As they sit sipping coffee at a roadside café in London, Radha (Priyanka Chopra) tells Krissh (Shahid Kapur) “sometimes life is a suitcase but you feel like it’s a lunch-box” (or was it the opposite?), and if you are sitting in the audience, you might be forgiven for going “Huh? Did she really say that?”
Be prepared for many such moments during this two-and-a-half-hour film that claims to be an epic love story spanning three eras. Director Kunal Kohli is obviously trying to tell you that love does not change, whether in pre-independence India or London in 2012. If only you didn’t have to watch this film to find out.
Anurag Kashyap’s revenge saga “Gangs of Wasseypur” starts off in the most innocuous way — a shot of actress Smriti Irani opening the door and inviting the audience in with a beaming smile. It’s a scene millions of viewers are familiar with, thanks to the popularity of the soap, but definitely not something you’d expect to see in the first frame of a revenge drama.
Such incongruous scenes and unexpected surprises pop up regularly during the 2.5-hour-long film. Kashyap uses a tongue-in-cheek approach to tell his story, pairing it with searing imagery, a couple of history lessons and the edgiest characters you will see on screen for some time.
MUMBAI (Reuters) – There was a time when Rohit Shetty and his brand of cinema came in for much ridicule from critics and the Indian film industry. The critics don’t seem to have stopped, but the industry certainly has. After delivering two billion-rupee hits, Shetty is Bollywood’s new darling.
Everyone, including Shah Rukh Khan and Karan Johar, wants to work with the director. Shetty’s new film, “Bol Bachchan”, which opens in cinemas next month, stars Abhishek Bachchan and Ajay Devgn.
Towards the end of Rajesh Mapuskar’s “Ferrari Ki Sawaari“, as the protagonist and his son are re-united and embrace each other, cry and wipe the tears off each other’s cheeks, an onlooker hesitantly asks “aap jaldi karenge zara?” (would you please hurry up?). It might sound like an insensitive thing to say, but perhaps that is what someone should have said to Mapuskar as he went about making this film.
Perhaps he might have restrained himself from writing a convoluted and at times contrived script that seems to stretch on for longer than its 2 hour 15 minute duration.
Just before I clicked on the ‘delete’ button at the top of my spam folder in Gmail, I spotted the name. Asha Rajaratnam, it said, and the mail was titled ‘Namaste’ (a traditional Indian greeting).
There are some films that you watch, not because you want (as Vidya Balan claims in ‘The Dirty Picture’) “entertainment, entertainment, entertainment”, but because they are a reflection of the times we live in, and if these movies didn’t get made, these chaotic times wouldn’t be chronicled for eternity.
Dibakar Banerjee certainly seems determined to be that chronicler for India. In his fourth film “Shanghai”, Banerjee keeps the grittiness of “Love, Sex Aur Dhokha” or “Khosla Ka Ghosla“, but gets more ambitious, with his canvas, dealing with murkier issues like urbanisation, development and the politics of today’s India.