Mini Review Mega Digest : Shuddh Desi Romance; Satyagraha; Madras Cafe; Once Upon A Time In Mumbai Again; Chennai Express; Ghanchakkar; Aatma

Note: I had written these reviews immediately after viewing the films and put them up for my Facebook friends. Thought of adding them here for posterity’s sake.  These FB reviews are usually hurriedly written first impressions typed late in the night; I have pasted them here with minimal editing;  please forgive any stark grammatical or spelling errors.

Shuddh Desi Romance – First up, SDR is neither shuddh (the characters are confused, convulted though cute in their own way!) nor desi (heck, since when has live-in relationships become so, and this film unequivocally champions that cause right till its climax!) – and certainly, the romance is not the one to last from one qayamat to another qayamat tak – unless running away from marriages counts for a ‘qayamat‘! And in this film, there is a plenty of that!

Yet, having said that, the film is absolutely shuddh in its intent, it doesn’t deviate from it’s purpose however shocking it may ostensibly be;  very desi in its demeanour (right down to the sugary syrup in the gulab jamun that the hero offers to his lady) & yes, it is romantic if you scratch the knotty & confounding surface! And true, its a ‘rom-com’, so let’s not get too preachy or critical about it.

The thin plot revolves around Raghu Ram (Sushant Singh Rajput) who dumps his to-be-wife Tara (Vaani Kapoor) at the mandap, and starts to live in with Gayatri (Pariniti Chopra) – who in turn dumps him at their own wedding. How the three reconcile facing each other in awkward moments (after all this running-away-from-mandap madcap) is the second half’s crux.

The film is propelled not so much by plot as it is by its characters, and that’s where writer Jaideep Sahni and director Maneesh Sharma invest their resources, which is markedly refreshing. So, the entire chain begins because Raghu is unsure, and then later the next big event is sparked off by Gayatri’s uncertainty. And both have fairly acceptable excuses for their thoughts.

It’s a wittily written film. Sequences are repeated, but with a purpose, and with humour (e.g. how Rajput and Chopra surreptitiously check each other’s background from Rishi Kapoor is a hilarious one. Then there is that entire ‘running away via the toilet’ plot point – and how a ‘bathroom break’ gets a whole new meaning.)

The dialogues are conversational with smart lines weaved in carelessly but very carefully ( "What is all this about ‘settle’ down for a man" cheekily laments the hero in the opening sequence "when the country has not been able to settle its differences between its neighbor for sixty years!"). There are several more. They’d bring in chuckles and smiles in right proportions. The film’s tone is kept fluffy and frothy.

The characters are believable, likeable, having their flaws and pasts, but without the director or writer getting judgemental. So, Gayatri smokes. And has had numerous affairs, even a hinted abortion. Big deal. It’s not a grand issue for the film to beat its chest over. Further, Raghu & Gayatri decide to stay together. It simply happens, no magnificent ‘voila’ moment a  la Salaam Namaste (a previous YRF film on ‘live in relationship). Another shrug, no big issue. The bigger issue is to weld that trust between the two before it wedges a deeper hole between them. And that is where Sharma & Sahni simply excel. Raghu discreetly checks out on Gayatri’s past, even though he is not exactly a ‘doodh-ka-dhula-hua’, which ups Gayatri’s own mistrust antenna against him. Even the jilted woman, Tara, doesn’t dissolve into copious tears. Almost rubbing her hands off the dubious incident, she non-chillingly calls for a cold-drink. And when she gets the chance, she’d teach a lesson or two to the ‘runaway groom’. Cool. Composed. Collected.

Of course, Sharma gets some good artistes to do the job. On top is Rishi Kapoor as the ‘caterer and ghodi-supplier’ and a kind of father-figure to Raghu – he  is mind-blowingly outstanding. When Gayatri runs off his expression is sensationally priceless, and brings the entire theatre down in uncontrollable laughter!

Sushant Singh Rajput is confident and assured, and superb, though at times I could sense Ranveer Singh’s shadow in his dialogue delivery ( Sharma at work? After all, Band Baaja Baarat was his baby!) Pariniti Chopra retains her fiery self, but has to add a lot more – she nuances Gayatri’s insecurities & quibbles very well. Debutante Vaani Kapoor is easy on the eyes, quite adequate, but falls a step behind the other three.

Considering the film had to deal with quite a controversial subject, rooting it in Jaipur helps. So you do have those pesky neighbours reacting not so kindly to Gayatri’s independence, which makes the core not a norm but a healthy deviation. It cushions the shock-value. And yes, there are plenty – other than mooting that ‘live in relationship is fine’ (that, by the way, in ‘normal Indian standards’ is quite shocking!) the film is sprinkled with generous dose of kisses that should give poor Emran Hashmi some serious nightmares!

In the good old archaic parlance – a typical nice ‘time-pass’ film! And yes, we have to harken back those times, because right from the posters to the ‘interval’ announcement vide a shrill bell as it used to ring in single screens, the film brings in that ambience.

One last point  – don’t confuse the film’s theme with its making.  I agree ‘live in relationships’ (and the easy, almost casual way shown in the film) may be a bit hard to swallow, but that doesn’t take away from the film’s inherent wit, humour and entertainment quotient.

Overall – Viewable!


Satyagraha -  I am sure many from my generation have grown up idolizing Amitabh Bachchan, generously aping his styles and dialogues, and simply being overawed by his larger-than-life screen presence. So before I get into the movie, a small tribute from a fan-boy!

In Satyagraha I couldn’t peel my eyes off Bachchan Saab’s superior performance. In one scene Amitabh Bachchan’s character (an upright retired school principal Dwarka Anand) confesses to his son’s friend Manav (Ajay Devgn) that he couldn’t really understand Manav and it was Dwarka’s fault for not having done so. It’s a quiet and emotional moment in the film. Amitabh Bachchan hungrily usurps the scene to make his own – every vein on his visage, his sunken grey eyes and his drooping body language acts out his pain, his guilt, his sorrow, his hopelessness, and his urge to accept Manav. Poor Ajay Devgn, an otherwise consummate actor, is left with his jaw dropped as Bachchan gives his monologue!

In another scene, right after his son is slain, Amitabh hears the young wife Sumitra (Amrita Rao, largely wasted) sobbing. He totters to her room, unsure and uncertain. He hesitatingly enters the room, she is lying with one arm above her eyes, crying. He sits tenderly on the bed’s edge and gives an assuring fatherly pat to her other hand. No words are exchanged. That would have been meaningless – how does one even begin to console such a loss? Amitabh Bachchan is again smashingly wonderful! And in this scene, salute to the director too for adding a small but extremely humane touch. Before Bachchan sits by her side he first adjusts the crumpled bed sheet she has wrapped casually on her. She is his daughter-in-law. He has to have that modesty. Neat gesture. Very tiny. But makes a difference. And shows a seasoned director at work.

In another similar scene, Bachchan desperately gropes the hot tar road where his son was brutally killed, after he learns about the exact spot. Again his expressions, his entire being, conveys the sense of helplessness, hopelessness and how he is internally thoroughly shattered. Too good!

Coming back to the film, though, Prakash Jha falters – and pretty heavily at that!. Sad, the film & the script do not rise to the levels of the performances within it.

Jha cleverly seagues the murdered NHAI engineer Satyadev Dubey’s tale to Anna Hazare type movement. In the film, Akhilesh (Indraneel) is killed because he was too close to find the nexus between corruption & politicians (led by a wily Home Minister, Manoj Bajpai). His father (Amitabh Bachchan) who wishes to utilize the ‘compensation money’ to build a school, is driven up the wall by the corrupt bureaucrats and inordinately complex red-tapism. So he fights back. And takes on to the streets to fight corruption. He is aided by Akhilesh’s best friend Manav (Ajay Devgn) who also brings along with him a reporter (Kareena Kapoor).

The film’s failure is that after the set-up it grounds to a wobbly halt. Nothing really happens, till the badly forced upon climax. If Jha by doing that, wished to show how frustrating it was for a common man to fight peacefully against the very own leaders they have supposedly chosen, well then he has succeeded. It is indeed frustrating. The common man wails the powers-that-be laugh it off and go about their own corrupt money-swindling means.

But then, that doesn’t necessarily translate into riveting cinema. So the second half spirals itself to protests, marches, fasts and what-nots and then more protests, walks, candle-light vigils, fasts and what-nots… and the ‘sarkar‘ goes about its business playing deaf.   Event unfold in haphazard half-baked manner; it’s like reading headlines over several days’ newspapers in one go, without delving into the details.  Seemed Jha was in a rush to execute the film before the theme cooled off and couldn’t really devote time to the writing.

Over that the characters are largely hazy idealistic sketches. Kareena Kapoor gets the rawest portion. I failed to comprehend how she could be a neutral reporter and a part of the protest, crossing the border as and how the scene required. Plus, she is never shown reporting back to her office? A long working sabbatical to support her pet-cause? Eh? Even the romance between her and Ajay Devgn is half-baked & wishy-washy.

And, ‘Ras ke bhare tore naina’ is a song that needed to be axed immediately. It severely breaks the already losing momentum. Not that there were any need for any songs anyway.

Arjun Rampal’s character is another painful appendage that has no meaning to be there. Poor Arjun even looks suitably lost. Ajay Devgn does a good job as always, and so is Amrita Rao great (but why was she looking anorexic?). Manoj Bajpai is dependable as always, and he has done this mean act so often I am sure he could sleepwalk through it.

Jha has usually given us shaded characters. But in this one the black and white is a bit too stark & mono-chrome, leaving no scope for nuanced human drama. At times, this leads to some incredulous moments – like how Manav donates away his Rs 6000crore business empire! Whoa!

The music (by a bevy of composers) is okayish. I like ‘Ras ke bhare tore naina’ but then it wasn’t required in the film. The background score is functional. The editing is good but could have been tighter.

Jha’s direction is fairly smooth and I adore his simple straightforward story telling narration – sad, this time, he actually had no story to tell. We have read it all in the newspapers and TV Channels.

Overall – Average, but watch it for Amitabh Bachchan’s superlative performance.



Madras Cafe -  Madras Cafe is a tight, gripping and engrossing film on the events leading up to Rajiv Gandhi’s assassination.

Of course, the makers play it safe and ‘fictionalize’ the whole event (e.g. LTTE becomes LTF, and the PM is jarringly never named and always referred as ‘PM Sahab’ or ‘ex-PM’, which sounded a bit weird). It also stays politically correct, neither mentioning that LTTE were in the initial days supported by India’s R&AW; nor does it question India’s pressing need to be ‘Oh-This-Problem-Solving-Big-Brother’ of the sub-continent (though there is a brief dialogue that a bureaucrat wryly comments that ‘this could be our Vietnam!’).

But anyway, it wasn’t required. The film never means to be a political statement. It stays on it’s path to depict the machinations behind the events that possibly led to that crucial day.

The film moves swiftly, in short but brutal takes, giving us adequate background history in brief spurts, as we get sucked into the narrative. The story revolves around a R&AW agent Vikram (John Abraham) who is sent to the war-torn Jaffna as part of Indian Peace Keeping Force to negotiate and broker peace between the Sinhalese Government and the Tamil fighters – by hook or by crook. The conspiracy, the leaks, the resistance & the help (in form of a war correspondent – Nargis Fakhri) constitutes the rest of the taut two-hour-ten-minute narration.

No, this is not a thriller with some ‘twist’ left to be unearthed in the climax. The denouement is known to all. Rather, it’s quite like reading a Ludlum page-turner, with all the eighties espionage masala thrown in (remember, those were still ‘low-tech’ times, where intercepts were done over landlines!)

Yes, this is a film where you *have* to carry your brain along! It’s difficult to provide the entire story – suffice to say that Vikram’s journey in Jaffna as he goes about his mission is rife with troubles, including a mole in the Indian set-up.

The film is shot brilliantly – tight close-ups and hand-held camera lending it a deep sense of urgency. It’s also edited sharply. Brutal & cracking. And the background score enhances the exigency. Director Shoojit Sircar shows his adept finesse again – his previous two films Yahaan & Vicky Donor were also brilliant.

The director chooses to do away with excess emotionalism, leaving the film pithy & succinct. For example, Vikram’s personal grief is a brief contemplative scene, retained there just to convey his loss, but not to excessively milk the emotion. Compare this to D-Day (another thriller released recently), and you will know that sometimes it’s best to leave things unshown. Like his character Vikram, the director also goes about his work in a no-nonsense fashion.

The war is captured through a neutral lens, detailed but not to make you cringe (though I felt they could have done away with the obvious cliché about wars fought &won by governments but lost by common people!)

Perhaps for the first time, I truly liked John Abraham. He really gets into Vikram’s character, looks the part and acts very well. (I always had a problem with his annoying habit of pursing his lips after every dialogue; mercifully except for two-three places, it is wholly done away with!).

Nargis Fakhri (after the horrendous display in Rockstar) shines in her brief role. That she is shown from London, and given no Hindi dialogues makes way for her to concentrate on her performance. Rashi Khanna has a small but beautiful role. Siddharth Basu (the erstwhile quizmaster from the time when the movie is set!) makes an impressive debut as R&AW Director. Other supporting actors are superbly cast – and keeping away ‘known faces’ helps. (Loved the performance of the guy who played Bala, in the movie!)

Just last week I was lamenting that Indian viewers hardly had a choice between inanity (Chennai Express) and insipidity (OUATIMA), but along comes Madras Cafe offering a rich, stimulating and awakening brew!

Overall – Go For It!


Once Upon A Time In Mumbai AgainOUATIMA is a dull, insipid & listless movie that provides a long runway but simply fails to take off. It’s a perfect example of making a sequel just for the sake of making one!

In fact, it hardly looks back to its prequel except for one fleeting shot of Ajay Devgn in that film. Else, there is no reference to that film, it’s characters or its drama which supposedly lays the foundation for Shoiab’s (Emran Hashmi in the earlier one, Akshay Kumar now) character. And talking of fleeting shots, Vidya Balan’s appearance is probably the shortest ever for any star appearances!

The film is shoddily written & lazily directed. The characters lack passion & their motivations are hardly explained. So we have this supposed big don Shoiab ( and please note we see nothing of his ‘work’) who is huge on style and spews more dialogues than bullets; it’s impossible to take such a ‘well groomed’ don (with a smart-alec punchline for every occasion) seriously.   Then he meets this supposedly innocent girl Yasmin (so innocent she doesn’t know the difference between ‘intercourse’ and ‘intermediate’ even though when she stands guard to her friend making out in a taxi – huh?!?!).

Of course, she doesn’t know he is a don – never mind, she didn’t bother to think once when she was showered the ‘Best New Face’ award at his behest, that too without giving even a single shot.  Later she moronically gasps ‘he is a gangster’. Hello, lady? Shouldn’t you have thought of that while coyly accepting the award and making that huge Oscar-winning kind speech. Basically, in the film’s universe,  innocence and stupidity are inter-changeable!

Then there is the other main person – Aslam (Imran Khan) – who is Shoiab’s protégé (again no reason provided for what purpose). And he too falls for this bimbo. Ya ya, it’s a small world, and a smaller city! Then there is some nebulous track about a rival gangster (Mahesh Manjrekar) who seeks his own revenge … yawn! again, no reason provided; I am sure by this time you get the picture – and sadly, coming from Milan Luthria, this ain’t either dirty or anything else.

This vapid love triangle gets some adrenalin shots in the last 30-40 minutes, when the drama hesitatingly peaks (that is after the script thankfully puts the bimbo out of action into the hospital bed); but then, as the cliché goes, it’s too late, too little.

Imran Khan is totally miscast. Neither does he come across as a rugged / street-smart gangster nor is he able to spike up the passion in his love and friendship. Over that his irritable pouting only adds to the woes. Dude, you are out of the ‘I Hate Luv Storys’ kind of rom-com sets. Show us some meat, or else quit! Sonakshi Sinha does her bimbo act with aplomb: charming and cute but that’s about it.

Sonali Bendre makes a comeback in a special appearance as Shoaib’s mistress, first love, or what (again, you see, the problem is we are never told who she exactly is!) – but well, she is really good! Mahesh Manjrekar has a vague role and he sleep-walks through it. I was taken aback to see a good actor like Vidya Malwade criminally wasted in a blink-and-you-miss role as his wife. Desperate measures, eh?

As for Akshay Kumar..sigh! Did he have to mouth all those lines in that annoying drawl throughout the film? It was fine for a PVR-advertisement on keeping the mobiles shut. But to bear it for 2.5 hours is painful.

The music is below average. In any case, I am tired of these so-called ‘Sufiana’ type of songs. Enough, please! The background score is functional. Cinematography, editing and art direction are just about ok. Rajat Arora’s dialogues are typically filmi, elaborate and away from reality – they worked in a good set up like Dirty Picture, but here they end up looking forced & contrived.

It’s a sad time for viewers – to choose between the inanity of Chennai Express and insipidity of OUATIMA!

Overall – As the don Shoaib would say – ‘Iss picture ko dekh liya toh Hindi cinema ki izzat bura maan jaayegi‘ ;-))


Chennai Express – Not worth reviewing!

Overall – ‘Pakau’ film!
The film is not worth reviewing or viewing. Yet please allow me to rant against it and take the burden off my chest. First up, let me confess my tolerance level for masala potboilers is very high; this can be gauged from the simple fact I didn’t mind Himmatwala. So it’s not that I have anything against commercial cinema; on the contrary, I thoroughly enjoy them & celebrate them as well. But Chennai Express is way beyond even my lenient tolerance levels; and it brought back the uncomfortable memories of Ra.One from the same actor-producer!

Chennai Express is a torturous, annoying & grating 2.5 hours journey that goes nowhere and is overstuffed with moments that make you throw up and cry out in pain. I fail to believe that Rohit Shetty directed this mashup which has no entertainment quotient whatsoever.

It’s been long since I have been so annoyed, so irritated, and so angry at any movie (and as I said, the last time it happened it was for Ra.One!)

The film’s sole silver lining is Deepika Padukone’s damsel-in-distress act and her cute Tamilian Hindi. And to an extent Vishal-Shekhar’s music (especially Titli), but then I am desperately clutching at any available straws. Else, the film drowns you miserably in its burdensome din, distaste & dullness.

If you still want to see it please do it at your own mental risk. My recommendation is to avoid this trauma by a huge margin.


Lootera – It’s is a hard film not to like. It’s filmed gorgeously. The detailing is apt but subtle. It’s garnished with good dialogues. The performances are brilliant. And it’s music is superb.

Yet, somehow it failed to move me as it should have. Which was rather despairing. Because as I said, it’s hard not to like the film’s individual aspects. But somewhere the emotional connect between the script and the audience is not properly established.

I guess the film is being held up by critics as some sort of rebel placard towards all the 100-crore ‘masala‘ grossers. Personally, I love those too. Actually, I feel I belong somewhere in the middle of these two diametrically opposite current cinematic styles.

I adore movies that have a languid pace. But there is a thin line dividing a languorous pace & a suffocating stillness, which pervades Lootera. No, the silences didn’t really speak poetry to me, as they did, in say Kuheli – the Bengali movie which I just saw on Youtube a few days back. Fanaa is another movie that crossed my mind. It’s second half was trashed to be ‘slow’ and ‘unmoving’ though I found the bulk of dialogues there between the lead pair very interesting. On the other hand, Lootera is no Ghanchakkar (which by any standards was outright boring!)

Perhaps, Lootera suffers from the malady that all films based on short stories do. To flesh out a full fledged film , the padding often reacts negatively with the story’s soul. Which happened earlier with Ek Thi Daayan. And now Lootera.

In O’Henry’s story The Last Leaf, it was about this woman who irrationally thinks that if the last leaf of the vine clinging to her window falls, she will also lose her life. The leaf never falls. It’s learnt that an artiste living below her house, who cares for her, had painted the leaf and had died doing so. The story left out ‘showing’ his act and it’s sheer hard-work is left for the reader’s imagination.

In Lootera, a supposedly subtle film, this act is strangely very elaborately shown. Even then, the act gets depressingly diluted with the hero running away and facing the chasing cops. Before all this, we also witnessed a superbly executed chase sequence embellished with some magnificent background score (Amit Trivedi), but alas, all that added nothing to the story or the film. Akin to an item song rudely interrupting the narrative.

I am hard-pressed to write a review and had almost abandoned it. Even now I am unable to gather my thoughts. Like the film. They’re scattered.

The film is character driven. And they are well presented. For example, I understood Pakhi. Born in ‘zamindari‘, boisterous yet grounded, suffering asthama/TB, having lived a cocooned life, doted by her father, vulnerable yet not a door-mat. But her plight unmoved me as she scribbled her wandering thoughts on distraught pieces of paper and threw them unceremoniously. Varun, the rake who loots her family (hence the title) and returns in her life a year later, is also understandable, but not the way he leaves her without a fight. Seemed tad too easy.

The performances are really worth gloating about. Sonakshi Sinha has nailed Pakhi’s character perfectly. In her first meaty role she hungrily gorges on the material presented to her, & presents a beautiful Pakhi, in her marvellous sarees, tormented by love & disease. It’s quite a revelation from the lady who has till now remained in shadows of big superstars.

Ranveer Singh is also very good, and one feels the pulsating energy so forcefully restrained beneath his calm exterior – a deep storm within the quiet surface ripples.

Divya Dutta is wasted in her brief apperance. Adil Hussain (named KN Singh!!!!), Vikrant Massey & Barun Chanda are all first-rate.

The cinematography is awe-inspiring. The sound design is lousy though, eating away some dialogues (and sometimes drowned in the music).

Amit Trivedi’s music is absolutely stunning – both the main score & the background music.  All six songs are listen-worthy and worth treasuring.

Overall – it’s nice, but didn’t have me gushing or mentally preparing for a repeat view!


Ghanchakkar  –  Not worth a review

Overall – Yawn!


Aatma -  Ten or so years back Bipasha Basu showed her ‘Jism’ to good effect; a decade later, she bares her Aatma, and sad to say her body had more substance than this vacuous and soulless flick.

The best thing is that it is merely 95 minutes long, and the worst thing is that those 95 minutes seem way too long!

The narrative moves in fits and jerks that would make even a ghost go giddy. The makers surely thought ‘different’. Rather than have disjointed and dismembered bodies on-screen they chose to display a disjointed and dismembered script! The real horror lies in the ruined screenplay that would make even a graveyard look like a palace.

So, in one scene a harried Bipasha is at her home, and in the next at her friend’s place (or is it a neighbor? Near her house? Far from her house?) and the subsequent shot has her back in her own house. Or was it the neighbor/friend’s only? Hard to tell. The director Suparn Verma doesn’t bother. He only shoots individual scenes without much care for what happens before or after; or for the characters or settings ( A 6 year kid being asked the spelling of ‘constitution’ was the heights!) . And the editor mechanically pieces them together.

Characters are introduced randomly. And they remain vague throughout. The entire film is superficial. There are a few spooky scenes, but they are few and far between. Hardly worth wasting your goose-bumps!

All clichés are adequately used – the ‘taaviz’ and the ‘pooja‘ and what nots! But the sum total never adds up.

The story is about a psychotic father (Nawazuddin) who is no good in life, and turns worse off in death. However, he obsessively loves his daughter and as a ghost spooks his ex-wife (Bipasha) to steal the kid. It had potential to be an emotionally distraught story with some strong horror flashes. Alas, that was not meant to be!

The dialogues are hilarious. In one scene, the kid’s teacher grimly states ‘Nia is distracted’ and Bipasha’s very intelligent response is ‘So Nia is not paying attention?’ Really?! Had they cut out such brilliant gems the length may have been a mere 60 minutes!

Everyone seems to be working in night – a primary school teacher is shown sitting alone late in the dark correcting test papers. Bipasha herself works alone in the night in a weird office. And horrors of horrors, the child psychologist meets the kid in the dead of the night. More than the kid, the doc needed a cure for insomnia!

The art director is on her/his own trip! The vast house is perpetually dim-lit with sad candles of various size and shapes strewn all over. (Who finds the time to light them?) The kid’s room has the TV built in an obnoxious looking bear-shaped cabinet. And whenever the kid is put to sleep there are always dolls and cartoon-printed bedsheets. Understandable in Bipasha’s house. But in the neighbour’s too? And *gasp* to stretch it further, even at a police inspector’s place? (Or was it police station?) Does the police now haul dolls?

Bipasha is ok, she has gone through this routine earlier. Nawazuddin (who had a dream run last year starting with Kahaani) grounds to a screeching halt in a criminally ill-defined & nebulous role which he evidently sleep-walks through.

But it’s the character artistes that bring the entire butchery with them. Shernaz Patel got her brief all wrong – lady, it wasn’t maa tujhe salaami! She hams and hams to the extent that I fear PETA would ban the film. Especially in scenes where she is not in the forefront she makes such annoying faces that one actually applauds the ghost for bumping her off.

Darshan Jariwala appears for a brief while as some ‘gyaani’ or pandit or whatever, we are never really told and probably not told to the actor even, for he looks absolutely clueless about his role.

And then there is the staple of such horror flicks – Mohan Kapoor!!! (Ya, that saanp-seedi or whatever televison show one!) (He played a funny priest in one such film, and in Raaz 3 he was the most irritating & artificial doctor ever) He recreates that vexatious doc act yet again – this time a child psychologist! Pray for the kids who are his clients!

Jaideep Ahlawat (also in Gangs of Wasseypur as Shahid) plays the Inspector who turns up after every death, and he brings some semblance of normalcy but he is limited by the overall script.

Hitesh Sonik’s background score is okay. Sangeet & Siddharth Haldipur’s songs are not used (barring one lullaby in the titles).

I have a strong liking for Bollywood horror flicks. But this one left me sorely disappointed. If Suparn Verma’s idea was to create with Bipasha in the lead a film even a worse one than Raaz 3 then he has definitely succeeded. (On hindisight and in comparison, Raaz 3 is Oscar material!) Else, it was a sheer waste of time & money.



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  1. Ekta says:

    Hi DJ, Love reading your take on movies. I found Shudhh Desi Romance ok-ok. Totally absolutely loved LOOTERA. And the music….don’t get me started on it…..Ranjhana??

    Ghanchakkar was a waste of time…esp the ending. Vidya was a li’l to loud.

    Did you catch Fukrey? I recently saw Sahib Biwi Gangster Returns.