Acid test for Kareena's stardomMadhur Bhandarkar dabbles with blacks and whites in 'Heroine', as usual his protagonists are a study in the extreme and therefore, there is very little scope for anything unpredictable. Bhandarkar's so-called 'realistic' portrayal of the Hindi film industry blatantly stereotypes Bollywood.
Raja Sen says in his review that "Heroine is an unbelievably trashy film":
It's called stereotyping, and Madhur Bhandarkar has parlayed it into a career. Film after film he embraces cliches -- about businessmen, models, journalists -- and exaggerates them, revelling in caricature and tacky dialogue. It's like a recreated dramatisation on a sensationalist television crime show, with marginally better actors and production values.
It's almost like Bhandarkar enjoys sensationalizing his plot and 'labelling' is characters to a point where they start looking like caricatures. Baradwaj Rangan says in his review:
Acknowledging the positive dimensions of fame would leave Bhandarkar with nothing to expend hisRead More »from Y! Meta Review: Heroine
Spotted on the sets of HeroineIf you have seen one Madhur Bhandarkar film, then you have seen them all; there is not even a feeble attempt at novelty. It is surprising how such blatant stereotyping of the glamour world is not offensive to the celebrities who the director claims to be 'realistically' portraying. In Bhandarkar's films there is no one place for the grey: celeb town just consists of people who are psychotic, adulterous, do drugs and are homosexual.
There is a passing mention that Bhandarkar's protagonist in 'Heroine' has bipolar disorder; if the central character of the film is psychotic then whether she is a heroine or a housewife, she will be insecure and hysterical. Fame, or the lack of it, has nothing to do with it. Mahi Arora (Kareena Kapoor) is an A-list heroine whose insecure relationship with her co-star drives her to desperation and she puts her stardom at stake. Every attempt at reviving her sinking career fails which further pushes her to the edge.
It is hard to look for a silver lining in aRead More »from Review: Heroine
Directed by Madhur Bhandarkar
Welcome to the cesspool of enchantment or ‘glamour ka daldal’ as director Madhur Bhandarkar would like to articulate. Films about people behind the films tend to get preachy as filmmakers believe they know more about their own kind than anyone else. And in this case, the misplaced confidence ensures that the research department is sacked and most dialogues begin with ‘Humaari industry mein’… and end with ‘manipulate karo ya ho jao’, ‘zip aur zabaan sambhalke kholna chahiye’, ‘confidence se bolo toh jhooth ko bhi sach maana jaata hain’, ‘heroines ka waqt bohot kam hota hain’ and everything else in between. Basically, Bhandarkar likes to spell it out like the backbenchers aren’t paying attention.
The naughty kahaani being narrated here is that of Bollywood’s most wanted actress Mahi Arora (Kareena Kapoor). She may be conquering new heights with every film but in her
Barfi! inspired by Raj KapoorAnurag Basu's 'Barfi!' had left me overwhelmed, on hindsight the narrative might not have been completely flawless but sometimes, we need imperfect fairy-tales that reassure us that there's still a lot to be happy about.
Anupama Chopra says in her review:
In Barfi, writer-director Anurag Basu creates a gossamer, fairy-tale world. Sometime in the 1970s, somewhere in the misty hills of Darjeeling, a penniless but irresistibly charming deaf-mute boy named Barfi gets the prettiest girl in town to kiss him. But their sweetly awkward love affair comes undone, after which Barfi embarks on an adventure with an autistic girl. Somehow these two, on their own, manage to survive the city of Kolkata - Barfi gets a job and even a ramshackle house with a spectacular view of Howrah Bridge. To point out that this is unlikely seems churlish. Because Barfi is designed to be a bittersweet, tender fable.
Whatever may be the pitfalls in the storytelling; critics remain unanimous that Ranbir Kapoor hasRead More »from Y! Meta Review: Barfi!
Click for Barfi! promotion photosAnurag Basu's 'Barfi!' manages to string together beautiful moments: moments of love, friendship, loss and discovery. It's commendable how much the film says through unspoken words. There are few movies that strike a chord and leave you overwhelmed when the lights come on and 'Barfi!' is definitely one such movie.
It's interesting that this film has a deaf-mute hero and an autistic female lead and yet, has one of the most coherent narratives we have seen recently. As Basu's plot unfolds, his characters tell an endearing tale of love, longing, togetherness and hope. There's the rush of first love, the mirage of impossible relationships, the compromise of right choices and eventually the acceptance of irrational emotions.
Ranbir's performance is well nuanced and each expression is priceless. RK just keeps getting better with each performance. As 'Barfi!' his Chaplinesque antics are the most endearing but we see him play a whole gamut of characters in this film, there's his mischief, hisRead More »from Review: Barfi!
Directed by Anurag Basu
When a movie begins by revealing the grim end, no matter how cheerful the following flashback journey may be, you’re left dreading the inevitable. But ‘Barfi!’ manages to make you forget just that by narrating a lighthearted tragedy that wins particularly for what it doesn’t do: It doesn’t draw a pitiful picture of the deaf-mute lead. It doesn’t attempt to do anything that would suggest that it has been made to attract foreign festival ferns on the DVD cover. It doesn’t make the lead character overcome his disability to do something no man, woman or dog (without that disability) would ever think of attempting. Still foggy? Here’s what it doesn’t do: Click here to learn how to make a Sanjay Leela Bhansali film in a few easy steps.
Much has been written about Ileana D'cruz's Bollywood debut 'Barfi!' but few know much about the girl who will romance Bollywood's poster boy Ranbir Kapoor in her very first film. If you've seen the trailer, her Bengali bride avatar would've caught your fancy or left you a bit curious at best. Ileana may be plunging into Hindi films now but this Mumbai girl has already achieved celeb status in Telegu films and has even endorsed several big brands in TV commercials. In a candid chat with Yahoo! India, she tells us about her journey into Bollywood and what was her plan B, incase her film career didn't take off.
Firstly, why did you consider moving to Bollywood and how did it happen?
The 'why' is only because a film like 'Barfi!' came along. If it wasn't for a film like it, it wouldn't have been Bollywood. The 'how' is very simple. I had read about the film a long time back but there was no clarity on
Pat! Pat! Shanaya Shekhar (Bipasha Basu) whacks her five-inch lashes uncomfortably as she has just lost the best actress award to budding newcomer Sanjana Krishnan (Esha Gupta). Her obvious assumption: There is no God or he has better films to watch. Luckily, anRead More »from Raaz 3 review
Movie stills: JokerWell, Shirish Kunder has done the impossible; he has outdone himself at bad filmmaking, 'Joker' is worse than 'Tees Maar Khan'. I guess it's time that Kunder considered outsourcing some of his work because clearly, story, direction and editing was too much on his plate.
Raja Sen in his review says that 'Joker' is a daft comedy:
So what happens if a film -- one ostensibly in the guise of a comedy -- doesn't try too hard? The humour here isn't grating, overdone, outrageous, offensive, excruciating, unwatchable. This, then, may just be an approach that could be called a step forward in an Akshay Kumar comedy if only the aforementioned humour wasn't also nonexistent. There isn't a single line in Kunder's film that actually works, leaving us with a film that, while commendably brisk in a 100-minute package, refuses to get going at all.
Maybe you thought star power would make this film work but even Sonakshi Sinha's good luck charm seems to have failed this time. Anupama Chopra writes:
Read More »from Y! Meta Review: Joker