Fitness

After a wait of eight long years, the master storyteller, the most admired and revered director of our times, Yash Chopra, returns with his new motion picture. Regrettably, JAB TAK HAI JAAN happens to be the last film of one of the greatest raconteurs of our times… Yash Chopra is synonymous with love and romance and also spellbinding drama and heartrending emotions. Is synonymous with harmonious music and exquisite poetry and also snow-capped mountains and mustard fields. Is synonymous with waterfalls and rains and also Switzerland and Punjab. And so much more… JAB TAK HAI JAAN encompasses everything that one has come to expect from a Yash Chopra movie. This time, it’s a brand new setting, but the journey remains the same as his previous love stories — just as the lead man and his lady love sprint towards each other from opposite directions, to cuddle each other lovingly, you’re told that the romantic pathway is crammed with thorns and spikes [a quick clarification: all this talk of JAB TAK HAI JAAN being a present-day avatar of Yash Chopra’s DAAG is absolutely unfounded]. For the hardcore romantics, this one’s a treat. But those who *don’t* swear by love stories, I am certain, will be able to connect with this film, since the twists and twirls in the screenplay are sure to allure those yearning for something captivatingly distinctive. JAB TAK HAI JAAN is a poignant voyage of three characters. Thankfully, not once does the script or the writers [Aditya Chopra and Devika Bhagat] permit any penetration of superfluous or redundant characters or sub-plots that would’ve only led to puzzlement. Every episode transpires for a persuasive reason. Besides, the drama is absolutely intriguing, with an undercurrent of emotions running through the length and breadth of the film, thereby adding intensity to this passionate love story. JAB TAK HAI JAAN is not your typical love story. It has the old-world charm written all over it, with twists and turns plenty. It would be a disservice if one were to reveal the journey of the three principal characters — Samar, Meera and Akira — since the plot changes from conventional to unconventional in its second hour. JAB TAK HAI JAAN is attention-grabbing from inception till conclusion. The drama only soars higher and the complex love story gets more and more gripping as the conflict between the characters come to the fore. Mind you, JAB TAK HAI JAAN is not the usual ‘love triangle’, with two women fighting for the same guy. Nor can you compare it with any Yash Chopra film of yore either. Yash Chopra’s brilliancy and vividness is apparent in a number of sequences. And it echoes throughout the film. The poignant moments keep you on the periphery, while the culmination to the narrative may meet with extreme reactions. However, I strongly feel, the conclusion is most befitting for a film that doesn’t take the beaten to death pathway. The only hiccup is that it gets too slow-paced at times. Also, the screenplay could’ve been tighter at places. A few sequences in the post-intermittent portions could’ve been spruced up for a stronger impact. When Yash Chopra, A.R. Rahman and Gulzar join hands for a film project, the expectations are gargantuan. Its music has to meet the lofty expectations. Chopra Sr.’s music has had an eternal impact, but the songs here aren’t of that towering calibre that you would anticipate from a Yash Chopra movie. Yet, the melodies that merit a mention are ‘Challa’, ‘Saans’ and ‘Jiya Re’. While on music, the music piece and its choreography in the first hour deserve brownie points. The DoP [Anil Mehta] and the production designer give the film a radiant look that befits a classic. The cinematography is surreal, grandiose and simply overwhelming. The vibrant frames add to the magnificence of this already spectacular looking film. The costume designers too come up with a wardrobe that’s brimming with stunning outfits. Event films such as JAB TAK HAI JAAN are, generally, embellished with seasoned actors. That’s one of the fundamental reasons why these films appear so tempting. In addition, assembling such accomplished names [in lead roles as also supporting characters] is a rarity and there’s a strong possibility that one may not see them sharing screen space ever again. One can’t imagine anyone else but Shah Rukh in the role of Samar. An individual with an emotional baggage. Although Shah Rukh has been an integral part of several romantic movies, he enacts it resplendently in JAB TAK HAI JAAN, brushing off any condemnation that he may have encountered for replicating himself in movies of parallel genre. The role gives the actor abundant opportunity to exhibit his talent and I must add, Shah Rukh transforms himself into the complex character with dexterity. Katrina is the classic Yash Chopra heroine. An enigmatic beauty, who doubles up as a seductress [watch her in the ‘Saans’ track or the music piece]. She looks ethereal and enacts her part with elegance and restraint. As a matter of fact, she glides into her part with effortlessness and acts out some of the difficult moments with flourish. In view of the fact that a major portion of the story focuses on SRK and Katrina, one might assume that Anushka’s role is more of a supporting one, but that’s entirely fallacious. She’s an integral part of this story and it must be said that she walks away with some of the best scenes and lines in the movie. Her performance is full of grit. Rishi and Neetu Kapoor are endearing in a cameo. Anupam Kher, also in a cameo, pitches in a neat performance as Katrina’s father. Sarika is first-rate in a pivotal part. On the whole, JAB TAK HAI JAAN resonates an oft-repeated fact: Love stories will come and go. But no one will make them like Yash Chopra. Just don’t miss this heartwarming love story!

S.S. Rajamouli, the creative genius, holds the enviable record of delivering stupendous Blockbusters in a row. His films, consequently, have been remade in various Indian languages… the Hindi film industry has woken up to his brilliance as well. VIKRAMARKUDU was remade as ROWDY RATHORE, EEGA was dubbed in Hindi as MAKKHI and now, Rajamouli’s MARYADA RAMANNA gets a Hindi avatar — SON OF SARDAAR — after being remade in Kannada and Bengali languages. MARYADA RAMANNA, in turn, displayed a striking similarity to the 1923 Hollywood silent film OUR HOSPITALITY. SON OF SARDAAR is the remake of a Telugu film, but the Hindi avatar is set in an entirely different precinct. Nonetheless, what remains unaffected are the set of regulations that make masala entertainers work. Be it the hero’s gallant introduction, his breaking into a power-packed dialogue or confronting the opponent, also bashing up the rogues, like we swat flies and mosquitoes, romancing the heroine amidst the mayhem… every significant episode has been integrated with the objective of eliciting whistles, catcalls, roars and ovation. SON OF SARDAAR stays most faithful to the ideology of providing unabashed entertainment, while logic, expectedly, takes a backseat. But who’s expecting a movie with smart repartee and loads of enlightenment anyway? Deviating from the light comedies/slapstick humor that he’s attempted in the past, director Ashwani Dhir follows the Rohit Shetty and Prabhu Dheva tradition of making formulaic films/entertainers that pack drama, humor, song-n-dance, thrills et al, with the 2.20 hour film brimming with just about everything available on the shelf. Since the setting is Punjab, everything that you witness in SON OF SARDAAR is larger than life, right from the hospitality and hostility, the humor, the jokes and the thrills. With a skeletal plot to play around with, SON OF SARDAAR may give you the feeling of deje vu, but let’s face it, it needs tremendous skills to pen a screenplay that never lets you lose focus. Dhir and screenwriter Robin Bhatt ensure that they throw every trick in the book to serve a no-holds-barred entertainer, with 70 mm herogiri at its best, to the amusement-seeking moviegoer. That’s one of the prime reasons why SON OF SARDAAR hits the right notes. Ajay Devgn works for his friend [Salman] and his uncle in London. He receives a notification from his hometown in Punjab that states that he is about to inherit a piece of land. Ajay sets out for his hometown in Punjab and bumps into Sonakshi Sinha while boarding the train. Both Ajay and Sonakshi are oblivious of the fact that the families have a long-standing feud. Sonakshi happens to be the niece of Sanjay Dutt, whose brother was killed by Ajay’s father many years ago. Soon enough, Sanjay Dutt and his nephews [Mukul Dev, Vindu Dara Singh] realize that Ajay is the son of the killer and even want to slaughter Ajay, but there’s a hitch. Ajay has entered their mansion as a guest and as per the tradition, all guests are to be treated as God. Like GHAJINI, WANTED, DABANGG, SINGHAM and ROWDY RATHORE, SON OF SARDAAR pays homage to the cinema of 1980s and 1990s. The trend of creating desi movies that emphasize on entertainment has already gathered steam and SON OF SARDAAR is one more big-budget extravaganza that aims at wooing the Indian mass audience. Sure, it’s brash, outrageous, wacky, exaggerated, irrational… so what? As long as it’s fun to watch, one shouldn’t grumble. While the first hour is breezy and thoroughly enjoyable, the narrative dips in the second half as the focus shifts to romance, with vengeance taking a backseat. But the penultimate portions, especially the combat between Sanjay and Ajay, is the hallmark of the enterprise, with the film concluding on another euphoric note — the song ‘Po Po’ — which features Salman. Regardless of the ‘old-fashioned’ appeal, Dhir imparts a novel touch to several sequences. He plays to the gallery blatantly and audaciously, but he also ensures that the film is held together by a mesmerizing screenplay that unfolds at a feverish pace. Besides, Dhir emulates his peers and packs a solid punch in the high-voltage dramatic sequences. The ones between Sanjay and Ajay in particular are the mainstay, actually. There’s a strong undercurrent of emotions, courtesy Juhi Chawla, while the romantic scenes are more of window dressing, offering the director reasons to slot in the mandatory song-and-dance routine. Action has always been the perfect component to straight away connect with the masses and SON OF SARDAAR has several of those South-style maar-dhaad scenes [Jai Singh Nijjar]. They might seem gimmicky, but the truth is they work big time with the spectator who relishes those kind of stunts. The climax fight sequence, when Sanjay and Ajay lock horns, is superbly choreographed. Aseem Bajaj’s cinematography compliments the director’s vision completely. It’s top notch. The soundtrack boasts of talented and accomplished names and in keeping with the mood of the film, the composers deliver songs with North Indian tadka . ‘Bichdann’, ‘Rani Tu Main Raja’, the title track and ‘Po’ [the Salman Khan number] come easily to the lips. The choreography of ‘Po’ in particular is imaginative and is sure to please ‘Bhai fans’. Sandeep Chowta’s background score is fantastic. SON OF SARDAAR marks Ajay’s return to action, a genre that was once dominated by him till he decided to diversify to romance and comic roles. The supremely talented actor takes charge of the film from the commencement itself and holds it tight all through. If you’re a fan of Ajay, repeated viewings are assured for sure. Post AGNEEPATH, SON OF SARDAAR is another significant film in Sanjay’s career. The actor is in his element here, handling the ferocious moments [when he gets to know Ajay’s identity] and the sensitive ones [with Juhi and Sonakshi] with effortless ease. Sonakshi’s character is similar to the one she portrayed in DABANGG and ROWDY RATHORE and there’s this fear of getting typecast, but she sparkles in the sequences that she appears in, which works to her advantage. Juhi Chawla is outstanding, adding so much weight to her character. Her sequences with Sanjay are thoroughly enjoyable. Salman Khan appears in a fight sequence, a sequence thereafter and the song in the end credits and adjoins incredible star value to the project. The film has a very strong supporting cast and I’d like to single out Mukul Dev for his fantastic performance. His performance is truly first-rate. It’s a delight watching Tanuja, one of the finest actresses, after a hiatus. She’s wonderful, especially in the final moments of the film. Vindu Dara Singh is hilarious, while Rajesh Vivek leaves an impression. Arjan Bajwa does well in a brief role. Puneet Issar and Mukesh Tiwari are efficient in cameos. On the whole, SON OF SARDAAR is for lovers of hardcore masala movies. If you liked WANTED, DABANGG and ROWDY RATHORE, chances are you will relish SON OF SARDAAR as well. The North Indian audiences in particular and those residing abroad will be simply delighted by this chatpata, masaledaar fare. A wholesome entertainer in the festive period. Go, have a blast!

One of my childhood’s beautiful memories is having an impressive collection of Amar Chitra Katha comic books. In fact, the comic books were hugely popular [I am sure, they still are!], with several kids showing off their prized collection to friends and relatives. I distinctly remember, the comic books had gorgeous imagery and each story was wonderfully simplified for kids to decipher. In a major move, Amar Chitra Katha now ventures into production of animation films and in collaboration with Cartoon Network unveils its first offering, SONS OF RAM, in 3D. Ramayana and Mahabharata are the two great epics of India — much admired, revered and adored — and though we may have heard the stories over and over again, besides witnessing the plot and legendary characters on television and also on the big screen, the joy of reliving Ramayana and Mahabharata remains unrivaled to this day. One of the key reasons being, the stories are packed with bravery, heroism, treachery, betrayal and tragedy. Not everyone who saunters into a cineplex to watch SONS OF RAM may be well tuned with the premise or familiar with all its characters. So the real test lies in telling the story. To its credit, SONS OF RAM succeeds in narrating the story of Luv and Kush most adroitly, besides highlighting episodes that the kids and also many grownups may not be too well versed with. But the film lacks the epic feel that one associates with Ramayana. The imagery is plain ordinary, while the animation appeals in parts. The year 2012 has witnessed several animation films leaving a mark and I’d like to single out at least two films — ARJUN: THE WARRIOR PRINCE and DELHI SAFARI. Unfortunately, SONS OF RAM pales when compared to those films. Besides, what prompted the makers to opt for 3D? It hardly contributes here. Lord Ram of Ayodhya was forced to send his beloved wife Sita into exile. Unknown to Ram, far away in sage Valmiki’s ashram, Sita lives as Vandevi, raising their twin sons, Luv and Kush. Though not aware of their royal lineage, the twins imbibe wisdom, compassion and combat skills that would put any royal prince to shame. Accompanied by a steadfast gang of lovable friends, Luv-Kush’s journey of discovery takes them from enchanted forests with mythical creatures, to the revered land of Ayodhya. The voice-overs are okay, although the lip sync doesn’t match at times. The background score is a high point. On the whole, SONS OF RAM has a great story to tell, but lacks the epic feel that one associates with mythology.

Vikram Bhatt has emerged the most successful brand in the horror genre. In fact, it won’t be erroneous to state that what Karan Johar is to candy floss, Vikram Bhatt is to horror. If one looks at Vikram’s body of work, the talented storyteller has taken upon himself to petrify and frighten the moviegoers over and over again. RAAZ, 1920, SHAAPIT, HAUNTED, DANGEROUS ISHHQ, RAAZ 3… now 1920 – EVIL RETURNS. This time, of course, Vikram hands over the directorial reins to Bhushan Patel. Let’s put this on record: 1920 – EVIL RETURNS is not connected, in any way, with the first part. The plot, the characters, the set of actors, the setting, everything is diverse. One expects 1920 – EVIL RETURNS to be crammed with chills and bloodcurdling moments. Also, in a film of this genre specifically, the conclusion to the tale has to be most compelling… and of course, spooky. But the problem with 1920 – EVIL RETURNS is that it appeals in bits and spurts. Not in totality. More on that later… 1920 – EVIL RETURNS narrates the story of Jaidev [Aftab Shivdasani], a well-known poet, who lives with his sister Karuna [Vidya Malvade]. One fine morning, Jaidev spots Smruti [Tia Bajpai] lying unconscious near the lake and gets her home. Karuna is against Jaidev’s decision of bringing a stranger home. A few episodes later, Jaidev realizes that Smruti has lost her memory and doesn’t remember anything except his poems. Jaidev decides to get Smruti treated in Shimla. En route, while resting in the guest house, strange developments start taking place. Jaidev realizes that Smruti is possessed by a spirit. 1920 – EVIL RETURNS may be Bhushan’s first tryst at directing a movie, but the director knows the grammar of film-making right. His handling of the terrifying moments is the best part of the enterprise. Note the sequence soon after the intermittent or the long-drawn climax and you’ll realize that Bhushan knows what he’s talking about. So where’s the hitch, did you ask. It’s the writing that vacillates between engaging and yawn-inducing moments. Like I pointed out earlier, the portions depicting Tia [when she is possessed] are remarkable. Those sequences take the film to another level, actually. Conversely, the love story [between Aftab-Tia] is far from persuasive, the hate story [between Aftab-Sharad Kelkar] looks phony, the flashback [between Vidya-Sharad] is strictly okay, while the spate of songs that keep showing up at regular intermittent add to the woes. Bhushan retains the clichés that are mandatory while attempting a horror film [creaking doors, isolated mansions, long and abandoned passage and hallway], which is fine. Also, to give the credit where it’s due, a few episodes do startle you as well. But how one wishes the writers [Vikram Bhatt, Amin Hajee] would’ve spun a compelling tale. The first hour barely moves, while the post-intermittent portions work partially. Also, the soundtrack [Chirantan Bhatt], though good, is a waste in a film like this. Ideally, this should’ve been a songless film. The background score is strictly okay, while the makeup and prosthetics deserve strong mention. The cinematography is stunning, with the DoP capturing the beauty of Sweden delightfully on celluloid. Aftab looks too mellow for the part. The fire that one associates with the lead protagonist is missing. It’s up to Tia to pull off the act of a possessed woman with flourish. An extremely talented actor, Tia is the soul of the film, displaying sensitivity [where required] and scaring the daylights of you [when needed]. Vidya Malvade doesn’t get much scope, though she does a decent job. Sharad Kelkar’s character could’ve been convincing, hence the limitations in his performance. The actor, who has the premonition about the spirit and warns Aftab about it, is effective. On the whole, 1920 – EVIL RETURNS scares and shocks in bits and spurts. The film rides on Vikram Bhatt’s brand, more so after the super success of RAAZ 3, but its writing plays the spoilsport.

In Mumbai, one of the popular eateries is known for serving yummilicious methi malai gosht . Its recipe is kept confidential. I am told, the recipe was known to the father, now the son knows it and I presume, it will be passed on to the next generation at the opportune time, so that the winning recipe remains restricted and confidential to the family only… Another prominent business family specializing in Indian sweetmeat and pickles keeps the flourishing formula to itself… One of India’s delectable cuisines is hugely popular in the West, a recipe that enchants the Westerners continuously… LUV SHUV TEY CHICKEN KHURANA is also about this quest for discovering an ancient family secret: A dish called Chicken Khurana. For a country that’s fanatical about foodstuff, be it consuming or serving, LUV SHUV TEY CHICKEN KHURANA is the first ‘food movie’ with a ‘secret recipe’ as its core issue. Although LUV SHUV TEY CHICKEN KHURANA is a masala film about masala, also integrated in the plotline is a love story and the myriad episodes that seem straight out of everyday life. The best thing about this film, which marks the directorial debut of Sameer Sharma, is that it doesn’t stick to the formula and that’s one of the reasons why this dish is worth savoring! Omi Khurana’s [Kunal Kapoor] London dream has just ended. On the run from a dangerous U.K. gangster [Munish Makhija], who he owes money to, Omi returns to his native village in Punjab, pretending to be a well-heeled London lawyer. Much has changed since Omi ran away from home a decade back after stealing money from his doting grandfather, Darji [Vinod Nagpal]. The old man has since become senile and most importantly, forgotten the secret recipe of ‘Chicken Khurana’, a dish that made the Khurana dhaba famous across Punjab. Omi’s childhood sweetheart, Harman [Huma Qureshi], is soon to be married to his cousin, Jeet [Rahul Bagga], though neither seems too happy about it. Adding to the quirkiness of the Khurana family is a free loader uncle, Titu [Rajesh Sharma], who once did a stint at a mental asylum. Will Omi be able to cover his deceit and lies for long, even as he tries to recover the lost recipe of Chicken Khurana, the family’s only hope to reclaim their pride and wealth? LUV SHUV TEY CHICKEN KHURANA follows the trend of depicting slice of life stories in a North Indian milieu, popularized by movies like KHOSLA KA GHOSLA, OYE LUCKY! LUCKY OYE!, DO DOONI CHAAR, BAND BAAJA BAARAAT and VICKY DONOR. What makes LUV SHUV TEY CHICKEN KHURANA stand tall, like those films, is the fact that it explores a story that’s a first for a Hindi film [just a quick clarification, it’s not remotely similar to the Malayalam film USTAD HOTEL]. India is defined, amongst many things, for food. We have food for birthdays, food for weddings, food for all kinds of celebrations, food for even bereavement… Sameer Sharma chooses a delicious dish as a metaphor and along with screenwriter Sumit Batheja serves a fare that has the right ingredients [read recipe] that make a rom-com work. The humor is super-perfect, the one-liners are witty and most importantly, it succeeds in its endeavor of making you laugh at the right points. Not many movies can claim to be thoroughly entertaining from start to end. LUV SHUV TEY CHICKEN KHURANA is one enjoyable ride from its first frame to the concluding one. Brownie points to Sameer Sharma for that! LUV SHUV TEY CHICKEN KHURANA shines purely on the basis of its writing, execution of the written material and performances. The film finds humor in the most ordinary places and situations and though the pacing gets sluggish at times, Sharma culminates the film with a heart-felt episode that makes you disregard the minor aberration. In fact, the final moments of the film are simply outstanding, with every character confessing what they had kept concealed from each other. Amit Trivedi’s tunes are offbeat, with ‘Kikli Kalerdi’ and ‘Luni Hasi’ being the pick of the lot. I’d like to make a special mention of the dialogue, which are soaked in humor and are thoroughly pleasant. Mitesh Mirchandani’s camera captures the lush green locales of Punjab with flourish. Each character is well etched here, with everyone putting their best foot forward. Kunal Kapoor is a complete revelation. The actor is charming all through, but shines luminously in the penultimate moments of the film. The emotional sequence proves he can carry off the tough moments with dexterity. Huma Qureshi is an absolute delight to watch. Spontaneous and natural to the core, she gets her role right and how. This is another opportunity, after GOW 2, she takes full advantage of. Rajesh Sharma’s performance can be described in just one word: Fantastic. What a supremely talented actor. He brings the house down every time he makes an appearance. Dolly Ahluwalia is too good. She sparkles in a succinct but significant role. Rajendra Sethi is first-rate, as always. Vinod Nagpal doesn’t get lines to deliver, but it’s a delight to watch him on the big screen after a hiatus. The film also works because the supporting cast is terrific and kudos to the casting director Mukesh Chhabra for getting it right yet again. In fact, Mukesh also pitches in a likeable performance. Another actor who stands out, during the final moments yet again, is Rahul Bagga. He’s super when he professes love to his soulmate Anangsha Biswas [who does a decent job]. Seema Kaushal, as Rajendra Sethi’s wife, is another talent that grabs your attention. Munish Makhija is commendable, enacting his part with perfection. Vipin Sharma is proficient. On the whole, LUV SHUV TEY CHICKEN KHURANA is a joyride from start to end. The film works because the written material, the execution of the subject and the performances complement each other wonderfully. This delectable dish ought to be savoured for certain!

Sometimes, a low cost film starring not too big names has a lot to offer than several big-budget movies. PREM MAYEE, directed by Shekhar S. Jha, is one such film. PREM MAYEE narrates the story of an IAS officer Shreya Narayan, who gets married to Chandrachur Singh. There are cracks in the marriage and how the woman braves the storms in her personal life and triumphs eventually, forms the crux of the story. PREM MAYEE begins with a disturbing episode and as it moves forward, the director, who has also penned the script, manages to rake up several questions on the institution of marriage. Though the narrative stagnates in the second hour, albeit slightly, the culmination catches your attention, since the director has handled it with maturity. Shekhar S. Jha is a sensitive storyteller and it shows in his writing and also in a number of sequences. PREM MAYEE is embellished with fine performances. The film belongs to Shreya Narayan, who handles her part with gusto. Chandrachur Singh is a revelation, he springs a pleasant surprise. His role has negative shades. Sanjay Suri, as always, is efficient. Chitrashi Rawat is a complete natural. Auroshikha Dey is perfect. Murli Sharma’s role could’ve been better defined. Yateen Karyekar is effective in a cameo. On the whole, PREM MAYEE is an interesting watch. A thought-provoking film that needs to be encouraged!

Ramgopal Varma, the maverick, is synonymous with ‘dark films’ [a terminology we often use in the industry]. Gangsters, underworld, crime, horror, supernatural… RGV has attempted it all. With BHOOT RETURNS, RGV revisits the horror genre yet again. A quick clarification, before we proceed further. Is BHOOT RETURNS a sequel to RGV’s BHOOT? BHOOT RETURNS doesn’t continue from the first film. Also, the characters find themselves in altogether diverse circumstances. The sole similarity is that the house is haunted. In fact, the plot of BHOOT RETURNS bears a striking resemblance to the RGV-backed VAASTU SHASTRA [2004; Sushmita Sen, Chakravarthy], which was directed by Sourabh Usha Narang. RAAT had its share of spine-chilling moments. BHOOT had moments that gave you goose bumps. PHOONK had its share of thrills and chills. With BHOOT RETURNS, RGV attempts to make the viewer break into a cold sweat, with 3D enhancing the shock element. More recently, Vikram Bhatt’s RAAZ 3 hit the right notes and if BHOOT RETURNS delivers, the trend of horror films in 3D would only get an impetus. Does RGV get it right? Unfortunately, he doesn’t! The very first promo of BHOOT RETURNS generated tremendous curiosity, with a webcam capturing a kid playing with a shadowy creature [spirit?]. Immediately, comparisons were drawn with PARANORMAL ACTIVITY, the most celebrated film in this category. But BHOOT RETURNS doesn’t take an identical route. Though RGV uses the mandatory props to scare you [the movement of the camera, the knocks and screams et al], BHOOT RETURNS fails to jolt you. Also, there’s hardly any grip in the screenplay. Even the 3D experience is non-happening. We had witnessed better results in HAUNTED and RAAZ 3, in the same genre. Tarun [Chakravarthy] moves in with his family to a luxurious bungalow that he has acquired on a rather cheap rent. His wife Namrata’s [Manisha Koirala] curiosity over the seemingly low rent is quashed by their kids who readily approve of the new house. Soon, 10-year-old Taman and 6-year-old Nimmi find their own activities to do in the new house. Taman spends his time on videogames and TV, whereas Nimmi spends her time exploring the various spaces of the house. During one such exploration, Nimmi finds a cute looking doll. Soon, after the discovery of the doll, Nimmi starts including ‘Shabbu’ in all her activities. The family mistakes Nimmi’s new doll to be Shabbu. But they are shocked as Nimmi introduces the doll as ‘Dolly’ and points at an empty space and introduces her invisible friend as Shabbu. Soon, Tarun’s younger sister Pooja [Madhu Shalini] surprises the family by visiting them. As Tarun, Namrata and Pooja discuss Nimmi’s fixation over her imaginary friend Shabbu, the domestic help, Laxman, is sure of the presence of a spirit in Nimmi’s life. Each night at the bungalow seem to turn for the worse, all with knocks at unearthly hours, demonic sounds and eerie movements throughout the house. Pooja installs cameras at various places in the house. The footage from these cameras is proof enough for the already disturbed Namrata to take a decision to vacate the house. The otherwise cool-headed Tarun’s mind starts reeling as he sees the captured footage. The family finally decides to vacate the house. But Nimmi goes missing… Let’s not compare BHOOT RETURNS with the Hollywood inspirations. But when one compares it with RGV’s own creations [RAAT, BHOOT and PHOONK], one realizes BHOOT RETURNS ranks lowest on the list. After raising the bar of horror films with BHOOT, RGV lets you down badly this time. RGV teases the moviegoer at regular intermittent. Silence and stillness can create a stronger impact than frenzied, furiously fast-cutting frames or out of control effects. In BHOOT RETURNS, the scenes remain silent… then you get a jolt out of the blue, but the problem is that there’s too much waiting, which makes you fidgety after a point. The concluding moments also lack originality, while the final sequence seems ludicrous. Sandeep Chowta’s background score helps resurrect several ordinary sequences, which, otherwise, would’ve fallen flat. Cinematography is uninspiring, while the technology [3D] hasn’t been utilized to the maximum. There’s not much scope for histrionics here! Manisha handles her part with ease. Chakravarthy is monotonous. Madhu Shalini catches your attention with a fine act. The child artist, Alayna, looks adorable, but is far from convincing in the concluding stages. On the whole, BHOOT RETURNS is amongst RGV’s weakest films!

Till a few years ago, Bollywood was known for churning out hero-centric movies. The leading ladies were treated as mere props or eye candy in most Hindi movies. That’s not all, heroine-centric themes were considered dicey, since not many were ready to invest their crores on stories that centred around female protagonists. But 2012 has made the naysayers chew their words. The year belongs to those gutsy film-makers and of course, the enterprising ladies who changed the rules of the game. Films like KAHAANI, JISM 2, RAAZ 3, HEROINE and ENGLISH VINGLISH challenged the male dominance at the box-office. Now AIYYAA, which rides on Rani Mukerji’s shoulders, is all set to break the stereotype. Like all Anurag Kashyap movies [he wears the producer’s hat this time, it’s directed by Sachin Kundalkar], AIYYAA takes on a novel premise and transports you to an altogether new world. This time, it’s about a middle class family living in Mumbai. What sets it apart is that this Maharashtrian girl – Tamil guy prem kahani [Rani, Prithviraj] is woven around the concept of smell/aroma. Also, a lot many middle class girls feel suffocated when they can’t choose the guy they want to spend the rest of their life with. In AIYYAA, the girl chooses her own groom, defying her family’s choice. But AIYYAA is not a serious take on the institution of marriage. It’s an amusing journey, actually. AIYYAA is a desi film at heart. Also, quirky and funny. But the humor is more of the Hrishikesh Mukherjee/Basu Chatterjee variety. What makes this film stand apart is that it does away with the crutches of big stars [except Rani], forced humor, unnecessary songs, international locales or grandiose sets. Its strength lies in its cohesive script and able performances. Meenakshi [Rani Mukerji] is a young Maharashtrian woman who is fixated with movies and movie stars and loves escaping into her make-believe world. She gets attracted to a painter, Surya [Prithviraj Sukumaran], because he smells good. But there’s a hitch: She’s all set to be engaged to Madhav [Subodh Bhave], who happens to be her parents’ choice. Although the plot is innovative, but skeletal, what keeps the film going is Sachin Kundalkar’s ability to stumble upon humor in the most ordinary situations. In fact, a number of sequences merit a mention here, but that would ruin the fun. Again, this is one of those rare movies where every actor, big or small, sparkles in their respective part. Wait, beyond the laughs and smiles, there’s a sensitive side to AIYYAA as well. The girl is eventually torn between the man she desires and the man she’s all set to be engaged to. The emotional conflict towards the concluding stages may seem convenient, but is completely satisfying nonetheless. Sachin catches the pulse of the Maharashtrian backdrop and does immense justice to the written material. Moreover, while the middle class setting of Mumbai has been explored in several Hindi movies, it looks so real in AIYYAA. The characters, their home, the verbal communication… everything seems original here. This director, in my opinion, is a prized find. On the flipside, it takes time to get the hang of things. Also, the first half seems stretched, with a few unnecessary sequences adding to the run time. But the second hour more than compensates for the deficiencies. Amit Trivedi’s music is already a sure-fire hit. ‘Dreamum Wakeuppam’ is already a chartbuster and so is ‘Aga Bai’. The tantalizing and enticing choreography of these two tracks [Vaibhavi Merchant] deserves distinction marks. The DoP [Amalendu Choudhary] captures the essence of the Maharashtrian surroundings beautifully. I’d like to make a special mention of the casting director [Chinmay Kelkar] for choosing actors who fit wonderfully well in their respective parts. AIYYAA is what it is for varied reasons and one of them is Rani’s livewire act. A complete natural, Rani glides through her part with brilliance. An accomplished actor, who can handle the comic sequences with as much flourish as the emotional ones, Rani is absolutely ravishing. Prithviraj, who has several South Indian films to his credit, does a super job in his first Hindi outing. He has striking screen presence, has worked hard to get in shape, but most importantly, he is a damn confident actor. Subodh Bhave is excellent and matches up to Rani on several occasions. Nirmiti Sawant [Rani’s mother] incites laughter in abundance. So does Jyoti Subhash [the grand-mom], who is too funny. Anita Date [as Maina, Rani’s colleague] is superb. Ditto for Ameya Wagh [Rani’s brother], who’s an actor to watch. Satish Alekar [Rani’s father], Kishori Ballal [Prithviraj’s mother] and Pakada Pandi [canteen boy] are wonderful in their respective parts. On the whole, there are reasons aplenty as to why AIYYAA becomes a deserving watch. It’s arresting, amusing, entertaining and of course, thoroughly enjoyable, with Rani’s splendid act, refreshingly different plot, winsome songs, pleasant humor and terrific moments as its aces. Don’t miss it!