The fascination with gangster movies has been immense worldwide. On this side of the Atlantic, several gangster films have left giant footprints on the sands of time. Films like DEEWAAR [Yash Chopra], DHARMATMA [Feroz Khan], NAYAKAN [Mani Ratnam], ANGAAR [Shashilal Nair], PARINDA [Vidhu Vinod Chopra], AGNEEPATH [Mukul Anand], SATYA and COMPANY [Ramgopal Varma], VAASTAV [Mahesh Manjrekar], GANGSTER [Anurag Basu], D [Vishram Sawant] and SHOOTOUT AT LOKHANDWALA [Apoorva Lakhia] have tremendous recall value to this day. ONCE UPON A TIME IN MUMBAAI recreates an era that so many of us have left behind and for those who arrived on this planet post 80s, I am sure, they must have visited the era through some medium or the other, mainly movies and internet or during their academic careers. ONCE UPON A TIME IN MUMBAAI is not part of history, but it attempts to portray on celluloid tales that are now considered legendary, that continue to make news to this date. Of course, the disclaimer claims that it bears no resemblance to a particular person, but you can't help but draw parallels with real-life characters. It could be a coincidence, though!

ONCE UPON A TIME IN MUMBAAI is a fascinating story that talks of how the mafia came into force for the first time in Mumbai. A thriller that depicts the crime scenario in Mumbai during the 70s and 80s. The rise to power of two young boys, in different age-groups, who grew up to 'rule' the streets of Mumbai. Since there's tremendous speculation in the media that ONCE UPON A TIME IN MUMBAAI chronicles the lives of Haji Mastan and Dawood Ibrahim, the curiosity to watch the film increases manifold. Of course, I am no one to comment if it's actually based on their lives or merely borrows a few incidents from their lives or is pure fiction, but as a cinematic experience, I couldn't help getting transported to the bygone era, getting sucked into a world I had no clue of. Besides the gangster chapter, one enjoys this film also because of its riveting drama and the power play. It could've been set anywhere, in the corporate world, in politics, in the film industry. Anywhere. The rise and subsequent fall of the King and the emergence of the Prince as the super power is what makes this film a compelling watch. The icing on the cake is the magical and lilting song compositions that are juxtaposed so beautifully in the goings-on. On the sidelines of the power play, a game of hearts is being played and that's what makes ONCE UPON A TIME IN MUMBAAI a wholesome movie experience. Final word? ONCE UPON A TIME IN MUMBAAI is not to be missed. Set everything aside this coming weekend and watch this one. Strongly recommended! The film, set primarily in 1970s Mumbai, follows the rise of Sultan Mirza [Ajay Devgn] and the conflict that ensues, when Shoaib Khan [Emraan Hashmi] challenges his supremacy and usurps power to rule the murky underbelly of Mumbai. ONCE UPON A TIME IN MUMBAAI is a power-packed drama that makes you thirst for more. You rewind to an era of romance, smuggling, cabaret and mafia, but director Milan Luthria and writer Rajat Aroraa ensure that there's no sleaze or bloodshed-n-gore. In fact, there's hardly any violent sequence in the movie, except for one when Ajay hammers a cop during a naaka-bandi. ONCE UPON A TIME IN MUMBAAI is not a biopic, but narrates the story through the eyes of a police officer [Randeep Hooda], who traces the changing face of the Mumbai underworld.

The screenplay encompasses several moments that may compel you to draw parallels with real life, but talking strictly from the movie-going point of view, it satiates you completely. In fact, the writing is cohesive, smart and watertight and there's never a dull moment. Besides, there's no time to think whether it's factual or loosely based on someone's life or a work of fiction. As I look back and recall the movie, a number of sequences flash across my mind. Note the sequence when Ajay divides the city amongst gangsters... The train sequence at the very start... The introduction of Emraan Hashmi's character... Randeep Hooda's landing on a film set and confiscating the equipment... The subsequent sequence, when Randeep is framed for accepting bribe... The romantic moments between Emraan and Prachi in the jewellery shop... Emraan starting his business and the confrontation that ensues between Ajay and Randeep... The showdown between Ajay and Emraan, with Ajay slapping Emraan in full public view... The conclusion to the story is equally novel. It stays in your memory and sets you thinking. On the flipside, the story begins with Randeep attempting suicide, but the writer should've cited the reason that prompted him to take that drastic step. Sure, there's a mention at the start, but it doesn't register well. Also, you are keen to know the chain of events that drove Randeep to suicide. Also, the pace slackens in the middle of the second hour, but picks up dramatically when Ajay returns from Delhi and confronts Emraan. Besides, how I wish the film had a shorter, mass appealing Hindi title to attract more eyeballs and a big jump in footfalls [at single screens and smaller centres mainly] for a mass appealing subject like this. This is director Milan Luthria's best work to date, no two opinions on that. Recreating the bygone era is tough and the director, the writer and the art director [Nitin Chandrakant Desai] deserve brownie points for giving the film that authentic feel. In fact, the film wears a chic retro look throughout. Even otherwise, Milan's handling of the subject material is exemplary. This film is sure to catapult him to the top league. Rajat Aroraa's screenplay is powerful and engaging. The writer marries heavy-duty drama and subtle and delicate emotions beautifully. I would like to make a special note of the dialogue, also penned by Rajat Aroraa, which are simply fantastic. In fact, the dialogue writing is such it elevates even an ordinary sequence to great levels. One rarely comes across such potent dialogue in today's times. Pritam's music is another ace. Injecting songs and that too a terrific soundtrack in a gangster film is tough. He did it in GANGSTER. He does it again in ONCE UPON A TIME IN MUMBAAI. 'Pee Loon', 'Tum Jo Aaye' and the remix of APNA DESH track are super compositions, which are also placed appropriately in the plotline.

Cinematography [Aseem Mishra] captures the look to perfection. Akiv Ali's editing is sharp. ONCE UPON A TIME IN MUMBAAI is embellished with fantastic performances. Ajay Devgn is splendid as Sultan. The actor had enacted a similar role in COMPANY, but it must be said that his interpretation is so different in ONCE UPON A TIME IN MUMBAAI. He adds so much depth to the character, which only goes to prove his range and versatility. This is, without a trace of doubt, Ajay's finest work so far. Emraan Hashmi is brilliant as the power greedy, wildly ambitious rebel. He plays the dark character to perfection. He's incredible in the penultimate moments of the film in particular. Besides carrying the look to perfection, Emraan is sure to break-free from the lover boy, serial kisser image with this film. Kangna Ranaut is extremely natural and performs very well. Also, she brings so much of sensuality and glamour to her character [an actress of the 70s]. In fact, Ajay and Kangna make a wonderful on-screen pair. Prachi Desai is a bundle of talent who proves her mettle yet again. She's proficient in emotional scenes and sizzles in the BOBBY song-sequence. Besides, the chemistry between Emraan and Prachi is exciting. Randeep Hooda is top notch. Even though the film belongs to Ajay and Emraan, Randeep makes his presence felt with a powerful performance. This film should prove to be the turning point in his career. Avtar Gill [as Home Minister] is good. Naved Aslam [as Patrick, Ajay's trusted lieutenant] is perfect. Mehul Bhojak [as Emraan's friend Javed] is competent. Ravi Khanwilkar [as Vardhan] is satisfactory. Gauhar Khan sizzles in the remix track.

On the whole, ONCE UPON A TIME IN MUMBAAI is an extremely well-made film that lingers in your memory. The realism coupled with stellar direction, power-packed writing, exceptional performances and ear-pleasing tunes are its trump cards. An outstanding cinematic experience!

Knock Out director Mani Shankar was not willing to comply with Irrfan's insistent requests that he be allowed to do his own share of action to look on a par with the film's leonine action hero Sanjay Dutt. In fact, Irrfan wanted to go further. He wanted to kill the villain in the climax of Knock Out. A thought that exasperated and amused Sanjay Dutt and the director Mani Shankar since Irrfan's character didn't fit the role of the avenging macho man. Says a source, "Irrfan had reservations about his role from the start. When he expressed these reservations to the director Mani Shankar, Mani made it clear that no changes would be made. Irrfan plays an investment banker. How could he turn into a fighter beating up goons and shooting down villains in a true filmy hero style? Mani has made a political thriller set in real time. The action and drama last for exactly two hours, from 11.30 am to 1.30 pm." Disregarding his banker's role Irrfan wanted to throw his punches, a la Dutt.

The director tried every ploy to dissuade Irrfan. Finally, Sanjay Dutt had to step in to stop Irrfan's flights of fancy. Director Mani Shankar is reluctant to talk on the subject. Says Mani, "I'm really not allowed to give out anything. Irrfan has a fabulous role. Yes, initially he did have some reservations. But we sorted them out. Now he has his own space in the narrative, no doubt about it."

Till a fortnight ago, there was nothing that I knew of this Punjabi film called Mel Karade Rabba. Even though Jimmy Sheirgill - the lead hero of the film - sounded mighty excited during one of our informal chats, I had no clue about the euphoria round the corner. When Jimmy said - 'Bro, picture bahaut garam ho gayi hai' - I felt that this was the pre-release excitement that was making him say those words. When the film released - there was no buzz in major cities like Mumbai, Delhi or Bangalore since its prints were dispatched only in theatres across Punjab, Haryana and overseas - there was no hoopla in the national level media either. And then a day passed by and what followed next was akin to a volcano being erupted. Records started getting broken not just in the Punjab belt but even US, UK, Canada and Australia.

Films likes 3 Idiots, Ghajini and Gadar were being spoken about in the same breath. There was a new overseas superstar who seemed to have been born, courtesy the humungous success of Mel Karade Rabba and I was soon set thinking - 'Has Bollywood ignored Jimmy Sheirgill for way too long?' It was this very thought that set me thinking about many other actors who got a far lesser star status for themselves in last few years but delivered whenever an opportunity came their way. In this week's edition of 'Reflections' series, let's look at the way some of the actors, despite their commercial bent, have somehow not seen favourable acceptance in the world of Hindi cinema and instead have found their bearing in regional cinema. A word of caution here though. In this write up, emphasis is only on those actors who have been indeed quite talented or have at least shown sparks of brilliance - whether through sheer acting skills or attitude - in their earlier outings. One of the first such names is of course the subject under consideration, Jimmy Sheirgill, who has been around for a decade and a half but has never ever got his due. For someone who had a supporting role to play in Maachis, he did enjoy a big outing in the form of Mohabbatein.

However, he somehow got slotted as a second lead or a supporting actor, something that has continued to plague his standing till date. Recent example is My Name Is Khan. No wonder, while the actor does a A Wednesday and proves himself all over again, he also turns out to be the biggest superstar in Punjabi cinema with a hat trick of successes in Mel Karade Rabba, Munde UK De and Tera Mera Ki Rishta. It's time for Bollywood to wake up and see the talent that may just be absorbed by regional cinema where he is getting the respect that he deserves. Same holds good for another actor Sonu Sood, who though (talent wise) restricted by the characterisation that he can fit into, still has it in him when it comes to edgy roles. Pick up the films where he got a chance to perform - Yuva or Jodhaa Akbar - and had a well etched part to play. He did quite well and showcased a new side of his persona. Of course whenever he has half baked roles coming his way, he has been awkward. Hence, a role has to be in his zone. No wonder, when he goes down South and turns into an out and out villain for a Telugu film like Arundhati, he enjoys a celebrity status for himself. No wonder, the man is absorbing himself big time into South cinema while giving himself that once-a-year opportunity in Hindi cinema by picking on an antagonist's role opposite Salman Khan in Dabangg. Genelia D'Souza's case has been even more puzzling. She does well practically every time (save an effort like Life Partner where she was totally OTT) and in fact made her debut with a Hindi film (Tujhe Meri Kasam) years ago. However, somehow Bollywood hasn't proved to be too accommodating for the pretty girl who went on to deliver multiple hits down South. Now that she has done a dozen films out there, there is some recognition finally coming her way post Jaane Tu Ya Jaane Naa. Still, the girl is not taking her chances when it comes to her stint down South, especially so with two stuck films It's My Life and Hook Ya Crook. Can we offer her better roles, soon, before she again disappears for long? In that aspect, Sameera Reddy is pretty much playing a smart game.

If there is one actress who is turning out to be a Jack (or shall I say Jill?) of all trades when it comes to working in regional cinema, Sameera could well be a front runner. Tamil, Telugu, Bengali, Malayalam - you name it and she has done it all. Of course she didn't find huge recognition for her acting skills when she started off in Bollywood. Moreover, some of her recent outings like De Dana Dan too haven't been extraordinary enough to be written home about. Still, the girl has the 'X' factor, something that Sanjay Gupta explored to the fullest in Musafir. However, none of her subsequent directors harnessed this quality of hers, something that made her look for something new in the regional circuits. She may not be a superstar in her new found market but an effort as put on display in recent release Red Alert - The War Within, makes one wonder if film makers before ever took her seriously. Someone who is definitely not being taken seriously is an actress from down South who is trying to make her presence felt in Bollywood - Sadaa. An experienced actress with close to a dozen odd films behind her, all she gets to do is the Love Khichdis and the Clicks of the world. For someone who has worked with none less than Shankar and Vikram in Tamil cinema, she could well be a good addition to Hindi cinema if only the requirement was that of an innocent face and a dignified persona. But seems the wait may only continue for the pretty girl! The same holds good for Shreya Saran who just like Genelia D'Souza has been hanging on for close to a decade but not quite making headway into Bollywood. Of course a start opposite Arya Babbar in (have you have ever heard about it?) Thoda Tum Badlo Thoda Hum was not quite a beginning that Shreya would have been happy about.

No wonder, she immersed herself neck deep into South films and managed to rise up the ladder and worked with none less than Rajnikanth in Sivaji. An established star in Tamil cinema, she has made on and off appearances in Hindi films like Ek - The Power of One, Mission Istanbul and Awarapan, only to loose heart and walk back into her comfort zone. However, someone who is doing all to resist this temptation and give a solid fight is Asin, who despite her dozen and a half films in South is determined to make it big in Bollywood. After the high of Ghajini, she had to suffer the low of London Dreams. For many, Ready with Salman Khan may just be a hopeful outing that would turn around her fortunes. If not, the lady who has worked with Kamal Hassan not too many moons ago may well find a safe abode just a flight away. On the other hand, someone who would certainly be looking at cancelling all her flights to South for at least a few more years to come would be Kangna. Tired with all the roles hinting of schizophrenia coming her way, Kangna did bite the bait with a couple of regional films like Dhaam Dhoom and Ek Niranjan. However, she is one individual for which Bollywood has indeed taken notice fast, a result of which is half a dozen films which are up for release and nearly the same number which is slated to go on floors soon. Perhaps her two regional films were just a threat good enough for film makers to insist that she stays back!

With Ibn-e-batuta (Ishqiya) and Apni to jaise taise (Housefull) under his belt, Mika Singh has added two more hits to his chartbuster cap. In a candid conversation with Screen, we get acquainted with the musical maverick Playback singing seems to be a part-time occupation for you despite your high hit percentage. Why is that? Our entire family back in Punjab has been into music as a full-time occupation that brooks no compromise. When I came to Mumbai it was after three years of planning and a lot of hard work. I am from a school that believes in well-trained complete musicians who compose as well as sing. It is thus necessary to learn not just formal vocal music but also as many instruments as possible - I learnt 50 instruments so that as a composer I know their strengths and zones and am aware of what orchestration I will need for any song. For me, this was a definition of a true-blue composer, whether he was into bands, pop or folk music. My ambition was a minimum one worldwide hit of my own, which I luckily got with Saawan mein lag gayi aag, later used in Woodstock Villa. But when I came here, I realised that over here the guy who makes the tune is known as the music director! It was all so easy!

You could get arrangers, musicians, programmers…! Even in playback, anyone could come in! Which was your first playback song? That was Dekha jo tujhe yaar from Apna Sapna Money Money under Pritamda. Let me reveal one more fact to you. Punjabi music is an entire culture with a huge fan base across the globe. There are dozens of artistes like my brother Daler Mehndi, Rabbi, Gurdas Mann and so many more who do not need Mumbai and its show business to be famous and successful. Their concerts worldwide have attendances in multiples of shows with top stars from Hindi films! But the ironic part is the public perception that unless you are a part of Mumbai and its film industry you are not supposed to have made much headway as a musician! That is why I thought that I will come down to Mumbai. For me, live shows are still what I am and film music is a periodic indulgence. Shows were my dream and remain as my main source of income. You also composed Ganpat for Shootout At Lokhandwala. Sanjay Gupta had recorded another song for the situation. But I told him frankly that that kind of song will not jell with hardened criminals who are singing it on screen. The expressions were all wrong. He agreed and that's how I made the song. Do you want to do more songs in films as composer? Stick to what you are good at and try and become better and better is my way of looking at things! You can't listen to flatterers telling you, Arey yaar, tum music direction bhi karo or suggesting that you can become a hero because you are handsome enough and so on! Having said that, I do give inputs on the songs I am called to sing. Most music directors also leave it to me to sing a song in my style. I am also known to give frank opinions of songs to composers! Is that then the real reason why you sing so less in films? I believe that if a singer is needed a music director will come to him, so I do not approach them and thus have sung in cinema for very few people like Pritamda, who has used me best, come Mouja hi mouja in Jab We Met, Baalmulaiza from De Dana Dan, Oh by god from Ajab Prem Ki Ghazab Kahani or my Apna Sapna.. song. I have sung for Shankar-Ehsaan-Loy, Vishal Bhardwaj, Anu Malik, Anand Raaj Anand and for young composers like Bappa Lahiri and Mithoon. Pritam really makes an effort to give me something different every time. What I also like about him is that his sound quality remains uniform through all his films - he does not compromise if the film has a smaller budget. I also liked the way Mithoon experimented with my voice and made me sing the soft, romantic track Saajana in Lamhaa that was completely new for someone with my image. How do you see musical trends going today in films and outside? The line between film and pop music has almost vanished, which in a way is good, and in some aspects bad as well. There is nothing new in the compositions and yet there is occasional freshness, the voices are all different and yet they are strangely similar too! There is no clear demarcation in styles that we saw with R.D.Burman, Kalyanji-Anandji, Laxmikant-Pyarelal and Bappi Lahiri. Reality shows are a boon for new talent, but there is the same problem - the contestants all want to be playback singers! None, for example, would want to make a career out of singing devotional songs. But the worst thing about film music today is how a music director records one song in five different voices and then chooses, or someone else not connected with the music does so, and we are all at their mercy!

Finally, with Daler being so popular, did you make any special effort to modulate your voice differently? To an extent, I did, but nature had thankfully made our voices different too. Screen India