Sunday, August 26, 2012

Memorable Dialogues from 'Chupke Chupke' - A Timeless Classic

'Chupke Chupke' is undoubtedly one of the most beautifully made light hearted comedies of Indian Cinema. Produced and directed by Hrishikesh Mukherjee, the film is a complete family entertainer.
Hrishi Da has this unmatched flair of etching out characters beautifully. Each dialogue, each scene, and each character from the movie is an epic in itself.
Chupke Chupke is one of my all-time-favorites. I have listed down some of my favorite dialogues from the movie. Hope you enjoy :)

Paagalpan Ke Lakshan:


Thursday, January 20, 2011

Dasvidaniya... The Best Goodbye Ever

A touching tale of a common man on the verge of death.

With the likes of Vinay Pathak, Rajat Kapoor and Ranvir Shorey coming together in a flick, one certainly hopes to witness a “Coming of age” story. And Dasvidaniya sure does not disappoint the anticipant audience.

Amar Kaul (Vinay Pathak) is a shy middle-class man in his late thirties who works for a gluttony boss (Saurabh Shukla). Amar’s mother (Sarita Joshi) is addicted to the television and can hardly hear a thing lest she uses her hearing aid. Amar leads a subdued life and the only exciting part of his mundane routine involves making a ‘Things to do’ list of his everyday chores. All his life he fails to accomplish anything he wishes to and seems to have lost the race of life. Amar’s life turns upside down when one fine day he learns of his last stage stomach cancer.

Vinay, in a way, has played a double role in the film; the second being that of his alter ego, his conscience that steps out of him and forces him to ponder on his life till date. Amar learns to live life to the fullest only when death arrives at his doorstep. He starts off on a journey to fulfill his wishes and becomes a completely transformed man in the last three months of his life. The gradual sense of achievement he experiences is beautifully brought out in the film as he checks off each item on his ‘Things to do before I die’ list.

The crux of the movie lies in its performances. Vinay Pathak’s sincere portrayal of his role calls for a big applause. Such a natural actor he is that one almost instantly connects with his character and feels his anguish, his disappointments in life with the same intensity. Vinay completely lives the popular adage ‘Silence speaks louder than words’ when he expresses his unvoiced love to his childhood crush Neha on a rainy night. It is undoubtedly one of the best scenes in the film. Neha Dhupia is surprisingly good in her act. Rajat Kapoor is perfect as Amar’s long-lost friend. Ranvir Shorey, Gaurav Gera, Saurabh Shukla and Sarita Joshi are equally good in their respective roles.

Debutant director Shashant Shah's fine treatment of the script adds to the simplicity of the film. In Toto, Dasvidaniya is an engaging movie; you laugh with it, you cry with it and you also carry a message home: ‘Live life to the fullest’.

P.S: Prior to watching the film I had a feeling that ‘Dasvidaniya’ should be some Sanskrit originated Hindi word. Instead, it turned out to be an impure form of the Russian word for ‘goodbye’. I was partially right though, as the Russian language is believed to have close resemblance to the mother of all Indian languages Sanskrit’.

Wednesday, January 12, 2011

Sorry Bhai or should I say ‘Maa Kasam‘

Subtle, Unusual & Witty! Sorry Bhai is a Romantic-Comedy by Onir, one of the path-breaking film makers of recent times.

Harsh Mathur (Sanjay Suri) is all set to marry Aaliya (Chitrangada Singh), his long time girl friend. Harsh’s parents Naveen (Boman Irani) and Gayatri (Shabana Azmi) and his younger brother Siddharth (Sharman Joshi) travel to Mauritius to attend the wedding. Shabana plays a nagging mother while Boman is a jovial & happy-go-lucky father. Siddharth is a young, nerdy and shy Scientist who is expecting a patent for his so called theory of “Living inanimate objects” and has been trying to “make a toy dog fly” to prove it.

Highly ambitious Harsh, over the time shifts his focus from Aaliya to his stocks. Soon love takes a back seat and money becomes his priority. Aaliya on the other hand is a simple girl and desires to lead a normal happy married life with Harsh. While Harsh seems to have no time for his fiancée, an unusual liking springs up between Siddharth and Aaliya. No matter how hard they try to ward-off every inch of feeling for one another, they end up falling in love; Madly.

Chitrangada and Shabana portray a perfect love-hate relationship. They initially kick-off by disliking each other but eventually start to connect and come to respect one another despite completely contrasting idiosyncrasies.

Shabana & Boman are just fab together and are as usual fantastic in their respective roles. When it comes to comedy, there are not many who can surpass Boman and one is sure to have more than a bunch of great laughs through the movie. Sharman Joshi clearly steals the show amongst the younger lot. Sanjay Suri is okay. Chitrangada Singh has got-it-all in terms of looks and perfectly fits the bill of a woman who is slimly mature for Sharman; she does a fairly good job as an actor too. The sparkling chemistry between Sharman & Chitrangada is hard to go unnoticed.

Sorry Bhai is about relationships, complex though. Come to think of it, it certainly is a hard-to-digest concept for the orthodox cine-goers, which not many may approve of. Unconventional? Yes! But all said and done, Sorry Bhai is enjoyable and makes for a pleasant watching experience. For some strange reason I felt the movie should have been named ‘Maa Kasam’ instead. You will have to watch the movie to know why.

Crafting out a movie on a tricky subject as this requires a sensitive approach in story telling. And Onir walks the thin line with aplomb. Clearly Sorry Bhai belongs to the ‘Hatke’ lot of movies to come out of Bollywood; a movie that goes beyond the yawn-inducing jargon

Tuesday, December 21, 2010

Amu… A Quest for Identity

Emotionally provocative and passionately made!

Kaju (Konkona Sensharma), a UCLA graduate is a young girl of Indian origin who is brought up in Los Angeles, USA. She returns to India to visit her maternal relatives in Delhi. Aware of the fact the she was adopted into a Bengali family at the age of three by Keya Roy (Brinda Karat) a social activist, Kaju basically aims to get in touch with her roots and intends to discover her birth place “the real India” through foreign lens. During this pursuit, Kaju comes across signs of hidden secrets related to her past and sets out to trace down her identity.

This critically acclaimed film focuses on the impact of1984 riots that triggered as a result of assassination of the then Prime Minister Indira Gandhi, by her Sikh escorts. The film also throws light on the magnitude of political involvement in the massacre; leading to a complete urban-chaos where thousands of Sikhs were brutally killed and their families were ripped-off from their homes.

Amu is definitely a brave attempt by Shonali Bose considering the controversial nature of the content. The handling of the subject matter is intelligent. The riot scenes are neatly done with absolutely no enactment of blood shed and not a single weapon used. Shonali has sensibly kept it symbolic and has utilized just the mob, their shouts and their cries to depict riots, making it devastatingly effective. However the intertwining of the flashback sequences, including the riot scenes and Kaju’s déjà vu shots, with the present could have been better.  

Alongside the portrayal of a heartrending tale, Amu has its share of lighter moments; be it the scene where the girls share their “hep” way of life with Granny, or the one where the little boy in the slums dances on a Bollywood number or Govind bhai’s recital of the famous Gabbar Singh dialogues.

The film could have easily done away with Kabir’s character (Ankur Khanna). The only reason for its inclusion seemed to be unwrapping the political connects from Kaju’s troubled past. Well, there were better ways of achieving that. Nevertheless, Konkona’s exceptional performance makes up for that miss. In an attempt to do justice to her character, Konkona puts on a little American-ish accent in her dialogues; thankfully she does not over-do it and that helps in keeping it natural. Brinda Karat as a social activist and an adoptive mother looks dignified and beautiful; though not much of an actor, she manages to pull off her role well. Yashpal Sharma as Govind Bhai and Bharat Kapoor as the influential politician have also done a good job.

Originally made in English and dubbed in Hindi, this debut movie by Producer-Director Shonali was later squeezed into a novel with the same name by Shonali herself.

Wednesday, December 15, 2010

Viruddh… Family Comes First

Some movies are so appealing that they manage to pluck the right string in your heart every single time you watch them. Viruddh is one such emotionally touching film about a small close-knit family in Mumbai.

The first half of the movie revolves around the life of an elderly couple in their early sixties; Vidyadhar and Sumitra Patwardhan (Amitabh Bachchan & Sharmila Tagore). Their only son Amar (John Abraham), who is also the narrator of the movie, studies abroad in London and is in love with a girl named Jenny (Anusha Dandekar). Amar returns to India and marries Jenny with the blessings of his parents. The subtle humor that the family shares and the way they derive happiness from the smaller joys of life, is lovely to watch.

In the second half, the life of the Patwardhan household turns topsy-turvy when Amar witnesses a crime and gets killed during unimaginable turn of events.

While the family is coping with this tremendous loss, the media, the society and the dysfunctional system further worsen their life through mental harassment. Amar’s murderer Harshvardhan (Amitabh Dayal) happens to be a leading politician’s son. Political influences are used to set him free and Amar is proved to be a drug peddler. The Patwardhan family collapses and struggles to fight back in the corrupt system. At this juncture, all they want is justice and all they aim is to prove Amar’s innocence.

The creator of ‘Vaastav’, Mahesh Manjrekar though not at his cinematic best in Viruddh, crafts out a decent film and once again demonstrates his mettle in making reality cinema. He sticks to the genre he is best at and delivers just what is needed; with no larger than life characters and no over dramatization.

A well directed film, Viruddh is bundled with an effective background score by Ajay-Atul, a well known music-director duo in Marathi cinema. Amitabh Bachchan is in great form while portraying a man who has lost all, but not his faith. Sharmila Tagore is wonderful as the protective mother and a supporting wife. Our very own Sanju Baba is as endearing as ever in his short yet commendable role as a mechanic. Sachin Khedkar as the inspector, Amitabh Dayal and Anusha Dandekar also leave a mark with their neat performances.

The film did not taste the deserved box-office success, in spite of an intense story line, a series of fabulous performances and a top-notch cast.

Tuesday, November 23, 2010

Guzaarish… A Plea

Guzaarish is a passionate, tear-jerking and heart wrenching story of Ethan Mascarenhas (Hrithik Roshan), who is one of the most celebrated Magicians in Goa. Ethan is paralyzed with a serious spine injury and turns into a Quadriplegic, when Yasser Siddiqui, a Magician and Ethan’s best friend deceives him owing to jealousy.

A true fighter, Ethan bravely survives fourteen long years celebrating life with immense courage and an unfading smile on his face. He sets out to be a successful loved-by-all RJ hosting Radio Zindagi, and is no less than an idol for his listeners.

Aishwarya Rai, who personifies elegance, gracefully dons the hat of Sofia D’Souza, Ethan’s nurse since twelve years, who has been sincerely taking care of him. She forgoes her home, family and her almost-broken marriage, unaware of her silent yet deep love for Ethan.

Tired of living a life confined to the four walls, a bed and a wheel chair, Ethan urges his best friend and lawyer Devyani Dutta, portrayed by Shernaz Patel to file a petition requesting for Euthanasia or Mercy Killing.

Devyani and Ethan’s mother Isabel (Nafisa Ali), stand by his decision as they had seen him suffer enough all through the years and want his agony to end at once. Sofia and neurologist Dr. Nayak do not approve of this since they had saved and nurtured his life for so long, but later on back his decision for his own good.

Meanwhile, Omar Siddiqui, played by Aditya Roy Kapoor, a naïve young man approaches Ethan with a desire to learn magic from none other than the legend himself. Ethan agrees to pass on his magical prowess to him, in full awareness that Omar is Yasser Siddiqui’s Son.

Using Radio Zindagi as an aid, Ethan tries to gain people’s support in favor of his case. He calls it ‘Project Ethanasia’ and asks his listeners for a vote. Much to his disappointment, he learns that all his fans want him to live.

The truly imaginative Bhansali is at his aesthetic best when it comes to the splendid sets in his movies. Sets of Guzaarish are nicely embellished with rich yet sober play of colors. Alike Bhansali’s earlier works, Guzaarish is a musical. The film’s music also composed by Bhansali adds to its sublime beauty.

A lovely movie with an equally beautiful bunch of actors. Hrithik Roshan steals the show with his effortless portrayal of the character. Rajit Kapoor, who has also written the dialogues for the movie, plays the infuriated prosecution lawyer. Shernaz Patel was wonderful as ever. Newcomer Aditya Roy Kapoor also leaves a mark with his on-screen spontaneity and an amusing performance.

Guzaarish is magical, serene and full of life. Guzaarish... is a plea for death!

Sunday, November 21, 2010

Ek Ruka Hua Faisla...

Produced and directed by Basu Chatterjee, Ek Ruka Hua Faisla the Hindi remake of Twelve Angry Men, is a flick with a strikingly unusual plot. A Jury of twelve people from different professional and personal backgrounds is chosen to determine the fate of the accused, a boy in his late teens, who is held on the charge of his father’s murder.

The jurors are called on for the verdict on the grounds that they have no connection what so ever with anyone or anything involved in the case and hence making it easy for them to be fair and completely unbiased in their decision as there would be no personal profit or loss involved. They are supposed to remain in an enclosed room until consensus is reached on whether or not the accused is guilty.

Each juror due to varied reasons has his own opinion about the murder trial. One has a pre-conceived notion about the cadre of people who come from the same financial background as the accused. One is aloof and totally unconcerned about the outcome of the case since he wants to finish the job at the earliest, not to miss the movie starring his favorite actor. There is one disagreeing individual who is totally convinced that the young man is guilty due to personal prejudices. And there are others who are supportive and understanding.

All members of the jury, except one, strongly believe the accused to be guilty. That makes it Eleven Vs One. It is this one juror, played by K.K Raina (of Byomakesh Bakshi fame) who takes a rational approach from the very beginning and thinks that the young man should not be convicted in view of even a slightest visibility of his innocence. He analyzes the evidences and the testimonies provided by the witnesses in a truly analytical way without getting judgmental. Throughout the movie he stands firm on his belief and finally succeeds in convincing the other jury personnel one after the other that the young man is not guilty.

Amongst genuinely brilliant performances, Pankaj Kapur, who plays one of the jurors, takes the cake for his absolutely stunning performance. He stands out for his highly frustrated and angry mannerisms and proves to be a hard nut to crack. The reason for his firm stand though false, being his own heart touching story of his son leaving him a couple of years back after beating him up, which he reveals at the end.

Standing true to its title, the film succeeds in holding the suspense on the final verdict of the trial. Excellent screenplay coupled with truly apt and realistic dialogues. The film, not a Bollywood stereotype, is very well directed, with an extremely interesting and gripping storyline. It subtly displays how our personal biases rule the actions we take and decisions we make in our lives. It strongly brings out the significance of not being influenced by our prejudices before coming to a conclusion.