Archive for December, 2007

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Meri Maa…


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Meri Maa..

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If you want to know how good Taare is, just go to your nearest theater and watch the people coming out after the show. The cacophony that surrounds a crowd exiting a theater will be missing. Some would be walking in slow motion. Some would look petrified. At least that’s what happened in the theater I went to. Not a single soul was talking after the movie, probably because what everyone saw on screen was not fiction, but a semi-biography of his/her own life. In fact, the normally rowdiest gang in a theatre (ie my friends and I) that is uber vocal at the end of a film left the theater in pin drop silence. The first thing we said to each other – ‘Aamir Bhai has done it again.’
Indeed, Aamir Khan had done it again. I have a gut feeling that Taare would change people like no other movie has previously done.

Come to think of it, after two back-to-back hits [RANG DE BASANTI, FANAA], Aamir Khan could’ve given a positive nod to any masala flick and chosen to work with anyone he desired. But he preferred to make a film on a dyslexic kid, make him the focal point of the story and don three caps — producer, actor and director. At the very outset, let’s make one thing clear. TAARE ZAMEEN PAR isn’t one of those films that merely entertains, but also enlightens. TAARE ZAMEEN PAR is one film that makes you peep into a child’s mind and how some parents, in their pursuit to make them ‘stronger’ academically, forget that there’s hitherto untapped talent that needs to be nourished and encouraged. TAARE ZAMEEN PAR drives home a strong message, making you empathize with the kid, compelling you to draw parallels with your life, making one realize that some of the renowned geniuses were once scoffed at, but the world had to bow down to their intellect later.

Sure, TAARE ZAMEEN PAR boasts of a story that strikes a chord, but most importantly, it has been treated with such sensitivity and maturity that you’re left shell-shocked in amazement by the sheer impact it leaves at the end of this 18 reeler.

TAARE ZAMEEN PAR heralds the birth of a topnotch storyteller — Aamir Khan. To choose a story that’s a far cry from the mundane stuff that’s being churned out like factory products, requires courage and conviction and to execute it with panache is a rarity.

Those who somewhere nursed a grudge that the camera follows Aamir in all his films, will chew their words once they watch TAARE ZAMEEN PAR. Yes, Aamir has a key role to portray as an actor, but the camera captures the child’s emotions like never before in a Hindi film. Also, let’s also clear the myth about TAARE ZAMEEN PAR being a kiddie film. It’s not! It’s about children. Note the difference!

In a nutshell, TAARE ZAMEEN PAR serves as a wake up call for every parent or parent-to-be. Also, it heralds the arrival of a magnificent storyteller — Aamir Khan. At the end of the day, it’s not difficult to choose who’s better — Aamir, the actor or Aamir, the director. TAARE ZAMEEN PAR is a triumph all the way from the director’s point of view.

Ishaan Awasthi [Darsheel Safary] is an eight-year-old whose world is filled with wonders that no one else seems to appreciate; colors, fish, dogs and kites are just not important in the world of adults, who are much more interested in things like homework, marks and neatness. And Ishaan just cannot seem to get anything right in class.

When he gets into far more trouble than his parents can handle, he is packed off to a boarding school to ‘be disciplined’. Things are no different at his new school and Ishaan has to contend with the added trauma of separation from his family.

One day a new art teacher bursts onto the scene, Ram Shankar Nikumbh [Aamir Khan], who infects the students with joy and optimism. He breaks all the rules of ‘how things are done’ by asking them to think, dream and imagine, and all the children respond with enthusiasm, all except Ishaan.

Nikumbh soon realizes that Ishaan is very unhappy and he sets out to discover why. With time, patience and care, he ultimately helps Ishaan find himself.

On face-value, TAARE ZAMEEN PAR looks like a kiddie film, but as the story unfolds, you realize that the story peeps into the mind and heart of a kid, his interests, his hobbies, his strengths and weaknesses. The director opens the cards at the very outset, when you realize that the kid is just not interested in books/studies. And his interaction with his stern father, doting mother and lovable brother is straight out of life.

A number of sequences in the first hour leave you spellbound —

  • Ishaan’s altercation with the neighboring kid over a cricket ball;
  • Ishaan’s parents’ decision of putting him in a hostel and Ishaan’s constant pleas falling on deaf ears;
  • Ishaan going into a shell in the boarding school, looking disinterested in life. Also, the art teacher punishing him for his inattentive behavior.

There are several moments in the first hour that make you moist-eyed. The bonding between the mother and son is remarkable. These moments effectively capture the special bonding, making you realize that a mother’s mere touch can act like a soothing balm on a troubled soul.

Aamir takes the courageous stand of placing the story on Ishaan’s shoulders right through the first hour and not once do you feel that the kid doesn’t have the power to keep your attention arrested.

The second hour is equally challenging and most importantly, motivating. The introduction of Aamir’s character, Aamir spotting the indolent Ishaan, Aamir traveling to Mumbai to meet Ishaan’s parents and then citing examples of extra-ordinary men who were ridiculed by their contemporaries/peers — these moments linger in your memory even after the show has concluded.

But the best part is reserved for the finale — the art competition in the penultimate twenty minutes. The emotions reach an all-time high as the kid regains his confidence. The finale would melt even the stone-hearted!

Directorially, Aamir Khan deserves distinction marks for extracting an exemplary performance from the kid and handling the plot with supreme sensitivity. In his debut film itself, Aamir proves that he’s a gifted storyteller, someone who has the courage to swim against the tide and also convince the viewer that there’s more to film-making than the mere masala entertainers. Bravo!

Setu’s cinematography is mesmeric. The camera captures every minute detail, every emotion, every tear with precision. Shankar-Ehsaan-Loy’s music is easy on the ears. ‘Bum Bum Bole’, ‘Jame Raho’ and the title track are first-rate compositions. Prasoon Joshi’s lyrics in ‘Maa’ deserve special mention. Editing [Deepa Bhatia] does justice to the material. Only thing, the film, if trimmed [second hour], will only be more impactful. Animation and visual effects are fantastic.

TAARE ZAMEEN PAR belongs to Master Darsheel Safary. A performance that make the best of performances pale in comparison. A performance that deserves brownie points. A performance that’ll always come first on your mind the moment someone mentions TAARE ZAMEEN PAR. A performance that’s impeccable, flawless and astounding. A performance that moves you and makes you reflect on your growing years. A performance that merits a special award!

Aamir is excellent. Note his scenes with the father of the kid. First, when he visits their home. Next time, when he cites the example of Solomon Islands. Splendid! Tisca Chopra is outstanding. Here’s an actress who needs to be lapped up in a big way by film-makers.

Tanay Cheda [as Ishaan’s friend Rajan Damodaran] is excellent. Vipin Sharma [Ishaan’s father] is slightly theatrical. Sachet Engineer [Ishaan’s elder brother] is apt. The teachers have performed well.

On the whole, TAARE ZAMEEN PAR is an outstanding work of cinema. To miss it would be sacrilege. It has everything it takes to win awards and box-office rewards!

Do yourselves a favor. Watch TAARE ZAMEEN PAR with your child. It will change your world. It will also change the way you look at your kids!

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Again a week end and again thinking what to do this weekend…..?
Its saturday, and as usual woke up at 9. went to have a tea. the person at tea stall remembers me and offers a tea and a samosa pav without even asking… good….. having a fag aith tea, and after that a a samosa pav…good breakfast. then again went to home. watching TV. all the news channels are showing the election results. seems Narendra modi will be the CM again…

Haven’t had a hair cut since last two months, and they have become very much curly, had to have a haircut today, so just wnet and had a haircut… now m face looks good.. even the security man of my buiding laughed sayin” ab aapki shakl dikh rahi hai..” hahhahahhaahha

Went to Welcome Movie. Seemed a good comedy but except a few comic punches movie was pakau…. simply not up to the mark….. tAare zameen par has goo dgood reviews from many critics and even shubhankar said its good one. have to see that next week..

 This sunday went to Sidhhi Vinayak. after around 5-6 months.. it was good…. while returning we took bus to andheri. what i saw was the bus stops have been modified. now thay have an international look.

Mumbai Bus Stops

So in all the week end was so-so. and again a new week to work… next weekend is newyear . have to c what the plans ar goin to be.

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Dus Kahaniyan


I have seen multiple short stories being told within one film before in Darna Mana Hai and Darna Zaroori Hai but the various films in Dus Kahaniyaan have no inter-link with any other story. There is a certain uniqueness in Dus Kahaniyaan that is experimental, it is quite an interesting experience.

The film begins with Matrimony (Arbaaz Khan, Mandira Bedi, Sudhanshu Pandey). There is limited time to tell a tale so no song situations :-). Hence, story and editing is the main crux. Matrimony is a good try but the ending is predictable. Mandira Bedi is good.

High on the highway (Jimmy Shergil, Mausmeh), Pooranmasi (Amrita Singh, Minnisha Lamba, Parmeet Sethi), Rice Plate (Naseeruddin Shah, Shabana Azmi) and Gubbare (Nana Patekar, Rohit Roy and Anita ) are the pick of the lot and are very interesting to watch. Each film is handled in a different way and most of them manage to stand on their own. When you have so many diverse actors doing things their own competent way, it keeps you glued.

The Aftab Shivdasani-Neha Uberoi track Lovedale is the weakest fare among the ten. Just not happening!

Rise and Fall (Sanjay Dutt and Suniel Shetty) is the slickest of them all and is a decent end to the film. The conversations between Sanjay and Suniel are amazing and the setting (though not unique) is right out of the two actors own backyard. The child actors are good, and have done a great job!!

While all the stories in the first half revolve around sexual repression, the second half includes the super-natural and the underworld as well. There are small doses of humor but each story has a climax, some of which are very well written and executed.

Though the films depend a lot on performances, the 10 minute duration of each film leaves very less scope for an actor to leave an impact. However, Shabana Azmi, Nana Patekar, Jimmy Sheirgill, Neha Dhupia and Mausmeh are the ones who do well for themselves. It’s been a very long time since we saw Shabana Azmi move out of the calm and composed characters that she has been playing off late and her playing the panicky south Indian is a delight to watch. Even Nana Patekar has just the right expressions even though his film got a bit predictable towards the end.

Sanjay Gupta directs the major chunk of the short films, and this time he focuses more on story than style. Rise and Fall is where Gupta moves back into his method approach and doesn’t falter. Apoorva Lakhia, Hansal Mehta, Rohit Roy and Meghna Gulzar seem to have put it all for their 10 minutes of Dus Kahaniyaan fame and execute well.

Dus Kahaniyaan is not a feeble attempt like Darna Zaroori Hai and Sanjay Gupta has concentrated on the stories rather than depending on star-power to get the audience in. Maybe every tale is not gripping but about seven of the ten are not bad. The film just might set a trend of making multiple unconnected short films in one film. A definite watch for a different experience!

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I’ll Never Fall In Love Again

You looked inside my fantasies and made each one come true,
something no one else had ever found a way to do.
I’ve kept the mem’ries one by one, since you took me in;
and I know I’ll never love this way again.
I know I’ll never love this way again,
so I keep holdin’ on before the good is gone.
I know I’ll never love this way again,
hold on, hold on, hold on.
A fool will lose tomorrow reaching back for yesterday;
I won’t turn my head in sorrow if you should go away.
I’ll stand here and remember just how good it’s been,
and I know I’ll never love this way again.

I know I’ll never love this way again,
so I keep holdin’ on before the good is gone.
I know I’ll never love this way again,
hold on, hold on, hold on.

I know I’ll never love this way again,
so I keep holdin’ on before the good is gone.
I know I’ll never love this way again,
hold on, hold on.

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