Akshay Kumar is back with Khiladi 786, his eighth Khiladi (The Player) movie over the past 20-odd years. It’s been a dozen years since he released a film with that title, but he has far from abandoned the character he perfected in the ’90s. The last few years have seen Kumar playing the same over-the-top hero character in masala film after masala film to typically very good box office results. In fact, whenever Kumar tries to stray from the path he built for himself with offbeat films like 8×10 Tasveer, Blue, or Joker, audiences tend to stay away in droves. In a way, even though this film doesn’t have an original bone in its body, I’m kind of glad that he has accepted his role as the clown prince of Bollywood. It suits him.
In Khiladi 786, Kumar plays Bahattar Singh, a Punjabi police officer and bad ass mofo. When I say that he’s a hero, I mean it in the most literal sense. However, beneath the punishing exterior that pounds fear into the hearts of criminals, there is a soft spot looking for love. Bahattar Singh is lonely, and all of his proposals of marriage have been rejected, but one young matchmaker is determined to put himself on the map and conspires to marry Mr. Singh to Indu (Asin) the young sister of a notorious crime boss played by Bollywood’s original action hero, Mithun Chakraborty. Crazy misunderstandings, bouncy disco numbers, and plots of revenge fly at the audience left and right in this throwback to the glory days of late ’80s-early ’90s Indian action.
I had low expectations going into Khiladi 786, in fact, if you look back at my announcement when the trailer hit, I was even underwhelmed by that. However, the film really took me by surprise. This is a goofy action comedy that knows exactly what it is and what its boundaries are, unlike Son of Sardaar, which tried to grab the audience by the throat and choke laughs out of them, Khiladi 786 simply allows the comedy to flow freely, like so much wind from a whoopie cushion. The result is a very entertaining and very silly film with just enough heart to get by and more than enough enjoyable moments to make the journey worthwhile.
Part of the fun of the film is recognizing all of the little bits and pieces that director Ashish Mohan throws into the mix just for Bollywood fans. Primary among them is the placement of Mithun Chakraborty as crime lord TTT (Tatya Tukaram Tendulkar), in a stunningly awful fake mustache. Mithunda is kind of like Akshay Kumar’s lucky charm; where they go as a team, there’s sure to be something enjoyable to watch. (more…)
I strongly believe that it’s not the plotline that makes or breaks a film. There are films boasting of skeletal and beaten to death plots but have worked wonders thanks to an effective script and execution. Khiladi 786 sadly isn’t one of those films. When one is attempting to present a fairly predictable story, it’s important that the dialogues and one-liners entice loads of laughter. Unfortunately, that doesn’t happen and what one gets to see are the same old sequences/jokes repackaged to the viewers!
The story of the movie: Mansukh (Himesh Reshammiya) is the worthless son of marriage bureau owner Champak Lal (Manoj Joshi) who has unintentionally ruined many marriages fixed by his father. To prove his worth, Mansukh takes up a tough challenge – he attempts to get Indu (Asin), sister of dreaded don Tatya Tukaram Tendulkar (Mithun Chakraborty) hitched with the Khiladi 786, Bahattar Singh (Akshay Kumar), a cop in Punjab police. Realizing that nobody is willing to marry Indu because of his gangster image, Tatya or TT as he calls himself accepts Mansukh’s suggestion and masquerades as ACP in front of Bahattar and his family. On the other hand, Indu is a firebrand lady who decides to try every trick in her book to scare off Bahattar. How these mad characters create problems and come out of it is what Khiladi 786 is all about.
Himesh Reshammiya’s plot gives a déjà vu of No Entry, Welcome, Ready, Housefull 2 and many other films that focused on a bunch of characters hiding a terrible truth from a dreaded person, leading to hilarious situations. Only few dialogues work here and there. Otherwise, the one-liners are not impressive and don’t entice laugh. Even the situations are ordinary and one knows where the film is heading. Hence, it’s not the waferthin plot that’s the culprit…it’s the substandard script that makes Khiladi 786 a disappointment. (more…)
In a candid chat from London, KJo scotches all rumours of a possible ‘cooling off’ between him and Shah Rukh
All is well between Karan Johar and Shah Rukh Khan. Scotching rumours of a ‘cooling off’ or even a ‘rift’ in one of the most definitive friendships in the film industry, Karan Johar revealed to TOI that he is at the moment in London with SRK’s family.
Yesterday early morning i said that Khiladi 786 will not open more than 8+ cr. But those clown fans gave me wired response. Now i am giving few reasons behind this disastrous opening.
1. Akshay Kumar, he is the biggest reason. 5 release a year is just too much for general people. Somehow, people have this idea that he is doing khiladi 786 just only for money. He has zero responsibility toward his fans.
2. Himesh Reshmiya, when people heard that he is the actor, producer, writer and musician of this film, they just turn their back.
3. All expected a Khiladi associated slick action and thriller with lots of turn and twist. But this is just a comeday movie with OTT action. (more…)
Special 26 Starring Akshay kumar, Jimmy Shergil, Anupam Kher, Kajal Agarwal and Manoj Bajpayee.
Produced by Viacom 18.
Directed by Neeraj pandey(A Wednesday Fame)
@AnupamPkher :Saw the Theatrical Trailer of ‘Special Chabees’. SUPERB & MIND BLOWING. Can’t wait for it’s official release. Neeraj Pandey ROCKS.:)
@BajpayeeManoj :Will be dubing a crucial scene from special. Chabbis .wish my voice helps my intention.
@BajpayeeManoj :Convincing neeraj pandey to go for sync sound in the next onemdubing is such a tedious task. (more…)
For close to three months Bollywood actor Aamir Khan made Indians squirm with guilt and denial and forced them to face their dark side over a series of well researched and executed social documentaries on rampant social inequalities.
The straight talking, intense host of ‘Satyamev Jayate’ tore apart the moribund traditions that manifested in gender specific selections of foetuses, caste discrimination and abuse of the elderly. He made a nation sit up and take notice of the hypocrisies that its people passed off as convention. He even moved the stone-hearted with stories so grim that they’d make your skin crawl.
All the more reason why ‘Talaash’ was such a letdown because its lead protagonist and social torch bearer compromised the stand he took months ago on showing the uneducated, ill informed, misguided and superstitious Indians the light of reason and rationalism.
Aamir roused in his ‘Satyamev Jayate’ audience a strange sense of patriotism. Of course we knew of the deep rooted corruption that plagued our medical profession. The urban Indians were also vaguely aware of the cruel Khap Panchayats diktats. We weren’t ready to look the evil in the eye until we were made to.
In a format that was ’60 Minutes’ in treatment and Oprah Winfrey in emotional impact and reach, Aamir told his audience in a carefully constructed, understated but firm tone that it was NOT all right to demonise lovers. It may have made you uncomfortable or even alarmed but week after week, the actor went beyond his brief to use his star image to bring about change. He succeed in moving India’s lethargic bureaucracy to an extent to be the change that we wanted to see.
But his supernatural thriller ‘Talaash’ clashed horribly with what he preached for months on his scheduled Sunday morning slot on television, and was clearly unwilling to practice.
It must have been about the same time that ‘Satyamev Jayate’ aired that Aamir was packing up the post production work of ‘Talaash’ and gearing up for the promotion – which on hindsight was remarkably low-key for a Khan film. Khan films starring any of the four Khans – Salman, Aamir, Shah Rukh and Saif – have become yearly outings for families looking for a good time.
The rational Aamir – who has come to be known as the ‘thinking man’s Khan’ – must have known back then the message that ‘Talaash’ would send out to an audience that hung on to his every word, and more so because he has painstakingly and deliberately established a clean, uncontroversial and intelligent image. His films reflected his real reluctance to portray any role that would compromise his social image.
‘Talaash’, simply put, endorses the supernatural, establishes bluntly that séances are real, the spirit world is constantly trying to reconcile with its living counterpart, and the reconciliation and therefore closure – real, mind you, not imagined psychological gibberish – comes in the form of an actual note from a dead son to his father who is racked with remorse. (more…)
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