Bollywood and culture in an emerging India
(Any opinions expressed here are those of the author and not necessarily of Reuters)
To enjoy Raj Nidimoru and Krishna DK‘s “Go Goa Gone“, you have to ignore the tacky effects and the bad make-up and concentrate on the wisecracks and repartee between the main characters. Once you’ve done that successfully, get ready to buckle in for what is an unexpectedly fun ride.
One of India’s first zombie films, “Go Goa Gone” relies heavily on excellent dialogue and some great chemistry between the main leads to make a comedy that will leave you laughing for quite a while.
Replete with plenty of cuss words and the kind of snarky conversation you are likely to hear among friends, the zombies seem just a device to move the story forward, rather than the centre of the story, which is a good thing.
In the world created by Abbas-Mustan, if you are a multi-billionaire who wants to build a casino and are refused permission by the government, you invite the official responsible out for drinks, dance with him and then shoot him in the middle of a crowded discotheque and walk out without batting an eyelid.
In this world of “Race 2”, you can get away with stealing the Shroud of Turin with something as simple as a decoy bomb and people use “sensor technology” to play card games and spy on their loved ones. It may have looked cool 20 years ago, but now it’s just a tad ridiculous.
You know that time when you chance upon this new product at the supermarket? Maybe it’s a new drink or a bottle of jam — it comes in a really nice looking bottle and looks so enticing that you have to pick it up and bring it home. And then you open it and realise it only looks good on the outside. The product is past expiry, the fizz has gone out of the drink and all you are left with is a nice looking bottle. Yes, that.
Homi Adajania’s “Cocktail” is definitely one of those films you shouldn’t judge by its cover (or poster). This is supposed to be a light-hearted attempt at tackling the oldest trick in the romantic comedy book — the love triangle, but Adajania forgets to infuse any freshness into the story.
Instead of filming the scene like a regular action sequence, with lots of gunfire, smoke and action, Raghavan turns it on its head — filming the scene almost entirely in slow motion and to the tune of the “Rabta” song.
There is an educated, suave man living a double life as a terrorist, his beautiful wife who doesn’t know about his identity and the “third man” who tries to help the family.
When I think of a Bollywood media interview, what pops into my mind are — long waits, filthy sets, stars with a lot more attitude than they should have and clichéd answers I could have predicted long before I met them…
But Saif Ali Khan proved me wrong on all counts. He turned out to be a thorough professional.
There’s one thing about an Imtiaz Ali film — it may not have the most original storyline or cutting-edge techniques, but it sure has the best dialogues. And that, in my opinion, is the USP of his films.
Director Ali is telling you a regular love story, where you know immediately that the two lead characters are going to end up with each other, but his treatment is fresh and the people in the film don’t act filmy (which sounds like a paradox, but isn’t).
I have spoken to her several times and she has always been extremely polite, composed and not given to overt displays of emotion.
That is why, at a Mumbai event to unveil the first look of her forthcoming film “Love Aaj Kal”, I was surprised to see the 21-year-old at a loss for words.