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Thursday, July 14, 2011

Tanu weds Manu : Review

TANU WEDS MANU: REVIEW

By Taran Adarsh, February 24

The NRI in TANU WEDS MANU is docile, unassuming and soft-spoken, has no accent or attitude, believes in arranged marriages, relishes the evergreen songs of Mohammed Rafi, is old-fashioned literally. The girl is contradictory. She’s belligerent and dominating, also smokes, drinks and uses expletives, has had many ‘affairs’, has her new boyfriend’s nametattooed on her chest, is a straight-forward and fearless babe. This is their story!

Like his directorial debut STRANGERS, director Aanand L Rai opts for unconventional and unpredictable situations in TANU WEDS MANU. Of course, the fact that Tanu and Manu would tie the knot sooner or later is at the back of your mind, even before the reels have begun to unfold, but you want to experience their journey – their voyage from strangers to lovers.

TANU WEDS MANU has some great moments, some standard ones, some tedious ones as well, when you feel that the story is being stretched for no particular reason. The drama tends to get heavy after a point and that takes a toll on the film. In fact, the writing gets shaky in the middle of the second hour, although the finale is well thought of and implemented. You may call it clichéd or formulaic, but it works big time.

Meet Manu [R. Madhavan], a seedha saadha Doctor from London. Intelligent, temperate and from a respectable family, the perfect groom which every parent wants for their daughter. When he arrives in India, he realizes that India has changed and so have the people. The Indian women in particular are more attracted towards the Western lifestyle. Family pressure leads him to Kanpur to meet Tanu [Kangna Ranaut], the quintessential small-town girl who has studied in Delhi.

Tanu is a smart, intelligent girl who will do everything that her parents will disapprove. With a mind of her own and a love for rebellion, Tanu is dead against an arranged marriage. But destiny holds something totally different for these diametrically diverse personalities.

Although not similar to JAB WE MET, TANU WEDS MANU conjures up memories of the Imtiaz Ali-directed film. The Punjabi setting and the rebellious girl are two prominent similarities that one recollects instantly. Besides, in HUM DIL DE CHUKE SANAM, PARDES, JAB WE MET as well as TANU WEDS MANU, the girl is in love with someone else and the protagonist helps them take the relationship forward. But director Aanand L Rai ensures that TANU WEDS MANU retains its individuality and doesn’t come across as a replica/clone of those immensely likable films. In fact, his handling of several light moments as well as dramatic ones is exemplary.

TANU WEDS MANU has some wonderful moments in the first hour, but I’d like to single out the sequence when Madhavan confides in Deepak Dobriyal about Kangna not wanting to marry him. Also, the sequence at the interval comes as a bolt from the blue. It’s the writing in the post-interval portions that bothered me. Jimmy Sheirgill’s sequences aren’t as convincing. Also, since Kangna is shown to be a blabber mouth and also forthright and outspoken, why does she turn docile all of a sudden? It doesn’t go with her character, honestly. Also, since Ravi Kissen has Madhavan’s photograph [presumably handed to him by Jimmy Sheirgill], why is Jimmy unaware that Madhavan is the same guy when he meets him for the first time? A few hiccups, but not the type that really go against the film. However, the penultimate 15/20 minutes bring the film back on tracks. Actually, the climax is the highpoint of this enterprise.

The soundtrack takes you by complete surprise. It is earthy and charming. ‘Sadi Gali’ and ‘Jugni’ are two tracks that act as pillars and would help attract moviegoers to cineplexes. Also, the popular track of yesteryears, ‘Kajra Mohabbat Wala’, is well integrated in the narrative. Chirantan Das’s cinematography captures the lush locales of North India well.

Even though Madhavan enacts the role of an NRI, he doesn’t come across as a stereotypical phoren returned desi. He is real, restrained, yet forceful. To essay a character in such an understated manner is a challenge for any actor and he does it with complete understanding of the character. Unlike her past films, Kangna plays a part that has a zest for life and is bold and fun-loving at the same time. She’s audacious, but lovable. Nonetheless, she needs to work on her pronunciation/diction, which sounds so peculiar.

On the whole, TANU WEDS MANU is a feel-good, light-hearted entertainer with the right dose of humor, drama and romance, besides a popular musical score and some smart dialogue that act as toppings. If you like simple, uncomplicated films that tug at your heartstrings, then chances are that you might just like this sweet little rom-com. In terms of economics, the right holders have already recovered a substantial amount from the sale of Satellite Rights. The merits of the film coupled with no major opposition till 1 April will ensure healthy returns on their investment, thus making the investors recover the remainder amount easily. The only concern is the inopportune release period for movies [World Cup] and chances are its business might get affected on days when crucial matches are played, especially when India is on field.

Ratings: (3.5/5) ***FULLY TIME PASS MOVIE***
Source: India FM

Saturday, July 9, 2011

Zindagi Na Milegi Dobara (2011): MP3 Songs Click here

Dhobi Ghaat Review

What catches one’s attention is the fact that DHOBI GHAT tells four different stories in those 95 minutes in the most pragmatic manner. The characters are real and so are their stories, their emotions, their relationships, their smiles, their tears, their dreams, their desires, their fears and their tragedies. It comes across as factual and authentic as your eyes would observe and witness in real life. Sure, we got a flash of the assorted people of this city in SLUMDOG MILLIONAIRE, but DHOBI GHAT doesn’t follow the conventional route. It is far more subtle and restrained.

DHOBI GHAT [Mumbai Diaries] is the story of four people from very different backgrounds, whose worlds intersect and leave them forever altered. As they find themselves drawn into compelling relationships, the city finds its way into the crevices of their lives, separating them even as it brings them closer…

Fragments of their experience — seen through a naive video diary, black and white photographic images and painting — form a portrait of Mumbai and its people bound together as they journey through longing, loneliness, loss and love.

Like I pointed out earlier, Kiran Rao encompasses emotions, dreams and aspirations most convincingly. In fact, every sequence of DHOBI GHAT tells a story, every image matters and that, in my opinion, makes this first attempt by Kiran nothing short of an achievement. Filmed in guerrilla style, with hand-held cameras and moving shots, DHOBI GHAT captures the real flavor of this populous city. Generally, film-makers try to stick to the right frames and procure permissions for the most eye-catching location, but not here. From opulent and classy apartments to the slums, DHOBI GHAT is an authentic piece of work.

DHOBI GHAT catapults Kiran Rao alongside the likes of accomplished storytellers like Mira Nair and Deepa Mehta with her intensely intelligent script. Besides throwing light on the daily routine of these characters, DHOBI GHAT juggles a recent past and the present time skillfully. Also, this one’s a love story inherently; not a triangle, but a square. In fact, each of the characters is vividly sketched and each of them long or aspire for that someone special. Thanks to a watertight screenplay and eye for detail, Kiran’s characters feel, look and sound genuine.

Cinematographer Tushar Kanti Ray shoots the film as if one were watching the story unspool live in front of one’s own eyes. Academy Award winning Argentine composer Gustavo Santaolalla’s [BROKEBACK MOUTAIN, BABEL] background score is captivating, also non-Indian, yet fits the varied moods, from melancholy to elation, admirably. The sole area where the film fumbles is its pacing at places. The results would’ve been even more impactful if the film was tightened a bit on the editing table.

The film marks the debut of Monica Dogra and Kriti Malhotra, who are exceptional and deliver natural performances. As for Prateik, the ease with which he speaks the slum lingo or converses with his pal or the gentle tone while speaking to the woman he loves [the urbane and classy Shai] proves what a dependable actor he is. The most memorable sequence for me is the concluding one when Prateik chases Shai’s car. There’s no doubt that he’s a complete scene-stealer and a star in the making. His unconventional looks and captivating personality only adds to this performance.

Very much like his performance in TAARE ZAMEEN PAR, Aamir Khan very willingly lets his co-actors eclipse him. Sure, he’s super as a cloistered artist, but this film is not about Aamir Khan, the superstar. It’s primarily about four stories, with Aamir merely enacting one of the four pivotal characters. In fact, he underplays his part magnificently and munificently allows his fellow cast to be conspicuous in their respective parts. In actuality, not many actors in moviedom would dare to even think that way!

Kittu Gidwani is alright. The actor enacting the role of Prateik’s friend does a fine job.

On the whole, DHOBI GHAT is an imposing and vibrant cinematic portrait, appending itself to the new wave of independent Indian cinema which I am extremely pleased to applaud. It is art house cinema with European sensibilities, embellished with a well thought out story that’s devoid of cliches. This ingenious motion picture caters more to the intelligentsia and connoisseurs of world cinema and will therefore garner more patronage and benefaction from the metropolitan audience in India chiefly and global spectators predominantly.

Ratings: (4/5) ***MUST WATCH***
Source: INDIA FM