Ghajini, the Tamil version, was a massive hit as was its dubbed Telugu version. Will the Hindi adaptation live up to the humungous expectations? The hype is unmatched and you expect no less than a present-day masterpiece. Yes, Ghajini demonstrates how strong film-making can enhance and elevate an already solid concept.

Ghajini is a revenge saga, one ingredient that has been the staple diet of Indian films since time immemorial. It is a powerful film with the power to sweep you off your feet from the word ‘go’. Its riveting story has been told with flourish by director A.R. Murugadoss. And, of course, it has a knockout performance by Aamir Khan. If at all there’s a shred of doubt whether Aamir is The Best in the business, all you’ve got to do is check out Ghajini.

Any flaws – running time [almost 3 hours]? Not at all! There’s so much happening in every scene, the screenplay is so gripping, you don’t feel the need to frequently look at the auditorium ceiling or at your watch because time flies and you aren’t restless. As moviegoers, we’ve watched countless good vs. evil plots over the years and although Ghajini belongs to the same genre, not once does it take the beaten track. The story has been told differently and most importantly, the story offers so many twists-n-turns that you just can’t guess what would unfold next.

Is it violent? It is, at times, but the violence here is justified. In fact, every time the protagonist bashes up the evil-doers, you clap and root for him. The climax is jaw-dropping – dissimilar from the original, but it’s an out-of-the-world experience nonetheless.

To sum up, Ghajini is commercial Hindi cinema at its best. The film has ‘Hit’ written all over it. Let me put it this way: Cancel whatever you’re doing today and go watch Ghajini instead.

The plot? Aamir Khan is suffering from acute short-term memory loss set off by being brutally beaten and witnessing the violent murder of his girlfriend Asin. Any events and information over 15 minutes old is deleted from his memory, but he vividly and clearly recalls what happened till the moment he witnesses Asin’s murder. He’s got to work around this handicap, but with methodical and meticulous determination. Aamir etches a path of clues that lead him on his path of revenge.

To overcome his memory loss, he carries around a sheaf of Polaroids and when he is really sure of a piece of information, he has it tattooed on his body, which stands in for the damaged part of his mind. His indelibly marked torso is the repository of his grief, his rage and his reason to go on living.

Any more revelation would do gross injustice to the film and its viewers.

First things first! Ghajini is not Memento. There’re minor similarities, but Ghajini takes a completely different route to tell its story. Director A.R. Murugadoss tells this one differently. It starts off with what happens in the past, comes to the present-day, goes back in time again and returns to the contemporary again. This is a breathless, exciting story, heart-breaking and exhilarating at the same time.

Hindi movies have often depicted people suffering from amnesia/ memory loss, but Ghajini is poles apart because the protagonist recalls events only for 15 minutes. The story is its USP, without a doubt. But what adds sheen and glory to the story is Aamir’s portrayal of a man suffering from such short-term memory loss. Aamir hardly speaks. In fact, the leading lady [Asin] speaks more than Aamir in the film. But Aamir speaks volumes with his eyes, he conveys whatever has to be conveyed through his body language, he says it all with his facial expressions and that only makes Ghajini a memorable, never-seen-before experience.

Director A.R. Murugadoss deserves brownie points for not just coming up with an interesting story, but also presenting it [refreshingly] differently. The storyteller balances the light moments and the ones demanding intensity with expertise. There’s dum in every sequence. Even if the director has to depict violence, he doesn’t resort to blood-n-gore or knives-swords-pistols for effect.

A.R. Rahman’s music is top-notch. At least three numbers have the unmistakable stamp of a genius -  ‘Guzarish’, ‘Behka’ and ‘Kaise Mujhe’. Ravi K. Chandran’s cinematography is stunning. The film bears a stylish look all through. The action sequences are brilliantly executed. Hindi moviegoers haven’t seen such scenes ever.

Aamir delivers his career’s best performance. In the first place, it requires courage and maturity to name the film after the villain. Knowing how egoistic our stars are, something like this is next to impossible in Hindi films.

A lot has been said and written about the Ghajini look – Aamir’s hairstyle and his dream physique. It’s awe-inspiring; if more people adopt the ‘Aamir look’ or hit the gym, it would be courtesy the actor. As far as his acting is concerned, he’s natural as the tycoon, but like a wounded, ferocious tiger when he goes on an avenging spree.
Without doubt, it’s a concentrated, layered performance. He acts with his entire being. His body movement, the details of his performance, everything rings true. He is both vulnerable and hard. The pain in his face when he can’t remember is palpable. It’s not only the plot that carries Ghajini. It’s also the mood and the expression on Aamir’s face that makes Ghajini a treat.

Asin is fabulous. To share screen space with an actor of the stature of Aamir Khan and yet remain in your memory even after the show has ended is no cakewalk. She looks fresh and photogenic and acts her part brilliantly. Pradeep Rawat, the villain, is first-rate. Jiah Khan impresses, especially in the sequence when Aamir follows her to a shopping mall.

On the whole, Ghajini is a winner all the way. The film will set new records and has the merits to emerge one of the biggest Hits of all times. The weekend business should be historic, the Week 1 business should be unparalleled, and the lifetime gross should be amongst the biggest of all times. In short, Ghajini has ‘Blockbuster’ written all over it.

Cast:    Aamir Khan, Asin,Jiah Khan, Mohit Alawat
Direction:    A R Murugadas
Production:    Allu Aravind, Madhu Varma
Music:    A R Rahman

Surinder Sahni (Shah Rukh Khan) – a simple, clean hearted, honest man working for Punjab Power, leading a humdrum life, when he meets his total opposite and finds love in the flamboyant, fun-loving, vivacious – Taani (Anushka Sharma) for whom the whole world is her canvas and she paints her own life with the colours of rainbow all until unforeseen circumstances changes it all and brings them together.

Rab Ne Bana Di Jodi has a mixed quotient of fun, laughter and drama but the defective story, the pace and length of the movie could hinder its box-office prospects. The pit falls in the story are so very obvious that it clearly out shadows the very few positive aspects of the movie. Although the love story between Taani and Raj has the spirit, it fails to make much sense and leaves many questions unanswered. A married woman falling in love with her new acquaintance is very much possible, especially when the marriage is just a compromise. But it’s beyond me as to how Taani couldn’t recognize that it’s her husband who is in disguise as Raj.

Furthermore; she didn’t spot one resemblance between Raj and her husband when the changes in his looks were minimal. Also, how could she identify her husband as Raj on the grand finale of the dance competition? All this and many more questions linger in your minds as the credits roll.

It’s not just the story that is not proof read but even the pace is excruciatingly slow. The movie should have been 30 minutes shorter. On a positive note, the story is simple and its characters are very much identifiable. Dialogues are very interesting and mostly comical. Music by Salim-Sulaiman’s is admirable. Music is a mixed bag. ‘Haule Haule’ and ‘Dance Pe Chance’ are decent tracks. The title track too is very pleasing and touchy.

The movie belongs to Anushka Sharma’s bubbly performance. You can’t take your eyes off her for a minute as she dances and emotes like a veteran actress. She even manages to steal a couple of scenes from SRK. Talking of SRK, he is brilliant as Surinder Sahni but fails to impress as Raj. Age is catching up big time with SRK; those wrinkles can quite clearly be seen in close-up shots. Vinay Pathak as SRK’s side-kick manage to evoke a few laughs.

Overall, RNBDJ disappoints with faulty story line and dire execution. But some light entertaining moments make it a decent watch.

Banner:    Yash Raj Films
Cast:    Shahrukh Khan
Direction:    Aditya Chopra
Production:    Yash Chopra
Music:    Salim-Sulemanin

Rahman tuning in melodies to Gulzar’s lyrics and host of the visual fiestas cinematographer Kabir Lal canning exotic locales of Europe. And just pull your imaginations on these combos travailing on best notes for a beau idéal rendered by this virtuoso of all times.

On the grounds of reality, Yuvvraaj isn’t the best as his classics Karz, Vidhaata and more. But, one fine rigid reason that lets everyone sing appraisals is the fact that your eyes doesn’t take off from the screens for complete 180mins. As Subash himself utters, the film merely carries off with traces on his yesteryear classic ‘Ram Lakhan’ (theme of brotherly love). Not alone on emotions, the flick has moral on greed leads to wreck and precisely, something we got to learn at our Kinder Garden levels. On this screen, greediness eclipses all over and latter half it’s all about reveling emotional relationships that diminishes the vicious elements.

Placed at the exotic backdrops of Austria, Deven Yuvvraaj (Salman Khan) and Anushka (Katrina Kaif) are in love and as clichéd; her father Dr. Banton (Boman Irani) obstructs their relationship. On the initial stages, it’s between Deven-Banton and scenario shifts onto different vistas as Deven’s father lasts his breath in London. Not for affection and paying homage, Deven gets back to his hometown seeking for shares in father’s wealth.  Over there, he encounters his unloved brothers Gyanesh Yuvvraaj (Anil Kapoor) and Danny Yuvvraaj (Zayed Khan).

Gyanesh Yuvvraaj possessing autism from his childhood goes the apple-of-eye for everyone in the family, once attorney-close friend of his father (Mithun Chakraborthy) reveals that entire property is favored on him. Not alone Deven and Danny, but other relatives sham themselves to be good with their opprobrious inner evil intentions.

What makes the film so colossally spectacular? Undoubtedly, it’s melodious tunes of Rahman and Kabir Lal’s visualizing of emblazoned locations. Moreover, on-screen actors performing a different show with their distinct roles surmount your prospects. It’s a complete show by Anil Kapoor and this man transfixes your with his simpatico-kind-of-role. Be it his mirthful encounters with Salman or the emotional outbreak in the penultimate, he overshadows everyone and each prop in the frame. Don’t miss his fabulous gestures after watching handycam in the climax. Hats off to Subash Ghai! His genuineness of inserting symbolic representation where Anil Kapoor breaks the masks on table after viewing handycam is superb. Of course, the song ‘Dil Ka Rishta’ following this sequence as broken mask at backdrops of stage. It’s something you call ‘Director’s cut’. A new dawn and a great break for Zayed Khan and let him thank Subash for it. Hope, directors watch out for his performance offering him best roles in future. With her cherubic looks and decent performance, Katrina Kaif steals the show and watching her play cello, it looks realistic. No wonder in appreciating her looks alike of Princess Diana at certain parts. Boman Irani pulls your attention with his laudable performance in all contexts, especially in the climax. Aushima Sawhney sways with finesse and ditto to Anjan Srivastava as antagonist. Salman Khan establishes a perfect room with his pleasing act on all scenarios till the final credits (similar to Om Shanthi Om).

On narration, Yuvvraaj doesn’t start off with a gripping screenplay and perhaps, it’s merely bits-n-pieces of lad and missy in love and father opposing their relations. Well, things shift on paradigms once Mithun Chakraborthy appears on the screen and unravels a great surprise amongst other characters. Few flaws of uninteresting parts may be spotted in the first half and everything goes diminished in the penultimate of 20-25mins binding your hearts, soaking eyes with tears and sparkling your lips with smiles. It’s very rare amongst auteurs blending different emotions within short durations and Subash Ghai deserves grand appreciations for it.

Rahman’s musical score is refreshing with ‘Tu Hi Meri Dost’ and ‘Dil Ka Rishta’. Merely, visualizations could have been better for ‘Tu Hi Meri Dost’ as he could’ve avoided Computer Generated works. Background score works well, especially where Salman reveals his inner intentions to Anil Kapoor after sipping drinks and penultimate sequences are top-notching. Kabir Lal’s cinematography mesmerizes everyone and his enchanting shots of European locales goes in-hand with Rahman’s musical. It’s a billion dollar question why Subash Ghai had to pass-scenes while characters drive car on such beautiful locales.

As a whole, Yuvvraaj is splendiferous in all parts with exceptional performance by all and it’s a perfect family entertainer. With previous week’s releases gradually getting down on charts and no big releases awaited couple of weeks ahead, Subash Ghai can host a lavish party for the entire team as collections are sure to brim over producers’ sacs. Of course, A.R. Rahman should be ready tuning rock-blast party songs for his successful venture with Subash Ghai and so would be performers.

Banner:    Mukta Arts Ltd
Cast:    Salman Khan, Anil Kapoor, Katrina Kaif, Zayed Khan, Boman Irani, Aushima Sawhney
Direction:    Subhash Ghai
Production:    Subhash Ghai
Music:    A R Rahman

Well, would the readers of this novel get gratified with its adapted handiwork? Not so sure, the film works out well on certain aspects. But again, long-drawn-out screenplay grinding to a halt gets the viewers bit annoyed. Chetan Bhagat fetches the good credits of penning an innovative novel, but things aren’t the same with ‘Hello’ as screenplay crafted by Chetan and Atul Agnihotri is merely a mediocre.

Fine! Let’s a glimpse through the synopsis of ‘Hello’…

Hello… is a tale about the events that happen one night at a call center. Told through the views of the protagonist, Shyam (Sharman Joshi), it is a story of almost lost love, thwarted ambitions, absence of family affection, pressures of a patriarchal set up, and the work environment of a globalized office.

Shyam is losing his girl friend because his career is going nowhere as he trudges his way around in a call center. His girl friend, Priyanka (Gul Panag), is also an agent like him at the call canter who is about to be snatched by an NRI techno geek.

There is also the aspiring model, Esha (Isha Gopikaar), who is hopping for the break that seems to be always already eluding her and the man about town, Varun (Sohail Khan), who is into well, things. The housewife, Radhika (Amirta Arora), who is constantly at the receiving end of her mother-in-law and a beleaguered grandfather, Military Uncle Vijay Pratap Chauhan (Sharath Saxena), who has been barred from interacting with his grandchild make up the rest of the call agents who see their worlds crumbling around them as the decisions of right sizing are conveyed by Bakshi (Dilip Tahil), the boss.

It is a night when dreams will finally crumble. Or will it? For there is that call from God. Narrated as a tale within a tale as a beautiful woman (Katrina Kaif) meets the auteur/ narrator (Salman Khan) and promises him a story on the condition that he has to narrate it further….

Everyone loves ‘Peeping tom’ when it comes into the lives of call centre employees. This should have really evoked the interest of audiences to go for it. The characterizations have been precisely sketched, but the problem lies in establishing them…  Yup! Establishing characterization vividly varies from novels-to-films and for sure film buffs would understand it. Atul Agnihotri should have better finished introducing the characters within first few minutes. But the entire first half is carried on demonstrating characters and their problems. Of course,  the scenario prolongs to the earlier minutes of latter part too and it gives a wretched look.

Nothing to blame on the star-casts: everyone does a neat job with Sharman and Sohail Khan turning entire spotlights on them. They are enthusiastic right throughout emoting to fun, frolic and emotional quotients. Gul Panag doesn’t deliver the best performance other than sharing romantic sequences with Sharman. Amirta Arora’s performance is quite good, but it would have been better if the auteur had penetrated more on to her characterization. Ditto to Sharath Saxena and he should have been well-utilized….

Salman Khan appearing in cameo role doesn’t mean that director should have let him at ease to perform on his own interest. Katrina Kaif with her cherubic looks captivates us though she appears for duration of not more than 10mins.

Exposing the customers buzzing up to the call centre executives has been very-well executed. It’s so real of how some callers are so foolish and their queries too…

Musical score by Sajid-Wajid is commendable, but background scores are not solacing. The title song ‘Bang Bang Bang’ is sizzling and indeed a grand fiesta for fans of Sallu Bhai. Sanjay Gupta’s cinematography is as enchanting as things have been well-worked out in interiors of call centre. Thanks to art director for decent works.

On the whole, ‘Hello’ showcases the moderate effort of entire team and would sustain in box-office for the interesting story….

Cast:    Salman Khan, Katrina Kaif, Sohail Khan, Sharman Joshi,
Isha Koppikar, Gul Panag Amrita Arora, Dilip Tahil,
Suresh Menon, Sharat Saxena,Arbaaz Khan
Direction:    Atul Agnihotri
Production:    Atul Agnihotri
Music:    Sajid, Wajid

The film right throughout from-alpha-till-omega, you can keep construing the flimsy conceptualization of script, clichéd characterizations, and creepy-chaffing screenplay. In particular, it’s the galling screenplay that keeps going on and on, until you would scream out of senses, ‘Stop it please’. The film doesn’t reach its apex so easily and this is sure to get you aggravated. Better, it would have been, if Goldie had sawed off the lengthy tangling story penned by Jaydeep Sarkar, Rohini Killough and Godlie himself.

Despites, producers churning out the flick so expensively for a lavish grand fiesta of visual treat, the unappealing tale work no wonder for the audiences. Of course, it’s worth saying their wonders of visual effects get diminished with the insubstantial narratives.

Fine! Glimpse through synopsis of DRONA and take on with positive attributes as well the blatant flaws blended to it.

Being a fostered child, young charming lad Aditya (Abhishek Bachchan) hasn’t experienced true affection and it’s just the pain of chagrins rendered by his family. The pathetic scenario prolongs as Aditya grows up. There comes a diabolic necromancer Riz Raizada (Kay Kay Menon) whose predecessors are Asuras. Riz is deep on the pursuit of a valuable secret – Amrit. But, the mantra of unraveling it is about defeating Drona. Sounds pretty easy to find Drona, isn’t? If you’re there with those perceptions, it’s a wrong guess for Riz doesn’t know who Drona is.

Well, situations accidentally urge Aditya and Riz come face to face. Within fraction of seconds, straight from his shoulders Riz glimpses through the Kada wore by Aditya and recognizes him as Drona. With attempts of killing Aditya, Riz has his men chasing him and here gets in Sonia (Priyanka Chopra) rescuing him. It’s not just about saving his life, but Sonia gets Aditya to realize about his true identity and why is being targeted. Situations are clearer for Aditya, once he meets his biological mother, Queen Jayanthi Devi (Jaya Bachchan) at the palace of his birthplace. But, before he could take on stands and realize how harder the situations are, Riz and his men have trapped him. Here begins the roller-coaster thriller ride of DRONA on the venture of defeating the evil entities.

Looks quite clichéd, when it comes to tale of conflict between good and evil, for we have seen it a zillion times in Hollywood flicks. Merely, again there’s lot of ambiguities in fixing DRONA with its genres. If it’s a fantasy, the protagonist may not posses any superpowers to fight against baddies. And then, if screenwriters wanted DRONA to be a superhero flick, then characterizations should have been equivalently powerful, especially in physiques. Fine! Abhishek with his hefty physiques convinces to certain extent and it’s more ridiculous with the looks of Kay Kay Menon as the antagonist.

Abhishek Bachchan strides with trenchant piece of performance in all aspects. But, Priyanka doesn’t deserve the same credits, for her performance goes insubstantial at certain points. Jaya Bachchan steals the show throughout her scenes and it would have been nice if more importance her characterization was still more significant. But, it’s a great disappointment when it comes to Kay Kay Menon and Navneet Nishan.

Getting on with technical aspects, it’s just the cinematography and VFX that works wonders. Chasing and Train sequences have been brilliantly shot. Hats off to cinematographer Samir Arya for his scintillating works, but he could have worked well on certain shots filmed in darkness. Musical score by Dhruv Ghanekar is a great disaster for none of them really sounds good.  VFX effects tread marvelously when it comes blended with cinematography in train and chasing sequences. Be it the scenes where Kay Kay Menon transforms Jaya Bachchan into statue or when he pulls in Priyanka Chopra into racing yacht; they are awesome.

As a whole, Drona dashes down our hopes for it lacks solidity on all aspects. Probably, the pre-release promos would have got the theatres booked houseful for this longer weekend. But, it wouldn’t cling into theatres for more days

Banner:    Rose Movies, Eros Entertainment
Cast:    Abhishek Bachchan, Priyanka Chopra, Kay Kay Menon, Jaya Bachchan
Direction:    Goldie Behl
Production:    Shrishti Arya