EXPECTATIONS

You obviously have very good expectations from the music of London Paris New York. After all the promos have been catchy, the song that plays in the background has caught attention and most importantly it is the man of the moment, Ali Zafar, who is responsible for composition, lyrics as well as singing. With him playing the lead protagonist, it makes it four roles in all. Whew! With as many as half a dozen songs in the offering, one plays on London Paris New York with good anticipation.

MUSIC

Expectedly, the album kick-starts with the title song 'London Paris New York'. With a Kabhi Alvidaa Naa Kehna kind of start that Shankar-Ehsaan-Loy had given to the title song there, this one forms its own identity soon enough with Sunidhi Chauhan joining Ali Zafar behind the mike. A feel good urban number with a Western sound to it that is in the same mould as one experiences in many a Hollywood romcom, 'London, Paris, New York' is yet another track that can find a tagging of 'coming of age' composition. Okay, so you won't be singing this one along but if it arrives at different points in the film's narrative, it is bound to work.

Next to arrive is a conversational song 'Voh Dekhnay Mein' which belongs to the mode which is fast gaining popularity in mainstream Bollywood cinema today. This one is a Hinglish track where the guy is picking up the girl for her quirks and traits while narrating her various characteristics and even pulling her leg at places. A situational track which is basically driven by Ali Zafar's lyrics and singing with musical instruments taking a backseat, 'Voh Dekhnay Mein' is easy on ears. Honestly one does take time to warm up to 'Voh Dekhnay Mein' though but by the time the female version comes (which is almost unplugged in its presentation), you settle down with it. What also impresses is the fact that it is none other than the leading lady Aditi Rao Hydari who renders the number here and one must admit that in this barely 80 seconds duration, she does make her presence felt.

Soon after arrives a quintessential bhangra track with 'mauj-masti' written all over it. Though there are bits of Western influences here and there, it is the quintessential Punjabi flavour that forms an inherent part of 'Ting Rang'. Also, such has been the hold of Shahid Kapoor over this stage and setting that you almost associate the actor with a composition like the one that is heard here. However Ali Zafar makes the song as his own and though this one isn't the kind that would turn out to be a chartbuster outing, it adds on well to the packaging that he wanted to put together for London Paris New York.

The song that does manage to impress more though is 'Thehree Si Zindagi'. A love song which has the kind of lyrics that one does expect from an up market product like this, it is also elevated further due to the kind of sound that stays intact right through its five minute long duration. The longest track of the album, this one too is situational as well but has a heartfelt quality to it that hooks on the romantic in you. This time around Aditi Rao Hydari gets to croon for a much longer duration and though rough edges are quite audible, it is apparent that this is the way Ali Zafar wanted the song to remain to ensure believability.

What follows next surprises though because from a melodic setting, London Paris New York gets into a club mode with an element of trance and Sufi with contemporary urban elements interspersed in it. The ones who join Ali Zafar this time around are Sanam Marvi and Hadiqa Kiani, both from Pakistan. With an 80s touch to it, this song which goes by the title of 'Ooh Laa Laa' is an entirely different experience when compared to the namesake track that one had heard in Vidya Balan's The Dirty Picture. This one too is fast paced but instead of being a 'masala' outing that caters to the gallery, it instead pitches itself as a dance floor track. Not just that as Ali Zafar too gets into the rap-n-reggae mode, something that he hadn't done in the album so far or any of the other songs that he has sung for a Bollywood film so far.

The mood becomes dark soon after with 'Aaja' which is seemingly in the same mode as 'Tum Jo Mil Gaye Ho' [Hanste Zakham]. There are a couple of major differences though. While 'Tum Jo...' was a passionate love song, this one is about pain of loneliness. Also, though the start here is slow and sombre, the mood shifts a minute or so down the line with Sufi-pop taking over. From this point on it's the word 'Aaja' that holds most prominence with Ali Zafar also letting on the heat with the kind of arrangements that are fast, furious and (of course) passionate. This one should add on to the momentum of the film's narrative.

OVERALL

One thing which is quite apparent after listening through the score of London Paris New York is that Ali Zafar hasn't taken a (presumably) safe route of putting together an album that covers a wider market segment. Instead he has stuck to the theme of the film and barring an odd 'bhangra' number or so, he has attempted to come up with something that goes with the mood and theme of the album. Thankfully he hasn't changes his route drastically but still for a movie which doesn't pitch itself as a regular romcom, he manages to come up with a soundtrack that goes well with the narrative.

OUR PICK(S)

'London, Paris, New York', 'Thehree Si Zindagi', 'Oo Lala', 'Voh Dekhnay Mein'

EXPECTATIONS

You expect a good quality soundtrack from Kahaani. After all, it was Sujoy Ghosh and Vishal-Shekhar who had started it all with Jhankaar Beats and while the album grew on to be an anthem of sorts, comparisons were inevitable when they collaborated for Home Delivery and Aladin again. For Kahaani though any such comparisons are futile since this one has a different milieu, setting and situation. However what you do expect to hear is a soundtrack that won't compromise on the sound and would stay true to the film's theme

MUSIC

If there was 'Dilli' in No One Killed Jessica that had taken a fast-and-the-ferocious route exactly a year back, this time around it's the turn of Kolkata to unleash ferocity in Kahaani. It's the coming together of jazz, hard rock, R.D. Burman and Usha Uthup which makes 'Aami Shotti Bolchi' as an experimental outing that should elevate the graph of the narrative in Kahaani. Though predominantly in Hindi, there are tidbits of Bengali and English thrown in as well by lyricist Vishal Dadlani to make 'Aami Shotti Bolchi' a song that would go down well as the true theme song in the album.

'Alaap' at the beginning of 'Piya Tu Kaahe Rootha Re' catches one's attention because this is not really the territory that Vishal-Shekhar have been known for exploring. Alternating between the likes of Ra.One, The Dirty Picture and Anjaana Anjaani in recent times, each of which had an eye on contemporary urban or hardcore 'masala' style, they take a different route with 'Piya Tu Kaahe Rootha Re' which is a fusion classical track with a good blend of Western and Indian sensibilities and treatment. Javed Bashir gives full justice to Sandeep Shrivastava's rooted lyrics and despite this being a sad outing, he keeps the pitch up to make it a track that commands attention of the listener.

The song where one does get to hear Vishal-Shekhar for what they are known for most i.e. melody is the title song 'Kahaani'. A soft-n-smooth number where K.K. is just the right choice as a singer, 'Kahaani' brings a certain 'thehrav' to the album and continues to add on variety to the proceedings. A special mention for Vishal Dadlani's lyrics here that seamlessly blend the inner conflict of the protagonist with the setting of Kolkata that she is in, 'Kahaani' goes well with the theme and mood of the very title of the film.

Going well with RD Burman's style of composition as was evidenced in films coming from the house of Gulzar during the 70s and early 80s, 'Kahaani' also sees another solo version by Shreya Ghoshal who is clearly relishing her times behind the mike. Rest assured, if Pancham would have composed this song, it would have fallen straight into the lap of Asha Bhonsle. With Vishal Dadlani as the additional vocalist, there is a sense of totality that sets in for the song.

Anvita Dutt writes 'Tore Bina' which takes a listener back to the mood that had been created with 'Piya Tu Kaahe Rootha Re' a while ago. Yet another track that one won't necessarily associate with Vishal-Shekhar, this once again keeps the flag high for the album which is high on the quality quotient and offers one of the better theme based soundtracks in the recent times. Sukhwinder Singh also demonstrates once again that if and when he wants, he can truly break the shackles of being trapped in routine fun-masti-mazaa mode and can take a different route, as is the case here.

Last to arrive is Rabindranath Tagore's legendary Bengali track 'Ekla Chalo Re' that is rendered by Amitabh Bachchan. The actor who sparsely chooses his assignments as a singer and has made exceptions for Vishal-Shekhar (Aladin, Bbuddah Hoga Tera Baap, Bhoothnath) in the past goes all sober and mild for 'Ekla Cholo Re' which has been given a different spin by the composers. While the core spirit and movement of the song remains attached to its roots, it's the arrangements along with English portions by Clinton Cerejo that bring on a flavour that would be go well with the today's audience as well who haven't been exposed to Tagore.

OVERALL

It would be sacrilege to compare Kahaani with other soundtracks that are borne out of hardcore commercial requirements and take an expected conventional route. Sujoy along with Vishal-Shekhar resist the temptation of straying away and instead stick to the core theme by coming up with a soundtrack that keeps it close to Kahaani across the album. While this means that from commercial standpoint it would have to rely on the movie's theatrical run to make major impact in terms of physical sales/downloads, for the discerning audience who like their soundtrack to be meaningful as per the film's requirement, it is a treat.

OUR PICK(S)

Kahaani, Aami Shotti Bolchi, Piya Tu Kaahe Rootha Re

EXPECTATIONS

It is easy to dismiss the soundtrack of a film which doesn't quite boast of superstars. However closer look at Will You Marry Me? reveals a couple of interesting facts that makes one curious to check out what the music has to offer here. First and foremost it has Sharib-Toshi along with Sachin Gupta as the composers here who have time and again scored whenever given an opportunity. Secondly, the director here is Aditya Dutt whose last film Good Luck may have been a forgettable affair but still holds the claim of making a film like Aashiq Banaya Aapne that gave Himesh Reshammiya a platform to be a huge sensation back then. Expecting that the magic is repeated with Aditya pairing up with new composers here, one plays on Will You Marry Me? which has lyrics by Shabbir Ahmed.

MUSIC

Thankfully the expectations aren't belied as Will You Marry Me? begins with a smash number in the form of 'Kalma'. Over the last few years Sharib-Toshi have managed to create their own identity and that is evident yet again in 'Kalma' as well which has a good fusion of Indian melody, Sufi flavour and Western arrangements coming in. Just the kind of song that Emraan Hashmi would have picked up for any given price, 'Kalma' is a good all around effort by the music team where Toshi Shabri also goes solo behind the mike to sing words written by guest lyricist Turaz. A perfect beginning that sees a well deserved 'remix' for itself.

What surprises is the presence of Rahat Fateh Ali Khan in the song that follows. For someone who is quite selective with his Bollywood assignments and usually sings only for top composers, Rahat picks 'Soniye' and gives the song it's right due. A sad number where Rahat is in the kind of mode that has made him so popular over the last few years, 'Soniye' arrives a little too early in the album though. While one would have expected this to be placed a little later in the album while allowing some other romantic or fun songs to pitch in much earlier, 'Soniye' (written by Shabbir Ahmed, Gaurav Dagaonkar, Sakina Khan) does manage to make it two out of two for Will You Marry Me? .

From this point on it is lyricist Shabeer Ahmed's show all the way and the first step in this direction is 'Superman'. Frankly, even though the song starts on a reasonably okay note, it starts fizzling out in a while as it starts seeming like a wannabe dance number that doesn't quite manage to hold on to it's own. Sukhwinder Singh, Jaspreet Jasz and Kshitij Tarey come together for this club track that should manage to hold audience's attention if supported by good picturisation but that's about it. Surprisingly the song arrives in the 'remix version' as well though one has to admit that its weakest part is ironically the point where the line 'We Are The Superman' arrives!

Next to arrive is Master Saleem's 'Danke Ki Chot'. A 'bhangra' track that doesn't really offer much variety, it still somehow manages to hold your attention to some extent at the least due to its very genre. Still, one would have expected this one to be one of the major highlights of the album, which sadly isn't really the case. Also, Master Saleem doesn't quite seem to be the best choice for the song though Shweta Pandit makes best of her stint behind the mike. Later even though Daler Mehendi is heard in the 'duet version', one doesn't quite end up falling for it.

Last to arrive is Sachin Gupta's 'Tu Ru Tu Ru Tu' which takes the album back to the melodic outing that it seemed once 'Kalma' and 'Soniye' were heard. There is a certain unique feel about Sachin's young voice and that is prevalent once again in 'Tu Ru Tu Ru Tu'. He is well complimented by Monali Thakur who also goes almost child like in this cute sounding love song that could have been placed earlier in the album. Okay, so this one may not be a chartbuster in the making but for the film's narrative to stay engaging, this song should add good value.

OVERALL

Will you Marry Me? is a decent album that would have to rely very heavy on it's couple of romantic numbers to gain good visibility for itself. Though the album does stray when songs like 'Superman' and 'Danke Ki Chot' arrive like an interruption. However once you are through with the entire album, it isn't really a bad idea to play 'Kalma' and 'Soniye' in a repeat mode.

OUR PICK(S)

'Kalma', 'Soniye', 'Tu Ru Tu Ru Tu'

Saif Ali Khan seems to be have landed himself in yet another controversy close on the heels of the release of his forthcoming home production Agent Vinod.

An FIR has been filed against the actor at Colaba police station after he allegedly bashed up a person during a brawl at the Wasabi restaurant at Taj last night.

Saif, Kareena and a few of their friends were having a good time dining at Wasabi when Iqbal Sharma, who was seated in the adjoining table, went up to Saif and asked him to talk softly. Saif reportedly asked Iqbal to go to a library if he was looking for a peaceful place. This argument led to a scuffle between the duo during which Saif punched his nose.

A case under section 325 of the IPC has been registered against the actor.

Farah Khan may be busy with her maiden acting venture Shirin Farhad Ki Nikal Padi but the ace choreographer-director did manage to take out time to shoot a cameo for her husband Shirish Kunder's directorial venture Joker.

Farah shot for the cameo yesterday at Mumbai's Film City. Confirming the same, Shirish tweeted last night, "Farah shot for a guest appearance in JOKER today."

Even though exact details are unknown, the buzz is that Farah Khan plays herself in the film.

Joker starring Akshay Kumar and Sonakshi Sinha is set to release on August 30.

Illuminati Films' Agent Vinod is readying for its March release and actor-producer Saif Ali Khan is leaving no stone unturned to promote his film.

As part of the marketing and promotions of the spy-thriller, the makers have tied up with fast-food giant McDonald's to launch an exclusive comic book. If that wasn't all, Saif also plans to launch a Playstation 3 game, revolving around Agent Vinod.

Talking about the concept of the game Saif Ali Khan, an avid gamer himself, said, "At each level, the gamer will be provided with clues to nail the bad guy, who could range from a `chaalu' knife-wielding 'Dada' from Mumbai's dark underbelly to an international mafia kingpin. If the baddie is killed in the shootout, the gamer earns points and moves on to the next level". Saif further added, "When the first CD came out, I was hooked. I was lost in this dark virtual space."

Ready to bring to Indian audiences a slick, fast paced film on par with international standards, Agent Vinod has already created quite a wave in the industry with its breathtaking promo.

"If the film works, we are planning to build Agent Vinod into a brand," adds Saif.

Shot in over 12 countries including Morocco, Russia and Latvia, Agent Vinod starring Saif Ali Khan, Kareena Kapoor, Adil Hussain, Ram Kapoor, Prem Chopra and Gulshan Grover is all set to release on the 23rd of March.

Watch Promo: Agent Vinod

It may be recalled that John Abraham had been booked under IPC Sections 279 (rash driving) and 337 (causing hurt by act endangering life or personal safety of others) when he had allegedly rammed his bike causing injury to 2 youngsters way back in 2006.

While the case still continues, a lower court had asked for a 15 day simple imprisonment punishment for the actor. John had challenged the plea imposed by the court and now the Sessions Court has decided that it will take a call on the actor's plea on March 9.

It remains to be seen if John goes scot-free this time around.

We have all heard of celebs endorsing various products and goods. And lately, Bollywood stars like Amitabh Bachchan and Aamir Khan have also been heavily endorsing Indian tourism. Though usually huge planning goes into such campaigns, when it comes to Salman Khan, things tend to move a little differently.

We learnt that Salman recently did a cameo for a Cuban tourism commercial. Salman, who was recently in Havana, Cuba shooting for his film Ek Tha Tiger, was on sets when one of the local film directors approached Khan to do a cameo in his video for the local tourism board. Sallu spontaneously agreed to feature in the commercial.

On Salman's approval, the setup for the shoot was done at the same location Salman was shooting at. Apparently, the local director approached Salman as he felt that his global appeal would be a great asset for the project.

A lot of rumours have been doing the rounds about how Deepika will be doing Rohit Shetty's Chennai Express opposite SRK. But Deepika claims that she hasn't even been approached for the role yet.

Sources say that Deepika is amused with the rumours doing the rounds considering she hasn't even been approached for the role. In fact, Deepika is very fond of Rohit Shetty's work and if she was offered the film, she would've loved to work in it.

Says Deepika, "I haven't been approached for Chennai Express. Having said that, I've watched all of Rohit's films, he's a fabulous filmmaker and I would love to work with him someday."

For Asin, enough is enough. Not really pleased with all the rumours making the rounds about her professional outings, she is outraged with the recent reports that have shocked her as well. Though there is a news piece under circulation that claims that she has signed a film each with Shah Rukh Khan (Chennai Express to be directed by Rohit Shetty) and Ranbir Kapoor (2 States to be produced by Sajid Nadiadwala), she is categorically denying any such developments.

She says, "I am shocked and surprised at these rumours. I don't know how a particular journalist can write that when I haven't even spoken anything to anyone. It's wrong. I am not the kind of person to talk about my films before I have signed them. I have never done that before in my career and that's not my ethics. If I have signed something, I let the production house announce it. Of course I would love to work with Shah Rukh, Ranbir, Rohit and Sajid again for their respective films. But as of now it's too early to say anything. I'd like the press to be a bit more responsible."

Well, this should set the records straight.

The Bengali beauty Raima Sen has been MIA for a while now. However, the actress will soon be seen in a docu-drama made on the life of Rabindranath Tagore.

This will be the first ever dramatised documentary on Rabindranath Tagore's life. Raima Sen will be playing the literary master's sister-in-law Kadambari in the film.

The docu-drama will be directed by Rituparno Ghosh.

A year after director Shamin Desai lost his life battling with cancer, his wife Priyanka has decided to complete the shooting of his directorial debut Play, starring Emraan Hashmi and Neha Dhupia.

Play (earlier known as Raftaar 24x7) had been stuck since a very long time and after the sudden death of director Shamin Desai, people thought that the film would never see the daylight. But now Percept Picture Company and along with Shamin's wife Priyanka have decided to revive the film.

Priyanka along with actors Emraan and Neha have been working day and night to complete the shoot of his film. They start shooting from 8:30 in the morning till late night. They have already finished shooting three songs in just three days.

Play is a thriller based on media and politics.

Ritesh Sidhwani has been invited to speak at the Harvard India Conference 2012, to be held at their campus in Boston, Massachusetts on March 24-25, 2012. Ritesh has been invited to speak on the Business of Entertainment panel with the theme 'The New Age of Entertainment'.

The event is jointly organized by the Harvard Business School and the Harvard Kennedy School of Government and is one of the largest conferences of its kind in the US. While the theme of the Harvard India Conference 2012, which will feature Ritesh is 'India - The Next Frontier'.

It started with the super-successful Kannada actor-director Upendra flashing just the pictogram of a hand across the posters of his film, instead of a regular film title. Now Percept Pictures is striding the same course with the icon of a question mark for their newest offering -- ? -- a movie on 'found footage'.

For those unacquainted with this variety of cinema, 'found footage' can be described as a genre of film-making, predominantly horror, wherein the entire/extensive part of a film is presented as discovered film/video recordings, often left behind by missing or dead central character/s. The events on screen are seen through the camera of the character/s involved. The filming may be done by the characters themselves as they narrate their lines, and unsteady cinematography is frequently brought into play for the sake of pragmatism.

CANNIBAL HOLOCAUST [1980] started it all, but the genre came into the glare of publicity thanks to films such as THE BLAIR WITCH PROJECT [1999], PARANORMAL ACTIVITY [2007] and CLOVERFIELD [2008].

A lot many people I know have this uncanny fascination for the supernatural. Besides, each one of us have, at some point, heard stories or read incidents concerning paranormal occurrences. These unusual experiences lack scientific explanation, even defy logic, but the lure of listening to stories is insurmountable nonetheless. Last year RAGINI MMS and now ? walks the same path. However, unlike RAGINI MMS, a film that amalgamated components of horror, paranormal and sex seamlessly, ? is about the escapades of a young film crew [students all] that lands up at a haunted mansion at a hill station [Kodaikanal]. The viewers are told that they were never seen or heard again, although their video equipment along with the footage they shot was discovered much later. In terms of concept and execution, ? takes its inspiration from THE BLAIR WITCH PROJECT, but it lacks the stunning impact that the American psychological horror film generated.

This one is a brave, innovative endeavor as far as Indian cinema is concerned, but the movie enthuses in bits and spurts. I'd like to single out the sequence wherein Simran gets possessed, besides a few sequences that do make you believe in paranormal activities, but the film stagnates towards the latter part since one can estimate by now what the culmination would be. Predictability is what bogs the film downwards. Besides, it's not petrifying at all [the sound design does startle you, but the visuals don't!] and if the objective was to give you those heebie-jeebies or make you break into a cold sweat, nope, it's just not alarming enough. The frights and frisson are few and far between, honestly!

The unsteady and rickety camerawork provides the movie with a sense of realism, while the edit could've been razor-sharp. The sound design is exceptional. The cast is natural to the core. In fact, every actor [Akhlaque Khan, Yaman Chatwal, Varun Thakur, Chirag Jain, Sonam Mukherjee, Maanvi Gagroo and Kiran Bhatia] enacts his/her part with fervor. The actress enacting the part of Simran [Sonam] is incredible in that particular sequence that I mentioned earlier.

On the whole, ? is a daring attempt, but is deficient in shocks and shivers, besides being cliched and foreseeable after a point. The title [?] may've attracted your attention, but the movie doesn't in its entirety!

After a month of heavy-duty action [PLAYERS, AGNEEPATH], the spotlight is on romance [EK MAIN AUR EKK TU, EKK DEEWANA THA] in the month of St. Valentine. Besides, films like READY, BODYGUARD and SINGHAM have revitalized the trend of South remakes. Gautham Menon returns to the Bollywood centre stage after a gap [REHNAA HAI TERRE DIL MEIN] with a remake of his films, made in Tamil first and Telugu later.

Both, the Tamil version [VINNAITHAANDI VARUVAAYAA] and also its Telugu adaptation [YE MAAYA CHESAVE] were considered path-breaking motion pictures. Though essentially a remake, EKK DEEWANA THA conjures memories of K. Balachander's roaring hit EK DUUJE KE LIYE. Menon is a master storyteller, no two opinions on that, but EKK DEEWANA THA fails to leave an impact for a valid reason: A beaten to death plot tends to stagnate after a point. Also, Menon overstays the hospitality by dragging the film in its second hour. Just when you think the story would conclude, Menon does a time travel and starts a new chapter in this never-ending love story. That, honestly, only makes this snail-paced movie a taxing and cumbersome experience.

Sachin [Prateik] is an engineering graduate from a middle class family in Mumbai, who is in love with the world of cinema. One day, he sees Jessie [Amy Jackson] and it is love at first sight for him. Jessie is beautiful, elegant, smart and classy. But Jessie belongs to an orthodox Malayali Christian family where watching movies or falling in love are completely taboo.

Sachin finds himself increasingly drawn to her. Jessie, on her part, tries to forge a friendship between them, believing that cloaking their feelings under the umbrella of friendship would save them heartache, tears and a full-blown family drama. But these two different characters go through the pangs and pleasure of first love, while battling with the situations that life has placed them in.

Opting for a tried and tested story is not sacrilegious, but the challenge lies in giving a new spin to the age-old tale, which, regrettably, EKK DEEWANA THA doesn't. Like all love stories, EKK DEEWANA THA doesn't lack drama and emotions, but barring a few episodes, the viewer doesn't get absorbed into the world of Sachin and Jessie, which is the chief inadequacy of the film and which, concurrently, reflects on the sketchy written material.

What baffles the viewer is the character of Jessie. While the guy is crazily in love with her, the girl, in contrast, seems downright confused about her feelings for the guy. She appears indecisive about what she really yearns for and this aspect, to put it bluntly, sends out puzzling signals not only to the lover boy, but to the by-now-exasperated viewer as well.

The screenplay totters and flounders the moment Jessie decides to part ways. The justification offered is least persuasive. Since the reason for separation is not forceful enough, it leaves the viewer feeling unsympathetic, detached and disconnected from the goings-on subsequently. The sequence at the Taj Mahal and the portions thereafter don't work either.

Menon does handle certain dramatic and emotional moments with aplomb, but the written material lets him down. Barring a few moments that stand out, the twists and turns in the plot are repetitive and devoid of exhilaration. Also, the film is agonizingly prolonged and should've been spruced up by judiciously trimming at least 20-25 minutes. Rahman's musical score has the unambiguous stamp of a genius. The best track is of course 'Hosanna'. But the film could've done without a song or two in the latter half. The film boasts of some stunning visuals and the credit for it goes to DoP M.S. Prabhu, who captures the scenic beauty of Kerala with dexterity. Manu Rishi's dialogue are real at times, but tend to get flowery at places.

Prateik is natural to the core. In fact, after DHOBI GHAT, wherein Prateik's efforts were appreciated, now EKK DEEWANA THA makes you wake up to the potential the talented youngster possesses. It requires tremendous self-assurance and acting prowess to enact this intricate and demanding character in an authoritative style. His dialogue delivery is near-perfect and body language, precise.

Amy Jackson is charming. She carries off her part -- and also the Indian attire -- splendidly. Though the character is not very compelling -- since she appears confused about her emotions for the madly-in-love Prateik -- it must be said that you don't detect slip-ups in her presentation of the character. In fact, it isn't a straight-forward role for a tenderfoot, but Amy handles it like a pro. However, her makeup is inconsistent. Manu Rishi excels and so does Sachin Khedekar. Babu Antony [as Jessie's father] does a fine job. Ashwin Kakumanu and Samantha get no scope. Ramesh Sippy is likeable in a cameo.

On the whole, EKK DEEWANA THA has a few sparkling moments, that's about it. However, it lacks the fizz for the spectator to go deewana!

For those who swear by sentimental movies and are die-hard fans of rom-coms, who fervently wish Valentine's Day is prolonged eternally, EK MAIN AUR EKK TU is akin to an answer to this yearning. Rom-coms relaxing in the splendor of harmonious compositions, a creative and innovative take on present-day romance, pulsating images and timed during the Valentine week… aah, you can't ask for more!

It's said that that good friendship, by and large, transforms into romance and consequently, marriage. But hold on... what if one marries by mistake? In EK MAIN AUR EKK TU, two responsible adults meet, get married in a jiffy [it's a mistake, they realize the next morning], but this faux pas is the turning point in their lives. That's the essence of EK MAIN AUR EKK TU.

The plotline of EK MAIN AUR EKK TU may bring back memories of WHAT HAPPENS IN VEGAS and the Mexican film RECIEN CAZADO, but EK MAIN AUR EKK TU is no adaptation of those films. Agree, the trailers might make you conclude it could be an imitation, but it's not. EK MAIN AUR EKK TU is shades apart from the above named movies. Imagine a guy who has lived his entire life based on decisions taken by his parents. Come to think of it, he's not living his life, but his parent's expectations. And then comes a girl who opens his eyes and shows him what he's missing out on. EK MAIN AUR EKK TU is more of a coming-of-age story, essentially.

Intrinsically, EK MAIN AUR EKK TU may be a rom-com, but it's not anything that you may have witnessed on the Bollywood screen earlier. First-time director Shakun Batra brings with him a novel grammar of storytelling, which stresses more on tête-à-tête, while the camera captures those moments resplendently. Besides, Shakun doesn't rely on buffers like heavy-duty drama, earsplitting background score or props to augment a scene or move the narrative frontward. In short, EK MAIN AUR EKK TU doesn't take the conventional route. Neither is the plot humdrum, nor is the treatment unadventurous.

Rahul [Imran Khan] is on his way to become a replica of his parents [Boman Irani, Ratna Pathak Shah], when he suddenly loses his job as an architect in Vegas. Afraid that he has let his parents down, Rahul decides to hide the truth and find another job. When by a twist of fate, he meets Riana [Kareena Kapoor], a quick-witted hairstylist, who is everything he isn't.

A series of events lead them to meet on Christmas Eve over a few drinks, but like always, it's never a 'few'. Following this night of debauchery, they wake up to discover that they've gotten married. Now, Rahul has more than just his job loss to hide from his parents. They both decide to get it annulled as soon as possible and get an appointment from the court in ten days. Over the next ten days they have their share of arguments, moments and laughs that results in an unlikely friendship.

Will this friendship turn in love? Will her warmth and fearlessness give Rahul the courage to face a long-simmering confrontation with his parents? Will a marriage that started as a drunken mistake help two people find themselves?

Set in an urban landscape [Las Vegas, Mumbai], EK MAIN AUR EKK TU is essentially a two-seater vehicle that excuses itself from the banal and hackneyed prescription, but endorses the longstanding theme of opposites magnetize. Shakun Batra gradients more towards the multiplex friendly technique of narrating a story and the execution of the subject reminds you of how rom-coms are narrated in the West. There are traces of Woody Allen's style of telling a story, but in spirit, it's akin to Imtiaz Ali's greatly admired and lauded endeavor JAB WE MET. In fact, writers Ayesha Devitre and Shakun Batra ensure that this slice of urban life delivers its drama with least fuss, which is what makes it stand out in the crowd. Also, it doesn't seem borrowed or a reproduction of anything witnessed before.

Director Shakun Batra familiarizes the spectator with the protagonists at the very inception and then wholly engages you in Imran and Kareena's journey. While the first half encompasses numerous significant moments, the motion picture in actual fact takes off in the post-interval portions. The story shifts to Mumbai and that's where the turnaround comes about. The entire episode at Kareena's home, followed by the 'Auntyji' song, keep you amused, while the dramatic outburst at the dinner table is simply marvelous. The conclusion too is not what you think it would be and that's why not just the director, but also the writers deserve brownie points for thinking out of the box. Without doubt, this is one of the most exceptional screenplays to come out of Bollywood in the recent past.

The soundtrack of EK MAIN AUR EKK TU suits the tastes of urbane listeners. While composer Amit Trivedi comes up with sprightly tracks like 'Auntyji' and the saccharine sweet title track, he also ensures that tracks like 'Gubbare' linger in your memory. EK MAIN AUR EKK TU sweeps you off your feet for one more reason: the stunning visuals [DoP: David Mac Donald]. The dazzling locales of Las Vegas are captured with aplomb on celluloid by the ace cinematographer.

Both Kareena and Imran come up with distinctive urban sensibilities and you only expect the two to comprehend the nuances of the narrative and execute that delicately and magnificently on screen. Kareena's character in this film is very similar to the one she portrayed in JAB WE MET. In fact, you could say that Riana is the urban face of Geet, a free spirited, vivacious person. Kareena surrenders herself to the director's visualization and delivers an outstanding performance, reminiscent of the one in JAB WE MET.

Imran fits into the role of a stickler for precision smoothly. In fact, you'd expect Imran to be overshadowed by Kareena completely, in view of the fact that Kareena is a far more experienced actor and also because her character is feisty and livewire, but Imran manages to stand on his feet and delivers a delightful, likeable performance yet again. The outburst at the dinner table only goes to provide evidence to the fact of how wonderful an actor he has evolved into.

The supporting cast comes up with impeccable performances. Boman Irani excels yet again. Ratna Pathak Shah is remarkable. Ram Kapoor is fantastic. Sonia Mehra is feisty in the cameo. The actor enacting the role of Kareena's father is first-rate.

On the whole, EK MAIN AUR EKK TU is a slick, breezy and pleasant fare that should click with its target audience -- the youth -- and also has the potential to woo the older spectators as well. This take on love is refined, smart, lively and thoroughly pleasing thanks to its characters, conversations and the inherent humor. A perfect date movie. A film stuffed with exquisite moments that are sure to bring a wide smile on your face. Simply put, you cannot afford to miss EK MAIN AUR EKK TU. Just go for it!

Characters:

Charlie: Abhishek Bachchan
Charlie Masceranhas is a Chartered Accountant by day and a master-thief by night.With his razor-sharp intelligence, precision planning, and perfect voice modulation, there has been no job so far in his career which has been too tough for him.Conning is, in fact, an art form for Charlie and that's what he prefers to call himself - an artist. Charlie has been a Player since he was seven and now has his own set of rules by which he plays the game, - one of them being - 'it's only cops who retire, not con-artists'.

Naina: Sonam Kapoor
Naina is a computer expert with a Masters in Ethical Hacking.She is the beautiful girl who did everything right with her academic life, and its only for a very personal reason that she decides to be a part of this heist.But if you think of her as a boring studious girl, you cannot be more mistaken than that. You only have to watch her behind the wheels of a hot car to know the stuff she is made of.

Ronnie: Bobby Deol
Ronnie is the odd one out from the pack of Players, what with no previous experience in the games of con.Ronnie was the master of illusions. At one point of time, he was one of the most famous illusionists in the country but he abruptly left his career at his peak.In fact, he hates the very word magic now. But then, he agreed to be a 'Player' for reasons that he would not share with the group.

Riya: Bipasha Basu
The sexy as hell Riya is known to charm her way into the lusty hearts and then the safety vaults of rich and famous men.She has been Charlie's long-standing partner-in-crime and together the duo have pulled off some daredevil heists.Besides being a full-time con artist, Riya is also an automobile expert and knows her way around automobile engines like the back of her dainty hands.

Bilal: Sikander Kher
Bilal Bashir is the go-to guy of the team. Having worked with several secret service agencies, Bilal has solid contacts all over the world and can speak several languages with the fluency of a local.Ever since he was a kid, Bilal had a thing for indigenous bombs (damn, he even nearly lost his hearing thanks to a self-manufactured crude bomb when he was only ten years old).And that's the role for which the hot-headed Bilal has been picked up as a player in the heist - that of an explosive expert.

Spider: Neil Nitin Mukesh
Spider is the quintessential computer geek.He is the master-hacker who robbed millions from banks and bankers all over the world and has been on the most-wanted list of several cyber crime prevention agencies world-wide.There is no computer or intelligence system that he cannot break into. And the bigger the challenge, the more fun the nerd in him has with it.

Sunny: Omi Vaidya
Sunny Mehra might be mistaken for the clown of the group, what with his easy-going NRI-Punjabi ways and his regular attempt at silly jokes.But what hides behind this demeanour is a mad passion to be a Bollywood star. But when every producer in town rejected his face, Sunny decided to be an expert at 'changing faces'.Yup, he became a prosthetic expert. And from what we hear, he is bloody good at it.

Synopsis

It's time to steady your selves for the biggest action extravaganza that Bollywood has to offer! The dynamic director duo Abbas-Mustan are back to enthrall the audiences one again with the lean and mean heist flick PLAYERS. The movie is the official remake of the 2003 Hollywood blockbuster, THE ITALIAN JOB and promises to be just as much of a thrilling ride!

With a stellar cast of Abhishek Bachchan, Sonam Kapoor, Neil Nitin Mukesh, Bipasha Basu, Bobby Deol, Sikander Kher and Omi Vaidya, this remake promises to pack one heck of a punch. PLAYERS is scheduled to set the screen ablaze in January, 2012.

With high speed chase sequences and state-of-the-art special effects set against the backdrop of gorgeous locales in New Zealand and Goa, PLAYERS will redefine Bollywood action movies as we know them.

And hang on to your seats, because this ride has just begun.

Michael is a character driven psychological thriller set in the rainy and noisy backdrop of Kolkata. It is a father-son story. An ex- cop who got wrongly dispelled from his duty caught in a complex web of impending insecurities.

Paan Singh was a small town lad who went on to win the steeplechase at the Indian National Games for seven consecutive years. He broke the national record, a feat that was unsurpassed for 10 years! A series of life changing events however forced Paan Singh to give up athletics, pick up the gun and become the scourge of the infamous Chambal Valley in Central India. Filled with deep emotions and fateful twists, Paan Singh Tomar is a gritty, no holds barred action-adventure set in the heart of India's gangland, Chambal.

Talented actor, Pradhuman Singh, who played Osama Bin Laden in Tere Bin Laden, recently injured himself while filming an action sequence in his upcoming movie Life Ki Toh Lag Gayi (LKTLG). It was a difficult shot as he needed to jump above the bar table in a hotel but the bar table was a little high than the usual tables.

A source present at the shoot says, "Pradhuman started his action sequence, but unfortunately his hand landed on a bottle kept on the table, further the glass broke and few tiny particles pierced through his hands injuring him.' Seeing blood pour profusely from Pradhuman's hand, the whole team got panicky and called a doctor to the shoot immediately. The doctor advised him to take some rest and call off the shoot. But Pradhuman continued shooting for the film in spite of his injury."

K Sera Sera's Life Ki Toh Lag Gayi will be releasing on 20th April, 2012.

MOVIE DETAILS

Cast: Ryan Gosling, Carey Mulligan, Bryan Cranston, Oscar Isaac, Albert Brooks
Director: Nicolas Winding Refn
Producer: Michel Litwak, John Palermo, Marc Platt, Adam Siegel, Gigi Pritzker

THE FILM

Drive is an action thriller that starts off slowly but picks up momentum mid-way through the film. The film tells the story of a nameless driver Ryan Gosling who doubles up as a stuntman in Hollywood and a mechanic in a garage. Besides these day-jobs, Gosling's character also uses his driving skills late in the night to help criminals make a fast escape. 5 minutes is all he gives his clients, not a minute more, not a minute less before he makes a hasty retreat from the scene of the crime. Gosling's life takes a 360 degree turn after a chance encounter with his neighbour Irene (Carey Mulligan). Irene is a single mom who lives with her son as her husband Standard (Oscar Isaac) is in prison. Gosling's character finds himself increasingly drawn towards Irene until one fine day her husband returns after he is set free from prison. When he sees that Standard is being threatened by some criminals to payback a hefty amount of money, Gosling's character offers to help him by pulling off one last job so he can pay off the criminals who've been threatening the wife and kid. Things, however, go badly wrong and Gosling's character finds himself trapped in the midst of ruthless mob bosses who would go to any lengths to get back their money. How Gosling fights back and protects those whom he cares for (Irene and her son) forms the rest of the story.

For a title like Drive, one would expect the film to move at a super-sonic speed. However that is not to be. The film is poetic in nature often using silences and slow motion to express the feelings of its main characters. Even the background score plays an important part in the narrative of the film from time to time. It's hard to describe Drive as a full on commercial film as the pacing is quite slow especially in the initial reels and the film takes its own sweet time to gather some momentum. Nevertheless director Nicolas Winding Refn (who won the Best Director award for this film at Cannes) bring in his own unique style to the narrative. On a parting note, the film is high on violence and definitely not for the faint-hearted.

As far as performances go, Drive belongs completely to Ryan Gosling who is simply remarkable. The actor has minimal dialogues but uses his eyes well to emote what his character is going through. Carey Mulligan is sweetly cast as the young single mom. Oscar Isaac hardly gets any scope.

DURATION

The film's duration is 99 minutes

SPECIAL FEATURES

The Special Features section consists of the Making of the Film broken up into 4 different parts as follows:

I Drive: This one has interviews with producers Marc Platt and Adam Siegel who explain how the idea of making a movie like this first came about. This section gives a basic overview of how screenplay writer Hossein Amini adapted the book Drive onto the big screen

Under The Hood: This one features interviews with the supporting cast of the film including Bryan Cranston, Oscar Isaac, Ron Perlman Albert Brooks each of whom talk about their character and working with the genius called Nicolas Winding Refn

Driver and Irene: This section features on the subtly beautiful love story between Ryan Gosling's character and Irene (Carey Muligan). Writer Hossein and producers Marc Platt and Adam Siegel talk about how they wanted the love track to be very subtle.

Continuing the Chase- This section talks about how the crew filmed the various car chase sequences.

Besides this there is also an in-depth interview with director Nicolas Winding Refn as he takes you through the creation of the film right from its conceptualization stage till completion

Strangely there is no interview with Ryan Gosling in the entire making section

TECHNICAL DETAILS

- 2.40-1 Anamorphic Widescreen Presentation
- Languages- English
- Subtitles- English

PRICE

Rs. 599/=

CONCLUSION

Drive is no doubt brilliantly directed by Nicolas Winding Refn and has Ryan Gosling deliver a stellar performance yet it's a not a film that will appeal to everyone. The treatment is more suited for a film festival audience. As far as the special features go, the DVD does provide ample footage of what went behind the making of this film.

Rating: * * * 1/2

If Bhatts are to be believed, Esha Gupta has it what high profile imports like Nargis Fakhri or Amy Jackson don't have. The distinguishing factor here is the language, something that has earned Esha quite a few brownie points, especially now that she is through with her debut film Jannat 2 with them and is busy dubbing for it.

"Whether it was Nargis or Amy, both being non-Indians, each of them had their voice dubbed by a professional dubbing artist since Hindi doesn't come naturally to them. Thankfully Amy has been appreciated by those select few who have had a dekko at Ekk Deewana Tha. On the other hand, Esha is benefiting from a launch with none less than Bhatts who believe that she boasts of a complete package appeal, especially due to the fact that she would be mouthing her own dialogues", informs a source close to the production house.

It's a different matter though until about a decade back, Bhatts weren't shying away from taking help of professional dubbing artists when it came to their leading ladies.

"Yes, the world is aware that it wasn't Rani Mukerji, Lisa Ray or Bipasha Basu who were mouthing their dialogues in Ghulam, Kasoor or Jism. However, things have changed now as Bhatts have become far more particular about actors speaking their own dialogues. This was one of the factors that worked in Esha's favour since she has gone through formal training in voice modulation, dubbing and overall dialogue delivery", confirms a source.

No wonder, she is finding good favours from her mentors who believe that she has in it to be the future superstar of tomorrow. Moreover with a 'desi' appeal to her that makes her stand out of the crowd which is increasingly getting dominated by foreign imports, Esha is getting a vote of confidence from the Bhatts.

"She is a sincere girl and fortunately doesn't have a language problem. Now that's really a big asset for us", says Mukesh Bhatt, "Otherwise aajkal ki young ladkiyon ko theek se hindustani bhi nahi aati hai. Since she comes from Delhi, Hindi comes naturally to her. Add to that the fact that she is good looking, sincere, hardworking and dedicated."

Seemingly floored by the actress who seems to have impressed one and all in her very first outing, Bhatt goes on to place her in the big league of actress. "Her strength is her sensuality. You pick up any major actress from past and present and they have been sensual. Be it Sridevi, Madhuri, Rekha, or Kareena, they all have been sensual and boasted of good command over the language. If Esha makes her moves correctly, she has it in her to be in that league."

He is the guy who has looks and hair which is discussed endlessly in celebrity mags, blogs and fan sites. Try Googling 'Imran Khan Hair' and you'll find 993,000 results. Personally, I think he is the 'Best Dressed' actor in Bollywood. But let aside the above. Let's talk Matru Ki Bijli Ka Mandola. There are no two ways about it. His next is his true 'litmus test' when it comes to acting, and in the company of Vishal Bhardwaj as a director he is surely looking for a transformation that'll put him in a league apart. Does that mean we are going to see the end of his 'pin up' days? Well, one thing's for sure; Imran will be nailing this 'role of a lifetime' called 'Matru'. There aren't many stars I'd ever want to interview twice in a year. But for Imran Khan, I'd definitely take out time.

Matru Ki Bijli Ka Mandola is a complete transformation for Imran Khan?
Matru Ki Bijli Ka Mandola is going to be the most dramatically different character I've played on celluloid. It is a whole new experience for me. I've spent my career so far working with new debutant directors. I mean a young team of people in production too. But here, I am working with an experienced and a seasoned director. So it brings a whole different perspective on a director actor relationship.

Weren't you taken by surprise by your character?
It's more on what kind of roles I am offered. A lot of directors and producers tend to see me in a rom-com space. I think I get offered a lot of those roles. But I want to think sometimes out of the box. That's why I was surprised with the role Vishal Bhardwaj was offering me. When he offered me the script, I asked him - 'Are you sure you want me to do this role?'

Would you at this stage in your career pull off a role of an older man? That'll be physically challenging to another level.
As an actor one has to keep doing different stuff but you have to also go one step back and say - Wait, can I pull this off? To play a part physically older, I don't know whether I'll be able to pull it off. It needs to look a lot more convincing. It is easier to play younger than it is to play older because a lot goes into the weight, the body language, etc. It's a tough idea and I don't know whether I am ready to do that right now.

I bet your Haryanvi look is already the talk of the town.
Matru Ki Bijli Ka Mandola is set in Haryana. And in smaller towns there, everybody has a beard and a moustache. That is how it is. So I had to look convincing. We had to work a lot on the body language - the way I talk, the way I stand, etc. I am playing a local. It's a three dimensional character and it's always fun to play. Even in EMAET, I was quite stiff in the start of the movie but I tend to loosen up in the middle and by the end of the movie, I am at ease with my body language. That's how much we put into our characters. I find this difficult aspect of acting really interesting.

Your first time with a seasoned director - Vishal Bhardwaj. Wow! How's it been so far?
Tell me about it! Yes, wow! An ideal director-actor relationship works on communication. You cannot be in awe of your director and can't be like a 'guru-shishya' (teacher-student) types. It has to be two guys working together. Vishal Bhardwaj is so open to discuss things and wants to know how I am thinking on a particular scene. He is a remarkably humble person. Yesterday I was doing a scene with Pankaj Kapur - a senior and a respected actor of our industry. He is a fantastic actor. In the scene, all three of us including Vishal were discussing the scene with our own feedbacks. So there is no ego.

First look of Shanghai has created a stir. Even though it is not an official poster of the film, the very sight of Emraan Hashmi and Abhay Deol in attire that suits the mood of Shanghai has made many sit up and notice. However there is an insight worthy that deserves to be shared. Even though the film is touted to be a political-social thriller and promises to expose big money politics and 'revenge' of the common man, it has no intentions of throwing any names.

"Yes, that was something that director Dibakar Banerjee was very clear about", informs our source, "He doesn't want the film to start targeting any individuals or situations. He intends to tell an entertaining tale where politics and revenge are used as ingredients instead of coming across as any message."

This means that even though there are quite a few fiery episodes and dialogues up for offer in Shanghai and audience may be left to make their own interpretations of the situations, there won't be any direct references to any political party, scam or scandals.

"Shanghai is Dibakar's most commercial film till date. Also with Emraan Hashmi in lead, he won't be looking at taking any arty route where his fans feel cheated. Experimentation is fine and he is doing that already with Abhay who has been given a completely different look and characterization. In fact he is playing a 40 year old in the movie. However, the buck stops there. Beyond that it would be entertainment that would do the talking. No one would be digging any graves or bringing out any skeletons from the cupboard", the source confirms.

One now waits to see this film (which has been inspired by Costa Gavras directed Z) eventually comes across on screen since expectations are huge. Meanwhile Dibakar sticks to his stance of keeping Shanghai as 'unbiased' as possible.

"See, you make a film with responsibility to talk about a general situation", he says, "When we are talking about politics, corruption, money and the common man, we are not looking at any specific situation in a country. We have to make a film without being biased. No one would be taking any digs at individual people or situations."

However, one always felt that Emraan and Abhay would get into a mode that would act as a social awakening of sorts. "We should not try and portray a film as an answer of all the problems in our country. The intent is to make the most honest film that we can and market it the way it is most fitting. That's about it", he concludes.