At the end of the first half of “Delhi 6″, a friend messaged me to ask what I thought of the film.

“I like it so far,” I told him, “but I don’t see where this is going.”

I am so happy that Rakeysh Mehra did show me where he was going in the second half.

He weaves a cohesive story from a million plots, tells us a modern parable for our times and extracts some great performances from an ensemble cast — and he did it all in the best place possible — Delhi.

Like I said, Mehra tells us myriad stories in this film, but the main strand is that of Roshan (Abhishek Bachchan), who is introduced to the madness of Old Delhi on a trip home with his ailing grandmother.

The first half of the film is filled with colourful characters and we are introduced to them slowly as Roshan is, each revealing layers as the film progresses. There is no background — we are left to decipher these people for ourselves.

Also, for a large part of the film there isn’t a plot. It just seems like a lot of stories being told at the same time.

There are the warring brothers who live on two sides of the same wall, their wives who bond through a loose brick in the wall, the police inspector, a jalebi wallah, two adorable kids (watch out for the scene with Divya Dutta’s character and the two kids) and then there is Bittu.

Bittu is a Chandni Chowk girl who wants more. She wears salwar suits at home, changing into halter tops and wearing lipstick outside. She speaks chaste Hindi and calls Roshan “burger chaap”.

She also dreams of becoming something more, expressed in her desire to be the next ‘Indian Idol’, because she tells Roshan that’s the only way for a middle-class girl to achieve fame.

There is also mention of the monkey man menace, portrayed though grainy images on television (Mehra makes an astute comment on the media revolution in the country) and it’s talked about by almost every character. Watch how this seemingly minor plotline delivers the film’s main message.

Like I said, the first half seemingly meanders along several stories but Mehra ties up every thread in the end. It all comes together to tell us a modern fable for our times.

Mehra pays great attention to detail, and brilliantly uses the medium of the Ram Leela, played out on the grounds of the Old Fort to depict each major turning point in the film.

His love for the winding, cacophonous lanes of Old Delhi is reflected in every frame. Binod Pradhan’s camera prances, crawls and almost caresses these lanes, showing us a Delhi far removed from any preconceived notions you might have had of this city.

Sonam Kapoor has a great screen presence and does well in her scenes. Waheeda Rehman is luminous as Roshan’s grandmother. Every other cast member, from Deepak Dobriyal to Om Puri, Supriya Pathak, Atul Kulkarni and Vijay Raaz — they are all brilliant.

Bachchan, as the detached onlooker who gets sucked into his environment delivers one of his best performances. Watch out for him in the scene where he holds up a mirror to everyone — it is difficult not to be moved.

If there are any flaws, I would say Mehra tries to tell you too many stories at once, he could have done with a little less. Rishi Kapoor’s character for one and Rehman’s plot seem to get lost somewhere. Also, I wish he had chosen a different ending.

I won’t say more, except that this is a film that goes beyond the usual plotlines and characters to say so much more. Mehra holds up a mirror to each one of us and it is up to everyone to reflect on the image we see in it.

‘Dostana’ is a path-breaking Bollywood film alright. Maybe not for gay rights but certainly the number of times the word ‘gay’ has been used in a single film.

Indians hoping for a “Brokeback Mountain” may do well to stay away from this slapstick comedy about two men pretending to be a gay couple in order to lay hands on a top-notch condo overlooking the sun-kissed sands of Miami.

The opening shot of John Abraham emerging from the sea sets the tone for the film, with the camera lens lingering a tad too long on his bright yellow trunks.

The latest offering from filmmaker Karan Johar features the usual mélange of romance, snazzy designer wear, exotic locales and foot-tapping numbers.

But writer-director Tarun Mansukhani plays a masterstroke with the ‘gay’ plot, setting the stage for a hitherto unused treasure trove of witty one-liners and bawdy humour.

But why do the leading men pretend to be gay?

Well, photographer Kunal (John Abraham) joins male nurse Sam (Abhishek Bachchan) in the hunt for an apartment, destiny taking both to the abode of (Neha) Priyanka Chopra.

But Neha’s guardian aunt is on her guard against the two strapping young men. Until Sam has the brainwave of confessing they are gay — and therefore ideal flatmates for a single woman.

The only problem — both have fallen head-over-heels for the vivacious Neha, who works for Verve magazine.

The object of their attention remains oblivious, enjoying the company of her ‘gay’ best friends and arousing their jealousy when a third admirer drops in — Neha’s boss Abhimanyu (Bobby Deol).

The big question — will love triumph over friendship? Or will the ‘gay’ tag be a hindrance.

The first half of “Dostana” is a delight. Bachchan as Sam draws the most laughs, especially with his antics in the Venice flashback sequence he concocts when asked how he and Kunal became a couple.

Sam’s London-based mom, played by a feisty Kirron Kher, doesn’t take too kindly to the idea of her son being gay — and crosses the Atlantic to harangue him.

Also not to be missed is a cameo by Boman Irani, playing a flamboyantly gay editor of Verve magazine, swinging hips with Bachchan and Abraham to a sizzling item number originally picturised on Bipasha Basu.

Unfortunately, the magic of “Dostana” wears off in the second half. The dialogues lose their spontaneity as the film veers inexorably towards its predictable climax.

And even Bachchan, who so ably carried the first half on his shoulders, can’t salvage the film from a heady mix of item numbers and far-fetched scenarios.

Still, if all you want is a dose of non-stop entertainment, gay or not gay, “Dostana” is the movie for you.

There might be some debate on whether the gay characters or mannerisms portrayed in the film are stereotypical, but it’s the first time Bollywood’s leading men are even pretending to be homosexual — so it’s certainly one giant leap for India’s gay community.

 My most reliable test of judging a fantasy film is whether I notice the person sitting in the next seat - if I do, that means the film wasn’t gripping enough for me to be totally absorbed in it.

That’s what a fantasy film should do - transport you into its imaginary world and haul you back only when the end credits roll - for that matter, any film should do that.

Drona didn’t pass the test.

That said, director Goldie Behl must be at least acknowledged for making the film - Drona is India’s serious attempt at making a fantasy flick with spectacular visual effects, unless we have Hatim Tai, starring Jeetendra, and a whole host of other tacky B-Grade Bollywood fantasy in mind.

Drona is certainly not in the line of Lord of the Rings or Harry Potter series, at least some one tried something different, and that needs to be lauded.

Not that this is to overlook the flaws in the film - especially when it actually starts off quite promisingly. We are told of an age old tale - the Gods nominate a particular king and his inheritors (Dronas) as the protectors of the precious amrit (nectar), which is sought by the asuras (demons).

We are introduced to Aditya, (Abhishek Bachchan) an orphan who grows up lonely and neglected in the company of grouchy aunt and her spoilt son (a la Harry Potter?).   

Unaware of his “special powers” Aditya meets magician Riz Raizada, an asura in search of the elusive amrit.

Riz recognises that Aditya is Drona and tries to capture the unsuspecting Aditya, and is almost successful, but his plans are thwarted by Sonia (Priyanka Chopra) - a female “bodyguard” of sorts, whose sole aim in life is to protect Drona.

In an impressive sequence, shot in the cobble-stoned streets of Prague, Sonia defeats Drona’s adversaries and tells him about his hidden strengths. Until now, the film had my undivided attention.

From here on, it should have become more interesting. Instead, the film starts spluttering.

Aditya is introduced to his mother, Jayati Devi (Jaya Bachchan in an insipid performance), who makes him aware of his responsibilities.

Enter the evil villain, who turns Jayati Devi into stone and warns Aditya/Drona that unless he brings him the amrit, his mother will not be released.

That sets Aditya, and of course Sonia, on a quest for the amrit. During the journey they encounter magical lands, strange people and of course, danger. Somewhere along the way romance blooms.

The special effects were what this film was touted for - and they do impress. Watch out for the scene with the horse and the train - but they impress only occasionally. Behl’s direction is the same - good in fits and starts. He is obviously inspired by LOTR and Harry Potter, but at least he should have stuck to that style of film making. Why try and add a Indian touch to it, such as the inane songs that are inserted at all the wrong moments and without any provocation whatsoever. Instead of taking the story forward, the songs in this film just hamper an already weak script.

Of the cast, Chopra is smouldering - as Sonia, she kicks in a punch and comes out as a better warrior than Drona.

That brings me to Abhishek Bachchan. Make no mistake; he does act the part well, especially in the first half and performs the stunts with required expertise but I just didn’t think he cut it as Drona.

He is saddled with some bad costumes and he isn’t looking his best. Perhaps a little more attention to styling could have saved the day.

Overall, this is an average film - neither great and nor too bad. Worth a watch only for the fact that this is Bollywood’s first real attempt at making a fantasy film.