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Once Upon A Time In Mumbaai

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!

Khatta Meetha

When Priyadarshan and Akshay Kumar join hands, you expect the cineplex to reverberate with laughter. Let's not forget, the team has regaled us with some terrific entertainers in the past. Naturally then, you expect KHATTA MEETHA to take the legacy forward. Unfortunately, KHATTA MEETHA is noise [the actors scream a lot in this movie], more noise [the great promotion] and only noise, while the content takes a complete backseat. Although KHATTA MEETHA shouldn't be compared to this combo's earlier works, since this one's a satire, I have to add that this is their weakest film to date. The first question I asked myself once the movie got over was, what's the story? Okay, okay, neither did Priyadarshan's last few films had a story to tell, but when you attempt a satire, when one talks of the hardships faced by the common man, when one talks of corruption in society, there HAS to be a story in place. That goes without saying! KHATTA MEETHA raises a finger at the corruption in government establishments, but what it tries to say, or expose, has been witnessed over and over again. In fact, it's the writing -- sorry, the absence of it -- that makes matters worse. The beginning is good, the middle falters and the end is exasperating. Final word? This one's far from being meetha. It's a khatta experience! Struggling road construction contractor Sachin Tichkule [Akshay Kumar] is doomed. There is no chance that his dreams will ever come true, simply because he has no money to bribe. To make matters worse, the new Municipal Commissioner turns out to be his ex girl friend [Trisha], who now hates him.

The film reveals the extent of corruption and bribery rampant in the system and the ingenious means you have to adopt if you want to survive in today's times. KHATTA MEETHA attempts to say a lot many things in those 2.40 hours. Oh yes, its running time is a problem, more so because the narrative lacks the power to keep you hooked to the proceedings. Okay, coming back to what I wanted to say, KHATTA MEETHA is more of a collage of isolated incidents encompassed in those 2.40 hours. The collapse of the bridge, the consequent murder of Tinnu Anand, the constant bickering in the house, the tu-tu-main-main between Akshay and Trisha, the sister's track, the corrupt netas and government babus, the payment issue of workers... several sequences are a repeat of what's you watched barely minutes ago or an hour ago. While the romantic track is the weakest link [half-baked; the songs are forced down your throats, without valid situations whatsoever], the flashback portions, depicting Akshay Kumar as a college student [!!!], is just hard to digest. Even the end is worn out and doesn't give the feel of contentment that one expects at the conclusion of a film. Priyadarshan's handling of the comic sequences is noteworthy, especially in the first half of the film. The repair-and-paint sequence at Asrani's mansion is sure to bring the house down. Ditto for the conversation that Asrani has with multiple people, in person and also on phone. Also, the road roller sequence is a laugh-riot and prior to that Johny Lever's sequence of repairing the road roller is truly funny. But a few isolated sequences aren't enough. The veteran storyteller ought to know the importance of a watertight screenplay by now. Cinematographer V. Manikandan's lens captures the exteriors with flourish. Pritam's music is easy on the ears and at least two songs are extremely popular as well, but the placement of songs in the narrative acts as a roadblock. Dialogues are funny at times, especially the one-liners. Akshay Kumar plays the common man with gusto. He looks his part and more importantly, not once do you feel that he's repeating himself. However, he goes over the top in a few sequences. Trisha carries the Plain Jane look well, but fails as an actress. The fiery attitude, so vital when you're enacting the role of the Municipal Commissioner, is missing. Rajpal Yadav is in terrific form yet again. What a splendid actor! Urvashi Sharma is awkward. Makrand Deshpande is wasted. Tinnu Anand is hardly there. Even Aroona Irani is sidelined. Kulbhushan Kharbanda is first-rate. Asrani is excellent. Manoj Joshi screams so much. Ditto for Neeraj Vora. Milind Gunaji is okay. The actor playing the role of Urvashi's husband does a good job.

On the whole, KHATTA MEETHA is a major letdown from the accomplished director. It's not a full-blown comedy. It's not a full-scale satire either. Hugely disappointing!

Movie Review: Inception

My movie review in one word: deception.
 
My wife and I went to the Scotiabank Cinema to see the movie in IMAX and while she loved it, I walked away thinking, "Mmm." The film is well crafted with a superb group of actors. The images were sometimes stunning and the special effects were in places quite amazing. So, how can I go against the tide of public opinion?

The Story

Dom Cobb (Leonardo DiCaprio) is a thief who steals information from people by entering their dreams. By using a device which seems to furnish a drug intravenously to more than one person at a time, Dom can create various scenarios between the people in the dream of the "target" who is also hooked up to the device. Dom is hired by the owner of a corporation to do what is presented as "never been done before": implant an idea in the mind of a rival so as to change the rival's plans and derail said plan to the benefit of the owner. The subplot is that Dom is accused of murdering his wife and so cannot return to the United States. The deal presented by the owner to Dom is that if Dom is successful, he, the owner, will ensure Dom is cleared of all charges and can return to see his children.

The Premise

Every movie has a premise. For Superman, we have to accept a man with superhuman powers. For the Matrix, we have to accept humans can be plugged into a computer system which generates an alternate reality. For Star Trek, we have to accept that it is the 23rd century. Each of these premises requires our suspension of disbelief; we must accept the premise in order to follow the story.

Inception's premise is quite simply that one can create dreams, one can participate in the dreams of others and these dreams represent an "alternate reality" in which the normal laws of physics are suspended. However, unlike other movies which explain quite clearly and plausibly how this alternate reality was achieved, Inception's use of dreams paints an incomplete picture of the process leaving unanswered questions and holes in the original assertion. How can one enter the dream of another? How can a group of people share the same dream? How is this dreaming achieved? How is this dreaming different from the dreams one has when one sleeps normally?

Alternate Realities

The computer generated reality of the Matrix allowed within the context of the story for a complete suspension of the laws of physics. As such, this opened the doors for the makers, the Wachowski Brothers to put together visually stunning scenes of what is impossible in the real world. The result was some jaw dropping special effects including the ground breaking "bullet time" movie technique.

Nolan's Inception attempts to do exactly the same thing: an alternate reality suspends the laws of physics and we see scenes which defy the real world. Nevertheless, the connector, the logical glue which binds the story together is weak. Humorously enough, any premise requires us to believe in the unbelievable, to accept the impossible or the entire movie doesn't work. Mr. Nolan has aimed high but failed to fill in the blanks to provide a premise which although impossible is plausible.

Nevertheless, the film goes ahead with its plan to exploit the alternate reality by creating movie scenes which defy physics. While these scenes are startling visually and on their own, taken out of context provide a stunning example of what modern special effects can achieve, the imperfect premise of the entire production leaves one with a furrowed brow. It is no longer a question of defying credibility; it is a question of leaving one perplexed, confused and searching to fill in the blanks to work out a logical explanation of the story.
 
Christopher Nolan
 
Christopher Nolan, the director and the screenwriter has a substantial string of successes under his belt. Going through the list of his films is astounding and surely is indicative of a talent far above the norm. Most people would know him as part of the very successful "reboot" of the Batman movies, especially the last one in the series The Dark Knight which saw a posthumous Oscar going to Heath Ledger.
 
Let me repeat the Wikipedia entry showing a list of Mr. Nolan's films showing their ratings from Rotten Tomatoes:
 
Following: 80%
Memento: 93%
Insomnia: 92%
Batman Begins: 85%
The Prestige: 75%
The Dark Knight: 93%
Inception: 85%
 
The average rating for the above films is 86%. Obviously, this man would seem to spell gold for any film company buying into one of his projects.
 
Time Travel and Parallel Universes
 
Science fiction has been dealing with the subject of time travel for a very long time. Considering that such a topic is the realm of theory not reality, it reminds me of science fiction's alternative name: speculative fiction. I remember quite well the first book I read which had a theme of time travel: The Sound of Thunder by Ray Bradbury. I was 12. Interesting, thought provoking, a host of adjectives have probably been used after consultation with Mr. Roget to expound on people's fascination for this idea however, I have been progressively becoming disenchanted with this premise. I seem to be seeing more and more instances of where the author develops a story and inadvertently paints himself into a corner. How to get out? Time travel! What? The butler didn't do it; some other unknown character went into the future or back in time and "did it".
 
The same holds true for parallel universes. The butler didn't do it; a character from some other plane of existence went through a worm hole and did it. Huh?
 
Dreams
 
I am now adding "dreams" to the list. Like time travel and parallel universes, dreams open the door to the infinite number of possibilities and therein, as the Bard would tell us, lies the rub. It is no longer a question of stringing together the probable: yes the butler did it; you can construct absolutely anything you want based on the original premise: the butler didn't do it, you dreamed who did it. Who cares about what's probable; let's just pull any time-travelled, parallel universe dreamed up rabbit out of our hat.
 
On top of that, I note that authors sometimes up the ante by telling us how really, really, really difficult something is in the context of the story. I'm afraid I cringe at the point of any film or story which presents me with a premise I've never seen then has one of the protagonists utter something like, "This has never been done before." Since I've never seen the premise before, I have absolutely nothing to which I can compare the idea of "never been done before". For me, it's not impressive; it's meaningless. It comes across as a deliberate, calculated attempt to impress me which fails... ah, impressively.
 
Alert: No Spoiler Alert
 
I'm not spilling the beans. I'm certain those of you who love science fiction will go see this film. After all the coverage elsewhere; after all I've said here how could you not want to go check it out? The opening weekend for the film clocked in at $62 million which is considered quite respectable however the list I've found of the biggest opening weekends (see below) is an interesting look at the public's taste in movies. Avatar, for a comparison, came in at $77 million but we could say that Mr. Nolan is under-performing with this film since his last project The Dark Knight is at the top of the list with $158 million.
 
In any case, this review shows my own particularities in taste. I like Star Trek; I've watched all the TV shows and have seen all the movies but when the entire family went to see the latest Star Trek, the attempt to reboot the franchise, I was the only one in the family who seemed to be lukewarm about it. We all saw Inception; I'm the one who says, "Ho hum". Picky, picky, you say? Well, how about the Matrix? There's a film that truly captured my imagination and somehow, I don't quite see Inception Reloaded and Inception Revolutions coming out any time soon.
 
Did you read this review or did you dream you did? I for one will be dreaming about Batman 3, supposedly Nolan's next project. By the way, if you have the choice, you might as well see Inception in IMAX. I'm just sorry Inception did not come out in 3D; that would have been an interesting addition.

Click HERE to read more columns by William Belle. 
 
References
 
Wikipedia: Inception
 
Wikipedia: Christopher Nolan
 
Films: Biggest Opening Weekends
 
Wikipedia: Batman 3 (2012)
 
Wikipedia: The Sound of Thunder by Ray Bradbury (1952)
--> the most re-published science fiction story of all time.

Movie Review: Toy Story 3 in 3D

Toy Story 3 is another in a long line of commercial and artistic successes for Pixar Animation Studios. This computer-animated film is the third installment of the Toy Story series and brings together all of the familiar characters. One may have suspected that the creators would have run out of new, original ideas but I am pleased to report that the script turned out to be a refreshing entertainment of the highest quality. Without any hesitation, I can recommend this film for the entire family, a "wholesome" film.

I do not want to be issuing any spoiler alerts but will restrict myself to saying that the story line follows the first 2 films. Andy, the main "human" character, the owner of the toys, is now 17 and about to head off to college. The question is what will happen to his toys now that his life is moving on. From there, the adventure begins.

Surprising me with something original and unexpected is a sure formula for making me laugh heartily and I must say that Pixar delivered with the one scene with Buzz Lightyear when his friends try to "reset" him. I don't want to spoil it but I can say that I did not see it coming and when it did arrived, I laughed out loud.

Pixar

In reviewing this film, I thought I would take a look back on Pixar itself and was somewhat astounded to see the accomplishments this company has racked up. Just look at this incomplete list of their films: Toy Story, Monsters, Inc., Finding Nemo, The Incredibles, Cars, Ratatouille, WALL-E and Up. The web site Rotten Tomatoes has gone so far as to call Pixar the most critically acclaimed film studio of all time. High praise, indeed!

Started in 1979 as part of Lucasfilm, the company at first worked in the background in the area of special effects. Steve Jobs bought the company in 1986 after he left Apple Computer and the company continued in the development of specialized computers sold primarily to the government and medical organizations and also to Disney Studios. However, poor sales of these systems saw the company's animation department doing more and more computer-animated commercials for other companies.

During this time, the company struck up a deal to produce 3 computer-animated features, the first one being Toy Story. The rest, so they say, is history.

Disney Studios acquired Pixar in 2006 and although wholly owned by Disney, continues as a separate company.

While more original films are in the offing, Pixar does have plans for further sequels such as Cars 2 and Monsters, Inc. 2.

3D Films

The idea of showing an image with the illusion of depth perception has been around since almost the beginning of photography. The same is true for movies. Commercial 3D films have existed since the 1950's however have been very much a niche market due to the costs involved in making and showing such films.

In the mid-80's, 3D films began a revival of sorts. IMAX produced several special titles within its theatre systems and Disney theme parks began using 3D to impress its audiences; Francis Ford Coppola's Captain EO starring Michael Jackson is a notable example.

From 1990 onwards, 3D production continued still as a niche market, although, by 2004, supposedly 54% of the IMAX theatres were 3D capable.

From 2003 to the present day, more and more films have come out in a 3D format. Film makers have taken note of the public's seemingly growing taste for this kind of movie experience and as the number of productions has gone up, the number of theatres outfitted to show 3D has grown. James Cameron of Terminator, Titanic and Avatar fame is predicting 3D will replace 2D as the standard not only for film, but for television and online content all within the next 25 years. On the other hand, famed critic Roger Ebert call 3D merely a gimmick.

Let's run down a short select list of 3D films in 2010 which have already come out or will be out this year:

Alice In Wonderland
Avatar
Toy Story 3
Despicable Me
Step Up 3D
Piranha 3D
MegaMind
Tron Legacy


No doubt about it; there is something of a movement to 3D. Will it in the end replace 2D as Mr. Cameron is predicting?

Click HERE to read more columns by William Belle.

References

Wikipedia: Toy Story 3
http://en.wikipedia.org/wiki/Toy_Story_3

Wikipedia: Pixar
http://en.wikipedia.org/wiki/Pixar

Wikipedia: 3-D Film
http://en.wikipedia.org/wiki/3-D_film

Los Angeles Times: Overall receipts include heftier 3D ticket prices
http://articles.latimes.com/2010/may/08/entertainment/la-et-summer-20100508

James Cameron: 3D is the future
http://www.modernghana.com/news/275656/1/3d-is-the-future-james-cameron.html

Roger Ebert: Why I Hate 3-D (And You Should Too)
http://www.newsweek.com/2010/04/30/why-i-hate-3-d-and-you-should-too.html

Lamhaa

During the showcasing of LAMHAA at the recently held I.I.F.A. in Sri Lanka, I was compelled to ask director Rahul Dholakia about the catch line of the film: 'The untold story of Kashmir'. Obviously, I was curious. What was Dholakia going to narrate that we, the viewers, hadn't witnessed in films earlier or read in newspapers or watched on news channels? Dholakia gave a convincing response, justifying the catch line, but obviously not revealing much about the film. As LAMHAA unfolds, you realize that Dholakia may've borrowed a few incidents from life, but as it moves forward, it comes across as a typical Bollywood enterprise that harps on being real, but ends up being a masala film that we have witnessed over and over again. The catch line, in my individualistic opinion, is quite misleading. Dholakia seems to have researched extensively on the issue and LAMHAA does boast of some razor-sharp moments, but the viewer is keen to have an insider's viewpoint on Kashmir, something that we haven't read/seen [on news channels/films] earlier, which LAMHAA just doesn't provide.

Just one word for this film: Disappointing! The Military Intelligence gets a whiff of a plot that is likely to disrupt and possibly paralyze Kashmir. Vikram [Sanjay Dutt] is sent to investigate this highly confidential mission and he assumes the identity of Gul Jehangir. The same day that he lands in the valley, Haji [Anupam Kher], a top separatist leader, survives a blast. Is there a connection between the blast and the operation? To solve this conundrum, Vikram teams up with Aziza [Bipasha Basu], Haji's young, aggressive and outspoken protégé. The intensity of their beliefs and their will to survive against all odds creates a special bond between them. They embark together on a journey to uncover the truth. First things first! LAMHAA has been filmed in Kashmir and you're awe-struck by its beauty, with DoP James Fowlds doing a splendid job in capturing the scenic locales on celluloid. The constant shaking of the camera also gives a real feel. Unfortunately, LAMHAA, though controversial in nature, merely touches the tip of the issue, instead of going all-out and narrating a story that offers reasons and perhaps, a solution to the crisis.

The problem clearly lies in its scripting, the written material [screenplay: Raghav Dhar, Rahul Dholakia]. Like I pointed out earlier, Dholakia should've stuck to realism, instead of trying to strike a balance between realism and make-believe. The viewer is told at the very outset, and also at regular intervals, that 'something big [read destructive] is going to occur'. But the entire conspiracy comes across as too trivial during the final moments of the film and therefore, the impact is missing. Honestly, LAMHAA comes across as a disjointed effort, in terms of writing. It's more of a collage of several isolated incidents, which explains why the screenplay lacks the power to keep you engaged. Sure, a few sequences are attention grabbing, but showing the heroic side of Sanjay Dutt [rescuing Bipasha all the while - from the cops, from Rajesh Khera's henchmen, from a lecherous Yashpal Sharma] appears very filmy. Even the finale - Sanju busting the conspiracy - comes across as child's play. One expects a lot from Dholakia, but he lets you down completely in LAMHAA. The politicians wanting a bigger piece of pie or children getting trained for jehad or their bodies being stuffed with bombs is not an eye-opener anymore.

What one is keen to know is the mindset of Kashmiris, which, frankly, this film doesn't really project. In the end, if you recall the visuals, not the content, it means something is seriously wrong with the film and LAMHAA, sadly, is right intentions gone wrong. Even the dialogue [Sai Kabir, Ashwath Bhatt], like the screenplay writing, tries to strike a balance between real and filmy. Mithoon's music is easy on the ears, but acts as a speed breaker in the narrative. Sanjay Dutt tries hard to look the character, but I just couldn't connect with it. The rugged look, the sunglasses and the trendy attire made me feel that Sanju had strolled into the sets from an ad film shoot. Bipasha, again, doesn't look her part, although I must add that she has put in a lot of effort to stay true to her character. The sequence when she's attacked by the women workers of Anupam Kher's political party is simply brilliant. Kunal Kapoor is royally sidelined in the first hour, but has a few interesting scenes in the second half. His speech in the finale is flat and devoid of the required emotions. Anupam Kher is the lone actor who actually looks the character he has been assigned to portray. Mahesh Manjrekar is wasted. Ditto for Yashpal Sharma. Vipin Sharma is effective. Jyoti Dogra stands out. Murli Sharma is perfect. Shernaz Patel is decent. Rajesh Khera, Yuri Suri, Vishwajeet Pradhan, Asif Basra, Denzil Smith and Ehsaan Khan are okay in their respective parts.

On the whole, LAMHAA just doesn't work.

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