Reviews

'Crouching Tiger, Hiding Viewer!'

Kaal Dir- Soham Cast- Vivek Oberoi, John Abraham, Lara Dutta, Esha Deol, Vishal Malhotra, Vineet Sharma and Ajay Devgan. Written by- Soham Rating- *

Man-eating tigers are the least horrifying aspect of 'Kaal'- Karan Johar's Dharma Productions and Shahrukh Khan's Red Chillies Entertainment's valiant march into Varma's world! There's a much more dangerous threat lurking in the reels of this debacle! It appears as if the whole cast is infected with a virus that induces horrendously low levels of acting! In what must be a brilliant achievement- Soham has managed to extract impossibly bad performances not only from 'specialists at bad acting' like Esha Deol and Lara Dutta, but even from the talented Vivek Oberoi and the highly gifted Ajay Devgan.

That leaves us with John Abraham. Don't worry, he's pathetic too! We are first introduced to his toned abdomen while he is running and then, shown him serenading with a python! Some gay fantasy, this! Thankfully, we are also informed that he works with the National Geographic and has a wife, Riya(Esha Deol). Krish(Johnny boy!) and Riya head off to the jungle of Orbit Park to investigate an increasing number of suspicious killings, apparently by tigers. Jungle mein mangal? Orbit(Corbett rechristened?!?) Park incidentally boasts the largest number of tigers in India. Also on their way to this tigerland are a group of city-bred animals- Dev(Vivek Oberoi), Ishika(Lara Dutta), Vishal(Vishal Malhotra) and Sajid(Kushal Punjabi). A car-breakdown and a 'mrityunjaya mantra' reciting weirdo(Vineet Sharma) later, our animals encounter the python-lover and his lover! A few more reels and a few more killings! Enter Kali Pratap Singh(Ajay Devgan), a mysterious villager who offers to help them get out of the jungle. All things aside, Ajay Devgan's entrance is a crackling scene that actually gives one the goose bumps, unlike the creepy scenes which were meant to…but never do! The time by which this bunch runs away from the jungle, a few more surprises are revealed. A good student of cinema will see the twist coming a long way before it actually does. And while that takes away from the thrill of the revelation, what hurts more is the script's sudden jumping of genres. A bad case of identity crisis- the script is unsure whether it is a thriller or a horror! So while the movie promises you a wild thriller in the first half, it resorts to the supernatural in the latter half!

The screenplay moves at a turgid pace with no significant episode in the first three-quarters of an hour. Desperate attempts at making the audiences jump from their seats result in loud guffaws. Sample this- we are led to believe that an anonymous hand is about to cause some terror to a character only to be revealed that the hand in question is the character's own! Hands down, the most stupid scene! Also stupid is Lara Dutta exercising her vocal chords in a role that she has screamed her way through! Vivek Oberoi makes more facial contortions than a constipated man while Esha Deol redefines poor acting and looks like she's straight out of a lingerie ad for a tiger-skin brassiere! The usually dependable Ajay Devgan is made to mouth lines that are far below his acting quotient. The only decent act comes from Vineet Kumar as Bagga. The sound by Dwarak Warrier is brilliant but overused to a nauseating effect.

In a nutshell, Dharma is no Varma! All the monkey-screeches, tiger-roars, owl-howls and Lara-screams add up to one excruciating visit to the cinema hall! A toddler behind me kept insisting his father to leave the theater and go home. Actually, he was voicing the sentiments of all present!

• Abhishek Bandekar

Rating- *

* Poor ** Average *** Good **** Very Good ***** Excellent

29th April, 2005

Swansong for unfulfilled dreams!

Hazaaron Khwaishen Aisi Dir- Sudhir Mishra Cast- KayKay Menon, Chitrangada Singh, Roshan 'Shiny' Ahuja, Ram Kapoor and Yashpal Sharma. Written by- Sudhir Mishra, Ruchi Narain and Shiv Subramanium. Rating- ***

At the heart of Sudhir Mishra's political chronicle about three individuals during the India of the 70's lies an inherent cry for reform that is valid even in the current age that we live in. 'Hazaaron Khwaishen Aisi' then, is not just an account of the Naxal movement that rose, survived, faltered and eventually died in the dictatorial times of Indira Gandhi. As the title rightly suggests, it is about a thousand such dreams that have been left unfulfilled, or soured if realized! Not since Gulzar has a director managed to weave a political story with such assurance.

Siddharth(KayKay Menon) is a young affluent collegian who mulls over the state of affairs with his friends while they dope! Their Gods- Bob Marley, Karl Marx and Che Guevera! Fired with a desire to change things around rather than being dogmatic about the crisis like his earlier generation, he enters the Naxal movement. Joining him on his quest is Geeta(Chitrangada Singh), a woman who has no views of her own but believes that the man she loves must be right! Add to the mix a removed individual who could be an island if he wished! Vikram(Shiny Ahuja) couldn't care less about his country, but is madly in love with Geeta. Destiny takes these individuals on three different routes over the next five years and brings them together again at a time when the country is in turmoil and an Emergency declared. Siddharth is now an active member of the Naxal faction of Bihar, while Geeta is in an unhappy marriage to an IAS officer. Vikram meanwhile has become a 'fixer' and moves in the corridors of power and fame, raising toasts at social dos. Geeta begins an affair with Siddharth and soon accompanies him in his pursuit. As the nation gets chaotic in the following years, Indira Gandhi systematically eliminates all her threats by any means possible and emerges victorious. Siddharth and Geeta are just two of the many sufferers of this clamping down by the government. It is here when Vikram decides to use his influence to rescue his unrequited love, and more importantly- her love!

It is no mean task to include three lives spanning a decade in a script that is merely 120 minutes long. Writers Shiv Subramanium, Ruchi Narain and Mishra himself, do a wonderful job at that. However, one can't be left feeling that the proceedings get too episodic at times. The erratic editing(Catherine D'hoir) doesn't help! Without being construed as a censure, this story is actually suited for a two season series where characters can be allowed to have a development graph and every single incident given enough attention to! But one doubts if in the orgy of saas-bahu serials, any soul will be prepared to spare some time for a serious venture such as this. Let it be!

Mishra doesn't fall into the trap of making 'Hazaaron Khwaishen Aisi' into a generic political movie. In fact, the movie doesn't even show us any political leaders of the time. What Mishra does is use the cinematic language of allowing characters to be allegorical references to the whole! Vikram's failed love and his eventual state at the climax is just that- an allegory to what we have been left with. Siddharth's disillusionment also acts as a failure of the whole movement. And amidst all of this, Geeta finds her true voice. Her character assumes shape after going through upheavals of love, hope, disappointment, exploitation and finally comprehension! Much like our country indeed! The recurring haunting track, 'Man yeh bawaraa' aptly captures the mood and ethos, and lingers in you long after you've left the movie.

It is worth noting that nearly the whole film is spoken in the English language. This is the second such experience after Bhansali's 'Black'(although Mishra's film was completed much earlier). Though I do not have anything against the use of English in Hindi films(it is a sign of our times), I can't help wondering whether the preference is out of necessity or simply because these young writers think in English! Also, the fact that we are seduced by Vikram- the blithest character leaves you with a sense of guilt. I'm not sure if Mishra intended that!

But such minor quibbles left aside, 'Hazaaron Khwaishen Aisi' is a movie that must be seen by every collegian…but sadly won't! They are too busy following the fads of the Johars and Chopras! And mind you, this movie is not an exercise in history lesson! There are some fine performances that adorn this cinematic jewel. KayKay is as he usually is- competent. In an underwritten character, he manages to do exceptionally well. Chitrangada Singh is eerily similar to the late Smita Patil. She is almost a reincarnate! Her emotional range aside, she is also a true Indian beauty- dark and elegant! Ram Kapoor as her husband leaves a definite impression. Eventually though, it is Shiny Ahuja's performance that rivets you the most. In a virtuoso display of talent, he announces himself to Bollywood. Whether it his cocky smirk, his dormant rage, his hidden anguish or his genuine irritation- Shiny is simply brilliant. Easily one of this year's best performances!

• Abhishek Bandekar

Rating- ***

* Poor ** Average *** Good **** Very Good ***** Excellent

17th April, 2005

Time For A Hit!

Waqt Dir- Vipul Amrutlal Shah Cast- Amitabh Bachchan, Akshay Kumar, Priyanka Chopra, Shefali Shah, Rajpal Yadav and Boman Irani. Written by- Aatish Kapadia Rating- ***

Eureka! We've got it! Yes, ladies and gentlemen…in Vipul Shah's 'Waqt', we have probably found this year's first bona fide hit. Replete with all the necessary ingredients of a commercial Bollywood fare, 'Waqt' has all that it takes for a movie to click with the Indian audiences. It's the kinda film that makes a distributor feel happy and contemplate his next phoren visit! In this 'saga of Indian emotions' then, we have a happy family(isn't it always?) of three. Ishwar(Amitabh Bachchan), the postman-turned-millionaire(don't ask how!...there's something about selling toys while delivering letters and all that…seriously- who gives a damn!), married to Sumi(Shefali Shah) is a doting father to Aditya(Akshay Kumar). Ishwar has to make a serious decision about his son's careless attitude towards the responsibilities of life. His love for Aditya though, results in his procrastination of the grave issue. However, when faced with a situation that will test his race against time, Ishwar has no alternative but to throw Aditya out of the house- hoping that the new predicament might make him more conscientious of his own life. But this presumed solution becomes a problem in itself, as the rift between the loving father-son increases and the fences continue to grow.

You don't have to be a rocket-scientist to realize that such a story provides ample opportunities to infuse comedy and drama alike. So, pre-interval you have the initially funny, later annoying comedy track of Boman Irani and Rajpal Yadav; and post-interval there are the go for your kerchief moments between Aby and Akki! Writer Aatish Kapadia(he also penned the original Gujarati play 'Aavjo Vhala Fari Malishu' on which the film is based) does a good job of keeping the narrative fluid. The dialogues tend to get inconsistent at times. It doesn't help that songs appear like acne on a teenage face and mar the proceedings. Clearly, a couple of numbers could've been done away with. On the directing front, Vipul shows that he possesses a natural flair for story-telling. 'Waqt', as well as his earlier debut effort 'Aankhen', manage to keep you interested till the last reel. On a personal note- the seesaw of emotions was a tad jerky for me. But gauging from the audience reactions, it was working to the hilt.

Finally, 'Waqt' is all about its performances which amount to one whole point in the overall rating! Amitabh Bachchan is dependable as always. His energy is visible and so is his age! Shefali pitches in a finely nuanced performance and matches the superstar at every step. Boman and Rajpal bring the house down with their histrionics. Priyanka has little to do than fulfill the perfunctory role of a heroine. When it all boils down though, 'Waqt' is Akshay's vehicle. I have always maintained that Akki is as good as the role suits him. Put him in a 'Mujhse Shaadi Karogi' and he's fantastic, but in a 'Bewafaa' he is woefully bad. Here, Akki is probably at his best. Whether it is his comic timing or his emotional renderings, he is near-perfect. There's also an action scene for his fans! Ironically, his previous best endeavour was in 'Aankhen'- with the same director and Big B at his side!

'Waqt' is by no means a memorable movie. It's not one that will feature in the better films of our industry. But it is one for the masses. And at a time when the industry is waiting desperately for a universal hit, 'Waqt' might just do the trick!

• Abhishek Bandekar

Trivia- This is Akshay Kumar's second consecutive film after 'Bewafaa', in which he performs on stage during the climax!

Rating- ***

* Poor ** Average *** Good **** Very Good ***** Excellent

22nd April, 2005

'Hum Aapke Hain Bewafaa Dhadkan'

Bewafaa Dir- Dharmesh Darshan Cast- Akshay Kumar, Kareena Kapoor, Sushmita Sen, Manoj Bajpai, Shamita Shetty and Anil Kapoor. Written by- Robin Bhatt, Dharmesh Darshan and Raj Sinha. Rating- **

There is this game where you watch a movie, go back home and think of different alternate endings to it. After the many versions, if the actual ending still seems more interesting then you've lost. Dharmesh Darshan probably played this game after watching Sooraj Barjatya's 'Hum Aapke Hain Koun…' and his very own 'Dhadkan'. Mr. Darshan must've thought- what if Madhuri Dixit had actually married Mohnish Behl in the former and Sunil Shetty had returned in the latter to find Shilpa Shetty willing to leave hubby Akki? Now develop these plots, and what you get is a fair idea of Darshan's 'Bewafaa'. Sadly, even though Mr. Darshan must've considered his endings more interesting, he still is the loser!

Welcome then to the shakalaka baby family in Montreal, Canada. We have papa Kabir Bedi, firang(?) mummy Nafisa Ali, badi beti Sushmita Sen and chotti beti Kareena Kapoor. Sen is Aarti, married to Aditya(Anil Kapoor)- a businessman(we're not quite sure what business he does?) who has little time for his family and probably mistakes his wife for a personal assistant! Aarti dies, leaving behind two twin daughters. You guessed it right! Within a reel, chotti beti Anjali(Kareena) is married off to Aditya and sent packing to New Delhi. Living in a loveless marriage, her life is provided a pacemaker with the return of her former love, hold your breath, Indian Raja?!?(Akshay Kumar)- a popular popstar. Old flames are lit again and the lovers decide to elope. But there's a spooky couple(Manoj Bajpai & Shamita Shetty) to cope! Oh nope!! The audience is left with no hope!!! Follow a predictable storyline then to a tiring climax where everything is restored. The audience is bored. Yeh dil manage no more!!!

The whole movie is riddled with songs that emerge out of nowhere like land mines in a war zone! Mind you- the songs are good to listen, they are just not used properly. The first half drags along with only the beautiful sights of Montreal keeping you interested. The second half promises a similar fate but things are made lively with the entrance of Dil(Manoj Bajpai) and Pallavi(Shamita Shetty). Bordering on the line of vulgarity, Manoj Bajpai delivers a hammy performance but there is a guilty pleasure in watching his antics. A tip Mr. Darshan- publicize Bajpai's character. Kareena is passable(sorry Bebo, 'Bewafaa' won't do for you what 'Raja Hindustani' did for Lolo) while Sush is seriously challenging the position of Simi Garewal as Miss Grace. It is common knowledge that Akshay Kumar has a cocky attitude which can be used to his advantage when cast in roles similar to the ones he essayed in 'Khakee', 'Aankhen' and 'Mujhse Shaadi Karogi'. But here as a lover boy, he is at his stolid best! That leaves us with Anil Kapoor. This man is like wine- he's only getting better with age. In a thankless role, he acts his part with dignity. Only for him and a fairly decent second-half, 'Bewafaa' is not as bad as it sounds!

• Abhishek Bandekar

Rating- **

* Poor ** Average *** Good **** Very Good ***** Excellent

25th February, 2005

'Ray' lives on

Ray Dir- Taylor Hackford Cast- Jamie Foxx, Kerry Washington, Regina King, Clifton Powell, Curtis Armstrong and Sharon Warren. Written by- Taylor Hackford and James L. White. Rating- ***

"Hit the road Jack, and don't come back…no more, no more, no more, NO MORE!" Who would've thought that this immortal line that has almost become a remedial mantra for broken relationships in popular culture was conceived over a lovers' brawl! Ray Charles was a genius. And if there was one thing that he knew, breathed and lived for; it was music. So in a lifetime that comprised acute poverty, a desperate struggle with darkness, guilt, drugs and painful affairs; Ray still found moments when inspiration hit him out of nowhere and words and notes took their own shape to form an instant eternal classic!

There are some lives that deserve to be transformed on the silver screen. Ray Charles's life was one of them. It almost comes as a shock to learn that this project had no studio-backing until it was completed! And that backing probably came after the initial screenings where Jamie Foxx's performance was lauded and predicted as a surefire Oscar winner in hushed voices. Jamie Foxx as Ray almost convinces us that it is indeed Ray Charles performing on screen and not an actor impersonating! From the crooked all-knowing smile to the bent gait of not so much a handicapped but a man dancing through his demons, Foxx captures every essence of the actual Ray Charles. Ray was a complicated man. He never demanded sympathy and very rarely showed it himself. An astute businessman, he ensured his success at any cost, sometimes at the price of losing his loved ones. He never apologized for his philandering ways and always maintained that he loved his family, which we are convinced he did. He liked sex; it was as simple as that! But beneath all, there also existed a Ray that was afraid of darkness. Imagine the horrors of a blind man afraid of darkness! His fear was because of his guilt. Ray was convinced that he was the reason for his brother's death, and his whole life was spent trying to redeem himself. Ray was a maverick who fused gospel with jazz, an unheard blasphemous practice in the 50's. But his intentions weren't to instigate. He was simply practicing the only way he knew of getting close to God!

It is hard to capture such an eventful life as that of Ray, and that is perhaps where the movie fails. We are never really allowed to get close to Ray as a person. We know him only as much as we see him. His relationships, especially with Margie Hendricks(Regina King), aren't explored in detail. And the script barely passes over Della Bea(Kerry Washington), Ray's wife, who everyone knows was a rock by his side. And the biggest blunder of all is the rushed, almost abrupt climax. It's as if the director suddenly realized he was out of stock and called for a pack-up! Nonetheless, 'Ray' is definitely recommended for a flawless performance from Jamie Foxx and an able stellar ensemble. The songs and age create a sense of nostalgia, and we get a genuine feeling that the film is made with sincerity.

• Abhishek Bandekar

Note- 'Ray' is nominated in six categories at this year's Academy Awards, including Best Picture, Best Director and Best Actor(Jamie Foxx).

Rating- ***

* Poor ** Average *** Good **** Very Good ***** Excellent

19th February, 2005

Blackfail

They say that you have to taste the bitter to appreciate the sweet. Well, it is this humble reviewer's hope that the adage holds true in this case! 'Blackmail' is the first of the three black films that Bollywood has to offer in this new year(Anurag Kashyap's 'Black Friday' and Sanjay Leela Bhansali's Big B-Rani starrer 'Black' are the other two). And one wishes that this wretched piece of film-making is only the bitter that will help us appreciate the sweet.

'Blackmail' is directed by Ajay Devgan's cousin, Anil Devgan. Understandably, one can excuse Ajay for having acted in this debacle. But then, Ajay also starred in this year's recent disaster called 'Insan'! Why do established actors like Ajay and Akshay Kumar(his partner-in-crime) have to act in movies like 'Insan' is something that baffles me. Especially when they are both financially sound and gifted in the acting department too!

Anyway, back to 'Blackmail'. If you care enough, here are the details. Shekhar(Ajay) is a former car rally driver who uses his driving skills to assist criminals from escaping the scene of crime. Jason Statham's 'The Transporter', anyone? After having eluded the police several times, he is finally caught by ACP Ajay Singh Rathore(Sunil Shetty) during a car-chase that results in the death of Shekhar's pregnant wife, but not before she gives birth to his child. Locked behind bars, Shekhar awaits his release and the opportunity to get even with Ajay. By the time he's out of prison, Ajay has a wife(Priyanka Chopra) and an eight year-old son Chirag(Parth Dave). The title of the movie doesn't really come into play until midway when Shekhar kidnaps Chirag for information on his own child's whereabouts. And just like Chirag is held hostage, we- the audience are held hostage to this mind-numbing crap as well.

Marketed as a thriller, the film hardly has any thrilling moments. The screamplay(written by Robin Bhatt) lacks vigour and the dialogues(Javed Siddiqui) are amateurish. Sample this- "Jail mein toh hawaldar bhi hawa mein udtaa hai". The cinematography(Nirmal Jani) is dizzy and the actions(Allan-Amin) irritate with its various influences(side note: 'The Matrix' should never have been released in India). The music department fails very badly, what with the songs sounding too familiar and the background score(Amar Mohile) lifted unashamedly from John Debney's fabulous work on 'The Passion Of The Christ'. Himesh Reshammiya seems determined to become the next rickshaw favourite after Nadeem-Shravan. His tunes cater specifically to this stratum.

Finally it is left to the competent Ajay Devgan to lend this film some credibility. And he does too! He performs his part with utmost diligence. But even he won't be able to guarantee success to this film. Sunil Shetty is terrible to say the least. He dresses up like a club bouncer and resembles anything but a man of the force. The women have pretty little to do than dance(especially an item song that is unquestionably in very bad taste). The only positive thing about this forgettable flick is its running time which is roughly about 120 minutes. And thank god for that!

• Abhishek Bandekar

Rating- *

* Poor ** Average *** Good **** Very Good ***** Excellent

28th January, 2005

No Lilliput this Terrorist!

Little Terrorist Written & Directed by- Ashvin Kumar Cast- Julfuqar Ali, Sushil Sharma and Megnaa Mehtta. Rating- ****

It is interesting to note that in a country that produces nearly a thousand films in a calendar year, most of them with running times over 150 minutes; it was a clever 15 minute feature by a relatively unknown film-maker that made the final list at the Oscar 2005! Writer-editor-director and producer Ashvin Kumar's short 'Little Terrorist' is one of those movies that make a point, and a global one at that, without trying to be pretentious. Indeed, there are moments when you think that the movie is actually unaware of the emphatic statement that it is making.

Jamal(Julfuqar Ali) is a 10 year old Pakistani boy who unwittingly crosses over into the Indian border while chasing a ball during a game of cricket. Suspected as a terrorist, Jamal is helped, reluctantly at first, by Bhola(Sushil Sharma)- an orthodox Hindu. Bhola gives him shelter and food, and eventually goes out of his way to safely lead the boy back home. It is this victory of humanity over the exterior differences of caste, country and ideology that touches a chord instantly. Aided by some beautiful Rajasthani compositions, Ashvin manages to create a poignant picture of compassion which permeates dissimilarities. Ashvin has a keen eye for noticing humour in pathos, a quality similar to that of Samira Makhmalbaf(Blackboards). The bittersweet remedy that Bhola's daughter(Megnaa Mehtta) suggests to hide Jamal's identity from the Indian soldiers or Jamal's private laughter at the climax are some of the humane colours that Ashvin paints against the backdrop of the rustic Rajasthan.

In what is a brilliant marketing idea, Ashvin Kumar has tied with Shyam Shroff of Shringar distributors and has made the film available to a large audience. At various multiplexes the film is being shown at the beginning of the regular shows, at no extra cost. And 'Little Terrorist' deserves to be seen by an audience, especially in the wake of the many terrorist events that have affected nations in the last few years.

Ashvin Kumar mentioned in an interview that 'Little Terrorist' is a portfolio-building film for him. Well suffice to say, look out for his big screen debut with Irrfan Khan and Boman Irani!

• Abhishek Bandekar

Note- 'Little Terrorist' is nominated at this year's Academy Awards for the Best Short Film- Live Action.

Rating- ****

* Poor ** Average *** Good **** Very Good ***** Excellent

Hell's Angel

The Aviator Dir- Martin Scorsese Cast- Leonardo DiCaprio, Cate Blanchett, Kate Beckinsale, Alan Alda and Alec Baldwin Written by- John Logan Rating- ****

Howard Hughes was in many ways similar to Charles Foster Kane, the enigmatic and imposing central character of Orson Welles's legendary masterpiece 'Citizen Kane'. The fact that Kane was modelled on media-mogul William Randolph Hearst is not relevant to this review. Like Kane, Howard inherited a large sum of money and found himself at a very young age, equally the richest and the loneliest man in the world. Both were visionaries who always dreamt big. Hughes even had a fascination for large breasts! Both set out after pursuits that seemed stupid and reckless to everybody but themselves. And they both always succeeded. Both amassed large fortunes and attracted media attention. And sadly, both of them didn't know when to stop! While Kane ended up as a lonely millionaire, Hughes suffered from a more terrifying descent into madness.

In Martin Scorsese's 'The Aviator', we are not made privy to Howard Hughes's disturbing later life. In that sense it is a rather shallow biopic. But when viewed as a movie, it is as complete as complete can get. 'The Aviator' doesn't try to delve into the life of it's lead character but rather concentrates on one chapter in his life, a ploy employed by the recent 'Finding Neverland'. But unlike 'Finding Neverland', 'The Aviator' doesn't take cinematic liberty and tamper with the facts. John Logan's screenplay introduces us to a young Howard Hughes(Leonardo DiCaprio) working on his ambitious 'Hell's Angels' which took over three years and three million dollars to make. A rank outsider, he is ridiculed by the reigning tycoons for using twenty-six cameras to perfect a shot. Hughes completes the film, then reworks it with sound, before eventually releasing it to universal acclaim. Hughes goes on a roller-coaster of popularity, popping flash bulbs, acquisition deals with TWA and talked about high-profile romances with famous leading ladies. The most significant of his dalliances is with Katharine Hepburn(Cate Blanchett). Not only do we sense a real admiration and possible love between the two, but this interlude is also the most enjoyable portion of the movie. Hughes's visit to Hepburn's family estate in Connecticut establishes as the best scene overall. The Hepburn-Hughes relationship doesn't work probably because they were too similar to each other, both equally headstrong individuals.

Concomitantly, obsessive compulsive disorder(OCD) begins to cast its shadow on Hughes. We witness this rich man rendered helpless in a public washroom as he awaits someone to enter so that he can leave without having to touch the doorknob which he fears is not germ-free! His bouts worsen as he begins to repeat words uncontrollably and quarantines himself in a room where he walks around naked, mumbling, and pisses into empty milk bottles. But Hughes manages to curb his eccentricities and restores himself for a congressional hearing which will determine the future of his aviation company(his mammoth plane Hercules especially) against Juan Trippe(Alec Baldwin) and his Pan-Am airways. Hughes fights it out with the wily Senator Brewster(Alan Alda) and defeats him in a battle of wits. Hughes successfully flies his Hercules, but we see his OCD still looming upon him. Scorsese and Logan refuse to take us any further. We don't get to see Hughes succumbing to his madness and dying in a hotel room, at the age of 71, with his hair grown and nails unclipped!

Leonardo DiCaprio is not an obvious choice to play Howard Hughes, but he essays his part brilliantly. His struggle to hide his imperfections and keep them in check is very convincing. Cate Blanchett's performance as Hepburn is one that you can't describe in words. She is simply put- amazing, and truly deserving of an Oscar. Another person deserving the statuette is Robert Richardson. His cinematography elevates the movie from a simple biopic to an intriguing character study.

Puritans might argue that by removing the darker facet of Hughes's life, Scorsese has tried to sanitize a fallen figure. Rather, Scorsese doesn't make any excuses for the way Howard is. Scorsese never apologized for his characters, be it 'Raging Bull' or 'Taxi Driver'. The denouement of this movie somewhat lends it a haunting feel. As Trippe says of Hughes in the movie, "People should remember him as he was". And Hughes was ultimately a visionary, a creator and an aviator!

• Abhishek Bandekar

Note- 'The Aviator' is nominated in 11 categories at this year's Academy Awards, including Best Picture, Best Director, Best Actor(Leonardo DiCaprio), Best Actor in a Supporting Role(Alan Alda) and Best Actress in a Supporting Role(Cate Blanchett).

Rating- ****

* Poor ** Average *** Good **** Very Good ***** Excellent

18th February, 2005

Words and misdeeds!

Shabd Dir- Leena Yadav Cast- Sanjay Dutt, Aishwarya Rai, Zayed Khan and Sadia Siddiqui. Written by- Sutapa Sikdar and Leena Yadav. Rating- *

The only thing worse than a brainless mind-numbing movie, is a brainless mind-numbing movie that pretends to be an intellectual and aesthetic one. Debutante writer-director Leena Yadav(she's even edited this tedious fare) must've thought during the filming that she was making something novel and riveting. Sadly, thoughts and intentions don't always translate into shabds and deeds! So what we have is in fact an over-boiled egg that's not only unappetizing but also comes without any salt to taste!

Shaukat Vasisht(Sanjay Dutt) is suffering from a writer's block after his follow-up to his Booker prize winning Mindscape has been ripped apart by the critics. Actually, 'Mr. I type my novel on an antique typewriter wearing an Armani' is so consumed with desperation that he's unable to notice the fire in his Looker prize winning wife Antra(Aishwarya). Tch! Tch! Anyways, our dude looks like a writer finds his inspiration in Tamanna, his creation of a woman that wants to break free and live her life. To make his story as real as possible, he encourages Antra to don the garb of Tamanna and allow the overtures of a besotted cad, Yash(Zayed Khan). He even convinces Antra to hide her marital status from Yash. The problem begins when Tamanna becomes Antra and the lines between fantasy and reality become thinner. Shaukat soon realizes that Antra and Yash are not his creations whom he can control as he wishes. You must be thinking that the premise sounds oh so abstract and imaginative. Don't let it fool you though! This is an imposter posing as a highbrow! The film is full with passages that appear to be poetic but are actually drab monologues packaged in the baritone voice of Sanju baba.

The proceedings get so repetitive and soporific after a while that you feel tempted to doze off. But what stops you though are the beautifully written(Vishal Dadlani and Irshad Kamil) and composed(Vishal-Shekhar) songs that are scattered through the running time. Also, your heart goes out to Sanjay for performing his part with sincerity and input. For him and the composer duo- what a waste! Aishwarya keeps switching from disinterested to overly dramatic, and she does both acts unconvincingly. And somebody please tell Zayed that his Shahrukh act just doesn't come together. This dude needs to go back and learn the basics. And yes, what was the casting department(if there was any) thinking when they narrowed him for a college professor? Sadia Siddiqui is engaging as the housemaid and brings some life to the events.

One can't deny that the intent of the maker was to make something different. But Leena should've probably developed the plot a bit more. The relationship between Shaukat and Antra is left undefined as are the characters themselves. For a story that revolves around three characters, the characters have to be delineated with unambiguous clarity. One cannot be commended just for being bold and different. Being bold is not always beautiful! - Abhishek Bandekar

Rating- *

* Poor ** Average *** Good **** Very Good ***** Excellent

6th February, 2005

The Write Word

What you see is what you get. Not really! What Madhur Bhandarkar's brave and brilliant 'Page 3' does is destroy the myth attached to the glam and glitterati that colour the pages of our newspapers and whose lives(read party habits) we follow with such maniacal fervour which only our intrinsic voyeuristic streak can explain.

The page 3 phenomenon is as deplorable as it is enigmatic. How exactly did it gain such control over the printed word and when did it start to encroach into the front page is subject for another debate. Bhandarkar cleverly avoids that. He is concerned only with the mechanisms of this grotesque existence. And in doing that, he pieces together the various elements of this way of life. Like Robert Altman(although I'm not comparing Bhandarkar to Altman's genius), Bhandarkar uses myriad characters to further his motive. Whether it is a page 3 wannabe NRI, the gate-crashers, the newly-rich, an upcoming model, a socialite politician or an erotic novella authoress; all the characters are introduced with an objective and each of them has a separate character-sketch, even if their parts may be miniscule. And therein lays the film's appeal.

Konkona Sen Sharma plays Madhavi Sharma, a young and talented journalist who covers page 3 for Nation Today. Initially content with her job, she soon begins to see the ugliness of this underbelly that is covered by its fake and cosmetic profligacy. But Bhandarkar resists the temptation to make this subject into a moral-policing movie and avoids concentrating on one character alone. Hence the movie is not only about Madhavi, but also equally about Deepak Suri(Boman Irani)- Madhavi's editor who passively accepts his role as a cog of a larger machinery, Anjali Thapar(Soni Razdan)- a socialite suffocating from the social pollution, Abhijeet(Rehan Engineer)- a homosexual make-up artist and Madhavi's roommates Pearl(Sandhya Mridul)- the sassy airhostess and Gayatri(Tara Sharma)-an aspiring actress. It seems like an impossible task to assimilate so many characters(and more) in one story, but full credit to Nina Arora and Manoj Tyagi for penning a tight screenplay. The dialogues by Sanjeev Datta and Bhandarkar have been written with great attention to detail.

Any narrative, no matter how good, can fall flat with the lack of genuine performances. Thankfully, 'Page 3' brims with actors and not stars. Konkona goes through her author-backed role with effortless ease. Ditto Boman. Sandhya Mridul gets the best written part, but almost overdoes it. Atul Kulkarni is wasted though with an underwritten character. At times, the director seems too keen to incorporate as much as possible(paedophilia, homosexuality, etc.). But the contexts in which they are used do not make them look rushed.

Ultimately, Bhandarkar's attempt is to satiate our voyeurism, but he takes it a step further. He takes us inside the photographs and exposes us to the gruesome realities of this sect of humanity that strangely seems to be living in a different and remote world. These are the same people that indulged in new-year's revelry while a few hundred kilometers away their fellow countrymen had been ravaged by nature's ferocity! Clever writing, skillfully incorporated songs, able performances and a genuine feeling of sincerity are what make this film worthy in spite of its lack of finesse and poor production values. 'Page 3' is an optimum way to enter a new year of cinema.

• Abhishek Bandekar

Rating- ****

* Poor ** Average *** Good **** Very Good ***** Excellent

29th January, 2005

Fable

"Children should never be made to go to bed…they wake up a day older". This statement by James Matthew Barrie, creator of 'Peter Pan, Or The Boy Who Wouldn't Grow Up', in director Marc Forster's moving and reassuring fable, 'Finding Neverland', captures the quintessence of the film. Based on the original play, 'The Man Who Was Peter Pan' by Allan Knee, this cinematic adaptation has at its core a very simple but true message- if only we believe, we can preserve our innocence(and in the world we live, that is the single most difficult thing to preserve).

J.M. Barrie(Johnny Depp), coming out from a theatrical disaster(his recent play has been lambasted by the critics), meets the Davies boys in a summer that would lead to his creation of Peter Pan. Barrie, himself never having lived his own childhood(his brother died when Barrie was a child, and his mother called him by his brother's name to fill her void), finds in the boys a purity that enthralls him to an extent where it begins to feed the artist and the locked up child within him. Barrie starts to frequent the Davies household causing much uproar, albeit hushed, in the Victorian circles. Both, his relationship with Sylvia Davies(Kate Winslet)- the widowed mother of the children, and his intent behind spending afternoons with young kids are questioned. But to Barrie, this is an opportunity to imagine as he has never done before and perhaps also, a chance to repair. A chance to repair the childhood that he had lost by infusing it in Peter Davies(Freddie Highmore), a boy who seems to have grown up too soon. Barrie creates a world of wonder around the boys by weaving imagination and we can see his next play taking shape. And in Barrie's imagination(as he must've preferred in reality), Peter transforms into Peter Pan- the boy who wouldn't grow up!

Johnny Depp is a rare actor who doesn't allow his good looks to limit his acting range. His performance as Barrie is near perfect. Watch how his closeness to Sylvya never translates into attraction. Similarly, notice his coldness when in the company of his wife, Mary(Radha Mitchell), and the merry glint in his eyes when with the children. Depp's performance is worthy of his Oscar nomination. Kate Winslet excels as the ailing widow, but we have come to expect good performances from her. Radha Mitchell is a revelation in her small part and Dustin Hoffman adds his own style of dry wit in a small role as Charles Frohman- Barrie's impresario. But the standout performance is by Freddie Highmore as Peter- the boy who inspired Peter Pan. Freddie performs remarkably and tugs at your heart every time he speaks. The emotional array that this kid covers is unbelievable, and his is-without a doubt- one of the best child performances in years.

David Magee, the man behind the screen adaptation, keeps his screenplay fluid and uncomplicated. He knows that this is not a biopic. Thus, taking liberties, he uses the prospect to tell a magical tale where all you need is imagination. As Frohman points out in the movie, "The critics have made it important…but what is it? What?...It is a play!" Sometimes all we need is a little imagination. No wait…that is all we need! And the boy shall never grow!

• Abhishek Bandekar

Note- 'Finding Neverland' is nominated in seven categories at this year's Academy Awards, including Best Picture, Best Actor(Johnny Depp) and Best Adapted Screenplay(David Magee).

Rating- ****

* Poor ** Average *** Good **** Very Good ***** Excellent

30th January, 2005

The Gift Of Ghosh

William Sydney Porter aka O Henry, a master of surprise endings, is arguably the best short-story writer that has ever lived. But strangely, unlike the Kings and Grishams, his stories haven't been much accessible to the cinema-going audience. It probably takes a genius to recognize a genius. So enter Rituparno Ghosh- a nonconformist young director sans any apprehensions of clinging to established traditions. Mix this hot bundle of talent with the best work of the former, and what you get is a delectable piece of cinematic magic called 'Raincoat'.

'Raincoat' is a poignant story about the pretensions that we put on while affected with occasions that we prefer not to confront but want to. Manoj(Ajay Devgan) is in Calcutta in a desperate attempt to accumulate some funds from friends whose faces he doesn't remember- "It doesn't matter", says one of his close pal, "Even they must have forgotten what you look like". Manoj calmly replies that it does matter when he is the one asking for financial aid and they are the ones providing it! Such practical and nonchalant conversation between the characters is what separates this movie from the regular fare of Bollywood. Ghosh is a master at story-telling, and this movie is a similar exercise. The narrative thus smoothly takes Manoj to a visit at his childhood love and now married Neerja(Aishwarya Rai). On a rain-soaked afternoon of Calcutta, a meeting between two estranged lovers is the crux of this movie. Stagy? Yes. Tedious? Maybe, depending on your taste(don't come to see this after having watched 'Dhoom'). Uneventful? Definitely not! 'Raincoat' is anything but run-of-the-mill. Never in the history of Bollywood cinema(and it's a long one) has there been a story told with such serene meditation. The encounter between the two principal characters is a study in human nature. Both Manoj and Neerja are in a state of derelict. But both make attempts at concealing this from each other. Their façade is not so much a show of pomposity as much a sacrifice that they are willing to make just to ensure that the other person isn't bothered with their own condition of ruins. So while Manoj plays as a successful TV serial producer, Neerja makes stories of her grand lifestyle with servants, chauffeurs, an ever-touring husband et al. Ghosh succeeds at making their dialogues at once, both comedic and dramatic. The thin line between humour and pathos slowly begins to vanish until they absorb into one.

Credit goes to Ghosh for his ingenuous style and attention to detail. In my review of Swades, I had written that Gowariker managed to create a picture of India because of his attention to detail. Well, Ghosh does pretty much the same thing, albeit at a micro level. Whether it is Manoj's ignorance to using a cell-phone, Neerja's biting on her chain or the casual way in which her bra-strap shows- Ghosh splendidly achieves capturing mannerisms. Also note the credit titles which rechristen cinematography as image and editing as montage. Novel and a masterful stroke! 'Raincoat' is furthermore about wonderful performances. Ajay Devgan in the past three years has portrayed memorable characters(Company, Gangaajal and Raincoat) and with 'Raincoat' he emphasizes once more just how comfortable he has become with the camera. Here is an actor who essays roles without ever allowing the camera to catch him unawares. Aishwarya Rai has always been a director's actress. Like Bhansali, Ghosh manages to extract from her a perfect balance of poise and restlessness. The fact that her character basically plays out her part also helps. And finally this movie review will be incomplete without the mention of one Mr. Annu Kapoor. Kapoor plays his part of a landlord with such effortless ease that he reminds us of what a great talent he is and how we have wasted him. There was another Kapur this year that made us do the same thing- Pankaj Kapur in Maqbool. Due mention must be given to Bishwadeep Chatterjee's work on the sound and Shubha Mudgal's vocals in the background. One can argue that she could have been used with more discretion, but that will tantamount to nitpicking! 'Raincoat' is an elegiac tale told with earnestness- Ghosh's gift to an intelligent audience. Watch it and be overwhelmed.

Rating- ****

* Poor ** Average *** Good **** Very Good ***** Excellent

We, The People

It is safe to say, place your bet on it, Ashutosh Gowariker has forever exorcised the ghosts of his terrible 'Pehla Nasha', 'Izzat Ki Roti' and 'Baazi'. If anybody had any doubt that 'Lagaan' was simply the result of Aamir Khan's input, then all one has to do is go see 'Swades'- Gowariker's latest offering.

As one Indian critic pointed out, 'Swades' is actually a sequel in spirit to 'Lagaan'. Both movies are distinctly about the indomitable spirit of the everyday Indian. And both films are about the triumph of that spirit.

It would've taken a gargantuan effort, and nearly an impossible one, to live up to the success(critical and commercial) of 'Lagaan'. And Gowariker cleverly avoids just that. Here is a director who knows his strengths and uses them to his film's advantage. His attention to detail was evident in 'Lagaan', but with 'Swades' he reinforces it in a big way. Every frame of the film is a tribute to the camera whether it is the mineral-water sipping Khan, the wet sarees laid to dry-out, the crowded second-class compartment of a passenger train, triple-seat scooter-ride, a mystic sage atop a caravan or choppers flying in the sky with the NASA headquarters in the background. Gowariker's style of cinema harks back to the days of Bimal Roy. Plus, he possesses the finesse of David Lean.

'Swades' takes a larger issue than 'Lagaan' and deals with it in the same simplistic manner that made the former so appealing. 'Lagaan' was about an Indian's conviction in himself and the manner in which his will spread contagiously through an entire village. It was a clever retelling of India's freedom struggle, albeit with cricket as a metaphor. 'Swades' is again about an Indian. This time around though, the Indian is free and not under the shackles of the English. But this Indian is far removed from the India left behind by 'Lagaan's Bhuvan! At the end of 'Lagaan', the voice-over mentioned that somewhere in the annals of our history, the story of Bhuvan was lost. In 'Swades', that Bhuvan is India- an India that has been forgotten and neglected by its own son.

'Swades' then is about Mohan Bhargava(Shahrukh Khan), a project manager at NASA, working on a Global Precipitation Measurement(GPM) programme. Mohan decides to go to India and bring Kaveri amma(Kishori Ballal), who took care of him as a child, to the United States and more importantly to a life of comfort. Upon reaching India, he understands that Kaveri amma has made Charampur, a remote little village in Uttar Pradesh, as her home. Here she helps making the children of the village literate individuals with the aid of Geeta(Gayatri Joshi), a teacher and later Mohan's love interest. 'Swades' is a journey of Mohan's transformation from a detached Indian(there is a scene where he refers to his fellow-countrymen as 'you Indians'!), sipping on mineral-water and preferring to sleep in his comfy air-conditioned caravan than a rustic wooden cot, into an individual who is made painfully aware of his country's pathetic state of plight that is in stark contrast to his luxurious life. And we, as audiences- resident Indians or otherwise but equally detached, become a part of this conversion too. In fact, there is a very poignant moment in the film that takes place at a desolate railway-station that arouses such mixed emotions of pain, disgust, guilt and ultimately resolve that it is impossible to control your tears and not feel a block of ache tearing its way down your throat. It is then that you realize that the movie, with this scene, is no longer just cinema. It has transcended into something even greater and important. There won't be a moment like this in cinema for a long time, rest assured.

'Swades' is a cleverly written(Gowariker, M.G. Sathya and K.P. Saxena) movie. What is essentially a preachy, documentary fodder has been packaged with grand aplomb into an entertaining film-script. Much of the film's success owes to its ingenuous characters- be it the US aspiring cook, the postman-cum-postmaster or the cute little kid. Shahrukh Khan pushes all the right buttons in a performance that is worthy of a standing ovation. Here is an actor who has immense talent but has lost himself in the mêlée of stupid, commercial Bollywood. 'Swades' gives him a role that he can not only chew into but live as well. Mohan Bhargava is not Shahrukh Khan, and thank God for that. Shahrukh Khan is Mohan Bhargava! Gayatri Joshi exudes confidence, in spite of being a newcomer and pitted opposite the King Khan in a movie directed by an Oscar entrant! But it is Kishori Ballal as Kaveri amma that endears the most. 'Swades' is also as much an achievement of Mahesh Aney. It is his cinematography that breathes India into the reels.

Mind you, this is not a popcorn-flick. It requires patience and probably reflection too. But the rewards are very satisfying.

Rating- ****

* Poor ** Average *** Good **** Very Good ***** Excellent

Now, now…don't get me wrong! I mean no disrespect to the Marathi film industry, and this film in particular, in relation to which I am making a pejorative statement.

My heart(also my lungs, I believe) was overwhelmed with pride, joy(and carbohydrates) when I learnt that a Marathi film had been felicitated with the National Award. A long wait of 50 years( the last Marathi film to win the prestigious(?) award was Acharya Atre's 'Shyamchi Aai') had finally born results. 'Shwaas' is a low budgeted and modest film made earnestly by a fairly inexperienced group of artistes. Both director Sandeep Sawant and principal actor Arun Nalawade are not big names in the talented pool of Marathi arts, be it theatre or cinema. In fact it has always baffled me as to how the same Marathi medium that keeps producing absolutely fine actors from time-to-time, also manages to make the most senseless films possible. In this dark age of Marathi films, 'Shwaas' literally came as a fresh breath of promise to rescue Marathi cinema from its self-inflicted state of nadir.

A warm, fuzzy feeling began in my stomach in anticipation(although I've now come to a conclusion that the feeling was caused due to an extra-plate of methi bhajias, the night before) as I left to watch a screening of the movie, at a theatre near me(in filmi parlance!). I waited with bated 'breath' as the movie began. About two hours later, and even now, I am still waiting to exhale. And I don't mean that as a compliment! This sorry excuse of a movie(it should've been a thirty-minute TV film in the first place) beats around the bush unnecessarily and, to the misfortune of the viewer, incessantly before getting to the point in the final reel. Every scene creates a feeling of deja-vu, because almost every action and situation is repeated, albeit in different locations. For eg. Convincing the doctor to talk with the affected child about the implications of the concerned operation is repeated such an alarming number of times, that Yossarian begins to make sense! Arun Nalawade keeps an estranged and bewildered expression throughout the movie. One isn't sure if he is worried or constipated! Ashwin Chitale as the kid is endearing initially, but begins to get on your nerves as the reels roll on. The only saving grace is the Sandeep Kulkarni(portraying the doctor) who manages to mouth the most funniest(unintentionally) and corniest of lines with such earnestness and sincerity that you actually forget their absurdity and listen to him in rapture. The plot has umpteen loopholes, the biggest of which is the undisclosed reason behind the doting grandfather's decision to not inform or tell his daughter-in-law's brother about his plan to take the kid out of the hospital to the town. The actual story of the movie is only worthy of a few minutes, and in the time the movie takes to reach there, Andy Dufresne has already escaped from the Shawshank prison! But what is perhaps most appalling is the ideology that the films purports. The final reels indirectly imply that a blind life is a wasted one. The doctor's resolve to carry out the operation when 'pleasant' images are yet etched in the child's memory sounds similar to the last hurrah of a dying man. The movie had ample potential to be a heart-tugging story about the triumph of the human spirit. And it actually seemed to be on the right track for sometime early on. The scenes where the doctor tries to make the young boy understand the importance of other senses with the aid of smell and touch are indeed well-intentioned. But sadly, the final product isn't! I am a Maharashtrian later, an avid film buff first. I firmly claim that there have been better Marathi films in recent years than this one. 'Sarkarnama' is a fine example. I do concede that as a unique effort, 'Shwaas' is commendable. But it doesn't deserve the accolades that it is receiving. Films of much higher caliber have released this year. 'Maqbool', a marvellous adaptation of Shakespeare's Macbeth has been ignored inexplicably. Ironically, in a film about a human story of a kid combating his inevitable blindness the camera captures of the beautiful locales of Ratnagiri is what stands out.

Sorely disappointed.

Rating- **

* Poor ** Average *** Good **** Very Good ***** Excellent

There are movies and there are MOVIES. Similarly, there are Ramgopal Varma creations and then there is NAACH! Yes, ladies and gentlemen, NAACH is Varma's best work till date. Agreed, the story is weak, the proceedings not quite comprehensive and the climax(to put it mildly) unconvincing and rushed. But then, this movie is not about story or characters. It is about Ramgopal Varma and his style of film-making.

Varma has always defied the norms of Bollywood with his craft of the cinema. He refuses to crowd his movies with unnecessary song and dance routines, slapstick comedy, logic-defying action and most importantly, excessive melodrama. He doesn't play to the gallery at all! That is the reason why his 'SATYA' is still considered the most hard-hitting portrayal of the dark underbelly of the Mumbai underworld. His characters(SHOOL, AB TAK CHAPPAN) are just as believable and real as the person you cross roads with! His camera-work(KAUN, JUNGLE) is ever inventive and his editing(COMPANY), groundbreaking. And what is perhaps most surprising about this maverick film-maker is the frequency at which he keeps churning out movie after movie. And in doing so, he has created a niche audience for himself that waits for his films with earnestness! NAACH is Varma's tribute to this niche audience of his! Actually, NAACH is Varma's argument against all that is practiced in Bollywood which he would like to overthrow!

NAACH is artistic masturbation at its best! And I have always been for artistic masturbation. GAJAGAMINI is one of the most criminally ignored films! The best works of Goddard, Almodovar and Tarkowsky have flowed(no pun intended) from labours of artistic masturbation. NAACH is Varma fantasizing about his vision of cinematic splendor and justifying his style of cinema. Therefore, in this process of presenting an artistic argument, the story and characters become collateral! And hence, inconsequential!

NAACH then revolves around the lives of Abhinav(Abhishek Bachchan) and Reva(Antara Mali). Abhinav is a struggling actor and Reva an aspiring choreographer. Both intent on making it in the world of Bollywood. But their ideologies are different. Abhinav has no problems subscribing to the accepted to make his name, inspite of the fact that he resents formula cinema himself. Reva, on the other hand, wants to revolutionize the style of dance and music. Obviously, the idealist takes a long time to climb the ladder while the pragmatic reaches there instantly. But despite the success, Abhinav craves for the company of Reva. What Varma establishes here is the dormant yet inherent desire inside every actor to satisfy his creative and artistic urges that no amount of money and fame can satiate! In telling the stories of Abhinav and Reva, Varma also informs us about the machinery of Bollywood that governs what is produced and what is rebuked! Star-tantrums, artistic differences and egoistic upheavals determine the outcome of the final product. Reva(a play on Ramgopal Varma's initials- RV) is Varma's personification of his idea of beauty and cinema. Just as she defies the conventional style of dance, Varma uses her body to define grace. In fact, in every contour of her body, Varma shows us true beauty. So pure are his metaphorical references, that none of the scenes can be thought perverse. If people find this movie vulgar, then every sculpture at Khajuraho and Elephanta and every painting at Chola temples are vulgar too!

There is a scene in the movie when Ritesh Deshmukh tells Antara Mali that her ideas are ahead of her times. Ironically, so is this movie! NAACH is unlike any Varma movie, but it is about Varma movies! Go see it, and devour this large canvas of beauty!

Rating- *****

* Poor ** Average *** Good **** Very Good ***** Excellent

'Ocean's Eleven', a film that was originally made in 1960 with: Frank Sinatra and his Rat Pack; and without: success, took someone of a calibre and grit that only Steven Soderbergh possesses; to be remade. But this time around, the film turns out to be an interesting ride, thanks mainly to an amazingly cool and hip cast and an improved script. Using James Bond-like gadgetry and an unreal approach to the proceedings, the film makes for interesting and arrested viewing.

The story of 'Ocean's Eleven' revolves around Danny Ocean(George Clooney), a thief just out of prison and ready for his next heist: robbing three Las Vegas casinos in one night. As much impossible as this sounds, it is but obvious that he needs to assemble probably the world's best men on this project. Here begins the search for the best of the best. It is this phase of the movie and the subsequent preparation for the big night that is probably the most entertaining. This assimilation of various people, excellent at what they do, includes Rusty(Brad Pitt), Linus Caldwell(Matt Damon), Basher Tarr(Don Cheadle), Tishkoff(Elliot Gould), Frankie(Bernie Mac), the Malloy brothers(Scott Caan, Casey Affleck), a Chinese acrobat(Shaobo Qin), a computer wizard(Edward Jemison), and an old-timer Bloom(Carl Reiner). As each one of them prepares for their respective roles in this "biggest heist ever", Rusty begins to suspect Ocean's real motives: acquisition of the money or the retrieval of his lost love Tess(Julia Roberts), now with the owner of these three casinos; Terry Benedict(Andy Garcia). How the story moves from here till the ultimate robbery is brilliantly held together by a tight script and an awesome climax with a twist, if you may call it so!

The high point of this movie, apart from the studded star cast, is the performance put in by each actor. Everyone performs their role with effortless ease. Also, none of the cast appears to be affected by the presence of the other. This works wonderfully for the movie, as not only does the cast have a lot of fun but every single member of the audience feels comfortable. The other thing that works in this movie's favour is that it doesn't stick only to the heist but dwelves into other seemingly less-important but highly effective areas like the moments of interaction between Clooney and Roberts, with the latter trying to resist the charms of the former. The dialogues are void of profanity, which makes these characters innocent and hence, likable. Almost midway through the movie, you begin to view the "11" not as crooks but as your friends trying to make through an examination that you very much feel a part of yourself. At times, one does wonder at the ease at which these guys go through their work. But, then considering that most of the film proceeds like a fantasy, you might as well let it be a fable.

Steven Soderbergh clearly showcases his variety of talent by making a movie as commercial and racy as this, especially after movies like 'Erin Brockovich' and 'Traffic'. This is one person who has every right to swagger. He does let his trademark penchant for quirky visuals creep in, in those frequent flashes and the scene with the entire 'Eleven" at the end. Mr. Soderbergh, take a bow!

From the cast, it is Pitt who excels as he suavely walks through his portrayal of Rusty. George Clooney does his part with all earnest. This is one man who can make audiences(read "women") swoon just by giving a tilt to his head. Julia Roberts and Matt Damon are wasted in roles that were underwritten, but this doesn't stop them from bringing themselves to the notice of everyone. Andy Garcia does good enough to be liked in the role of the only unlikeable character in the movie. The others perform their roles honestly, but the surprise package comes from Carl Reiner as the old and worn-out Bloom. His screen-presence makes you feel as warm as the cookies prepared by your Grandma. Just for this cast, that will almost definitely never be reassembled, this movie's worth a watch.

Rating- ***

* Poor ** Average *** Good **** Very Good ***** Excellent