HEROINE ADDICT
Ranbir Kapoor pursues three women in a romance with surprising flashes of depth. Plus, a watered-down remake of a watered-down comedy.
AUG 17, 2008 – WE’VE GOTTEN SO USED TO laying the ills that plague our cinema at the doorstep of Karan Johar and Yash Raj films that we often overlook a simple reality – that their highly imperfect creations have, of late, been quietly reshaping the boundaries of what constitutes “mainstream.” I still remember how startled I was when Preity Zinta planted that fat slap on Shah Rukh Khan’s unresisting cheek in Kabhi Alvida Naa Kehna. Big male stars aren’t supposed to take slights to their manhood so meekly, even if they’ve selfishly trampled all over the lives of the ones they love, the ones they’ve pledged their commitments to. And now, in Siddharth Anand’s new film for Yash Raj, Ranbir Kapoor (who plays Raj) undergoes a mortifying series of humiliations. He’s reduced, at one point, to a tuxedoed waiter at a chic soiree, a holder of umbrellas, a fetcher of coffee and dry cleaning, a carrier of shopping bags, and a cleaner of swimming pools. And he bears these trials willingly because he agrees with the assessment of the person who’s assigned him these jobs, that he’s “the worst kind of human being.”
Bachna Ae Haseeno wasn’t supposed to be all this – was it? With that ladies-beware title, with the high-voltage brass of RD Burman’s nostalgic hit blaring across the promos, with Vishal-Shekhar’s addictive score (with the irresistibly funky Ahista ahista), and with the cast of three pretty girls (Bipasha Basu, Deepika Padukone, Minissha Lamba) swooning over one pretty boy, we got the impression that this was going to be a lollapalooza of a date movie, Teen Deviyaan retooled for the teen generation – nothing less, and certainly nothing more. But here’s Raj repenting his life’s decisions – which caused one of these girls to become trapped in the kind of loveless marriage where she’d rather reorganise the kitchen shelves than open herself up to a loving husband, while another ex has made sure she’ll never get hurt again by evolving into a scary diva-bitch. A hero in penance mode is supposed to suffer for grand follies – like Rajesh Khanna in Dushman, who mowed down the breadwinner of a family. But the leading man of a romantic trifle making mistakes, owning up to these mistakes and facing the consequences (or even understanding that there could be consequences) – that’s not done, is it?
That’s the kind of less-than-ideal love story that Ranbir Kapoor has, once again, chosen to star in. (Well, it’s either that – or he just signed up because big names like Bhansali and Chopra were involved, and lucked into yet another interesting project.) The essence of Bachna Ae Haseeno isn’t new. The theme of a man revisiting his past loves was already seen in Broken Flowers and Cheran’s Tamil film, Autograph, and the conceit of a boy having to earn a girl’s hand – prove worthy of her, and, indeed, of love itself – found some sort of shape in Maine Pyar Kiya. (There, Salman Khan had to divest himself of his family fortune, his gilt; here, Ranbir has to divest himself of guilt.) And the way this story is spun doesn’t bear close scrutiny, what with the overarching motto of grand entertainment straining against the dark tone of individual scenes. (The climax, in particular, has a pat rom-com cutesiness that feels forced and frustratingly underdeveloped.) But as with Jaane Tu Ya Jaane Na, there’s so much good writing here, and so many nicely drawn characters, that the overall film is a pleasant surprise – one that shows that a big glitzy commercial entertainer needn’t be entirely devoid of heart and soul.
Aditya Chopra puzzles me. Just a few months ago, he threw our way a soulless piece of plastic trash called Thoda Pyaar Thoda Magic – and here too, there’s so much shameless self-referencing that the effect is almost parodic. (There are nods to plot points from Dilwale Dulhaniya Le Jayenge, the music from Dhoom and Jhoom Barabar Jhoom, the Main aur meri tanhayi sequence from Silsila, and even the flashing mirror bit from Bobby; the latter is, presumably, a bit of self-referencing from Ranbir Kapoor’s side.) It appears that Chopra wants to keep pushing our faces into the glories (such as they are) from his past – like how Karan Johar reuses bits and pieces of his films all the time – and yet, he’s willing to greenlight a Chak De India or a Bachna Ae Haseeno, which features a character so complex and so riddled with insecurities that she forgives Raj not so much for his sake as hers, so that she can move on. Just who is this man, really?
The women in Bachna Ae Haseeno are a treat to watch – and not just for the obvious reasons. (Deepika Padukone, especially, is such a radiant mix of innocence and sultriness, you can see why Ranbir Kapoor looks at her and sighs, “Khuda jaane… main mit gaya.” Hers is the kind of Madonna-whore screen presence that can fell grown men to their knees. With those looks, who needs “acting”?) One of these girls is so independent, she’s practically a “guy” (in Hindi movie terms) – and yet, she sulks that she has the right to change her mind without warning because she is, after all, a woman. Another one is the very personification of “hell hath no fury…” She’s not one to easily forgive past transgressions, and in that way, she’s very “Western” (again, in Hindi movie terms) – and yet, there’s still that little Indian girl in her, who feels that her unconventional choices (like living in with a boyfriend) might have hurt her salability in the marriage market. Understandably, the heroines, here, walk away with the film – particularly Bipasha Basu, who’s rarely cast in parts she’s suited for (did you believe her in latter portions of Corporate?) but is so right in this instance that you feel she may be playing herself.
The male supporting characters don’t do too badly for themselves either. When the father of one of the heroines faces Raj – his daughter had gone missing, and Raj helped her find her way back to her parents – his hesitation suggests that as grateful as he is to this young man, did it have to be a young man, especially when overnight travel was involved? It’s humour, with heart. And Kunal Kapoor, who plays the husband of one of Raj’s loves, has a moving scene where he sees Raj leave his wife in tears and fishes around in his pockets for a handkerchief. There, in that flash, you catch a glimpse of the innate decency of this man. But surprisingly, the one male character that could have used some building is Raj himself. For a story that’s all about a rake’s progress, Raj simply doesn’t come across as that much of a rake. The character is certainly an improvement from the days of Aap Ki Kasam, where Rajesh Khanna played a college student (yeah!) who took offence at the mere fact that a petulant Mumtaz accused him of teasing her – because, you know, he’s the hero and such heinous acts are usually the handiwork of villains like Ranjeet (who, in fact, did the actual teasing in this case).
Raj is someone who, refreshingly, talks dirty and wants women without the pesky commitment issues. (Even his definition of “forever” is endearingly warped: “Hamesha wala ‘hamesha’ nahin,” he clarifies. “Thodi der wali ‘hamesha’.”) But the director pulls his punches when it comes to depicting this aspect of his hero – because, I guess, this isn’t an ultra-realistic art film and we still need to like the guy. Raj’s contrition, therefore, doesn’t carry the weight that it should. He doesn’t seem to have fallen enough in our eyes in order to warrant this penance – and considering this is the crux of the film, it comes across as a huge failing. Then again, this is something I noted only in retrospect. After a somewhat shaky start, Bachna Ae Haseeno rolls onward with such well-oiled poise, its charms are hard to resist. I wish the same could be said of Ranbir, though. He’s an affable enough screen presence, but he works just too damn hard to please us, especially in the lighter scenes. (I was reminded of the kind of taut-muscled performance Hrithik Roshan used to give in the early days.) But it doesn’t really matter because he’s playing someone quite unusual – a hero who’s, mostly, a foil for his magnificent heroines. In other words, he, too, is doing his bit to quietly reshape the boundaries of what constitutes “mainstream.”
IF OUR FILMMAKERS ARE GOING TO INSIST on looking westwards for inspiration, I wish they’d insist on being inspired by the running times as well. Even at a little over an hour-and-a-half, Bruce Almighty seemed way too long – some thirty minutes of genius slapstick tossed into a vat of icky, inspirational goo – and at a good hour more, Rumy Jaffery’s God Tussi Great Ho appears interminable. Salman Khan (playing Arun) steps in for Jim Carrey as the self-centred, whiny loser who blames God (Amitabh Bachchan) for all the injustices in his life – the girl of his dreams (Priyanka Chopra) looks at him as just a friend, and a rival at work (Sohail Khan) quickly becomes a mortal foe – and when the latter grants him His powers, he realises omnipotence isn’t all that it’s cracked up to be.
The original film may not quite have delivered on its promise of full-frontal blasphemy, but it did feature a few razor-sharp lines – like the sarcastic retort Bruce tosses off when the man in the white suit claims he’s God: “Thank you for the Grand Canyon, and good luck with the Apocalypse” – and it had some sweetly anarchic fun with Christian imagery (as when Bruce wreaks vengeance with the help of a Biblical plague of insects). I hoped Jaffery would do something similar with our own legends, many of which are ripe for a punch line, if not biting parody. But God Tussi Great Ho has no teeth. Salman is hilarious in a blink-and-miss gag where he’s a TV-station weatherman and Anupam Kher scores some laughs as Arun’s cantankerous father – but these funny bits are buried under a tedious love triangle, and almost nothing significant is made of Arun’s higher powers. It’s all expended on inanities like sending a villain flying through the air with a mere look. You don’t need to be God to be able to do that – you just need to be Rajinikanth.
Copyright ©2008 The New Sunday Express. This article may not be reproduced in its entirety without
Akasuna no Sasori
August 17, 2008
“You don’t need to be God to be able to do that – you just need to be Rajinikanth”
Would not a lot of people call Rajinikanth a god, if not God ? 🙂
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suharsh
August 17, 2008
heroine addict – nice title! will check out, and not for just the title 🙂 … god tussi etc, hmmn i wonder even if they flick an idea of hollywood, why make such pathetic ‘cover versions’? do they even make money off such movies?
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galadriel
August 17, 2008
“You don’t need to be God to be able to do that – you just need to be Rajinikanth.”
Ha ha.. that really cracked me up.. 🙂
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Qalandar
August 17, 2008
I was going to give Bachna Ae Haseenon a miss– but your review has convinced me to the contrary. Thanks Baradwaj, for yet another fine review.
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Vivek
August 17, 2008
Kick ass reviews. I was planning to give BAH a miss, guess I’ll give it a shot now. GTGH was always a no-no anyway considering how tacky the original was.
But hey in defence of the perceived lack of sarcasm or wit in GTGH it must be said that any silly self referencing about any of our Gods (Hindu or God forbid Islam or Sikhism) would have had bombs bursting in theaters.
PS: Do you work better with tighter deadlines?
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Srinivas
August 17, 2008
Glad I read your review and watched the movie. Definitely worth it. And the girls were a treat. The hero not so much.
The way Deepika worked the camera was something and Bipasha was just great. She got the best written role.
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oops
August 17, 2008
ahahahah That Radjnikanth punch line was great 🙂
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ML
August 17, 2008
I found Deepika to be the flattest performance of the group.
But I guess all it takes is a pretty smile for a few guys here to fall over themselves. 🙂
Not sure what I think of Deepika yet onscreen.
Agree about Ranbir. Chap appears to try to hard at times. It becomes irritating to watch after awhile.
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v
August 17, 2008
lollapalooza ?????
Where do you get such words?
As usual, great reviews………
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brangan
August 17, 2008
Akasuna no Sasori: I think some fans even call him “GOD” 🙂
suharsh: I know you’ve mellowed with the years and all, but still, something doesn’t seem quite right with the universe with you sitting down to watch Bachna Ae Haseeno. Well, on acid, maybe 🙂
galadriel / Qalandar / oops: Thank you. Will you be doing a review, Qalandar?
Vivek: Oh, I don’t know. But one good thing about tight deadlines is that you get less time to fuss over the piece, and you leave well enough alone. Otherwise, you’re constantly thinking of ways to improve it and a lot of these ways aren’t always good decisions in hindsight.
Srinivas: “The way Deepika worked the camera was something” Yeah. There’s something very pliant about the way she comes across. (As opposed to Katrina, say, who looks great when she poses for magazines, but not so much on screen, where she’s terribly stiff and awkward).
ML: Oh, but who’s talking about the performance here? 🙂 (Though, to be fair, her character was the weakest of the lot.)
v: It’s not Pali, you know. Just English 🙂 And thanks.
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Srinivas
August 17, 2008
Yes..about Katrina – I remember that you had written in some review that she comes off as a very pretty transvestite or something like that… And I couldnt agree more..
Apparently she also had a track in this movie which was later chopped off..Thank God for that, she would have been the weakest link here…
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Sujith
August 17, 2008
Ccouldn’t stand the YashRaj self referencing , and the structure of the movie just meant that you knew its going to be 2 passes around the 3 heroines
Incidentally the the somewhat familiar sidekick is the next generation of Paintal and Guffi Paintal
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Raj Balakrishnan
August 17, 2008
Well said. Deepika does not need to act, she just has to appear. What a beauty. I mean, is she real? She is Aishwarya Rai multiplied by 100.
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db
August 17, 2008
well, n offence BR, but i thought BAH was, well, bah!
The ending was horribly dull, and i found it annoying that the hero, who is basically an immature jerk is presumptous enough to go telling the women how to make their life perfect in the second half.
But bipasha was simply luminous – her last line “It’s time for the bitch to get back to work”!! fabulous!
And who did that sidekick think he was in the leopard print dressing gown.. Hugh Hefner?
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db
August 17, 2008
PS: did you notice, in the scene in the second half where ranbir is on the balcony with bipasha, you can see the camera and cameraman reflected in his sunglasses during the closeups!!
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Aditya Pant
August 17, 2008
The DDLJ self referencing did not bother me much because in 1996 (when that posrtion of this film is set), DDLJ was quite a craze among school and college kids. I found out perfectly believable for Mahi to be dreamy eyed about “Raj Malhotra”. But yes, the Dhoom bit with all the slow-mo-walking-towards-the-camera was irritating!
Looks like that you liked this BAH more than I did. I found it just about watchable, with some good moments, but nothing more than that. But compared to other releases this year, it would find a place among the better efforts (that’s not saying much though).
One thing where I just don’t agree with your assessment is the music. Forget addictive, I found the music downright mediocre with absolutely no recall or repeat value (for me it didn’t even work in the film). This is one trend about YRF that find the most disturbing. The intrinsic musical value of their films has really gone downhill in the past few years. One can no longer say YRF = good music, like one used to.
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brangan
August 17, 2008
Sujith: The major referencing was DDLJ, and that – as Aditya says – was justified by the time period. As for the others, they were thankfully blink-and-miss, so they didn’t grate much. And regarding “you knew its going to be 2 passes around the 3 heroines,” the outcome may have been predictable but the way the situations played out still held some surprises for me.
Raj Balakrishnan: Aishwarya Rai multiplied by 100? 🙂
db: I didn’t feel he was presumptuous — well, not quite. His advice to them arose from his concern, I felt. And he *was* made to suffer, so it’s not as if he just waved a wand and make things okay. But yeah — as I said, “For a story that’s all about a rake’s progress, Raj simply doesn’t come across as that much of a rake.” The story may have worked better if Raj weren’t so *nice* (as presented), but then we’d have a decidedly different movie, probably the kind Rajat Kapoor would make.
Aditya Pant: Actually, I like two songs very, very much — Ahista ahista and Khuda jaane, and they’ve proved quite addictive for me. The rest of the tracks, I agree, are mediocre, but they were less disappointing on screen.
But about YRF and good music, I’ve never felt they were all that great in any case. I’m not a big fan of the Shiv-Hari scores, and DDLJ is such a lazy score, it has *two* tunes that are practically twins. (JL have done far better work.) Yes, Kabhi Kabhie and a few songs here and there stood out, but as a banner, they’re not a patch on, say, Navketan.
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Manish
August 17, 2008
Brangan,I agree with with your opinion on the film’s soundtrack (V-S). It really complements the mood of the movie. Ahista Ahista and Khuda Jaane are on my top 10 list for quite some time.
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brangan
August 17, 2008
Manish: Just missed your comment.yeah – those two songs were really great, and the remix was nicely done too.
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Aditya Pant
August 18, 2008
BR: Oh yes, YRF music never was “great”, but I always felt that in the good old Yash Chopra days, YRF music was more melodious. I personally like a lot of Shiv-Hari’s work (though the orchestration in their songs appears a bit clunky at times), with Faasle being my absolute favourite, followed by Lamhe and Silsila.
While I agree that Navketan as a banner stood out for its music, I don’t think a comparison with YRF is right given the time period. YRF started in 1973, while Navketan ended making quality films with great music virtually at that same time time (I’m sure you won’t have good things to say about the music Navketan films once Dev Anand started directing Z class films). YRF continued to produce melodious, ear-friendly music (though not great) through the 80s where all we were subjected to was pure assault on the ears in the name of music. That is why I equate YRF with ‘good’ music.
Finally, I concede that Khuda Jaane can be addictive, but Ahista Ahista was a major disappointment for me. I felt that an interesting ‘mukhda’ was spoiled by a don’t-know-where-it’s-headed ‘antara’. Of course, that’s a matter of personal opinion
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Anand
August 18, 2008
BR…Interesting note on Aditya Chopra..Haven’t watched the film yet..will post my views after watching the film.
GTGH..Was planning to miss this anyway..sometimes I pity you guys(reviewers)..you have to put up with trash most of the times and yet come up with an entertaining take on the film!!
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Elizabeth
August 18, 2008
I don’t know why, but I think the promos for BAH do the film a disservice. I wasn’t at all compelled to watch it going by the promos alone, but I was mildly curious, so I watched it anyaway. It’s not brilliant, but it’s better than the promos made it seem.
I thought both Bipasha and Minisha got better stories and characters to work with than Deepika. The final story and character fell flat. I liked Deepika in OSO (even though she didn’t have much to do) and I think she comes across as very natural on screen, but after the first two women, especially Bipasha, she was very bland by comparison.
Not a fan of Ranbir Kapoor, but he does have a bit of natural charisma, so he didn’t bother me too much.
The one thing I really liked was that some moments were left to speak for themselves without unnecessary dialogue. When Mahi discovers at the airport that Raj played her, she doesn’t say anything dramatic, she just stands there crying and he walks away. I also loved the pre-kiss moment when Radhika and Raj are standing close together in the lift after they walk home in the rain, the tension really came through without a word.
I think the film could’ve done without the sappy ending. Raj staying dumped would’ve been fine by me.
Oh, and maybe it’s true that real life couples don’t often have on screen chemistry. I thought Ranbir Kapoor had more chemistry with inanimate objects than with Deepika.
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Anil
August 18, 2008
I surprisingly ended up liking BAH – mostly for its writing in some parts more than anything else. I was expecting the writing in Janne Tu… to be much better than it was so ended up being disappointed – it was the reverse with BAH.
My favorite was Bipasha. What a beauty and what a nicely written and played role. Minisha looked awful, but wasn’t bad at all. And I agree with everyone else about Deepika – gorgeous and confident, even though she did not have much scope in this film. Kunal Kapoor and Paintal’s son were good too.
I guess the only thing I disagree with is Ranbeer’s performance. It worked for me. I guess the acting genes are back in place after missing one generation (No – I DO NOT like Rishi and Randhir at all). I can’t see how Ranbeer will not be the next big superstar after this perfectly tuned star-making vehicle for him.
Not a great film by any means, but well written in parts and with some really nice performances, I am shocked that I actually liked BAH.
Cheers
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Indraneel
August 18, 2008
brangan..you know what..I sincerely feel that this movie was not written with all the locations, raazmattaz, globe hopping etc. in mind. It was just written with a cad and three nice ladies, one small town and the translocation of all the characters in the timespan 96 – 08..I do think Aditya (yes, I also think who this guy really is..he greenlights Chak de, Kabul express, etc. on one hand and TPTM on the other)Chopra added all the locations, globe hopping and the rest to make it pleasing to the eye and he has been doing it systematically with all his movies, to make them investor/customer friendly at all times. Pity but true. Imagine, if this was based in Kerala and the cad befriends his first girl in Kottayam, his second in Kochi where he first goes to work and the third in Dubai where he is a engineer and she a nurse!!..with lots of conversation rather than just locales and songs..conversation like maybe “Pulp Fiction”…just thinking!!
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SB
August 18, 2008
I actually thought Ranbir did a pretty good job in the film – the scene that really won me over was the one where he’s leaving Minissha at the airport – where she’s standing there crying. He nails the “Crap, I think I did something wrong but I don’t know what it is” – I thought the subtext he brought to it was so great because you see that first hint of self-awareness arising in him… but he brushes it aside quickly with the casual confidence that you only have at 18, that you don’t have to deal with what you may have done wrong coz the whole world is waiting for you….for such a subtle scene, I think it was one of the strongest we’ve seen in a long time, and I think it was primarily because of Ranbir’s handling of it.
I liked BAH and thought it as good as Jaane Tu…I find it odd that people are so hesitant to give it a true thumbs up (yours is the most positive review I’ve read so far)….which only confirms my suspicions of a conspiracy against the Yash Raj banner by the film critics of India. Perhaps they’re trying to get Aditya Chopra to come out of hiding so he can defend his films?? 🙂
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Aditya Pant
August 18, 2008
Indraneel: That’s a thought! You may be right about the movie not being written with the locations. We all know how Anurag Kashyap and Tigmanshu Dhulia’s Delhi-based ‘Sangam Mail’ metamorphosed into London-based Jhoom Barabar Jhoom.
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brangan
August 18, 2008
This comment came via email…
Nirja: HI… i am rather disappointed with bardwaj and his review of bae… he seems to imply that this film has a series of firsts for bollywood… what he doesnt imply is the same director did give a series of firsts in his first film itself… with the actress having a baby boldly before marriage… saif as a cook and hygiene freak… which maybe he missed… but the thing that saddened me most was how he wrote about the girls… implying that if one had such good looks like deepika who needs to act… isnt that precisely the problem with bollywood… you could have praised her superb beauty but not at the cost of acting… we have in bollywood an industry where… the one doesnt know how to speak hindi… how terribly ironic is that… and yet no one cares… bollywood is turning to be this terribly hypocratic place where no one seems to have any dignity left… and for me by saying even carelessly that looks come over acting… bardwaj certainly lost the awe i had in him…
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Ravi K
August 18, 2008
Baradwaj, sarcasm is hard to convey in text, hence that email 🙂
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Anand
August 19, 2008
Wow!! So tough satisfying so many people’s expectations as a reviewer….imagine the plight of a film-maker!!
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brangan
August 19, 2008
Anand: “sometimes I pity you guys(reviewers)..” Oh, it still beats having to do a 9-5, so don’t feel too sorry for us 🙂
Elizabeth: “The final story and character fell flat.” I think it’s got to do with the time factor. And to think that they wanted a *fourth* girl in Katrina Kaif. Wonder where she’d have fit in… About real couples and chemistry, Ranbir’s parents wre electric on screen. They vibed fantastically off one another.
Anil: “Minisha looked awful…” I think it’s just that she looks emaciated. She was quite nice in Yahaan, her first film, but I think power-dieting or whatever has taken a toll since then. And come on… not a fan of Rishi? 🙂
Indraneel: But the blowing up in scale didn’t really kill this film, I felt. I thought KANK suffered more due to this aspect.
SB: “Perhaps they’re trying to get Aditya Chopra to come out of hiding so he can defend his films??” And that would be important because…? I mean, he’s no RGV in terms of interview entertainment capacity.
Nirja: I’m sorry you’re “saddened,” but ythat was meant to be a salivating joke — not an actual endorsement of looks over talent, though, come to think of ir… Oh, never mind. Regarding “the one doesnt know how to speak hindi… how terribly ironic is that,” why is it “ironic”? I’d understand if she’s playing Umrao Jaan, but heck, she’s a young thing driving a cab someplace, and i don’t see that an accent (or whatever you’re pointing at) hurts the character.
Ravi K: Okay, I’m going to sit down and try to understand that one 🙂
Anand: Actually, as RGV says, the only person you have to satisfy is yourself 🙂
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Shalini
August 19, 2008
RE: YashRaj and music – IMO, they produce good “Indian Restaurant” music.:-)
BR, is there a way you could work a discussion/analysis of “Doosra Aadmi” in one of your future pieces? Such an atypical YR film…
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Aspi
August 20, 2008
BR, what’s the skinny on Minissha Lamba? Since you didn’t talk about her in the review, any extra-review thoughts?
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Ravi K
August 20, 2008
Baradwaj, all I meant was that your “who needs ‘acting'” comment was tongue-in-cheek and thattone isn’t always conveyed properly through text, hence Nirja’s taking your statement at face value.
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Anand
August 20, 2008
In terms of screenplay and the way Raj’s character is shaped, I found it quite clever. Just think about it…the first half is for the male viewer(with truly funny dialogues like “nobody wishes to touch damaged goods”)..and the second half is for the female viewer. This is the kind of formula that Parthiban used to make!!
Due to the Yash Raj touch and the good looking cast, this treatment of this formula makes for a good date movie!!
How I wish someone like Shahid Kapoor played the male lead..he has the potential to rise above the script.
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kaos
August 20, 2008
Aspi wants the skinny on Minissha Lamba?! :). And round and round we go…
PS: If this comment is making no sense, look up Honeymoon Travels…
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brangan
August 20, 2008
Shalini: Doosra Aadmi… Hmmm… Let’s see. But decent RR soundtrack though.
Aspi: I thought she did what she had to do. In general, I don’t talk about every single performance, so… But as kaos says, this girl is a shell of her former self.
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Aditya Pant
August 20, 2008
Doosra Aadmi was indeed a decent soundtrack. Wonder where have we lost the RR of the 70s – Julie, Swami, Priyatama, Doosra Aadmi, Baaton Baaton Mein….
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raj
August 21, 2008
Aditya, here’s a clue: http://itwofs.com/hindi-rr.html
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raj
August 21, 2008
In your own list
BBM: 2 lifts
Swami – isnt the best one there a re-play of a pakistani ghazal.
THere is a saying in tamil – chattila irundha dhan appaila (whats not in the pot cannot reach the plate) varum. Looks like RR’s chatti emptied well before he could start off
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OrangeJammies
August 22, 2008
Hey Brangan, I know this probably won’t matter one jot to a National Award winner, but I decided to give you a little award of my own on my page. Just to let you know that you determine whether I occasionally see the inside of a cinema or not at all. 🙂 Thanks!
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Aditya Pant
August 22, 2008
Raj: Some people also say that probably RR soon ran out of his father’s tunes 🙂
You’re right about BBM, but my favourite song from the film is Kahan Tak Ye Man Ko, which to the best of my knowledge is not lifted from another source (I could be wrong). As for Swami, the best songs in my opinion were Pal Bhar Mein Ye Kya Ho Gaya and Kaa Karoon Sajni, which are not sourced from any Pakistani Ghazal.
RR’s real ‘lifting’ phase began with Dev Anand’s Manpasand (1979) and thereafter almost every film of his had at least one ‘lifted’ song.
More than the basic tunes, RR’s songs in the beginning had very unique, distinctive and refreshing arrangements, but later he moved to sounding like RDB or LP clone.
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Tambi Dude
August 22, 2008
RR came up with a wonderful song in Aakir Kyon (Rajesh Khanna, Smita Patail 1985) movie. “ek andhera laak sitaren”. Very
beautifully composed and probably the only tolerable song of Mohd Aziz, which I believe was his first song.
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brangan
August 22, 2008
OrangeJammies: An award from a reader — and one who uses my reviews as a barometer? Even if that thought makes my knees wobble, how could I refuse? Thanks so much 🙂
Tambi Dude: I haven’t heard that one. Thanks, even if I can’t stand Munna Aziz.
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Aditya Pant
August 23, 2008
Tambi dude: Ek Andhera Laakh sitare was indeed a beautiful song. Even I find that the only tolerable Munna Aziz song, although other singers would have taken this song to new heights. The song has RR taking inspiration from his father’s amazing repertoire as it has a Rochan feel to it.
BR: You can hear the song here: http://www.s-anand.net/hindi/Aakhir%20Kyon~Ek%20Andhera%20Lakh/play
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Tambi Dude
August 23, 2008
I have emailed you the song to your yahoo address.
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the mad momma
September 3, 2008
i think Minissha looked like death warmed over. what made them choose her at all?!
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