Dus Kahaniyaan

Sometimes, a short story of 10 minutes or a music video of 4 minutes has a better story to tell than most 2.30 hour movies.

It would be unfair to club DUS KAHANIYAAN in the same category as DARNA MANA HAI, DARNA ZAROORI HAI and SALAAM-E-ISHQ. Not only because the genres are as diverse as chalk and cheese, but because each 10-minute story in DUS KAHANIYAAN has something to say. At times, the message is loud and clear. At times, feeble. But there's no denying that DUS KAHANIYAAN is refreshingly different from the episodic films we've witnessed in the past.
At the end of the day, it's all about narrating interesting stories effectively. Sanjay Gupta and his team of directors have chosen 10 different stories that are not linked with each another and also don't have a sutradhaar to bind them in one thread. Nor is the finale of each story the same. So let's minutely look at each story and the impact they create.

'Rice Plate'
Cast: Shabana Azmi and Naseeruddin Shah.
A Hindu woman and a Muslim man's journey over a rice plate. It is about the challenge that the woman faces when a man claims her plate of rice. Will she place her hunger before her beliefs? Maturely handled by debutante director Rohit Roy. Plus, watching Shabana and Naseer after a hiatus is a treat. Shabana is outstanding!

'Sex On The Beach'
Cast: Dino Morea and Tareena Patel.
Dino picks a worn out book on the beach and its character comes alive into a breathtaking woman. They have a great time together, but suddenly everything changes. The mystery woman has some surprises in store for Dino. Director Apoorva Lakhia succeeds in giving you some chills down your spine. The culmination to the story is eerie. Dino is alright, while Tareena flaunts her assets without inhibitions.

'Love Dale'
Cast: Anupam Kher, Anooradha Singh, Aftab Shivdasani and Neha Uberoi.
Neha meets a woman in the train who is wearing only one earring. She finds that strange and that chance meeting strikes the change in her life. A story about fate, destiny at play and the notion that one moment can change your entire life. Very identifiable, very true to life. Beautifully handled by debutante director Jasmeet Dhodi. Aftab and Neha are natural.

'Matrimony'
Cast: Mandira Bedi, Arbaaz Khan and Sudhanshu Pandey.
Mr. & Mrs. Sarin is a happily married couple. The devoted wife meets her ailing aunt every Thursday. But is she really meeting her aunt? A story of betrayal and faith. The twist in the tale, towards the end, comes as a bolt from the blue. Mandira is efficient, Arbaaz is able, Sudhanshu is perfect. Sanjay Gupta shows his expertise as a storyteller.

'Gubbare'
Cast: Nana Patekar, Anita and Rohit Roy.
After an argument with her husband in the bus, Anita sits next to an intriguing man holding 11 red balloons. This story unfolds a journey within a journey into this man's past, uncovering the key to one of the most important lessons in life. Fantastic performance by Nana. Anita is effective. Sanjay Gupta is in form yet again!

'Pooranmashi'
Cast: Amrita Singh, Minisha Lamba, Parmeet Sethi and Vishwajeet Pradhan.
It's about the mother-daughter bond. A mother's only daughter is about to get married and she would do anything to make her daughter happy. But an incident changes their lives forever. A brilliant story beautifully handled by Meghna Gulzar. Amrita is topnotch, Minisha is okay. The end moves you!

'Strangers In The Night'
Cast: Neha Dhupia and Mahesh Manjrekar.
Every anniversary, they narrate the other a secret; this year it's the wife's turn. She begins narrating an interesting encounter with a stranger at the railway station waiting room. What you perceive and what you eventually witness is a sharp contrast. Again, an outstanding story. Neha is first-rate, Mahesh okay. But what you carry home is the culmination. Sanjay Gupta handles the story with élan!

'High On The Highway'
Cast: Jimmy Sheirgill and Masumeh.
The highway symbolised their companionship and their unspoken love. Its unpredictable and volatile turns define this story of two people, who discover the boundaries of freedom and the recklessness of life. Though interestingly handled by director Hansal Mehta, the story lacks meat. Jimmy and Masumeh are competent. Too dark, content-wise as also visually. Overall, mazaa nahin aaya.

'Zahir'
Cast: Manoj Bajpai and Dia Mirza.
After discovering something startling about his neighbour, a writer is driven to madness. The one step he takes gives this story its required twist. Hits you like a ton of bricks. Manoj is superb, Dia is excellent. Sanjay Gupta shows that he can handle emotional moments with remarkable ease.

'Rise & Fall'
Cast: Sanjay Dutt and Suniel Shetty.
Two parallel stories run together to meet one end. It is a story about two gangsters, their friendship and subsequent betrayal. Very confusing, looks very theatrical and the action and the subsequent scene only add to the chaos. Gupta and Hansal concentrate more on technique instead of simplifying things. Both Sanju and Suniel are strictly okay.

On the whole, the number of interesting kahaniyaan in DUS KAHANIYAAN outnumber the not-too-interesting ones and that's what goes in its favor. At the box-office, the film may not set the box-office afire, but would definitely keep its investors safe given the fact that the film has been sold for more than reasonable prices and also due to the fact that it has the merits to keep you hooked. A novel experience!

Om Shanti Om

Cut the crap, cut the gyan-baazi, cut the will-it-won't-it work naatak. Shah Rukh Khan and Farah Khan's OM SHANTI OM is a true-blue masala entertainer. If MAIN HOON NA was a chauka, this one hits a sixer!

Wait, a word of advice to all netizens/readers across the globe. Don't, for God's sake don't, raise exclamations like kab?, kyun? kahan? as OM SHANTI OM begins to unravel. This is atypical Manmohan Desai film presented in a novel avtaar by Farah Khan. It's definitely not for pseudos or advocates of arthouse cinema.

Now let's clear some myths surrounding OM SHANTI OM. Is it the 2007 adaptation of Subhash Ghai's immensely likable reincarnation film KARZ? Does it have traces of KUDRAT? Or MADHUMATI? Or MILAN? Or KARAN ARJUN? Hold on, there's a dash of KARZ, a bit of KARAN ARJUN, a sprinkling of KUDRAT, but beyond that it's a film that makes you nostalgic about 1970s Bollywood.
To sum up, OM SHANTI OM is paisa vasool entertainment. We haven't seen SRK in a hardcore masala film since quite some time. He had drifted to other genres, which proved his range as an actor of repute and cemented his status further. With OM SHANTI OM, he gives back to the audience what he himself grew up on -- a thorough entertainer that will have the audience thirsting for more.

This Diwali, have a blast!

OM SHANTI OM tells the story of Om [Shah Rukh Khan] and Shanti [Deepika Padukone]. Om is a junior artist in the 70s. Shanti is the reigning superstar. He is her biggest fan. He is in love with her. Om dreams of being a superstar, but an incident changes his life forever.

Om dies in a mishap, but is reborn into the present day. He attempts to discover the mystery of his demise…

The general feeling is, Farah Khan has remade Ghai's KARZ from Frame A to Z. False! There're similarities, but it's not a rehashed version of Ghai's film. For, OM SHANTI OM takes you by complete surprise at several points.

The first twist in the tale [Arjun - Deepika's heated confrontation, with SRK listening to this important conversation] comes as a bolt from the blue. The second jhatka comes slightly before the intermission, when Arjun takes Deepika to the set of his film 'Om Shanti Om' and the entire episode that follows, right till the intermission, is spellbinding. That's a brilliant stroke from the writing [screenplay: Mushtaq Shaikh and Farah Khan] as also the execution point of view. When the opulent set is set to flames, it leaves you wide-eyed and awe-struck. Such is the impact!

The post-interval portions only get better and better! If the initial portions are laced with humour [the premiere of 'Dreamy Girl', the Manoj Kumar episode, Ghai directing Rishi on 'Om Shanti Om' song, et al], the second half moves into a new zone completely.

It's punar-janam now, but thankfully, there're no lightening, no fireworks, no zooming of the camera on the idols of Gods. The drama builds up gradually. The voices that SRK keeps hearing, the 'fire' soon after the 'Dard-E-Disco' track, the mother [Kirron Kher], an old lady now, chasing Om's car [reminds you of Raakhee of KARAN ARJUN], the flashes of SRK's earlier birth while receiving the Filmfare Award -- the incidents that make him realize that his life was cut short in his earlier janam have been well structured.

When Deepika re-emerges as well, the viewer is confused, but the mystery is resolved towards the end, which, again, takes you by complete surprise.

Given the fact that OM SHANTI OM is a Manmohan Desai kind of a film set in the present-day, it would be foolhardy to ask questions, raise eyebrows and look for logic. But the second half could've been crisper [length: 18 reels/2.46 hours], although Shirish Kunder's editing is perfect.

Farah knows what her priorities are and most importantly, knows exactly what her target audience is. The execution of a number of sequences clearly shows Farah's growth as a storyteller. Mushtaq and Farah's writing works because the writers pull out several surprises in those 2.46 hours.

V. Manikanandan's cinematography captures the gloss and grandeur to the minutest. The opulent sets [Sabu Cyril] deserve distinction marks. Dialogues [Mayur Puri] are witty and do raise a chuckle at several points. Background score [Sandeep Chowta] is effective.

Vishal-Shekhar's music is first-rate. The score is in sync with the content of the film and what accentuate the goings-on are the choreography and execution. Although every song is visually enticing, the 21-star track as also 'Dard-E-Disco' will have the masses going into a frenzy.

Now to the performances! SRK proves his supremacy yet again. If you thought that playing to the gallery came easy to certain actors only, watch SRK spin magic in OM SHANTI OM. He's magnificent, the star attraction, the soul of this film, the true baadshah.

Deepika has all it takes to be a top star -- the personality, the looks and yes, she's supremely talented too. Standing in the same frame as SRK and getting it right is no small achievement. She comes as a whiff of fresh air!

Arjun Rampal is a complete revelation. Cast in a negative role this time, he enacts his part with panache and style. Shreyas Talpade is another surprise. A complete natural, he stands on his feet all through, not getting swayed while sharing the screen space with the topmost star.

Kirron Kher is superb as the over the top mom. Javed Sheikh is alright. Bindu adds to the funny moments.

On the whole, OM SHANTI OM is Bollywood masala in its truest form and also, at its best. At the box-office, the film will set new records in days to come and has the power to emerge one of the biggest hits of SRK's career.

Aaja Nachle

A 'comeback' film always holds significance. Dilip Kumar [KRANTI], Amitabh Bachchan [MRITYUDAATA], Vinod Khanna [INSAAF], Dimple Kapadia [SAAGAR], Mumtaz [AANDHIYAAN] and Kajol [FANAA] are names you cannot erase from your memory since the celebrated actors returned to the big screen after a hiatus.

With AAJA NACHLE, Madhuri Dixit, who reigned supreme, is back to the studios with the Numero Uno production house of the country. Does the actress still possess the charisma to ignite fire in water? Also, does the vehicle she chooses to make a comeback with, have the fuel to reach the winning post?

Sadly, AAJA NACHLE is below the mediocre mark and doesn't meet the humungous expectations that you associate with the Yashraj - Madhuri combo. What's the problem? Without a doubt, the script! What starts off as a story that seems real and identifiable becomes a fairy tale in the latter hour. Also, with a title like AAJA NACHLE and the story harping on music, the songs had to be chartbusters. That's just not the case here!

In short, AAJA NACHLE fails in the two vital departments -- writing and music. The film doesn't make your heart go dhak-dhak, nor does it prompt you to break into a nach at the end of the show.

After nearly a decade, an unexpected phone call shakes Dia [Madhuri Dixit] out of her dance rehearsal in New York. Makarand [Darshan Zariwala], her guru, is dying and she must return to Shamli, a town in India. The town where she grew up, the town where she learnt to live and to dance. Also the town she left on an impulse, severing ties with her parents and her people.

It is a poignant and troubled return; not only has her guru passed away but the institution that he so lovingly nurtured is in decay and under threat of demolition. Ajanta theatre, the once vibrant hub of the community, the place where Dia's fondest memories are embedded, must now be brought down because the local political authorities feel it a waste of prime real estate.

With the help of Doctor [Raghuvir Yadav], the caretaker of Ajanta, Dia sets out on a mission to prevent the destruction and resurrect the spirit of Ajanta. In an atmosphere of mistrust, ridicule and active hostility, Dia picks up the gauntlet and agrees to achieve the near impossible task of putting together a theatrical production. She must also ensure that every member of the production is from Shamli town. She has only two months to prove her point or the bulldozers will be waiting.

Bearing a striking similarity to the Brazilian film XUXA REQUEBRA, Jaideep Sahni's screenplay is the biggest culprit here. The protagonist [Madhuri] knows that there would be hurdles galore on her way, as she embarks on a journey to realize her guru's dreams. But she hardly struggles to achieve the impossible. Even the corrupt politician [Akhilendra Mishra] or the shrewd businessman [Irrfan], who could've proved to be tough nuts to crack, give in so easily.

Besides, the goings-on get too unbelievable. The first question that crosses your mind is, how does Madhuri raise the funds to put up this spectacular event [the set design in the penultimate song is marvellous]? Okay, that's a cinematic liberty, but, seriously, there should've been at least some reference to where the money would flow in to fund this mammoth, lavish and extravagant event. What starts off as a 'real' film, drifts into a 'surreal' world as it moves ahead.

Debutante director Anil Mehta knows the importance of frames/visuals since he's an accomplished cinematographer. But Mehta ought to know by now that it's the content that does the talking eventually. The writing is too commonplace to make any impact whatsoever. In an effort to strike a balance between believable and make-believe, AAJA NACHLE falls like a pack of cards.

Salim-Sulaiman's music is another minus point. You expect the songs to linger in your memory even after the show has ended… that's what makes a musical tick, right? It's not the case here. Dialogues are wonderful at places, especially the ones delivered by Akshaye Khanna and Madhuri. Cinematography [Mohanan] is splendid.

Madhuri has always delivered qualitative performances and the fire continues to burn to this date. She's top notch, but how one wishes the script would've done justice to her talent. It doesn't offer her a pedestal to take that big leap. The loyal Madhuri fans would surely feel disillusioned and saddened.

Akshaye Khanna is tremendous. In fact, it's a treat to watch Madhuri and Akshaye together, after a hiatus. Kunal Kapoor is likable; he enacts his part with natural ease. Konkona is nice, but when compared to her previous work, it's definitely not in that league.

Irrfan, in a brief role, is okay. Divya Dutta too is relegated to the backseat. Ranvir Shorey is first-rate. Ditto for Raghuvir Yadav. Darshan Zariwala does a fine job. Yashpal Sharma is alright. Vinay Pathak and Sushmita Mukherjee are adequate. Akhilendra Mishra is as usual. Jugal Hansraj gets no scope. Vinod Nagpal and Uttara Baokar, as Madhuri's parents, have nothing much to do. Felix D'Alviella [as Steve -- Madhuri's lover] is passable.

On the whole, AAJA NACHLE disappoints big time. At the box-office, the film has embarked on a poor start and coupled with weak merits will only emerge as one of the major disappointments of the year.