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PARTNER. HEYY BABYY. DHAMAAL. Now DHOL. It's raining laughathons!
Since almost a decade, Priyadarshan has been specializing in comic capers. Priyan has tickled the funny bone of viewers time and again and in DHOL, the comic scenes override the thrill quotient. The comedy, like always, is targeted at those who appreciate the Priyan brand of humor -- irrational, but funny. The chemistry between the four pivotal characters is tremendous, especially Rajpal Yadav, who's bound to walk away with ceetees and taalis.
Let's look at the other side of the coin! The gangster portions remind one of the 1980s cinema, which has been beaten to death in film after film. These portions are an aberration and the accomplished director should trim them by at least 20 minutes so that the impact created by the comedy track remains intact, not getting diluted in the process.
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A guy lost his girlfriend in a train accident....
but the gal's name nowhere appeared in the dead list. This guy grew up n became IT technical architect in his late 20?s, achievement in itself!!.
He hired developers from the whole globe and plan to make a software where he could search for his gf through the web..
Things went as planned...
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Right intentions don't necessarily translate into right results. NANHE JAISALMER is a case in point.
Director Samir Karnik's second outing is truly unconventional. It's a simple story with no commercial paraphernalia and trappings, stars a kid as a protagonist, there's no heavy duty drama here and nor is there the mandatory hero-heroine routine that Hindi films are made of. Oh yes, Karnik gambles big time this time around.
As a storyteller, Karnik gets it right with NANHE JAISALMER. He has grown as a raconteur and his handling of a couple of sequences is indeed impressive. But it's the writing, more specifically the pre-climax and climax, that ruins the show. Imaginary relationships were handled with dexterity in THE SIXTH SENSE and Karnik tries to do a SIXTH SENSE in NANHE JAISALMER, but fails to pull it off.
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It started with PARTNER eight weeks ago. Then HEYY BABYY three weeks back. It's DHAMAAL now. Howlariously funny, Indra Kumar's latest outing completes the hat-trick of laughathons that succeed in entertaining you from start to end. Like its predecessors, DHAMAAL is abundantly rich in humor and most importantly, has the right set of actors to carry off those roles with aplomb.
DHAMAAL lives up to its title. It's non-stop dhamaal for the next two hours. Sure, there're inane situations and jokes that cater to the popular tastes, but when did Indra Kumar and his team of writers [Paritosh Painter, Balwinder Suri, Bunty Rathore] ever set out to challenge Einstein? The mantra is simple: Let the auditorium reverberate with laughter. And DHAMAAL succeeds in its mission!
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THE EYES: When you rearrange the letters: THEY SEE
THE MORSE CODE: When you rearrange the letters: HERE COME DOTS
ELEVEN PLUS TWO: When you rearrange the letters: TWELVE PLUS ONE
A DECIMAL POINT: When you rearrange the letters: IM A DOT IN PLACE
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Let's get one thing straight! To remake a film that not only set box-office records and is referred to as a classic, but also one that by far has the biggest recall value, is playing with aag. Ramgopal Varma, the maverick film-maker, has the courage to remake SHOLAY, a film that continues to be one of the favorite entertainers across the globe.
Comparisons with SHOLAY are obvious and one presumes, RGV knew it all along that's he's bound to feel the heat by those who swear by SHOLAY. To give the credit where it's due, RGV remains faithful to the classic, not once does he deviate from the plot, not once does he twists facts… you know exactly what to expect and where the story is heading.
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Powerful. Thought-provoking. Disturbing. That sums up DHOKHA, directed by Pooja Bhatt.
After attempting PAAP and HOLIDAY, Pooja charters into a new -- and most difficult -- terrain with DHOKHA. With terrorism raising its ugly head in Hyderabad recently, a film like DHOKHA is all the more topical. In this case, the suicide bomber is the cop's wife. Whew, piping hot stuff indeed!
What sets DHOKHA apart from films of its ilk is that the film never takes sides. It doesn't blame any particular community, in fact it's not pro or anti any religion. It blames the people who spread terror in the name of religion. Also, it denounces terrorism in very clear words. DHOKHA hits where it hurts. You want to know the reason why people turn into jehadis. DHOKHA probes into the issue and provides the answers.
To sum up, DHOKHA is one of the finest and powerful films to come out of the Bhatt camp. This one dares to unruffle a few feathers!
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Remaking a yesteryear hit is considered an easy route for winning plaudits and paisa. With a readymade script at your disposal, all you need to do is cast the right set of actors, hire a director who's equally charged to remake the film and who'd do complete justice to the material, retain the popular songs from the original [if need be]… Presto, the new avatar is ready for public viewing!
But the new avatar may not necessarily be as effectual as the original. That holds true for VICTORIA NO. 203, directed by Ananth Narayan Mahadevan. It's a great idea to remake a rollicking entertainer like VICTORIA NO. 203, but the 2007 interpretation lacks the heart and soul of the original.
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