गोलमाल अगेन: न लॉजिक, न मैजिक! [1.5/5]

हिंदी फिल्मों में कॉमेडी का स्तर कुछ इस तलहटी तक जा पहुंचा है, कि रोहित शेट्टी की नयी फिल्म 'गोलमाल अगेन' देख कर सिनेमाहॉल से निकलते हुए ज्यादातर सिनेमा-प्रेमी एक बात की दुहाई तो ज़रूर देंगे, "कम से कम फिल्म में फूहड़ता तो कम है, हंसाने के लिए द्विअर्थी संवादों का इस्तेमाल भी तकरीबन ना के बराबर ही है". हालाँकि जो मिलता है, उसी से समझौता कर लेने और संतुष्ट हो जाने की, हम दर्शकों की यही प्रवृत्ति ही 'गोलमाल' की गिरती साख (जो पहली फिल्म से शर्तिया तौर पर बनी थी) और हंसी के लगातार बिगड़ते ज़ायके के लिए पूरी तरह जिम्मेदार है. सिर्फ अश्लीलता न होने भर की वजह से 'गोलमाल अगेन' को 'पारिवारिक' और 'मनोरंजक' कह देना महज़ एक बचकानी टिप्पणी नहीं होगी, बल्कि हमारी कमअक्ली का एक बेहतरीन नमूना भी. 

वैसे हंसी के लिए यहाँ भी कम सस्ते हथकंडे नहीं अपनाये जाते. गुस्सैल नायक के ऊपर उठने वाली ऊँगलियाँ करारी भिंडियों की तरह बार-बार तोड़ी जाती हैं. दुश्मन को 'धोने' के लिए उसे वाशिंग मशीन में डाल कर घुमाया जाता है. और तुर्रा ये कि ऐसा करते वक़्त दीवार पर चार्ली चैपलिन की तस्वीर तक दिखाई जाती है, मानो हालातों के मारे चैपलिन अभिनीत किरदारों के मुसीबत में घिरने से पैदा होती कॉमेडी की तुलना इन अधपके दृश्यों से की जा रही हो. थप्पड़ों की तो पूछिए ही मत! कब, किसने, किसको और कितनी बार मारा, दर्शकों के लिए एक रोचक जानकारी (फन फैक्ट) के तौर पर सवाल की तरह पेश किया जा सकता है; ठीक वैसे ही जैसे 'मैंने प्यार किया' फिल्म के 'कबूतर जा जा जा' गाने में 'जा' शब्द कितनी बार आया है? या फिर 'एक दूजे के लिए' फिल्म के एक ख़ास गाने में कितनी फिल्मों के नाम शामिल हैं? 

फ्रेंचाईज़ फिल्मों में पैर जमाये बैठे, रोहित शेट्टी 'गोलमाल' सीरीज की इस नयी फिल्म में हॉरर-कॉमेडी का तड़का लगाने के लिए एक अच्छी-खासी कहानी कहने की कोशिश करते हैं, जो अपने आप में और उनकी फिल्मों के लिए भी बड़ी हैरत और हैरानी की बात है. एक अच्छी सूरत और अच्छे दिल वाला भूत (मैं नहीं बता रहा, पर अंदाज़ा लगाना इतना मुश्किल भी नहीं है) अपनी मौत का बदला लेना चाहता है. खलनायकों की नज़र एक अनाथाश्रम की ज़मीन हडपने पर है. भूत को अपना बदला लेने और अनाथाश्रम बचाने के लिए अनाथ नायकों की टोली (अजय, अरशद, श्रेयस, तुषार, कुनाल) के मदद की जरूरत है, और इसमें उसका साथ दे रही हैं तब्बू.

फिल्म की खामियों में इस बार 'कहानी का न होना' शामिल नहीं है, बल्कि कमज़ोर कहानी की कमज़ोर बुनियाद पर स्क्रिप्ट की भारी-भरकम इमारत खड़ी करने का अति आत्म-विश्वास ही फिल्म को और डांवाडोल कर देता है. मकान में भूत है. अन्दर कुछ लोग कैद हैं, और बारी-बारी से एक के बाद एक तीन लोग, जिन्हें भूतों पर विश्वास नहीं अन्दर जाते हैं. फिल्म में यह दृश्य चलता ही रहता है, जैसे ख़त्म होने का नाम ही नहीं लेता. भूत आखिर में खलनायकों को अपने हाथों खुद ही अंजाम तक पहुंचाता है, तो फिर बेकार-बेरोजगार नायकों की टोली की जरूरत क्यूँ कर थी? जहां तक कॉमेडी की बात है, 'गोलमाल अगेन' उन फिल्मों में से है, जो जोक्स पर ज्यादा भरोसा दिखाती हैं, हास्यास्पद घटनाओं पर कम. फिर भी वो दृश्य, जिनमें अजय और परिणीति के उम्र के अंतर का बार बार मज़ाक उड़ाया जाता है, हर बार सटीक बैठता है. जॉनी लीवर का स्टैंड-अप एक्ट बढ़िया है. फिल्म का सबसे मज़बूत हिस्सा होते हुए भी, नाना पाटेकर की मेहमान और विशेष भूमिका के बारे में काश मैं यहाँ ज्यादा कुछ लिख पाता! फिल्म में उनको इतने मजेदार तरीके से पिरो पाना रोहित का सबसे कामयाब दांव है, हालाँकि शुरूआती दौर में रोहित की ये कामयाबी तब्बू के मामले में आई लगती थी.         

आखिर में; तब्बू का किरदार ही फिल्म की कहानी का सूत्रधार है. रोहित उनके मुंह से '...इसके बाद उनकी जिंदगी बदलने वाली थी' 'भगवान की मर्ज़ी हो, तो लॉजिक नहीं मैजिक चलता है' जैसे जुमले जी भर के उछालते हैं, और इसी बहाने अपनी फिल्म में 'लॉजिक' न ढूँढने का जैसे अल्टीमेटम भी दे ही डालते हैं. इसीलिए भूतियापे की इस बेहद सादी और बासी कहानी में ढूंढना हो तो बस्स हंसी ढूंढिए, मुझे तो 2 घंटे 30 मिनट की फिल्म में गिनती के 5-6 बार ही ऐसे मौके दिखे और मिले; क्या पता? आप शायद मुझसे ज्यादा खुशनसीब निकलें. [1.5/5]         

O KADHAL KANMANI [Tamil]: Alaipayuthey 2.0! Sweet, cute but clichéd!! [2.5/5]

Mani Ratnam’s idea of romance has always ensured a sweet smell of freshness, the most vivacious colours of passion and an engaging contemporary space building up in relationships. Meanwhile, you can also argue on his obsession with the clichés but with a nice and easy twist to it. And that could be anything ranging from social disparity to political turmoil and even mix-ups in its tiniest form! The master’s latest O KADHAL KANMANI is no exception. The breezy romance brings back the charm of Mani Saar’s own successful romantic drama ALAIPAYUTHEY so much that you could even re-coined its title to ALAIPAYUTHEY 2.0 […comes from its main lead, a game-developer]; if not in every sense, in the looks and clichés for sure.

O KADHAL KANMANI sees two beautiful love-stories at parallel tracks. One being the supporting addition to the plot is obviously less explored but I would love to take it from their perspective. Ganpathy [Prakash Raj] lives with his loving wife Bhavani [Leela Samson], a known Carnatic singer suffering from Alzheimer. The unconditional love can be smelled through both; Ganpathy’s unflinching affection and care for Bhavani and Bhavani’s teasing one-liners taking her husband for a ride. The other couple in question happens to be the lighthearted, relaxed and blithe paying-guest at Ganpathy’s, Adi [Dulquer Salmaan] and his career-oriented girlfriend Tara [Nithya Menen]. Together, they opt for a live-in relationship as both don’t want to lose the spotlight of the brightest career ahead. But soon; the families get involved and though for a change, they are in complete support, the couple is still finding their ways to find love. Can Ganpathy and Bhavani help?

It’s been exactly 14 years and 3 days since ALAIPAYUTHEY hit the cinemas and made itself a rage amongst young generation. The similarities between two are amazingly coincidental till Mani saar himself comes with an explanation. There are already roundups on social media drawing a conclusion from how Madhvan’s & Shalini’s characters in ALAIPAYUTHEY have taken a leap and are back as Ganapathy and Bhavani. There are song-sequences having rhythmic feel and shot-selections of the same prototype, still the film manages to keep a constant smile on your face even in its dull moments. The credit mostly goes to the magical characters Mani Ratnam brings on screen. Each one from both the love-stories is extremely watchable, but Prakash Raj is exceptional. His performances like this are a kind of pay off for all the hammy ones in Bollywood’s masala rip-offs.

A R Rehman’s peppy, perky and fast-beat tunes are good and catchy. P C Sriram plays beautifully with dynamic colors, moody shadows and lights coming through painted shades. With a couple that doesn’t have faith in full swings in marriages and looks promising at first with their focused career-choices, Mani Ratnam does ignite some kind of high hopes to see a coming-of-age romantic film; especially in one of the earlier scenes where Adi and Tara discuss the aftereffects of marriage that too when their best friend is taking wedding-vows at the church. But the film soon gets trapped in clichés and loses the steam.

Overall, O KADHAL KANMANI is a sweet and cute romantic film you can take your girlfriend to, no matter how badly you want to marry her or how awfully not. Watch out for the Prakash Raj-Leela Samson track as they will never leave you even after coming back from the theater. And I too want to believe they are the Madhvan-Shalini, now in their 60’s! It’s more gratifying than the whole film! [2.5/5]

TEVAR: Stinking old, rotten & formulaic! ‘Manoj-Arjun’ does the repair! [2/5]

Remaking an 11-year old Telugu super hit doesn’t really sound a bad idea at first, as masala entertainers are the safest option in Bollywood to hit the jackpot of the 100 Cr club. First timers Sanjay Kapoor [being the producer] & Amit Ravindernath Sharma [the admaker takes a leap by directing a full-fledged feature film] try the same with showing their jam-packed confidence in family-boy Arjun Kapoor and the adeptly assured actor-performer Manoj Bajpayee in a negative role. Still, TEVAR suffers the stinks of being old, rotten and formulaic, mostly and mainly at the plot part.

In the murderous land of Northern Uttar Pradesh; where power rules and male-chauvinism takes hold of the dice in the game, you don’t really meet a Pintu Shukla [Arjun Kapoor] very often. Though he is a Salman Khan fan and wears same attitude as well and effortless as his trademark aviator shades, he can also be seen harassing an eve-teaser for giving him back what he was doing to a teenage girl, moments ago. He also cares for the girl’s presence while mouthing not-so-smooth verbal expressions. Now, that’s rare. Rare for a Bollywood movie which also could have Salman in the place! I wished it to have more of such attitude!

The drama soars high when a bigheaded, haughty and powerful scandalous brother [Manoj Bajpayee] of an influential politician starts feeling for a local girl doing her obvious best like dancing and attending drama classes. Who else but Sonakshi in real, and in reel? Pintu accidently crosses the path, beats the villain, meets the girl and takes it as a mission to save the girl from the lecherous. Don’t allow me to judge your intelligence about what comes next and in the finale! And it all happens with a plentiful of high-octane action and songs of every kind, alternatively and frequently.

The part where Amit Ravindernath Sharma scores big is the treatment, authenticity of the locations, characters that can easily charm the audience in mass and drama that never actually lacks the punch. He is confident for sure but it hurts to see such talent trembling all over a plot which could have been best in the year of 2005 but never a promising in 2015. Arjun Kapoor’s energy never runs out of charge. He CAN be as charismatic as Salman. He CAN beat the goons too, at beats. He CAN also lip smoothly the most absurdly written dialogues using slangs of male-organs. Only if the script had provided him more space and viewers some kind of novelty to stick around, it would have been a pleasant surprise!

Though not in full form; Manoj Bajpayee does his part well in the most theatrical manner. He successfully uses his corrupt, sinning and wicked eyes for the most. Don’t expect a GANGS OF WASSEYPUR from him but he’s better than the repetitive Prakash Raj any day. Sonakshi does what she’s been doing for ages now, and I really want to write more about her abilities as an actor but then, there is hardly anything new. Raj Babbar, Dipti Naval & Rajesh Sharma don’t disappoint.

With a tiring duration of 2 hour 39 minutes, age-old plot and mindlessly put songs, Amit Ravindernath Sharma’s TEVAR is an average action-entertainer saved hugely by Arjun Kapoor’s earnest & energetic performance and Manoj Bajpayee’s engagingly villainous character. Watch it if you are a fan of both, though it is not their best at all! [2/5] 

ENTERTAINMENT: A new low in entertainment! Lackluster comedy of absurdity!! [1.5/5]

Do not judge a book by its cover and a film by its title, especially if it stars Akshay Kumar. Writer duo Sajid-Farhad’s first outing in direction ENTERTAINMENT sees a new low in the promised territory. With humor largely based on word-play one liners, plot that hardly believes in being logical and performances having tough time to justify even calling them one; it is just another slap-stick, mindless & lackluster comedy of absurdity Akshay Kumar is known to be a master of in recent past. Of course, a lovely addition of a cute dog in the plot is something new & unusual from his rests but that’s it.

Sounding like a film funded and supported by Maneka Gandhi- the famous animal rights activist, ENTERTAINMENT sets a new benchmark in bromance with Akshay Kumar bonding with a rich & wealthy dog smart enough to read books and acts accordingly to defend itself. In a very much Bollywood fashion, Akhil Lokhande [Played by Khiladi Kumar] comes to know of his real father being a Diamond King in Bangkok but till the time he could reach to claim his dead father’s 3000 Cr Empire, a dog named Entertainment has been given all of it in his last will. Rest is how this loyal friend of man wins hearts and after several failed attempts of Akhil trying to kill the dog, the both bonds like any other melodramatic affiliation Bollywood could come up the best.

Sajid-Farhad being a successful duo of writers with more than a couple of 100-Cr films in their kitty, film starts off good with jokes flowing all over; mostly mouthed by TV comic star Krushna playing a partner-in-crime to Akshay. His one-liners that include names of Bollywood actors twisted & linked with the sentences he speaks succeed in tickling you at most but after a point; you don’t really care for him as the mindless plot has already given you much numbness to feel any sensation. Get a flavor of it here so that even you don’t like to buy the tickets, you can have a hint of it…‘I Rajni-can’t believe this’, ‘lag gaya na tujhe A-shock Kumar’, ‘kahaan ja reha hai sonakshi Seen-ha taan ke’ and so on. You may also see it as his extended ‘comedy circus’ act.

ENTERTAINMENT slips off from its track to entertain soon after the intermission when story gets zoomed in to Prakash Raj and Sonu Sood playing Karan-Arjun, overtly emotional villainous brothers with memories of mother holding them together on the lines of Rakhi Gulzar’s character in KARAN ARJUN. Akshay gets into fight mode and then comes the typical Bollywood climax in the hospital where patient is declared dead but punching him hard on the chest in state of rejection could bring him back in life. Medical science has certainly contributed a lot in our happy endings!

Film also doesn’t leave anyone barred from making fun of their caste, colour & creed. So Johny Lever playing the legal advisor named Habibullah constantly faces wrong pronunciations of his name including ‘Gorilla’ ‘Lulla’ and what not! You can hear an ‘azaan’ like sound in the background whenever he’s hurt. At last, it is nothing but a directionless shot to force the ill-shaped meaning of ‘Entertainment’ i.e. hitting the 100 Cr mark anyhow, by any means. As Krushna’s Character would speak, “Iss film se entertainment ki Aasha Parekh ki, toh aapke dimaag ki Anupam Kher nahin’! [1.5/5]    

HEROPANTI: Save the saving grace ‘Tiger’ for his next! [2/5]

In the dead core of age-old insipid recipe for a perfect Bollywood love-story, if anything in Sabbir Khan’s ‘HEROPANTI’ really looks garden-fresh besides the lead pair, is one comically emotional scene that makes a highlight; sadly much later in the film.

When Prakash Raj, playing a dominating father of the bride [Not for once but twice] and a heartless ‘Jaat’ crime-lord bound by his own caste-procedurals finds out that his second daughter is also planning to elope with someone on her wedding-day alike his elder daughter, he decides to accompany the possible guy for the rest of wedding to ensure things happen his own way. With a father trying his best to be not ashamed again in the eyes of his own men, this scene alone dares to take the plot in a region hadn’t been visited before. Sad part is, it comes at a point when you had lost all your hopes to see anything good in the movie.

The launching vehicle of Jackie Shroff’s cute, adorable and much flexible son Tiger, ‘HEROPANTI’ is nowhere close to be fresh, new and novel in terms of content. You can foresee the events far from a mile. Girl elopes on the D-day. Father with his goons takes boy’s friends in custody to know whereabouts of the couple. One of the friends falls for the second daughter…and the rest is, showcasing lots & lots of muscle-power, abruptly put love songs and a pinch of the great Indian emotional drama, a shameless rip-off from century’s most lovable DDLJ.

Film rides high with Tiger’s stretchy elastic body-show in action sequences and dance numbers but when it comes to move the muscles responsible for expressing emotions; he definitely looks clueless for most parts. His never-ending effort to be ever-smiling on screen often lands him in fumbled dialogue delivery and bad lip-syncing to songs. From verbal sexist comments to acts of physical torture, there is constant offence against women shown on regular interval. And it hurts. Badly. If that’s not all, you’ll also find everyone just keep taking names incorrectly. ‘Rakesh’ becomes ‘Rajesh’ for more than a couple of times, but who wants to get into these small flaws when you have bigger issues to notice.

With dashing looks and chiselled physique, Tiger charms and shows off an impressive screen presence but has a lot bigger room for improvisation in acting department. I wish his next to have more than just backflips, splits, summersaults…and I am talking about acting here. Kriti Sanon, surprisingly makes a much confident debut despite having a tinier room to roam around. Prakash Raj plays an over-dramatic father of the bride, as if smitten by the Karan Johar bug.

At the end, the film of such monotonous graph gets benefited by the sparkling presence of Tiger Shroff but Tiger sure deserved better ignition to take a flying start. Why on earth does every star-kid need a love-story as his first outing, that too of the same congested box of dying rules? With 2 hour 26 min of duration, it is best to realise that you have more active cells in the brain than the writer and maker of the film do. Listening to its chartbusters on your favourite FM radio station could lure you to rush to the nearest multiplex. Beware! Save the saving grace ‘Tiger’ for his next! [2/5]

SINGH SAAB THE GREAT: Loud, melodramatic, outdated action potboiler! SINGHAM saab the great!! [2/5]

With a catchy phrase of ‘‘badla nahin badlaav’, this SINGH SAAB THE GREAT fights against corruption & more but in his own way. He saves a girl from an obsessive lover-turned-acid attacker and pours the bottle in his pants, only to realize later that it was cleanly swapped with absolutely harmless nontoxic water. In others, he hits back to ill-practices of hefty donations for higher education, crime-syndicates indulged into food adulteration & illegal storage, the in-vein bribery in bureaucratic system etc.

At one stage, he also doesn’t forget to comment on TRP-driven media with ‘aap journalist hain…thodi toh samajhdaari dikhayiye’. Sounds good?? Yes, sounds good but loud too…in fact, extremely loud! & that’s the problem with SINGH SAAB THE GREAT! Everything that happens, happens with a noisy-ear deafening sound beyond the range of decibels set for normal human hearing.

Anil Sharma’s SINGH SAAB THE GREAT is a loud, melodramatic, over-aged action potboiler that is best enjoyable at single screen theatres where claps set the mood for anything outrageous and compensate for the most of inconsequential parts. A supposedly comeback vehicle of the real action star Sunny Deol, film seems to be going forward with a noble cause of social reformation as its structural content base but fails to built an inspiring legend out of it to meet its desired end. A mediocre script filled with run of the mill plot-subplots & superfluous emotional sequences including hero’s women affiliations i.e. lovely wife, bubbly sister!

Story written by GADAR fame Shaktimaan smells rotten & out-dated where an honest district collector Saranjeet Singh [played by Sunny Deol] sweats his blood out to stop corruption personified by a local dominant king of all illegal actions Bhoodev Singh [played by Prakash Raj in his regular avatar as if coming straight from the sets of Singham & Dabangg 2]. In one scene, when the villainous Prakash Raj tries to twist Deol’s character Saranjeet Singh’s arm by kidnapping his sister, Saranjeet Singh hits back with taking Prakash Raj’s wife & daughter into his custody. Now, isn’t it something we all have thought as an escape-plan to our emotional to the core Bollywood heroes? But surprisingly it’s one of the few exciting moments in the film that brings an effortless smile on your face.

On the performances, Sunny looks every part of his character. He succeeds in charming you with his personality and the honesty dripping off his face. Prakash Raj, when not chewing off his lips, sure entertains you in bits & pieces especially in an item song where he dances with his left feet following ‘dance like no one is watching’ attitude. You have to see it to believe it [Considering his real life better-half Pony Verma being an established choreographer]. New face Urvashi Rautela is mostly there as a regular heroine material with her plastic smile best for advertising the new toothpaste in your nearest supermarket. Amrita Rao is inconsistent but looks quite impressive. You also need to have some kind of magical powers to deal with unbearably annoying sidekicks of both on screen & that includes actors like Johnny Lever, Manoj Pahwa.

I wish if it would have been released soon after GADAR, it would have become an instant crowdpuller but as of now when everyone looks so done with SINGHAM era, it is just another of the league! You can even re-coined its name as ‘SINGHAM SAAB THE GREAT’! Watch if Sunny’s Roar can evoke electrifying energy in you! For me, it’s just OK! [2/5]