film though; this theme track may have proved to be a killer!

OVERALL
As mentioned earlier, the music of Pankh can't be expected to hold on just by itself. Lack of any buzz and promotion has led to zero awareness around the release of both the music as well as the soundtrack which would only prove to be its downfall. Moreover, the songs by themselves are not the kind that leads to music sales. The only hopes are the songs of The Great Indian Butterfly, another Sanjay Gupta production, which accompany Pankh. Since the songs in that film do make for a decent hear, the overall soundtrack may just about manage to find some takers.

OUR PICK(S)
None

Muskurake Dekh Zara music review

EXPECTATIONS
Now where did this one come from? That's an instant reaction when one comes across the film Muskurake Dekh Zara about which absolutely nothing has been spoken about right through its making. Ranjit Barot as a composer isn't too exciting a preposition either and with Mehboob as the lyricist, one primarily plays on the album to see if there is a surprise or two in store.


MUSIC
It's a serene start to the album with the song 'Chandini' arriving first. The tune is not bad actually and one remembers many a tunes like this which were composed by Jatin-Lalit in the 90s. Though the arrangements aren't really grand, the simplicity of the tune keeps you hooked at least in the beginning. However, Saurabh Srivastava doesn't quite make the best use of the platform provided and one does have all the right reasons to believe that another voice would have done far more justice to the tune.


Another singer who gets to do a solo in the album is Raja Mushtaq who croons 'Tu Hai Mera Pyar'. Starting off quite slowly and almost as a sad track, this song has the kind of arrangements that are more suited for an Indi-pop track than a Bollywood soundtrack. There is an intermittent portion in the 'mukhda' that comes quite close to what one had heard a decade back in 'Seene Mein Dil Hai' [Raju Ban Gaya Gentleman]. However, the similarity just ends there though how one wishes that this 'inspiration' had stayed on for a little longer.

For the first time in the album, one hears the voice of an established singer with K.K. singing 'Sai Bola Re'. However, the results are hardly enticing with this 'Rangeela' meets' Mast' track doesn't rising above being plain ordinary. With the usual setting of a guy describing his love amongst a bunch of friends, 'Sai Bola Re' is plain and simple boring and also makes one loose total interest in the songs to follow.

The title song comes quite late in the day. Now that's surprising due to two reasons. First and foremost it has a much established Shaan at the helm of affairs. Secondly, it is the best that the album has to offer. A sweet sounding number which may not be great shakes in isolation but makes one hum it along when compared to the rest of the album, 'Muskurake Dekh Zara' follows 'Kabhi Kabhi Aditi' [Jaane Tu Ya Jaane Naa] route though making a far lesser impact.

One can't be sure whether Ranjot Barot was convinced about calling 'Aankh Lagaee' as a song actually. Out of tune with musical arrangements that only distract you more than pulling you closer, 'Aankh Lagaee' has some random singing making matters worse for the album. Really, this 60s inspired track dissolves whatever little impact that the title song had managed to create.

For the first time in the album, a female voice is heard with Sunidhi Chauhan coming behind the mike. A song that belongs to 'roothna-manana' genre, 'Roothe Roothe' could well have been designed for a TV serial. Outdated with a tune that doesn't rise beyond being a nursery rhyme, 'Roothe Roothe' is simply passé.

Ranjit Barot takes it upon himself to sing 'Aye Dost' and frankly, even if there was anyone else who would have volunteered to sing this number, the results wouldn't have been any different. A philosophical number about enjoying life to the fullest and being nice to people around, 'Aye Dost' doesn't really deliver that final punch. This doesn't happen either with another version of this song, 'Sangam' which (thankfully) lasts for just 50seconds.



OUR PICK(S)
Muskurake Dekh Zara

Raavan music review

EXPECTATIONS
Expectations? Now either one can come up with 50 statements detailing the expectations that one has from the music of this film which brings together Mani Rathnam, A.R. Rahman, Gulzar, Aishwarya Rai Bachchan and Abhishek Bachchan. Or instead, one can just state that it would be nothing less than sacrilege for this team to present listeners with something which is less than being excellent. The choice, it at all there ever was, is non-existent. So without much ado, let's play on one of the most anticipated albums of the year and check out what this elite team has to offer.


MUSIC
It's a folksy-tribal beginning to 'Beera Beera' which appears to be the introduction song of the character played by Abhishek Bachchan Raavan. In a routine scenario a song belonging to this genre would have immediately fallen into Sukhwinder Singh's lap. However, expect Rahman to do something different in each of his outings as he instead ropes in Kirti Sagathia and Vijay Prakash to come up with a cracker of a song which is a chartbuster in the first 60 seconds itself. Whether it's the lyrics, a massive orchestra, vociferous rendition by both the singers, or the overall spirit that 'Beera' carries, there is no looking back once one moves ahead in the album after this quick 3 minutes outing.


What follows next is relatively subtle, in fact almost oriental in appeal, as a beautiful amalgamation of different sounds come together to make 'Behene De'. Once Karthik comes on scene behind the mike, it is crystal clear that 'Behene De' has a trademark A.R. Rahman stamp all over it. The song sees many variations when it comes to its flow right through its six minutes duration as Karthik sings for a character which has a desire to break free and live life on its own terms. Situational, yet the kind of song which should make a very good impression on screen.

However, for those who were looking at yet another catchy number, there is 'Thok De Killi' which instantly reminds one of the spirited encounter that listeners had in Yuva. Sukhwinder Singh puts all stops as he brings in his characteristic singing style that differentiates him from the rest. Watch out for Gulzar's lyrics here, they are truly different and something that one has never heard before in a Hindi film parlance. Rahman too just lets himself loose in making this number orchestra heavy and ensures that audience would be glued to screen once this fast paced song plays in all its fervour.

Just when one had thought that this team had reached its peak with 'Thok De Killi' comes 'Ranjha Ranjha'. A number which is not just the best in the album (or even the best of the month), 'Ranjha Ranjha' will clearly stand out as one of the best that 2010 had to offer this year. Clearly, even Subhash Ghai would be proud of this song which reminds one of many a terrific song that his Taal has boasted of years back. This song by the trio of Rekha Bhardwaj, Javed Ali and Anuradha Sriram is a killer to say the least and has all in it to reach the top of the charts within a fortnight of the release. With a folksy base to it, 'Ranjha Ranjha' is energetic, sensual and exciting.

Reena Bhardwaj, who has sung primarily with Rahman during her limited singing career so far, is sweetness personified in 'Khilli Re' where she gets an opportunity to go solo. Presumably picturised on Aishwarya Rai, the genre of the song may limit its popularity due to its situational appeal but isn't a bad fit at all in the album. A poetic track which yet again clearly belongs to Rahman's background, 'Khilli Re' is almost devotional in appeal and is extremely soothing in appeal, hence creating a good balance in the album.

The ending of the album is vociferous though with a grand chorus coming together to sing 'Kata Kata'. A song which is about a man getting married and a bunch of friends teasing him on his last night of bachelorhood, 'Kata Kata' sees Ila Arun, Sapna Awasthi and Kunal Ganjawala coming together. In a way, the song is an antithesis of Rahman's first big hit, 'Rukmani Rukmani' [Roja] which was about an interaction amongst friends post the first night. A good situational track which should find good prominence coming its way if the film succeeds at the box office.

OVERALL
Raavan delivers as expected. Now that's a good sign in itself since to begin with, the expectations were huge in any case. There are number of gems in the album, most notably being 'Ranjha Ranjha', 'Beera Beera' and 'Thok De Killi'. Go for it, this one is not to be missed as it has Rahman coming up with one of his best soundtracks in recent times.

OUR PICK(S)
'Ranjha Ranjha', 'Beera Beera', and 'Thok De Killi'

Bumm Bumm Bole music review

EXPECTATIONS
Frankly, there aren't many expectations from the music of Bumm Bumm Bole. Firstly being a kid film come's with limited scope of incorporating songs that can boast of a wide commercial range. Secondly, the credit details around the composers (Azaan Sami, Tapas Relia and M.G. Sreekumar) doesn't quite make you jump with joy due to lack of familiarity factor.


MUSIC
It's a good start though for the title song 'Bumm Bumm Bole' which has a feel-good quality to it, courtesy the 'happy singing' that Shaan indulges in. The kind of track which reminds one of the title song of Ta Ra Rum Pum (in terms of genre and treatment), 'Bumm Bumm Bole' is written by Irfan Siddiqui and composed by Azaan Sami, son of Adnan Sami. The boy makes his debut as a composer for a Bollywood film with this title song and does a good job here. One would look forward to more compositions from him and see what he has to offer.


The sound of Bumm Bumm Bole can be heard right through the second track in the album, 'Ashaon Ke Pankh'. A motivational number by Satish Mutatkar about rising up in life, taking all challenges heads up and moving ahead while taking care of any road blocks that may come in one's way, 'Ashaon Ke Pankh' is a Tapas Relia composed track. In the context of the film, this chorus track by Rishikesh Kamerkar, Rajiv Sundaresan, Kshitij Wagh and Kirti Sagathia may make some impact but as a standalone number, it doesn't inspire you much to revisit it.

Malini Awasthi sung 'Mann Ki Aasha' is so 80s in its appeal and takes its cue from Ilayaraja brand of music from down South. Written by Sameer, it is has a similar motivational theme to it but honestly, sounds quite boring and passé. The makers may have thought of presenting something really simple but it's the folk flavour of Malini's singing and M.G. Sreekumar's composition which acts as more of a put off rather than a turn on.

The sound of guitar kick starts 'Rang De' which sees the team of Tapas Relia and Satish Mutatkar reuniting. A soft track which finds it's base in the overall mood and flavour of Taare Zameen Par music, 'Rang De' starts sounding good after repeated hearing and should find good acceptance amongst kids looking for a soothing outing. The arrangements are just right by being soft and in the background rather than on your face while singing by Clinton Cerejo, Shasha Tirupathi and Kirti Sagathia is perfect.

OVERALL
In entirety, the album is definitely no Taare Zameen Par. However, though there aren't any bad sounding songs per se, the ones which stay on to some extent are the title song and 'Rang De'. Hear the album for some time mainly for these numbers.

OUR PICK(S)
'Bumm Bumm Bole', 'Rang De'

Raajneeti Music Review

EXPECTATIONS
The very fact that Raajneeti has come up with a musical score is a surprise in itself. Reason being that the film's setting of a political drama doesn't quite allow one to hunt for any popular soundtrack here. A few weeks back Ram Gopal Varma's Rann too had boasted of a soundtrack and as is the tradition with many a film coming from the house of Varma, these too mainly comprised of musical pieces that were supposed to be played in the background. However, in case of Raajneeti, it is different because Ranbir Kapoor and Katrina Kaif grace the album cover, hence suggesting at least a song or two which would be set as romantic pieces. The album has four different composers - Pritam, Aadesh Shrivastava, Shantanu Moitra and Wayne Sharpe - coming up with a song apiece.


MUSIC
It is a nice little surprise at the very beginning of the album with Pritam and lyricist Irshad Kamil coming up with a quintessential mushy romantic track 'Bheegi Si Bhaagi Si'. The moment Antara Mitra comes behind the mike, you are immediately transported into the world of Ajab Prem Ki Ghazab Kahani that boasted of half a dozen romantic tracks like these. The results are very good this time around as well with Mohit Chauhan lending further class to the song. A sweet sounding number which sounds as fresh as it gets, also mainly due to the efforts of the lead singers, 'Bheegi Si Bhaagi Si' could well have been what chartbuster tracks are made of had it found a place in a quintessential romantic musical. Naturally, Prakash Jha can be expected to have lapped on to it in the first hearing itself.


What would also have impressed him is the semi-classical fusion number 'Mora Piya' that Aadesh Shrivastava has churned up for the film. Taking centre stage after a hiatus, Aadesh comes up with one of his best compositions in the form of 'Mora Piya'. The song requires a few hearings to be grasped but sticks on to your mind after a while. Aadesh entrusts himself with the job of singing this slow moving song as well and does a rather good hob here.

Reminding of 'Kya Karoon Sajni' (Swami) from the 70s, 'Mora Piya' also features supporting vocals by Shashi and English vocals by Rosalie Nicholsan which results in a true fusion track. There is a brief hint of M.M. Kreem's 'Tum Mile' (Criminal) as well but only momentarily. All in all, an engaging soothing track which also sees Aadesh coming up with a 'twilight mix' as well as a female 'trance mix' version where Kavita Seth lends her vocals. Does the song's repeated presence come across as an intrusion? Not at all as it only helps the song to be registered further into the listener's mind.

Prakash Jha's Gangaajal and Apaharan have boasted of rustic and earthy item numbers and Raajneeti is no different with 'Ishq Barse' finding a place in the film. Undoubtedly the best that Jha has seen in his films, 'Ishq Barse' has a hint of Rajasthani folk but that only stays in the periphery via vocals of Pronob Biswas and Swanand Kirkire. Otherwise it is Hamsika Iyer's show all the way who brings in just the right kind of sensuality in her voice that makes 'Ishq Barse' stand apart from numerous item numbers that one hears today. What impresses most about this Shantanu Moitra composed track is the 'The Bombay Bounce Club Mix' version which is bound to find a place in the clubs and discotheques. A definite hit in the making, this Swanand Kirkire written track helps lending a commercial appeal to Raajneeti.

Finally comes 'Dhan Dhan Dharti' which is based on the tune of 'Vande Mataram'. First Shankar Mahadevan and then Sonu Nigam come up with their own solo versions of this Gulzar written track which has been put to tune by Wayne Sharpe. The only true blue situational track in Raajneeti, this one is the 'call of the soil' number (as is stated in one of the versions of the song as well) and ensures that Raajneeti stays on to have a classy appeal to it. However, it's reach is restricted to the film's narrative.

OVERALL
Music of Raajneeti delivers more than what one would have expected. Since the film is not a romantic musical, there would be quite some effort required by the makers to help the music reach out to masses. Also, around the release of the film, the focus is bound to shift towards the political drama that would mean that music may take a backseat. However, those who would catch the music would certainly not be disappointed.

OUR PICK(S)
'Bheegi Si Bhaagi Si', 'Ishq Barse', 'Mora Piya'

I Hate Luv Storys – Music Review

EXPECTATIONS
When it comes to a film from the house of Karan Johar, you know that the music here would be big. And big doesn't necessarily mean opulent here, as has been the case with Kabhi Khushi Kabhie Gham or Kabhi Alvidaa Naa Kehna. It also means big in terms of class, setting, treatment and overall appeal, as was the case in Karan's productions (which were helmed by other directors) like Dostana, Kurbaan or Kaal. These films may not have entered the 'shaava shaava' zone but had their own place in the sun while fitting in perfectly right as per the genre. Same is expected from I Hate Luv Storys as well which is a romcom with music by Vishal-Shekhar and lyrics by Kumaar, Anvita Dutt and Vishal Dadlani.


MUSIC
With the name Vishal Dadlani flashing on the cards as the lead singer of the opening 'Jab Mila Tu', one gets the feeling that the composer is fast becoming a prolific singer as well. Is that a reason to complain? Not at all if the end result of 'Jab Mila Tu' is any indication. A young and happening track which has the potential to get popular amongst the campus crowds, this Anvita Dutt track belongs to the kind of soundtrack that goes along with many a Hollywood romcom. A sweet sounding rhythmic track, it does touch upon the Shankar-Ehsaan-Loy zone, especially the kind of music that was heard in Wake Up Sid.


What follows next is a beautiful number 'Bin Tere' which is certainly the highlight of IHLS. This time around Vishal Dadlani pitches in as a lyricist and along with Shekhar Ravjiani, he makes sure that the song stays with you long after the album is through. How do the composers do that? Well, they present as many as three versions of the song right from start till the end of the album. First to come is a duet by Shafqat Amanat Ali and Sunidhi Chauhan. A pensive track that thankfully doesn't turn into a 'sad outing' despite its mood, 'Bin Tere' has a classy feel to it and should make a better impact when seen with the film.

A song about a couple which is longing to be together again after a period of separation, 'Bin Tere' later sees a reprise version where Shekhar Ravjiani comes behind the mike for a solo. With just a guitar playing in the background, this well laid out musical piece sees some good lyrics by Kumaar who ensures that this version stands out as well. There is one complain point for Shekhar here - Why does he sing so sparsely? Given the clarity in his voice and the right notes that he hits, he deserves to record his own voice more often. Finally comes the 'remix version' of this song which is designed for a club outing. Yet again, Shafqat Amanat Ali and Sunidhi Chauhan get together and one doesn't mind hearing the song all over again.

After a mushy and a sad track, there is time for a peppy outing with Vishal Dadlani letting himself loose (as a singer) for the title song 'I Hate Luv Storys'. Written by Kumaar, this youthful number (which deserved a remix version for itself but surprisingly doesn't find any) has a Vishal-Shekhar stamp to it. A first of its kinds track if one goes by the theme and the lyrics, 'I Hate Luv Storys' is an instant hit number which should see audience coming to it in the first hearing itself.

Rajasthani folk flavour kick starts 'Bahara' which is written by Kumaar. While Sona Mohapatra comes up with her folksy rendition, it is Shreya Ghoshal who takes the song through an out and out Bollywood route. While this part of the song does work, the fusion doesn't with the folk part seemingly more like an intrusion rather than an integral part of the romantic outing. However, there is respite just round the corner with the 'chill version' turning out to be highly effective. This time around, it is Rahat Fateh Ali Khan who goes solo for the song and ensures that he does such a fantastic job that one ignores the female version that had just preceded it. One wonders why this version wasn't placed earlier in the album?

Last to come is 'Sadka' which has a surprise in store. Suraj Jagan, who has been known for his rock and high adrenalin tracks (with an exception of 'Give Me Some Sunshine' - 3 Idiots), is pleasantly restrained in 'Sadka' where he has Mahalaxmi Iyer for company. Watch out for Anvita Dutt's lyrics here which are indeed different from the routine. A romantic track that has a grand feel to it, 'Sadka' belongs to the kind of romantic outings that can be expected in Karan Johar films.

OVERALL
The biggest positive about the music of IHLS is the uniformity that it has from start till the finish. There are no major ups or downs as well as no striking highlights or lowlights. What works is the fact that the album has a constant theme to it which remains within boundaries without meandering into different directions. For those who love to hear those youthful melodious tracks composed by Vishal-Shekhar, I Hate Luv Storys is the one for them.

OUR PICK(S)
'Bin Tere - Reprise', 'Jab Mila Tu', 'I Hate Luv Storys', 'Bahara - Chill Version'

Kajraare - Music Review

EXPECTATIONS
Music release of a Himesh Reshammiya album is an event. Gone are the days when he had an album releasing practically every month. All of this changed after he made his debut as an actor in Aap Kaa Surroor. After that he started creating music only for those films where he was also playing an actor, as a result of which the only new music albums of his that have released are Karzzzz and Radio. Whatever the fate of these films, the fact remains that both of these have boasted of a fantastic score. With Sameer joining hands with Reshammiya once again, one expects another musical extravaganza, especially with seven unique songs making Kajraare a grand affair.


MUSIC
A classy beginning by Sunidhi Chauhan followed by some addictive beats ensure that the title track 'Kajra Kajra Kajraare' would have a lot going for it throughout it's near 5 minute duration. Though there is a slight distraction that comes in with the club feel imparted due to a female vocal coming out of nowhere, it is the arrival of Himesh Reshammiya behind the mike which totally changes the direction of the song. He does what he is best at, i.e. going full throated for this love song which is attached to the roots and has a definite Indian feel to it. A chartbuster in the making, it may take a couple of hearings for it's sound to be grasped. However, once that happens, it is one long party, what with a 'Party Mix' following a while later.


However, it takes much more than just a couple of listenings to get a hang of 'Rabba Luck Barsa' which is a Himesh Reshammiya solo. The lyrics too are truly unique and though some may scoff at them, the fact is that for Reshammiya fan base, 'Rabba Luck Barsa' brings in just what they would have expected from the album. Yet another love song which is about the protagonist praying to God to get some luck raining in his favour so that he can be united with his beloved again, 'Rabba Luck Barsa' is yet another winner, especially in the 'Party Mix' version which brings in a new dimension to the song.

After a couple of beats based numbers, there is some 'thehraav' that comes in, courtesy 'Aafreen'. For those who have loved Himesh Reshammiya belonging to 'Ahista Ahista' zone, this is the one for them. Sung in high pitch again, 'Aafreen' with Harshdeep Kaur as the female vocalist has minimal instruments in the background and is totally Indian in appeal. A soothing track where Reshammiya excels both as a composer and singer, 'Aafreen' only makes one exclaim that he is too good to be wasting his talent by picking up projects so sparsely. Really, he deserves to be composing much more than he is doing currently and while it is always good to expect quality outings like this from him, a little more quantity would only help the cause.

Reshammiya brings a folk base to 'Tujhe Dekh Ke Armaan Jaage' which starts off quite slowly, though managing to keep the listener's attention on. However, as the song enters into it's second minute, the beats come in which bring in an added flavour to this love song. Yet another easy on ears number that hooks on to you in quick time, 'Tujhe Dekh Ke Armaan Jaage' sees a new dimension coming to it once Shreya Ghoshal joins in. With each of the four songs managing to make an impression so far, one only hopes and keeps fingers crossed to have the remaining three tracks bring in similar results as well.

The beginning of 'Teriyan Meriyan' promise yet another song belonging to the mood of 'Ahista Ahista'. A slow start makes one look forward to what Himesh has to offer in the song to follow and the wait is worth it once he comes behind the mike. Yet another out and out Indian song, it has some new lyrics to it which again could be a reason for a few to scoff at. Also, Reshammiya stresses his vocals a lot during his stint behind the mike. However, his fan base won't be disappointed as this one is again made especially for them.

What should work across segments of audience, with or without a fan base, is 'Woh Lamha Phir Se Jeena Hai'. One wonders how this song didn't quite make it to the top of the album because this one has a class similar to that of 'Tanhaiyaan' [Aap Kaa Surroor]. Boasting of some good musical arrangements, emotional lyrics and some spirited singing by Reshammiya and Harshdeep Kaur , 'Woh Lamha Phir Se Jeena Hai' is about revisiting the times gone by and reliving the glorious moments all over again. This has a potential to go all the way if supported by some strong dramatic visuals. No wonder, the song appears in a deserving 'Party Mix' version.

Last to come is 'Sanu Guzara Zamana' which is yet another truly Indian song in the album. A duet by Himesh Reshammiya and Sunidhi Chauhan, this song is yet another take on the good times shared by the couple which was once pretty much in love. With a touch of Punjabi to it, 'Sanu Guzara Zamana' has a 'ghazal' setting and allows the listener to enjoy yet another track which has in it to be popular in days to come. The 'Lounge Mix' only adds on to the strength of this album which can go all the distance if promoted to the fullest.

OVERALL

Kajraare justifies the faith that one had in Reshammiya as a composer (as well as a singer). A complete affair, Kajraare gives a listener a lot to chew upon and Reshammiya ensures that there is a mix of class and mass in the seven songs. Since his last two films haven't done well, the entire perception about him as a total performer has been challenged in the last couple of years. However, there may just be a surprise in store if the film turns out to be as good as the music here. With audience being exposed to newer music during last couple of years, there is a bit of ground that Reshammiya may have to cover all over again. However, once audience give Kajraare a hearing, it should be back to old times for Reshammiya with the music scaling heights all over again.

OUR PICK(S)

'Kajra Kajra Kajraare', 'Rabba Luck Barsa', 'Woh Lamha Phir Se Jeena Hai', 'Aafreen'

Krantiveer - Music Review

EXPECTATIONS
A film like Krantiveer - The Revolution which promises to be a dramatic affair doesn't quite make you look forward to a musical. Rightly so because the focus of the film is on getting the histrionics in place from the actors rather than having them sing around the trees or dance on the streets. But then with the names Sachin-Jigar flashing from the credit details, you do believe that there would be something good to look forward to in the music department as well. Reason being that the young composers had impressed in a big way with their melodious score for Tere Sang last year. With lyricist Sameer joining hands with them, you do play on the album with some hopes.

Expectedly, the first song to come is 'Khuda Mere Khuda' which is a mushy romantic outing. The tried and tested 'jodi' of K.K. and Shreya Ghoshal get together for 'Khuda Mere Khuda' which does bear a sound similar to the kind of songs that Sachin-Jigar had composed in Tere Sang. The very fact that they have been able to replicate a similar feel once again shows that Sachin-Jigar have managed to build a space for themselves in the world of music. A smooth flowing number, it has a repeat value to it and can be heard regardless of the film that it features in.


Two years back when 'Pappu Can't Dance Saala' from Jaane Tu Ya Jaane Naa became a chartbuster success, it would have been any filmmaker's dream to create something similar in a film of theirs. A young party track is always welcome and this is something that Sachin-Jigar bring to table with 'Chhote Tera Birthday Aaya'. A number where a bunch of youngsters get together to pull the leg of a boy called 'Chotu' whose birthday celebrations are underway, 'Chhote Tera Birthday Aaya' boasts of some spirited fun singing which does manage to hook the listener on in the first hearing on. Coming together of Anushka Manchanda, Mika Singh, Hard Kaur, Neuman Pinto, Ishq Bector, Hrishikesh Kamerkar and Mahadev Krishna keep the party rolling which does warrant a vibrant picturisation.

There has been a lot heard and spoken about the versions of 'Jana Gana Mann' in Rann and 'Vande Mataram' in Raajneeti. Krantiveer - The Revolution takes it forward with Jigar himself opting to come behind the mike for 'Lau Jali' which has its own take on Vande Mataram. Presented as a hardcore rock track, 'Lau Jali' may not be the kind of track that is sung around by one and all. However, as a part of the background score at critical dramatic junctures, it should add on to the narrative. However, its situational feel would restrict it's reach beyond the theaters.

Last to come is an item number which has a mood similar to that of 'Billo Rani' [Dhan Dhana Dhana Goal]. However, while 'Billo Rani' had managed to cut across segments and is heard and seen even till date, 'Firangi Paani' is restricted to a particular segment of audience and can't expect similar fate. Made for the front benchers, this song by Anushka Manchanda and Master Saleem is about the coming together of 'sharaab' and 'shabaab' and though the lyrics do try to be funny, the final result still doesn't make you long for listening to it all over again.

OVERALL
As stated earlier, Krantiveer - The Revolution wasn't a musical to begin with and hence anything good that came out of it was always going to be considered as an added bonus. That's what the album benefits from songs like 'Chhote Tera Birthday Aaya' and 'Khuda Mere Khuda' which have it in them to do well with the audience. Need of the hour now is for these two songs to be promoted to the fullest so that the album as well as the film benefit most out of it.

OUR PICK(S)
'Chhote Tera Birthday Aaya', 'Khuda Mere Khuda'

Milenge Milenge - Music Review

EXPECTATIONS
It is rather strange that despite names like Shahid Kapoor, Kareena Kapoor, Himesh Reshammiya and Satish Kaushik involved in Milenge Milenge, you are a little wary about what the music of the film has to offer. Reason being that the elapsed time between the creation of these compositions and now, which accounts to almost half a decade. But then once you jog your memory, you realise that it was 5-7 years back when Himesh Reshammiya had come up with some unforgettable songs in films like Tere Naam, Aitraaz and Humraaz. Due to that very reason, you play on Milenge Milenge to check out if the old world charm prevails once again as the composer pairs up with his long standing lyricist Sameer.


MUSIC
What one gets to hear at the very beginning of the album though is the song 'Kuch To Baaki Hai' which has been composed very recently. This is one song where lyrics hold far more weight than composition and singing because of its topical appeal as well as the fact that it merges real and reel life. The world is aware about Shahid-Kareena break up and since the movie too deals with a break up and then the ultimate reunion, lyrics like 'Sab Khatm Hoke Bhi Tere Mere Darmiyaan Kuch To Baaki Hai' couldn't have been timed better. Add to that the fact that Himesh Reshammiya composes and sings with his heart truly in and you have a chartbuster song up your sleeve.


If there was ever a song that made an instant impact, 'Kuch To Baaki Hai' will find it's place right up there. Despite its sad theme, the song entertains and as does it's 'bright mix' which has Vineet Singh coming up with an interesting vocal percussion. There is also another 'remix version' and one doesn't mind the repetition at all due to the song's catchy appeal.

From here on, the music belongs to the era gone by. Are there any reasons to complain? Not at all as what one gets to hear is Alka Yagnik, the singer who was once a force to reckon with and today has been picking up assignments very sparsely. She leads from the front as she gets into a happy outing with the title song 'Milenge Milenge'. A stage song which has Kareena Kapoor swaying to the melody, it also features Jayesh Gandhi, who was once a regular with Reshammiya, giving vocals for Shahid Kapoor. A song about hope when it comes to meeting your someone special at least once more in life, Milenge Milenge has a certain sweetness to it which is exemplified further due to Alka's vocals. The song also sees a repeat version for itself with Himesh Reshammiya taking centre stage and Shreya Ghoshal giving him support. This time around, the proceedings become far more sober as Reshammiya goes low key in his rendition.

What follows next is as an even slower track, 'Tum Chain Ho', for which Reshammiya summons Sonu Nigam to do the job. Remember the kind of soft love songs that the composer used to compose for Salman Khan many years back? 'Tum Chain Ho' belongs to the same category and though it does take time to catch the melody here, it does linger on after a while. If you have liked the kind of songs that Sonu had sung in his non-film albums like 'Deewana', 'Jaan' and 'Yaad' then you would pick this one too from the shelves. A love song where Alka Yagnik gives good company to Sonu, it also sees an unplugged version by Vineet Singh which actually turns out to be a surprise package. This version is the one which can actually be played in loop and enjoyed for hours at stretch.

The song which turns out to be a definite winner though is 'Ishq Ki Galli' which takes one back to the kind of songs that Dharmesh Darshan-Suneel Darshan-Nadeem Shravan used to have in the films during the late 90s and early 2000s. If you have loved that genre of music where 'qawallis' from the aforementioned combination used to entice audience in thousands, especially from interiors, then 'Ishq Ki Galli' is the one for you. Add to that the fact that it is Rahat Fateh Ali Khan who leads from the front and it is hard to imagine this song not reaching out to its target audience. An immensely catchy number with love as the central element of the proceedings, 'Ishq Ki Gali' sees good support coming from Jayesh Gandhi and later finds a good 'remix version' for itself which actually manages to get the feet tapping.

Lastly comes an Alka Yagnik solo, 'Hare Kanch Ki Chuddiyan'. With references to 'Mehendi', 'Radha' and 'Shyam', this one truly belongs to the earlier part of the current decade and at maximum makes one recollect the kind of music which was composed back then. Rest assured, if released during that time period, it would have done reasonably well. However, despite the sweetness and innocence that Alka Yagnik brings in her voice, the song is just about passable.

OVERALL
Milenge Milenge gives a little more than what one may have expected out of this album. Thankfully for the makers, the music hasn't lost its edge over the years and has the potential in it to entertain audience from the current generation as well. Himesh Reshammiya has created tunes which belong to the heartland of the country and hasn't gone ballistic on Western influences. In fact there is a certain Indian feel which is prevalent throughout the score of Milenge Milenge which would help audiences, especially the ones which may not necessarily belong to the metropolitan cities, to identify with the score. Add to that the fact there is bound to be immense craze around the coming together of Shahid-Kareena which would be further complimented by an intense promotional campaign and there could well be a surprise winner round the corner.

OUR PICK(S)
'Kuch To Baaki Hai', 'Ishq Ki Gali', 'Tum Chain Ho-Unplugged'

Lamhaa - Music Review

EXPECTATIONS
From a movie that has terror as its background, you don't quite expect a commercial score that would cut across audience. With Kashmir as the setting, there is scope for good music though but then it is mainly expected to be situational and totally theme based. However, on closer look, it comes to one's notice that the composer here is Mithoon who has given some fantastic music for films like Anwar and The Train in the past. Also, he returns with his favourite lyricist Sayeed Quadri and that again makes one look forward to what does the 'jodi' have in offing for the music lovers here.

MUSIC
First thing that strikes on reading the credit details is the album's duration. Despite only six songs here, the duration is 41 minutes which makes every song lasting an average of 7 minutes. This is certainly far more than an average of 4-5 minutes that a regular song lasts. In fact there are a couple of songs that run for more than 8 minutes each which makes one wonder what exactly are they all about.


The question is answered with 'Madno' as the opening number, a number which is as mesmerising as it gets. A smooth flowing number, it has minimal instruments in the background and relies totally on vocals by Kshitij Tarey and Chinmayi. Instantly reminding of the superb tracks that Mithoon had composed for Anwar - 'Maula Mere' and 'Tose Naina Laage - 'Madno' is a pure piece of work that sets the ball rolling for the album. Even though there is a touch of Kashmir folk to the song, there is a definite originality about 'Madno' which makes this Sayeed Quadri number special. Pick this one up; a song like this would have been loved even if it was 10 minutes long.

No wonder, it is repeated as 'Sajnaa' this time with (surprise-surprise) Mika giving company to Chinmayi. This proves yet again that given an opportunity, the singer has the range to do something different than the 'mauj-masti' that he is known for. Of course you do prefer the Kshitij Tarey version but that doesn't mean that Mika version is any pushover. If not for anything else, the song at least helps to keep the sound of the album consistent by arriving twice.

The serene sound continues with 'Salaam Zindagi' which has a bunch of Kashmiri kids kick starting the song with their laughter. Soon after Arun Daga and Mohd. Irfan comes behind the mike and pass on the message of unity in one voice. With additional Kashmiri vocals by Salim, this track about looking forward in life and saluting life is situational and should play in the background. The song goes well with the situation in the movie and the kind of setting Lamhaa has. However, it doesn't quite have life beyond the film's run.

The sound of a chopper followed by a dialogue - 'Welcome to Kashmir, yahan ka mausam aur mahaul kabhi bhi badal sakta hai' - is an apt way to kick start 'Main Kaun Hoon'. It isn't everyday that one gets to hear Palash Sen coming up with a rendition for a Bollywood soundtrack. This is much reason to rejoice as the singer comes behind the mike for 'Main Kaun Hoon' which is written by Amitabh Varma. A soft rock track which goes perfectly well with the theme of the film, 'Main Kaun Hoon' looks at the state that Kashmir is in state today and how it is being used as a target by vested interests. Play this one on and you won't mind putting this on a repeat mode, mainly due to it being easy on ears.

What is really noticeable about the album around this stage is that it doesn't loose focus from the overall theme. This is apparent in the way 'Zameen O Aasmaa' begins because yet again the mood stays on to be soft here. With Kshitij Tarey going solo for this almost unplugged track, this one is a take on sad affairs that Kashmir is engulfed in. In fact the protagonist here is shown to be urging God to drop everything, visit Kashmir, have a look at its state and take adequate remedies. Totally situational.

Last to come is 'Rehmat Zara' which sees a good kick start for itself by means of some exciting beats that sets the mood. With Mohd. Irfan and Mithoon coming together for this high on energy song, 'Rehmat Zara' by all means appears to be a Pakistani rock. A track that makes an instant impact, it again questions the state of Kashmir. However, despite the theme being repeated from song to song, this one is the best amongst what one has heard so far and rest assured would play on for a longer period of time provided a music video around this is made pronto.

OVERALL
From theme perspective, Lamhaa works well and doesn't stray even once. However, in the process of that happening, a universal and penetrated reach of the album can't be expected since not all would be enticed to play songs which have their roots in the condition of Kashmir. Still, there are songs like 'Madno' and 'Rehmat Zara' which should still manage to do quite well, courtesy Mithoon and Sayeed Quadri, who do give audience something to cheer about for long.

OUR PICK(S)

'Madno', 'Rehmat Zara', 'Main Kaun Hoon'

Kuchh Kariye- Review

Years ago, my friends often shot amateur videos involving themselves on a handycam. Dancing on popular songs and mouthing the same lines that were popular then, the amateur videos would be played amongst friends during a chilled out evening or during one of those relaxed evenings. The laughter while watching the amateur videos still resonates in my ears.

Memories of those days flashed in front of my eyes as reel after reel of Kuchh Kariye unfolded. What happens when an amateur director, an amateur writer and a bunch of amateur actors join hands? It results in a film called Kuchh Kariye, which, very frankly, makes no sense at all. 

Kuchh Kariye marks the debut of singer Sukhwinder Singh as an actor. As someone who has been an ardent admirer of his singing, I felt pained to see him cast in a film that has an apology of a script and non-existent direction. As for Sukhwinder's acting skills, the less said the better. He is expressionless, flaunts his physique like Salman Khan and wears garish outfits.

My sincere and humble advice to Sukhwinder is, stick to singing!

Sukhwinder, a musician, is in love with Shriya. They leave their hometown for better prospects. They meet Vikrum Kumar and Rufy Khan, who have also arrived in Mumbai to realise their dreams. They decide to make a film to bring about a change in society. But a terror attack changes everything.

It's difficult to categorise Kuchh Kariye in any particular genre. The story changes so rapidly and so haphazardly that you're clueless about the on-screen goings-on. In fact, not one department in the film is worth highlighting. The acting too touches a new low.

On the whole, Kuchh Kariye is a big yawn.


Directed by - Jagbir Dahiya

Starring - Sukhwinder Singh, Vikrum Kumar, Rufy Khan, Shriya, Khuahhish, Deepak Shirke, Mushtaq Khan ...

Chase - Review

A Dhoom clicks and you suddenly spot Hayabusas speeding away in every third Hindi movie. A RACE clicks and everyone wants to attempt a thriller, with twists-n-turns aplenty. Chase is no DHOOM, nor is it Race either, but there's a feeling of déjà vu nonetheless.

Chase begins with a high-octane chase and what follows are several twists-n-turns, before the jigsaw puzzle is solved. But the question is, does Chase provide those adrenaline-pumping moments? Nope, it doesn't! The problem is, the writing relies too heavily on the tried-n-tested stuff, which robs this thriller of those thrilling moments.


Final word? Chase is akin to soda. Opens with a lot of fizz, but falls flat thereafter!
Sohail [Anuuj Saxena] is a man on the run. DIG Ranveer [Rajesh Khattar] has vested interest in getting to the bottom of a murder in which Sohail is involved. Insp. Siddharth [Samir Kochhar] is the right hand of the DIG, who is monitoring Sohail's actions.

Enter Nupur [Udita Goswami], who is involved with Sohail closely. The other players of this chase are Surabhee [Tarina Patel], Sohail's love interest and industrialist Mr. Khanna [Aditya Raj Kapoor], for whom money is the solution of all problems. Also, there is Anthony D'Costa [Gulshan Grover], who is also in search for the truth.

The hunt for Sohail and search for truth takes us through the streets of Mumbai. The truth has the potential of blowing up the entire political system apart. Who is the victim and who is the criminal?

The sole aspect you carry home after watching Chase are the high-octane chase sequences, especially the one at the very start of the film. Otherwise, Chase harps on the age-old plot where an innocent man is framed for a murder he hasn't committed, the corrupt cops being hand-in-glove with an industrialist, an undercover cop who doubles up as a seductress and the journo-girlfriend who goes that extra mile to save her boyfriend. Besides, there's a Live sting operation, the mandatory songs and some steamy moments and a stylish video towards the end.

Director Jag Mundhra has shot a few sequences well, but the writing doesn't hold. The music is equally functional.

Anuuj tries too hard to act, but can't. Udita is credible, as always. Tarina Patel looks ill at ease. Gulshan Grover is wasted. Rajesh Khattar infuses life in his part. He's competent. Ditto for Samir Kochhar, who's equally confident. Aditya Raj Kapoor is quite good.

On the whole, Chase lacks face-value as well as merits. Besides, with an opposition like Housefull, Chase stands no chance.

Housefull - Movie review

After a long painful drought (thanks to the exam season and IPL matches) of plain boring to irritating films arrives Sajid Khan’s Housefull. While in totality it does fall short of being the big great summer entertainer that it is been claiming to be, it however manages to bring many laughs for you. However, eventually it settles down in familiar territory.

Housefull narrates the tale of Aarush (Akshay), a perpetually unlucky bloke and a loser in life who moves into the house of his best buddy cum another loser, Bob (Ritesh) and his wife Hetal (Lara). But things continue to go wrong for Aarush. Convinced that true love can fade away his bad luck jinx, a desperate Aarush enters into many complicated situations while seeking it. Thus enter Sandy (Deepika) and Devika (Jiah) in his life. Things complicate further with the arrival of Sandy’s angry brother Major Krishna Rao (Arjun Rampal) and Hetal’s estranged dad Batuk Patel (Boman Irani). How Aarush and Bob in an attempt to hoodwink Krishna Rao and Batuk go on creating more confusion leading to a mirthful chaos forms the rest of the plot.


Much was expected from Sajid Khan who has been literally claiming from rooftops for weeks now that he has made the year’s biggest blockbuster. Though he has not entirely let us down, you do wish he could have opted for a more innovative plot. The second half ends up being more of an Anees Bazmee film what with characters trying to hide identities and going on a lying spree. Sajid Khan also seems to have taken the slap stick humour bit quiet seriously what with so many slaps happening within the film. A ‘slapathon’ sequence reminding of his Heyy Babyy takes place too. The film loses its tempo with the introduction of Jiah’s character. But thankfully gets it back right in the second half where Akshay and Ritesh’s histrionics to hide the truth from Arjun Rampal and Boman Irani.

To give Sajid due credit, he has created many rip roaringly funny situations that are further elevated by his actors. Amongst the most hilarious sequences are most of the scenes featuring Akshay and Ritesh together. They share terrific chemistry. The climax set in the Queen of England’s Buckingham Palace is a laugh riot (literally). The film is high on glamour quotient what with three attractive bodied heroines (Deepika, Lara and Jiah) parading in skimpy outfits most of the time.

Akshay Kumar is back in terrific form, evoking huge laughter with his poker faced humour. Ritesh Deshmukh is another great comic talent who often gets his timing right. Arjun Rampal suits the part and looks dapper. While Deepika looks sizzling hot, Lara manages to score over her in the comedy department. Jiah tries hard and ends up being just about passable. Boman Irani goes over the top as usual. Making a come back on screen after a long gap, Randhir Kapoor playing Jiah’s Sindhi dad doesn’t get much scope. Chunky Pandey is plain irritating playing Akhiri Pasta an Italian hotelier. His fake Italiano accent grates on your nerves.

Shankar Ehsaan Loy’s music perfectly syncs in with the mood of the film. Mika sung foot tapping number Apni To Jaise Taise featuring Jacqueline Fernandez is a sure shot chartbuster and is fun to watch on screen. The editing could have been tighter especially in the first half. Vikas Sivaraman’s camera work is good especially while capturing the Italy locales.

Finally, what makes Housefull a watchable film is the fact that it aims to entertain and succeeds in doing so irrespective of its negative points. Go watch Housefull if you seek pure no hassles entertainment.

Starring: Akshay Kumar, Arjun Rampal, Ritesh Deshmukh, Deepika Padukone, Lara Dutta, Jiah Khan, Boman Irani and Randhir Kapoor

Director: Sajid Khan

It's a Wonderful Afterlife - Review

It set me thinking as reel after reel of Gurinder Chadha's It's A Wonderful Afterlife unspooled. We (the Bollywood reviewers/critics) are extremely harsh on films produced on hometurf. We go hammer and tongs after these film-makers, as if they have committed a crime that they cannot be absolved of. We tend to ridicule films, its makers, the actors in those films… In fact, just about everyone associated with those films.

How about using the same yardstick for movies attempted by names that command tremendous respect in the West? We forgive them, most of the time. We even turn a blind eye, ignoring the deficiencies only because the West holds them in high esteem. The thought crosses our mind pretty often: Wouldn't we come across as complete nincompoops if we ridiculed them, even if they turn up with pure trash?


I am not going to mince words. With It's A Wonderful Afterlife, celebrated filmmaker Gurinder Chadha hits a new low. It actually makes me wonder, was Bend It Like Beckham a fluke? It's A Wonderful Afterlife is so insipid and hollow that it makes her previous film Bride & Prejudice, considered by many as her weakest film, look like an epic in comparison.

Final word? It's A Wonderful Afterlife had everything going in its favour. But let's not forget that great vegetables don't necessarily make a yummy meal. This Gurinder Chadha curry is just not palatable!

Mrs. Sethi (Shabana Azmi), a widow, can't bear the thought of her daughter being alone and unhappy. When Mrs. Sethi can no longer stomach the rudeness of families who refuse her daughter, she takes matters into her own hands with the only way she knows... Suddenly a police hunt begins for a serial murderer.

Mrs. Sethi doesn't feel too guilty until the spirits of her victims come back to haunt her, as they are unable to be reincarnated until their murderer dies. Mrs. Sethi has no problem killing herself - she'll get to see her dead husband again - but how can she go before her daughter is married? The spirits realize that helping Mrs. Sethi find a suitable husband for her daughter, before the police catch her, is their only chance for a wonderful afterlife.

On paper, perhaps, the story of It's A Wonderful Afterlife may sound tempting and alluring. At least I found it attention-grabbing when I first heard it, several weeks ago. But sitting through those 1.40 hours of this cinematic journey is an ordeal. Seriously, what were writers Chadha and Paul Mayeda Berges thinking when they wrote the screenplay? Barely a few minutes into the film, you realize that Chadha has lost the plot already.

To state that the screenplay is shoddy would be putting it mildly. The only aspect that's amusing and which bears the unmistakable stamp of Chadha are the sequences between Shabana and the spirits. The love story is a total yawn, while the emotional moments are weak and the investigation of the murders is half-baked too. In fact, an investigating officer gets killed in the backyard of Shabana's home and guess what, the crime is conveniently forgotten, except when Senthil talks about it to Shabana. And why the beaten to death 'cancer' end? Gurinder seems to be watching too many (terrible) Bollywood films, seems like.

Talking of performances, Shabana is dependable, as always. Goldy Notay as Shabana's daughter is efficient. Sendhil Ramamurthy is alright. Jimi Mistry doesn't get ample scope. Sally Hawkins is first-rate. Mark Addy is passable. Sanjeev Bhaskar is wonderful. Shaheen Khan and Zoe Wanamaker (Shabana's next-door-neighbour) are decent.

On the whole, this one's a woeful experience, not wonderful by any standard!

Director - Gurindher Chadha
Cast - Shabana Azmi, Shaheen Khan, Goldy Notay, Sally Hawkins, Sendhil Ramamurthy, Sanjeev Bhaskar, Zoe Wanamaker

Badmaash Company – Review

Actor turned debutante director Parmeet Sethi made a startling confession on my show, a few days ago. He said, he had completed the entire script, with dialogue, in six days flat. I was apprehensive initially, but not once does Badmaash Company give you the feeling that it's a hurried job or the debutante writer-director, in a bid to start his first film, had left blanks incomplete.

The earth provides enough to satisfy every man's need, but not every man's greed. The adage holds true for the youth of today, who wish to attain the riches overnight and take an easy route/shortcut to climb the ladder of success. Just when you start thinking that you've conquered it all, that you're God, a stroke of bad luck brings you back to Ground Zero, to experience the harsh realities of life.


Parmeet walks the tight rope of handling a complex subject and offering entertainment simultaneously, in his very first film. To his credit, the film has several poignant and enjoyable moments that catch you by complete surprise. While the film has it all - the writing has the power to keep the viewer hooked - the film has a handicap in the form of its second hour, especially the penultimate 25-odd minutes.

Let me specify! With a running time of approx. 2.30 hours, the extra footage in the end - Shahid and friends trying to salvage his uncle's business - only adds to the length of the enterprise. Ideally, the film should've ended when the friends forgive each other and shake hands, after a series of personal and professional setbacks.

Final word? Badmaash Company is a decent attempt, with several captivating moments and power-packed performances by each and every member of its cast. We often grudge that entertainment-laden films make no sense these days, but this one entertains and also makes sense. Watch it!

Badmaash Company is set in the 1990s in middle class Mumbai, of four ordinary youngsters (Shahid Kapoor, Anushka Sharma, Meiyang Chang and Vir Das), who came together to start an import business of things longed for by yuppie Indians. What made their venture such a stupendous success was the fact that they found a way to beat the system and soon became the undisputed kings in their business, realizing their one dream of making quick money is by doing all the wrong things the right way.

Living the life of champagne wishes and caviar dreams, the four friends discover that to make a business successful, you don't need big money. All you need is a big idea. All is well and hunky dory till one day the four maverick entrepreneurs are forced to shut shop.

The best thing about Badmaash Company is that you identify with the mindset of those who aspire to reach the pinnacle of success using shortcuts. The scams and the con games the youth indulge in are easy to decipher and least complicated, which works in its favour. Another strong point is the camaraderie that the four actors share on screen. The film would've fallen flat if the chemistry was missing, but the bonding looks so real that you forget that they are merely enacting those roles.

Badmaash Company has some terrific moments. The sequences in Bangkok are enjoyable. Ditto for the showdown between the friends in the post-interval hour. The transformation in Shahid's persona is also beautifully depicted. But, like I pointed out at the outset, the second hour tends to get repetitive and the penultimate 25-odd minutes are a strict no-no.

Pritam's music is foot-tapping and almost every song has been filmed very well. Sanjay Kapoor's cinematography is just right.

Every actor puts his best foot forward in Badmaash Company. Shahid gets it right yet again. It wouldn't be erroneous to say that this is amongst his finest works. Watch him blow his lid in the restaurant sequence and also in another sequence, when he meets a pregnant Anushka. He is confidence personified in those sequences.

Anushka is a revelation. She looks stunning, her performance is livewire and the chemistry with Shahid is electrifying. Strangely, she took a backseat after her debut in Rab Ne Bana Di Jodi, but Badmaash Company will bring her back in public eye. Vir Das is another surprise. He's in terrific form here. The film marks the 'birth' of another talent - Meiyang Chang - who adds a lot of freshness and zing to his character. Anupam Kher is wonderful. Kiran Juneja makes her presence felt. Pawan Malhotra is extremely likeable.

On the whole, Badmaash Company is a watchable experience for various reasons, the prime reason being it offers solid entertainment, but doesn't insult your intelligence. Recommended!


Director - Parmeet Sethi
Cast - Shahid Kapoor, Anushka Sharma, Meiyang Chang, Vir Das

Bumm Bumm Bole - Review

When you decide to adapt the Iranian film by renowned director Majid Majidi, Children Of Heaven (1997), which was nominated for the Academy Award for Best Foreign Language Film, you're shouldering a big responsibility. People are bound to compare the two films. It's inevitable, isn't it?

For those who've watched the Iranian film, you'll realize that Bumm Bumm Bole is not a patch on that film. And those who haven't watched the Iranian film and would view Bumm Bumm Bole as an isolated case, Bumm Bumm Bole still disappoints.


So what ails this film? There's no denying that Priyadarshan is one of the finest storytellers around, but if you've watched some of his recent films, you may've realized that they have been stretched beyond a point. That's one of the prime reasons why Bumm Bumm Bole suffers.

Reason II: The finale of the film should be the best part of the enterprise, since the viewer carries home the end of the film, besides several wonderful moments, while making an exit from the auditorium. In this case, the finale is a complete letdown. What comes across is on-the-face, blatant promotion of a shoe brand and also an energy drink, which actually robs the film of its innocence. A film that should've been pure and considered a piece of art falls prey to commercial diktats. Why Priyan?

Every once in a while Priyan makes a departure from the kind of films he's known for and attempts a film that's real and unadulterated and for that, the avid storyteller deserves a salute. But is it necessary to make a 2-hour film, when the story could've been Indianized in approx. 1.30 hours?

What elevates the film to a watchable level at times are the two kids - Darsheel Safary and Ziyah Vastani - who are simply adorable, besides a few individualistic sequences. That's about it!

Khogiram (Atul Kulkarni), his wife (Rituparna Sengupta) and their kids Pinu (Darsheel Safary) and Rimzim (Ziya Vastani) belong to a terrorist-dominated region. Khogiram and Ritu have a hand-to-mouth income and can barely manage things. The kids are affected by this as well. They go to a respectable school as it is Khogiram's ambition to give them the educational opportunities he missed. But the financial crunch makes it difficult for kids to match the standards of the school. They don't have enough money for uniform or shoes.

Things worsen when Pinu misplaces Rimzim's only pair of shoes. Rimzim can't go to school without her shoes. They work out a scheme where both of them will share the same shoes. Pinu comes to know of the Interschool Marathon where one of the prizes is a pair of shoes. Pinu plans to run for it and win the shoes for Rimzim. Will Pinu be able to win the shoes for his kid sister and avert his father's anger?

Bumm Bumm Bole has a simple, uncomplicated story and that's its USP. But what could've been narrated in a concise format is stretched so much that it tests the patience of the viewer. Besides several unwanted sequences, especially towards the second hour, the pacing of the film is painfully slow, which only adds to the woes.

The film falters mainly towards the finale, when Darsheel takes part in a marathon, but the entire sequence doesn't make you euphoric. Ideally, the race should've been an exhilarating experience, which it is not. Also, you can spot Darsheel wearing orthodontic braces; it's there in some scenes, it's missing in some scenes. Even otherwise, the braces don't go with his character.

There's no denying that Priyadarshan has shot the film well and the lush green locales make a sweeping impact. Also, he has executed a few sequences with panache, but Bumm Bumm Bole doesn't come across as a film that would be lapped up by either kids or adults. Cinematography is top notch. Musically, the song on the kids is eye-catching.

Darsheel proves that he's no fluke. Of course, you can't compare Darsheel in Bumm Bumm Bole with Darsheel in Taare Zameen Par, since both were different movies, but what you do notice is that the kid knows the grammar of acting right. Ziyah is a scene-stealer and looks like a doll. In fact, you can't take your eyes off her, every time she appears on screen because of the innocence she radiates. Atul Kulkarni is in top form, while Rituparna doesn't get much scope.

On the whole, Bumm Bumm Bole starts off well, but loses focus as it develops. Nothing to rave or rant about!


Director - Priyadarshan
Cast - Darsheel Safary, Atul Kulkarni, Rituparna Sengupta, Ziyah Vastani

Admissions Open - Review

First 3 Idiots. Then Paathshaala. Now Admissions Open, which, like the above-mentioned films, takes a look at the present-day education system. The thought behind Admissions Open is very topical - let the youth pursue their vocation/ambitions/dreams - but director K.D. Satyam makes a complete mishmash of a terrific idea and you can't help but feel sorry for those who might stroll into the cineplex to look for answers.


Let me put it bluntly: Admissions Open makes a mockery of the education system. Those expecting to watch a serious, issue-based film will be reeling under a shock. Like I am! The director has no clue about what it takes to make a film. This film falls to unimaginable lows in terms of writing, characters and storytelling.


Professor Tariq Siddiqi (Anupam Kher) is disappointed with the orthodox education system and hopes to start a college, which lets students chase their dreams. Arjun (Ankur Khanna) is an under-achieving student who doesn't believe in the grading system. He feels his creativity and individuality are stifled by the current education system.

Since they posses the same perception towards our stereotype education system, they decide to go against to it and form an abstract pattern of education system to encourage the failure students of our society.

10 minutes into the film and you know Admissions Open is heading nowhere. Characters appear and disappear, there's no high or low in the story and sadly, no conclusion that could give you the answers. The students have a bizarre mindset and what makes matters worse is that the institute that they are proud to be part of, Spirit, offers classes in bhaigiri, godmen, script writing, cookery, seduction, politics, music… And they all graduate into seasoned professionals after Spirit is shut by the government authorities. Really, what kind of cinema is this?

Amit Trivedi's music is a letdown. Ditto for the performances. What did Anupam Kher see in this role? Ashish Vidyarthi hams. Ankur Khanna is decent. Pramod Moutho and Sudesh Berry are as usual. The newcomers are complete non-actors and the less said the better about their acting skills and pronunciation/diction.

On the whole, Admissions Open doesn't enlighten or entertain.


Director - K. D. Satyam
Cast - Anupam Kher, Aashish Vidyarthi, Ankur Khanna, Pramod Moutho, Rati Agnihotri, Sudesh Berry, Master Abhishek Sharma

Vroom - Movie Review

A Scientist, Dr Ramanujam, (Paintal) is working on a secret Artificial Intelligence chip, which an evil goon, Mr X wishes to acquire. He sends his henchmen Girgit (Navneen Prabhakar) and Diana (Delna Mody) to steal the chip, but Dr Ramanujam manages to escape with it and puts it in a car. The car then gets it’s own mind and starts playing tricks on his new owner and the people around him until it gets a new owner in the form of Rahul (Gaurav Bajaj) and his elder brother and his wife. Rahul is an automobile engineer and loves cars. He often helps everybody in the neighborhood including Mrs. Dadabhoy, the Parsi neighbour (Daisy Irani). Rahul falls in love with Pooja (Nina Sarkar) a girl who lives in the same vicinity but invites the wrath of the rich kids around. They have a tussel but ultimately the car, which Rahul names Smarty, helps him get his true love as well as capture the evil goons. What follows is a series of fun filled events that make Smarty the star attraction.


Director Savin Tuscano keeps the proceedings light and aims to entertain the kids. While he succeeds in some parts the rest he doesn’t because one has seen such antics in films like the Herbie series and Abbas Mustan’s Tarzan the Wonder Car (2004).


Gaurav Bajaj who earlier debuted with Phir Kabhi does a fair job. Nina Sarkar is impressive in her debut role. Veteran actors like Paintal and Daisy Irani have been literally wasted in the movie. Ace stand up comedian Naveen Prabhakar playing the comic goon Girgit and Delna Mody who plays Diana the female villain succeed in deriving a few laughs.

While the film does bring back the memory of Abbas Mustan’s Tarzan the Wonder Car made in 2004, it does hold some appeal for children. Let them watch it if they have nothing else to do.

Vroom - Adventures of Smarty the magical car- Average entertainer

Rating: 2 out of 5*

Starring: Gaurav Bajaj, Nina Sarkar, Naveen Prabhakar, Paintal and Daisy Irani

Director: Savin Tuscano

Producer : Sameer Sabnis