By Aakash Gandhi
Reviewer’s Rating:Â 9.5/10
Mumbai, India 11/26/2008 – The bustling city of twenty million was brutally shattered by an unprecedented string of highly-sophisticated and coordinated attacks never witnessed before. The horror continues fifty-five hours later, as I painstakingly write these very words.
During these moments of such deep sorrow and tragedy, writing on a film may seem rather frivolous…even insensitive. However, God works in mysterious and miraculous ways my friends.
Rarely, if ever, does the Western world catch a glimpse into the beauty and majesty of such a dynamic city as Mumbai. Yet, today, her innocence has been ravaged and raped, left to bleed in front of the entire world. A hostage within her own land, her booming image will vanish within the minds of many internationals worldwide. Continue reading
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Short sellers are holding sway as the remaining brokerage houses Morgan Stanley and Goldman are being threatened to go under. Truly a historic period for Wall Street. Now there are news trickling in that Morgan is considering a merger with Wachovia and Wamu is putting itself up for sale. The culprit is the mark to market accounting forÂ financial instruments like CDO’s or credit default swaps that results in downgrades and call for collateral. Then short sellers come in andÂ starts a vicious circle. Thain realized this and did a smart thing byÂ selling to B of A over the weekend.
To be honest…I haven’t enjoyed many films this year…I kind of stayed away from many films…but this was one I had to see. I am a big fan of Khanna and a big fan of Priya…and when they both combine for a film…it’s magic. Hulchul and Hungama were both great entertainers in my opinion…as for MBPA it’s not far behind. It’s definetely an entertaining film that will make you laugh…and boy do you laugh loud…I know I did. The show stealer of the film…Mr OM PURI. This is Om at his finest. This is a role he gets to sink his teeth into. The versatile actor shows you he can out top anyone when it comes to comedy. This is not the same funny, loud, angry Om…this time he plays every indian milf’s nightmare…I mean it…his character is just halarious. You get to see him throughout the film and whenever he’s on screen you just can’t stop laughing. The dialogues are very funny. These days vulgar lines are being considered very funny…I’ve noticed that with bollywood comedy movies…but here there isn’t much vulgarity. This is just pure fun. This type of film clicks with everyone…age doesnt matter. Akshaye Khanna is a great shouter…he’s always shouting. As we all know hes the king of facial expressions…the man does well in his role. Genelia…this is probably the first time I seen her on screen…she is just too cute…very natural as well. I really liked her job…some may say she’s annoying…but I think she was just perfect. Paresh…this is just another feather in his cap…the man is brilliant once again. I love the scene where he starts prancing around the house like Dev Anand as he sings Phoolon Ke Rang Se Dil Ki Khallam Se. The actors click together in this film…and that’s whate makes things believable. Like the chemistry between Khanna/Rahul, Khanna/D’souza, Rahul/Puri…all shine. Priya handles the relationship between father and son very well here. He showed us a great father and son relationship in Virasat…here its totally different and unique where the son basically rules over the father and yells and punishes the father for wrong doings. It’s something new…that why it really stands out. The editing is just ok…the film does kind of drag on towards the end. At least 10 or 15 minutes of the film could easily been chopped off. Sometimes the pace of the film slows down when not needed and that irritates. Some songs are not well placed…though I have to admit I did like the songs in this film…I don’t care what others say. My favourite track was Jaana Hai Tujhko which I thought was picturized brilliantly in Kerala. Nasseerudhin’s act was good as well while Rajpal Yadav was wasted in my opinion. Rajpal is no where to be seen in the second half of the film. One thing we miss out on is the climax parody or chase that we always see in Priyadarshan’s movies. That’s one thing I got used to when watching Priya films…was kind of shocked not to see that in this film. Overall, very entertaining film. This is just good fun that you can watch with family. I laughed…I laughed loud.
Let’s take close look at Javed’s track recoird as a solo scriptwriter:
# Lakshya (2004) (dialogue) (screenplay) (story)# Armaan (2003) (dialogue) (screenplay)
# Kabhi Na Kabhi (1998) (dialogue) (screenplay) (story) Prem (1995) (dialogue) (screenplay) (story)
# Roop Ki Rani Choron Ka Raja (1993) (dialogue) (screenplay) (story)# Khel (1991) (dialogue) (screenplay) (story)# Jeevan Ek Sanghursh (1990) (dialogue) (screenplay) # Joshilaay (1989) (dialogue) (screenplay) (story) # Main Azaad Hoon (1989) (writer)# Dacait (1987) (dialogue) (screenplay) (story) # Meri Jung (1985) (written by) (as Javed) # Saagar (1985) (dialogue) (screenplay) (story) # Arjun (1985) (dialogue) (screenplay) (story) # Zamana (1985) (writer)
# Duniya (1984) (dialogue) (screenplay) (story) # Mashaal (1984) (dialogue) (screenplay) (story)
# Betaab (dialogue) (screenplay) (story).
Out of these, only Betaab, Arjun and Meri Jung were hits. In terms of quality only Main Azad Hoon mkaes the grade, but it was a faithful l reworking of Meet John Doe. Mashaal and saagar had some good bits, but were hardly great scripts in totality. On the whole a pretty sad show. What do you think?
As I arrived home today to find the Sakkarakatti CD waiting in my mailbox, I was struck by the fact that even thirteen years after I first encountered the sound of A.R. Rahman, even when the soundtrack in question is not associated with a Mani Ratnam film, and promises to be, most assuredly, a “minor” work in the context of Rahman’s oeuvre, my excitement when unwrapping the album remains undimmed. Some of that is obviously because Rahman — even “lesser” Rahman — speaks to me in a way no other Hindi or Tamil composer does. But much of that is also due to the fact that even “minor” Rahman contains gems, the sort of musical passage that rears up to dazzle the listener when least expected. And much of the excitement is undoubtedly due to the fact that it is often precisely in Rahman’s “lesser” work that one encounters the nimble sense of play, the occasional cheekiness, that once made him the most light-footed of all of Indian popular cinema’s titanic presences.
On that front, Sakkarakatti does not disappoint: it isn’t pathbreaking music, but it is, quite simply (and provisionally, given these are early days for me where the album is concerned), an immensely enjoyable, even satisfying, album. [Continued]…