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Sharmila-Sweet
post Nov 19 2009, 12:39 PM
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Kurbaan Film Review [SPOILERS]

First things first. Kudos to Karan Johar for shifting gears completely and entering into serious territory. Of course, we do love him for his K-class cinema: all his crunchy popcorn films beginning with K, ever since Kuch Kuch Hota Hai redefined mainstream romance. But Kurbaan doesn't need the popcorn at all. It keeps the screen on overboil for most of its screen time with its hard-hitting storyline that dares to venture into undefined territory.

Like Khuda Kay Liye, Kurbaan too looks at the other side of Islamic fundamentalism and puts the post 9/11 tumult in perspective. Who are these guys who carry anger in their hearts, revenge in their heads and bombs in their pockets? Why are they hell bent on blasting the world, irrespective of the anguish it spells to all and sundry? Can there be a purpose behind their madness? Is one man's terrorist actually another man's activist? Kurbaan, written by Karan Johar, raises these pertinent - and extremely topical - questions, without glossing over the one undeniable truth: a suicide bomber can never solve the inequities of the world, Palestine, Iraq, Afghanistan, notwithstanding.

So we have Ehsan Khan (Saif Ali Khan), the Pakistani who lost his wife and kid to American excesses, seething with a desire to avenge his loss. He isn't the archetypal, skull-capped, bearded fundoo, mouthing soliloquies on jihad and intifada (uprising). On the contrary, he's suave, sophisticated and a charmer, tutoring the world on the misconceptions of Islam in the modern world. Small wonder then he manages to win the heart of college professor Avantika (Kareena Kapoor) and follows her to New York on her stint with NYU. But the domestic idyll is short-lived as Avantika soon discovers it isn't her neighbours (the Afghani extended family, headed by Om Puri) alone who have suspicious antecedents. Husband Ehsan too is an integral part of the plot to bomb America for its excesses against Muslims, the world over.

In a classroom sequence, the film tries to put Islamic fundamentalism in perspective by linking the rise of the Muslim terrorist to America's oil-grabbing foreign policy and its questionable attempts at destabilising oil rich countries in order to remain a superpower. Almost every member of the sleeper cell that comprises the Afghan family has a sad story of loss and horror that drove them into becoming fidayeens (suicide bombers). And before you begin to question the filmmakers for going too lenient on terrorism, you find Avantika who remains a non-convert till the very end. Articulating the voice of reason - and non-violence - she questions her husband and oscillates between love and hate for the man who has fathered her child. A prisoner in her own house, her only hope is Riyaaz (Viveik Oberoi), the undercover journalist who has his story of personal loss that pitches him on the other side in this war. He is determined to fight the terrorists and derail their plot of bombing America.

Karan Johar's story has gravitas. Renzil D'Silva's narrative keeps you on the edge of the seat, for most of the time. Salim Suleiman's music score has a melodious feel. Hemant Chaturvedi's cinematography serenades both Delhi, where the Saif-Kareena romance blossoms and New York, where it cracks up. And the performances by almost all the lead characters are gritty. If Om Puri paints a chilling picture of the terrorist who masquerades in the garb of the commoner and Kiron Kher makes the myth of a suicide bomber plausible, then Viveik Oberoi lends credibility to the voice of the progressive Muslim. But it is the chemistry between Saif and Kareena that lights up the film as the duo bring to life a picture of passion and restraint as the doomed lovers. We do however wish their relationship had a stronger emotional graph, post the startling revelation. How did the duo contend with the fear, hate and disillusion that crept in after Saif revealed his true identity: a bit more on that? And a bit less in the length of the film which could do with some taut editing in the second half. Also, there are a few inconsistencies that mar the film's realism. Why does the FBI loom large like a know-it-all, do-it-all figure? Not only do the FBI sleuths always be a step ahead of the terrorists and arrest them without actually knowing who they exactly are, they also emerge unscathed in a suicide bombing attacking where almost everybody crumbles. Super Uncle Sam, did we say!
But Kurbaan sure does strike a chord and sets you thinking on stuff that needs to be sorted out before the new world order - a more humanitarian, less violent - sets in. Don't miss it.

A word about

Performances: Saif and Kareena transport their off screen tuning to the big screen. While their passionate encounters are a class in aesthete, their delineation of Ehsan and Avantika is mature, restrained and realistic. Om Puri, Kiron Kher and Viveik Oberoi are in sync too.
Music: While Salim-Suleiman have come up with an entire audio track which fits in with the ambience of the film, it is Shukran Allah and the title track, Kurbaan Hua which have lingering notes. More importantly, the songs blend in seamlessly with the story and have not been filmed as your run-of-the-mill song-dance numbers.

Dialogue: The conversation amidst the diverse protagonists has a realistic edge and seem straight out of life. It's only when he tries to explain the theoretical basis of Islamic fundamentalism that Anurag Kashyap, dialogue writer, seems to enter the realm of text-book knowledge. The exposition seems a rattling of newspapers headlines.

Story: Karan Johar explores new depths with his insightful story on the world's most pressing problem: terrorism.

Cinematography: Hemant Chaturvedi uses his camera deftly to create stunning vignettes of Delhi and New York, without losing out on the seriousness of the plot.

Styling: Kareena looks svelte in dresses and tights and brings to life a glamorous professor who dons the hijab with equal felicity. Saif is his usual dapper self, making casual seem haute.


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Sharmila-Sweet
post Jun 18 2010, 12:19 PM
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Raavan is Mani, Abhi, Ash's best work
Last updated on: June 18, 2010 10:04 IST
Aseem Chhabra reviews Raavan in New York.


Mani Ratnam's Raavan is an overwhelming film. At times a tad bit overproduced, the film is an onslaught of brilliant use of technology on the viewer's senses -- stunning cinematography, the fluidity of the camera, quick edits, loud soaring music, with the actors thrown into wild nature.


Ratnam working with his regular cinematographer Santosh Sivan and also V Manikandan, and editor A Sreekar Prasad, gives us a hellish vision -- an innocent woman Ragini (Aishwarya Rai Bachchan [ Images ]), kidnapped by a Veerappan-like outlaw, Beera (Abhishek Bachchan [ Images ]).

Much of the film is the cat and mouse game -- Beera and his gang, in harmony with the forests, rain, rivers, cliffs, mountains and a lot of mud, always a few steps ahead of the police force led by an officer Dev Sharma (Vikram), who also happens to be Ragini's husband.

Ratnam is one of the most remarkable filmmakers in India [ Images ], taking unique story ideas -- although some with muddled political messages, working within the framework of popular cinema, and yet creating memorable films in Tamil, Hindi and other languages.

From the days when he used to shoot his films in one language (Roja [ Images ], Bombay and Dil Se) and then dub them for other markets, he has now moved to working simultaneously on two parallel productions.

This time he shot Raavan in Hindi and Raavanan in Tamil -- shooting each scene back-to-back, with at least one actor interchanging roles. Vikram plays Dev in Raavan and then Veeraiya (Beera) in Raavanan, while Ash appears as Ragini in both films. He also has a third version -- Villain dubbed in Telugu.

That is a lot of ambition for a soft-spoken 54-year-old man, who first attended business school before becoming a filmmaker. There is ambition written all over Raavan and at most times it succeeds.

But it all happens at such speed that it takes a while to absorb the pace of Raavan. The film needs to be digested, absorbed and mulled over. The visual images are often so powerful and strong, each shot packed with so much activity -- rain, mud, trees, cliffs, and, of course, the actors, that many filmgoers will miss out on all that they see on the screen.

I tried to get ahead of Ratnam and started counting the number of edit cuts during the grand dance performance to the song Thok di Killi, but soon I felt I was on a roller coaster ride, and had to stop to breathe.

Raavan is Ratnam's interpretation of the Ramayana [ Images ] (yes, the rumours and speculations are true), with Bachchan, Ash and Vikram playing the roles of Ravana, Sita and Rama, respectively. And in one of the most brilliant strokes of casting, a delightful Govinda [ Images ] plays Sanjeevani -- a modern day Hanuman [ Images ], playfully hopping from one spot to another as he joins Dev's mission to search for his wife.

The film is replete with references to the Ramayana -- from the 14 days it takes Dev to rescue his wife, to a disturbing take on the Soorpanaka story, which becomes the justification to the kidnapping of Ragini.

But Ratnam takes Raavan beyond the Ramayana. I am not giving away the ending, but I wonder what the purists and Hindu fundamentalists will think about the departures of the film from the religious text.

Ratnam gives us all shades of the three main characters. Beera is not always as evil as Ravana is often portrayed; Ragini's Sita has a strong inner core, and while she starts with hating Beera, she is sometimes in awe of his sudden spouts of gentleness; and Dev turns out to be the not so perfect Rama.

I wish the script and the film in general, had not spent so much time in its technological grandeur, because the real crucial conversation around the Ramayana starts to happen near the end of the film. By this time Beera, Ragini and Dev have stopped being the traditional Ravana, Sita and Rama.

That transition makes Raavan a significant milestone for modern India to move beyond the Ramayana as just a religious text. And so Raavan is perhaps Ratnam's most definite political film.

Bachchan's best work to date has been with Ratnam in Yuva [ Images ] and Guru. But here the actor goes beyond anything he could have imagined he was capable of doing. Through the film he stands tall, observing his landscape, his face twitching with myriads of thoughts and his menacing smile unnerving all those who come in contact with him. Bachchan has never worked this hard in a film and it shows in his performance.

Like him, his wife Ash also gives one of the strongest performances of her career. Few directors have succeeded in making us look beyond her beauty and see the actor in her. Rituparno Ghosh worked wonders with her in the under-appreciated Raincoat and Ratnam did that in Guru and now here in Raavan.

Vikram, a star in Tamil films, is a real find for the Bollywood industry.

The fate of Raavan and its Tamil and Telugu versions will be judged in the next few days by audiences across India and abroad. But this much is clear -- Ratnam, the quiet master, is in top form here. It will be a challenge for him to outdo himself.



4/5 - rediff.com

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Romuz
post Jun 18 2010, 06:09 PM
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RAVAAN
ROBIN HOOD MEETS APOCALYPSE NOW COURTSEY

Aishwariya Rai Bachchan, Abhishek Bachchan, Vikram, Govinda,Ravi Kishen, Priyamani
Director: Mani Ratnam
Music: A.R Rehman

Review by: Dr Usman Khawaja


What is the problem with Bolly scripts, as here a man like Ratnam takes movies like “Gangajal", "Jungle" and Hollywood classics like 'Apocalypse Now' mixing it is a mish mash of action and silly stunts and packages it with pseudo artistic visuals from Coppola's war epic as billowing smoke stands in for mist.

Anyway Vikram is a good cop, married to Aishwariya and they are posted in a lawless Indian rural paradise much like" Gangajal " which is ruled by a gangster cum robin hood Abishek Bachchan as Beera, and he is both Ravaan and ram all in one while Aishwariya Rai as Sita is still married to the real ram Vikram is a stand in for Ram.

I am really confused here as I think this akin to making Ganges flow backwards but than anything goes and after a lot of action stunts, songs and we end up on a suspension bridge for the climax thanks to Indiana Jones.

Never mind as Aishwariya Rai gets loads of sequences which just require running and jumping in Indian hinterland with no dramatic requirements, while Abhishek Bachchan is a joker as “Raavan" who plays it like a clownish big hearted Heath ledger, and the whole pulpy vision is just a borrowed bonanza , where Vikram is the only performer who breathes some air in this dead horse, but fails to flag it still in the fuzzy visuals with mystical mists enshrouding the screen in a paradox of obscure origins.

Cops and gangsters and heart of gold robbers mix with untouchables, who rob the rich and there is enough plunder and gruesome killings to appease any sadistic masochist, while A.R Rehman composes an unusual score which is not synchronised with the milieu of a thriller and interrupts the narrative as does the redundant leading lady who looks uncomfortable between the husband as hero and the great hearted villain on the periphery as a toy boy.

Abishek Bachchan looks as un-winsome as Ravaan, with some extremely bizarre getups, and is overshadowed by Vikram in every aspect from action to talent, and he tries to give a edgy paranoid look which unfortunately misfires.

Ratnam who made Yuva and Dilse and Bombay here is laden with a banal script with a laconic cat and moose game played in a forest which is very similar to R.G.varma's Jungle, and "Coppola's Apocalypse Now, but not a fraction as interesting, and the climax on a suspension bridge suspend all brief and is inadvertently hilarious.

This is not entertainment or art it is pulp mixed with trash packaged with shamelessly stolen visuals and it does no favours to Ramayana in its lousy duration of 2 hors and 20 minutes with a paranoid narrative with misty forests and green ravines and a lush middle aged, Aishwariya trying to desperately cope with two men she obviously is not very fond of in reality or onscreen too.

Mr. Ratnam please go back to real actors like Ajay Devgan and Manisha koirala and turn out something with an original script with some credible gimmicks rather than the falling bodies of aishwariya and a diving Beera.

A rather sullen and desynchronised, somewhat stylised version of so called Ramayana borrowed from multiple sources.

Rating: 3/10

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Sharmila-Sweet
post Jul 12 2010, 05:34 PM
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Milenge Milenge
TNN, Jul 9, 2010, 08.08pm IST

Critic's Rating: 2.5Cast: Shahid Kapoor, Kareena Kapoor, Satish ShahDirection: Satish KaushikGenre: RomanceDuration: 1 hour 50


Story: College girl, Kareena Kapoor, has just one ambition in life. She wants to settle down in sweet domesticity with a guy who has three basic hobbies: No cigarettes, no booze and no lies. Co-collegiate plus prankster, Shahid Kapoor, gets to know about it and pretends to be her dream guy, despite his penchant for the three vices. Does the romance survive when the lid is blown off the subterfuge? Leave it to destiny...

Movie Review: So what's the one big question that stares you in your face when you walk out after watching Milenge Milenge? Would this film have been a hit had it been released when it was `Milethe Milethe' for the lead pair; that is, when real life was in sync with reel life, for Shahid and Kareena, not so long ago? The answer? Don't think so.

And there are quite a few reasons for it. First, you could blame it on the plot which has nothing new to offer. Now that's almost criminal in an age when even the ordinary love story has been re-written in new-age Bollywood. Who talks about `Someone, Somewhere, specially for me' and consults tarrot card readers (or even, Paul, the Octopus) when it comes to love, aaj kal! Even mush moghuls like Yash Chopra, Aditya Chopra and Karan Johar are realising the risk potential of `Rab ne bana di jodi' like cliches in an age of FB, speed dating, instant romance and speedier breaking. So, it does seem corny to pitch a character like Priyanka (Kareena) who believes that a book on numerology, a fifty rupee note with a phone number or a ride in a lift is all that it would take to bring her together with her soul mate. Ironically, the entire romance unfolds as a destiny play, with one hit and miss encounter following the other. Needless to say, the lovers predictably keep missing each other by a few minutes or a few years.

Naturally, in such a chancy affair, there isn't much that the pair of star-crossed lovers can do, other than catch wrong planes, enter wrong doors, or land up in wrong cities at the wrong time. Remember, the re-union hinges on the special rupee note which must travel the globe before it lands up in Kareena's kitty. So why the khali-peeli bhagam bhag by the babalog! Of course, Shahid and Kareena do try hard to inject life in a dead script and do manage to still look good together.

But with outdated choreography, college humour, couture and a minus-the-thump music score (Himesh Reshammiya), this love story doesn't have the turn-of-the-century zing that has entered most of Bollywood's pyaar-mohabbat pulp fiction.

So what's the bottomline? Milenge-Milenge ends up as a might-have-been, iffy affair. Watch it `IF' you still dig the Shahid-Kareena jodi which re-defined the word 'chemistry' in Jab We Met.

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Sharmila-Sweet
post Jul 30 2010, 01:47 PM
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Buy a ticket for Once Upon A Time in Mumbaai. Now!
July 30, 2010 11:18 IST
CommentSyed Firdaus Ashraf reviews Once Upon A Time In Mumbaai.

Once Upon A Time In Mumbai [ Images ] there was Bollywood which used to give us great films, but not anymore. Hopes of seeing great films from today's filmmakers seem lost.

Once you watch Once Upon A Time In Mumbaai, however, all hope is not lost. Watch the trailer here.

Once Upon A Time there were writers like Salim-Javed in Bollywood.

Once again, we have found such a writer in Rajat Aroraa. Watch the film and you will understand. By the way, Rajat, where were you hiding all this while?

Once Upon A Time in Mumbai there was an actor called Randeep Hooda [ Images ] who was written off.

Once again, he's back with a bang as ACP Agnel Wilson.

Once Upon A Time in Mumbai there was Ajay Devgn [ Images ] who floored us with his role of Malik Saab in Ram Gopal Varma's [ Images ] Company.

Once again he returns to top form with his role of Sultan Mirza.

Once Upon A Time in Mumbai there was Emraan Hashmi [ Images ] who acted brilliantly and smooched girls with aplomb.

Once again he has acted brilliantly as Shoaib. The smooches, however, are missing this time.

Once Upon A Time in Mumbai there was a genre of music in Bollywood that we used to love, dhan-tanan-tananan.

Once again Tananan Tananan, Tananan, Taan Taan returns. You've got to hear it to believe it.

Once Upon A Time Bollywood used to give us melodious music.

Once again, we find that in this film. Pritam [ Images ], I am speechless.

Once Upon A Time in Bollywood, heroines had little to do in a film.

Once again, Kangna Ranaut [ Images ] and Prachi Desai [ Images ] have little to do. After all, this is a gang war movie.

Once Upon A Time our film critic Raja Sen would have reviewed this film.

Once again, thank you Raja for going on a sabbatical so that I could review this film instead of you.

Once Upon A Time in Mumbai, I saw a great movie on Thrusday night.

Once again, I am going to see it on Saturday with my family and again on Sunday.

Once Again, you are reading my stupid review.

Once again, I am reminding you to book your tickets for this film.

Once Again, you're still reading this review. Stop and go buy a ticket. Now!

Once Upon A Time in Mumbai there was a director Milan Luthria who made Kacche Dhage with Ajay Devgn and Saif Ali Khan [ Images ] and then lost it.

Once again, he is back. Thank You, Milan.

Rediff Rating:4/5

=============================================



EDIT: DON'T BUY A TICKET FOR THIS MOVIE - HIGHLY OVERRATED

This post has been edited by Sharmila-Sweet: Aug 2 2010, 01:36 PM

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post Aug 25 2010, 06:11 PM
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Lafanggey Parindey

Tested away a different story line with slightly different scripting. Yash Chopra film banner changed their style from mushy love stories to different story. Giving credit to some how different story line and as they moved to reality dance shows, they include the concept in this movie as well.
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post Sep 5 2010, 10:00 PM
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and i watched WE ARE FAMILY......



nice movie.....i like it.....as usual, kajol is at her best ....kareena is also great.....arjun is good too............it's a sad movie......kajol has cancer and is dying......well, i admit i cried while watching this movie....it's about life and relationships.....



i'd rate 3.5



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post Sep 8 2010, 11:40 AM
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QUOTE(IDOL @ Sep 5 2010, 10:00 PM) *
and i watched WE ARE FAMILY......



nice movie.....i like it.....as usual, kajol is at her best ....kareena is also great.....arjun is good too............it's a sad movie......kajol has cancer and is dying......well, i admit i cried while watching this movie....it's about life and relationships.....



i'd rate 3.5



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impossible.gif This is copy of the english film Stepmom!
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Sharmila-Sweet
post Sep 8 2010, 12:24 PM
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Yes Nimi and it is a LEGAL & ACKNOWLEDGED remake of Stepmom, VERY WELL MADE and a lovely, touching, beautiful movie.

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post Sep 11 2010, 01:22 AM
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QUOTE(Nimii @ Sep 8 2010, 12:10 AM) *
QUOTE(IDOL @ Sep 5 2010, 10:00 PM) *
and i watched WE ARE FAMILY......



nice movie.....i like it.....as usual, kajol is at her best ....kareena is also great.....arjun is good too............it's a sad movie......kajol has cancer and is dying......well, i admit i cried while watching this movie....it's about life and relationships.....



i'd rate 3.5



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impossible.gif This is copy of the english film Stepmom!




is it?.....hmm....maybe the original is too old to have copyright issue......but anyhow...it's good...it's not a popcorn movie....it's just simple and realistic....


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Sharmila-Sweet
post Sep 13 2010, 03:21 PM
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Review: Dabangg is an out-and-out entertainer
Published: Friday, Sep 10, 2010, 16:00 IST | Updated: Sunday, Sep 12, 2010, 17:28 IST
By Blessy Chettiar | Place: Mumbai | Agency: DNA



Film: Dabangg (U/A)


Director: Abhinav Kashyap
Cast: Salman Khan, Sonakshi Sinha, Sonu Sood, Arbaaz Khan, Vinod Khanna, Dimple Kapadia, and others
Rating: ***½

“Dabangg is a buffet meal, there’s something for everyone,” said director Abhinav Kashyap before the release of his debut film.

His baby stays true to the director’s claim. An out-and-out Salman Khan entertainer, Dabangg (which means fearless) give you a lot of reasons to love Khan even more.

We see Khan as his old self, packaged in a new police ki vardi as Inspector Chulbul ‘Robinhood’ Pandey in a certain Laalgunj gaav of Uttar Pradesh. Sure, many would like to adopt that middle name.

Lovably corrupt and enticingly lean, Chulbul makes sure he gets the share of the booty in every big (or small) dacoity in the village banks. His love for mother (Kapadia, typical Bollywood maa) and hatred for stepfather Prajapati Pandey (Khanna) on one side is balanced with his love-hate relationship with stepbrother Makhi (Arbaaz Khan) on the other.

Family dramas are not new to Bollywood. But Dabangg has an edge because of the smart packaging of action, love, drama and a tragic climax. Small-town politician-villain Chhedi Singh (Sood) has personal scores to settle with Chulbul. Using his dysfunctional family ties as pawns, Chhedi will stop at nothing to win an election and settle his rivalry with Chulbul.

Apna Chulbul cracks PJs, falls in love, propositions village belle Rajjo (Sinha), and gets married in style. Salman Khan’s on-screen larger-than-life persona is fully exploited by Kashyap.

Arbaaz Khan as the mandbuddhi (slow-witted) stepbrother puts on a good show playing a character with slightly grey overtones. Sinha risked a deglamorised launch and went for the sari-clad Rajjo, a role she fits to the T and in which she doesn’t fail to impress you. She looks comfortable being paired with a hero who is at least two decades older. The star kid (she is Shatrughan Sinha’s daughter) will, however, need some more challenging roles to prove her worth.

Kapadia as the Pandey mother reminds you of the mothers in Hindi cinema of yore, self-sacrificing, torn between relationships, slightly over-the-top, likeable nevertheless. As for Sood, you feel like beating him up for giving hero Chulbul such a hard time.

The casting for each peripheral (importance to the plot notwithstanding) character in Dabangg is perfect, be it Mahesh Manjrekar as Rajjo’s alcoholic father, Om Puri as the hand-in-glove crooked cop, Anupam Kher as the power-crazy politician, or Mahie Gill as family-oriented Nirmala, Arbaaz Khan's lover.

Fans and critics can see Salman Khan do what he does best, positively “bhayanak” dialoguebaazi, Rajini-style action, and trademark dance steps with funny hand movements, topping it all with a shirtless fight sequence. The dialogues of Dabangg are memorable; don’t be surprised if you rattle some off long after you have left the cinema hall.

Mahesh Limaye’s cinematography captures the feel of rustic Uttar Pradesh well and lends authenticity to the muddy politics, fight sequences, and overall lawlessness of the land. The very many songs are effectively, in Chulbul’s words, thusaoed in the plot, without once making the audience cringe. From theme song Hun Hun Dabangg to the romantic Tere Mast Mast Do Nain and the drunks’ anthem Humka Peeni Hain, every song has recall value. Not to mention Munni Badnaam Hui with Arbaaz Khan's wife in real life Malaika Arora Khan sizzling to the beats of composer Lalit Pandit.

Clean humour, fabulous action sequences, innocent love stories, and superb dialogues typify Dabangg. Watch it at a single screen to enjoy the hooting, cheering, clapping and even the occasional standing ovation for the dabangg Sallu Bhai. And yes, don't forget to leave your brains at the door.


http://www.dnaindia.com/entertainment/revi...rtainer_1436258




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post Sep 15 2010, 02:56 AM
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i have watched so many reviews of this movie on youtube .....all say it's hit.......they say it's made like Wanted


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post Sep 16 2010, 11:27 PM
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QUOTE(IDOL @ Sep 15 2010, 02:56 AM) *
i have watched so many reviews of this movie on youtube .....all say it's hit.......they say it's made like Wanted



Now watch it.. after all you are Sallu Khan's fan.. wink.gif
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Nimii
post Sep 16 2010, 11:28 PM
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QUOTE(Sharmila-Sweet @ Sep 8 2010, 12:24 PM) *
Yes Nimi and it is a LEGAL & ACKNOWLEDGED remake of Stepmom, VERY WELL MADE and a lovely, touching, beautiful movie.


Ahaa! Then I must see this one for sure.. I was very apprehensive about it after I saw the trailor of the movie when I went to see Peepli Live!
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suhana_safar
post Sep 17 2010, 06:16 AM
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I dont watch Salman Khan films but saw Dabaang, crap film but Salman Khan is incredible in the film. Single handedly he saves the film.


PLAYBACK SINGING STARTS AND ENDS WITH RAFISAAB. IN TERMS OF QUALITY, CONSISTENCY & VERSATILITY, RAFISAAB IS INFINITE LIGHT YEARS AHEAD OF ALL SINGERS BEFORE, DURING AND AFTER HIM.
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