Gandhi To Hitler Movie Review

Cast: Neha Dhupia,Raghuveer Yadav,Aman Verma,Lucky Vakharia,Nassar Abdulla,Avijit Dutt,Nikita Anand,Nalin Singh Director: Rakesh Ranjan Producer: Dr. Anil Kumar Sharma Banner: Amrapali Media Vision Pvt Ltd Music: Arvind ,Lyton Background Music: Sanjoy Chowdhary Sound: Vaidy Nathan Lyrics: Dr. Pallavi Mishra Cinematography: Fuwad Khan Editing: Shree Narayan Singh Screenplay: Rakesh Ranjan Story/Writer: Rakesh Ranjan,Nalin Singh Costume: Ruchi Pugalia

Movie Review of Gandhi To Hitler. This Friday’s release Gandhi To Hitler demands an unconditional suspension of belief. So if a you see an actor whose every facial twitch reminds you of some dreamy Mungerilal now dressed up as the World War 2 monstrosity, Adolf Hitler, try not to wince. And if you spot a Russian or French soldier awfully tanned like some louts from apna Verar, try not to laugh. For all its claim to document the contrast of two ideologies and for all its attempt to tout itself as “A Masterpiece on World Peace” (the film’s tagline), Gandhi To Hitler is painfully farcical and downright ludicrous.

The intention of director Rakesh Ranjan Kumar is to underscore the futility of war by comparing and contrasting Mahatma Gandhi’s peaceful ways to the genocidal streak of the megalomaniacal Fuhrer. The plot is based on two letters written by Gandhi to Hitler, trying to impress upon the latter the importance of non-violence in a bid to prevent the war.

We are transported to the underground bunker in the bombed-out Germany where Hitler (Raghuvir Yadav), his well-coiffured ladylove Eva Braun (Neha Dhupia) and a bunch of loyal orderlies like Joseph Goebbels (Nalin Singh) and the Reich minister Albert Speer (Nasir Abdullah) are fuming, fretting and counting their last sparse blessings before giving up the ghost.

The action keeps shifting from inside the bunker to a few Indian soldiers in the warzone in Germany and to a relatively peaceful milieu in the British occupied India where Gandhi ji is heard preaching peace and non violence in congregations. Another contrasting angle is thrown in the form of a track involving the Azad Hind Fauj and its founder Subhash Chandra Bose advocating blood-for-ajadi among lanky foot soldiers. And spliced in between all this clutter is the actual footage of World War 2.

The script is a disaster, equally matched by shoddy performances by the actors, the otherwise tolerable Raghuvir Yadav included. But the most deplorable is the decision to cast Indian actors as the Germans, Russians and French. If this was Rakesh Ranjan Kumar’s idea of experimenting with truth, it falls flat on its face. To put mildly, it gives the film a farcical look and one wonders if the director should have gone the whole hog and rather cast a foreigner to play Gandhi.

In short, Gandhi To Hitler is best avoided.

Rating: 1 star out of 5

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Bubble Gum Movie Review

Cast: Sohail Lakhani,Apurva Arora,Sachin Khedekar,Tanvi Azmi
Director: Sanjivan Lal
Producer: Sushma Kaul
Banner: Koncept Infotenment
Music: Hanif Sheikh,Bapi,Tutul
Sound: Manas Chaudhary
Lyrics: Prashant Pandey
Cinematography: Anshul Chobey
Editing: Suresh Pai
Story/Writer: Sanjivan Lal
Choreography: James Anthony,Longines Fernandes,Aadil Shaikh

Right at the interval, the director came at the press show stating that his film Bubble Gum isn't a children film meant for kids. It's a film that will appeal to people of all age groups. However, the point remains that with no publicity or any sorts and no face value to the product, his message may fade away in no time. After repeated big budget, big star cast films gracing the cinema halls week on week comes this week that has only the small budget films making it to the theatres. One such among the others is Bubble Gum. Now whether this small film has content enough to pull the masses or not remains to be seen.

Set in the times of 1980s in Jamshedpur when there was no computer, internet chatting, long telephonic conversations, mobile, Bubble Gum is the story of Vedant (Sohail Lakhani), a boy who finding it difficult to deal with his teens. He falls head over heels for a colony girl Jenny (Apoorva Arora) but he also has his rival Ratan (Suraj Singh) who too has the hots for the same girl. During this time Vedant's brother Vidhur (Delzad Hiravali) comes from his hostel to spend the holidays with his family. Vidhur is a deaf and mute teenager who tries really hard to build a bond with his unruly brother but Vedant considers Vidhur a liability and object of ridicule more than his brother. How the bond between the two brother increases and how Vedant wins over Jenny is what forms the rest of the story.

Bubble Gum definitely isn't a children film. It talks of the times and challenges we all have gone through in our lives. The days when a small clash with 

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Khap Movie Review

Cast: Om Puri,Govind Namdeo,Manoj Pahwa,Uvika Chaudhary,Mohnish Behl,Anuradha Patel
Director: Ajai Sinha
Producer: Sangita Sinha, Siddhant Sinha
Banner: Ananda Film & Telecommunications Pvt. Ltd
Music: Annujj Kappoo
Sound: Rajendra Hegde
Lyrics: Yogesh,Nida Fazli,Kumaar,Panchhi Jalonvi
Cinematography: Lokesh Bhalla
Editing: Sanjay Sankla
Story/Writer: Ajai Sinha,Ishan Trivedi,Vinod Ranganath,Vijay Verma,Ashok Lal
Action Direction: Baboo Khanna
Choreography: Pony Verma,Habiba Rehman

The thing with issue-based films is that the director needs to learn the art of tightrope-walk through a potential minefield of obvious clichés and commercial trappings. A tilt too much to artistic adherence could earn the film a tag of docu drama and consequently scare away the movie buffs, and a kowtow to commercial formula may make the issue facile and trivial. That’s precisely the problem with director Ajai Sinha’s film Khap, made with good intentions but poor sensitivity.

The film, as you all must know by now, deals with the burning issue of honour killings in villages whenever young girls and boys marry within the same gotra. What’s murder for the modern world is, however, purgation for the Khaps of the villages still steeped in age-old customs and social mores.

Om Puri plays the one such authoritarian Khap of a village. His son (Mohnish Bahl) didn’t approve of his dad’s regressive mindset and separated years ago to pursue social activism.

At the start itself, director Ajai Sinha lays out the cards with a gruesome honour killing of a couple trying to elope. Then we are treated to an internet romance between a couple (Uvika Chaudhary and Sartaj) who fall in love, only to find out that they hail from the same clan. To make matters worse, the girl is the daughter of the same headstrong Khap (Om Puri) who is dead against same gotra marriage. How will this Khap react when chickens come home to roost?

The treatment given by director Ajai Sinha to the subject is facile at best. Weaving a threadbare plot from newspaper headlines and peppering it with the routine songs and a candyfloss love story robs the film of the gravity that it might have had if in the hands of an adept director like a Kashyap or Bhardwaj. On top of it, the director also tries to absolve the Khaps with a long monologue (courtesy Alok Nath) about keeping the gene pool clean by banning same gotra marriages.

The songs are absolutely unwanted and performance strictly tolerable.

Khap, in a nutshell, trivializes a serious issue with its formulaic treatment.

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Singham

Cast: Ajay Devgn, Kajal Aggarwal, Prakash Raj, Ashok Saraf
Sachin Khedekar, Sonali Kulkarni, Anant Jog, Vijay Patkar, 
Jayant Sawarkar, Ashok Samarth, Kishore Nandlaskar, Ravindra Berde, Hemu Adhikari, Agasthya Dhanorkar, Suchitra Bandekar, Suhasini Deshpande, Meghna Vaidya, Pradeep WelankarDirector: Rohit ShettyMusic: Ajay Gogavale, Atul GogavaleSound: Rakesh RanjanCinematography: DudleyEditing: Steven H. BernardArt Direction: Narendra RahurikarScreenplay: Yunus SajawalDialogue: Farhad, Sajid (1)Action Direction: Jai Singh NijjarChoreography: Ganesh Acharya
Half way through director Rohit Shetty’s Singham, it strikes you why Indian films haven’t had many superheroes a la Superman, Batman and Spiderman. We don’t need them. Our regular heroes do the needful. The likes of Rajinikanth, Salman Khan-- and now add Ajay Devgan to the list -- are adept at superhuman feats like flicking a cigarette in the air and lighting it with a bullet (of all things), or bashing up a truckload of baddies without getting as much as a scratch on their goggles. Needless to say that all these stunts are punctuated by gravity-defying leaps and hops so incredible as to leave both the trampoline manufacturers and physicists alike in a tizzy. The bottom line is: we proudly anoint brute force at the altar of credulity. And director Rohit Shetty’s movieSingham, starring Ajay Devgan, is a typical example of it.

Normally, expecting sense, sensibility and subtlety from a Rohit Shetty film is to make yourself a butt of his jokes, but with Singham -- an action flick where the hero is dead serious while the villain leaves you doubled-up with laughs -- you do expect a tittle of the three S. All you get instead is a mix of style, spunk and savagery, attractively packaged in a palimpsest bearing Dabangg traces.

The protagonist Bajirao Singham (Ajay Devgan) is the cop, the jury and the executioner all rolled into one brawny body. On the beat through the dusty alleys of the sleepy village Shivgad, he imparts justice as he deems fit. He’s honest and fearless. A showdown with a dreaded Goan ganglord Jaykant Shikre (Prakash Raj) puts Singham on Shikre’s hitlist. What follows is Singham’s transfer from Shivgad to Goa, Shikre’s home turf, where Shikre, in his own words, is a shikari out to hunt down Singham. Will Singham cop out against the all powerful enemy or will he grab the bull by the horns?

The movie pretty much follows the good-versus-bad template to a T, with long ‘conscience-invoking’ monologues thrown in to add some corn to the otherwise spunky affair. There’s also a nod to vigilante justice where cops take turns to kick a corrupt politician’s butt, and a long corny monologue by Devgn before the fag end makes you wonder if Shetty was switching from action to comedy.

Ah! There’s also a tepid love story between Singham and a Goan girl Kavya (Kajal Aggarwal), who tragically enjoys lesser footage than even the old and cynic constable (Ashok Saraf). And then there’s also a divine justice angle given through a sidetrack about an honest cop who committed suicide after being falsely implicated by the evil Shikre.

Which brings us to perhaps the only rave of this review. Prakash Raj. Never since Amrish Puri’s dramatics as the bald Mogambo has one enjoyed villainy so much as in the badmen played by Prakash Raj, be it in Wanted or Bbuddah - Hoga Terra Baap or Singham. It’s villainy with a comic streak and kudos to Prakash for pulling it off repeatedly.

More than anything, Singham is a collage of Devgn’s brawns. The swarthy star does stunts galore and takes off his shirt on at least two occasions (but don’t rejoice, ladies, for unlike Salman in Dabangg this cop wears a vest). The stunts have Rohit Shetty written all over them. The car crashes and car topples are aplenty but nothing beats one stunt where Devgan steps out of a skidding car to shoot at a baddie. 

All in all, Singham is a brash celebration of brute force. If you wanna watch Ajay Devgn decimating a dozen fellows singlehandedly without ruining even the crease of his trousers, Singham is the film for you. If you get goose pimples by the sight of cars flying like wingless aircrafts, Singham is the film for you. And though Ajay Devgn is surely good as Singham, Prakash Raj is the real Kingham.

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Zindagi Na Milegi Dobara

Cast: Hrithik Roshan,Farhan Akhtar,Abhay Deol,Katrina Kaif,Kalki Koechlin,Ariadna CabrolDirector: Zoya AkhtarProducer: Ritesh Sidhwani,Farhan AkhtarBanner: Excel EntertainmentMusic: Shankar-Ehsaan-LoyBackground Music: Ehsaan Noorani, Loy Mendonca,Shankar MahadevanSound: Baylon FonsecaLyrics: Javed AkhtarCinematography: Carlos CatalanEditing: Chandan AroraScreenplay: Reema Kagti, Zoya AkhtarDialogue: Farhan AkhtarStory/Writer: Reema Kagti, Zoya AkhtarChoreography: Bosco Martis, Caesar Gonsalves, Vaibhavi MerchantCostume: Arjun Bhasin

Movie review of Zindagi Na Milegi Dobara. You only live once! The martini sipping British spy may grin at it and the reincarnation theorists may deride it, but Zoya Akhtar’s film Zindagi Na Milegi Dobara hammers home the message of celebrating the lust for life, the joie de vivre, of seizing the day, seizing the moment and living totally in here-now. Yes, here-now, for one is always incomplete without the other.

The character that exemplifies this more than anyone else is that of Arjun (Hrithik Roshan), a stilted financial broker, a true-blue number-cruncher obsessed with making money. He’s uptight, upwardly mobile, cocky, and smug, but quite a heartthrob. His lifeplan is simple: slog till 40 and retire after that with a big bank balance. He’s shaken out of this idyll by the vivacious diving instructor Laila (Katrina Kaif). In one of the well executed scenes in the film, Laila tells Arjun before his maiden deep-sea dive: “your life is going to change”. Change it does. For when he comes out of the heavenly waterworld, he is speechless. The tears in his eyes say it all, complemented quite well with the incisive poetry of Javed Akhtar ascribed in the film to the character of Imraan (Farhan Akhtar), Arjun’s friend, a copy writer and a closet poet with his own personal demons to deal with. 

The equation between Arjun and Imraan is a bit strained, thanks to a love triangle gone kaput four years ago. Now, in the chaffing between the two, it’s the chill dude Kabir (Abhay Deol) who’s willy-nilly sandwiched.

The trio had made a pact in their college days that they would go on a vacation where each one would choose an adventure sport which the other two would unquestionably participate in. So just two months ahead of Kabir’s wedding to Natasha (Kalki Koechlin), the trio hit the road in Spain. It’s a trip that will change their lives forever.

More than a road movie, Zindagi Na Milegi Dobara is a coming-of-age tale of three friends. And being that, it comes precariously close to slipping into theDil Chahta Hai template now and then, but Zoya Akhtar infuses the film with fresh strokes aplenty rather than just giving us an old mannequin in a spanking new tee. There are many moments in the film that make you sit up and take note. The deep sea dive, the freefall, the running with the bulls, and Imraan’s poetry in the backdrop, accompanied with slow-motion postcard shots (Carlos Catalan) of Spain make ZNMD a heady cocktail one would love to say bottoms up to.

What jars in this otherwise ripsnorting ride is the needless de tour to the Tomatino festival and a flamenco number that make the movie seem like a montage for the Spanish travel industry.

Barring this and a passionless smooch between Katrina and Hrithik, the film pretty much gets everything right. Katrina is surprisingly expressive in her role, but it’s Hrithik Roshan and Farhan Akhtar who dominate the proceedings with their crackling performances. Hrithik’s Arjun has haughty airs about him in the first half, gradually replaced by an epiphanic humility after he falls in love with Laila and life. Abhay Deol is decidedly comfortable and restrained as the indecisive Kabir, while Kalki is perfect as his suspicious and tetchy fiancée.

Farhan’s mettle as an actor shines through in the scene when he’s faced with Naseeruddin Shah, who makes a cameo appearance. One of my favourite scenes is when Farhan is in bed with a Spanish girl (Ariadna Cabrol) and he tells her the truth he’s been hiding from his friends, knowing well that she can’t understand a darned word of Hindi. What’s important is for the character to get it out of his system. It’s these subtle, thought-provoking master strokes that make Zoya Akhtar a director to look forward to. 

Bowing out, Zindagi Na Milegi Dobara is a salutation to love, life and friendship. It’s a film you must watch at least once, if not dobara. 

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Chillar Party Movie Review

Cast: Irrfan Khan, Sanath Menon, Rohan Grover, Naman Jain, Aarav Khanna, Vishesh Tiwari, Chinmai Chandranshuh, Vedant Desai, Divji Handa, Sherya Sharma, Ranbir Kapoor.Director: Vikas Bahl, Nitesh TiwariProducer: Ronnie ScrewvalaBanner: UTV Spot BoyMusic: Amit TrivediScreenplay: Vijay MauryaStory/Writer: Vikas Bahl ,Nitesh TiwariChoreography: Bosco Martis, Caesar GonsalvesCostume: Aki Narula

All the Pamela Andersons and Celina Jaitleys who strip to stop cruelty to animals and whose steamy PETA ads are like magnets to many eyeballs, now have competition from a very unexpected quarter: a bunch of feisty kids in a middle-class housing society in Mumbai.

A tribe of tykes ride on bicycles, congregate in dusty sheds, and steamroll the enemy team on the cricket field. The gang is called Chillar Party and they have a new task at hand: a poor waif Fatka (Irrfan Khan) and his inseparable other half Bheedu (a dog).

Fatka enters the housing society and takes up petty car-washing jobs and comes under the crosshairs of the Chillar Party before securing his place in it by proving his pluck on the cricket field.

All is well in the first half and the audiences are laughing silly at the juvenile gags. But then the film moves onto a somewhat serious terrain as a dog-despising politician vows to clean the city of stray dogs, which means Bheedu, now an inseparable part of the Chillar Party, could soon be cooped and done away with.

That’s when the spunky kids decide to take the cudgels for the canine and hoist a banner of rebellion against the cynic and corrupt politician. Their way of protest -- stripping to their undies in public. And they do grab the eyeballs.

Chillar Party is a sweet little film that starts off very well but steers into a bumpy zone in the second half as the standoff between the kids and the politico begins. Of course, there’s a message or two squeezed in here by the director duo Vikas Bahl and Nitesh Tiwari.

The kids are all right, but it’s Fatka, Encyclopaedia and Mottu who stand out. The movie packs in funny moments aplenty, most notable being the ones where the kids begin to imitate Fatka’s style.

All in all, a film with a heart and ample humour. Quite canny for Salman Khanto back it as a producer - his first one and surely worth a watch.

Rating: 3 stars out of 5

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Murder 2

Cast: Emraan Hashmi, Jacqueline Fernandez, Yana Gupta, Prashant Narayanan, Sudhanshu Pandey, Sandeep Sikand, Shweta KawatraDirector: Mohit SuriProducer: Mahesh BhattMusic: Harshit Saxena, Sangeet Haldipur, Siddharth Haldipur, MithoonSound: Kunal Mehta, Parikshit LalwaniLyrics: Sayeed Qadri, Kumaar, MithoonCinematography: Ravi WaliaEditing: Devendra MurdeshwarScreenplay: Shagufta RafiqueDialogue: Shagufta RafiqueStory/Writer: Mahesh BhattChoreography: Raju Khan


 Murder 2. “Just cut off the darned root of the problem.” Well, that seems to be the mantra of the psychopathic, misogynist, serial killer inMurder 2. He’s sure had a troubled past. When the sexual attraction towards women had the better of him, he cut off the damned root of it (if you know what I mean). But when the attraction didn’t cease, he turned the blade towards women and began abducting them and slicing them off in little pieces and packing them in big poly bags (not banned in Goa yet?) and dumping them in a deep dark well in the backyard of the creepy mansion he lives and kills in.

Meet the consummate nutcase Dheeraj (Prashant Narayan) who’s plain lame, and anything but his name. And meet the ex copper Arjun (Emraan Hashmi) who works with Goan pimps and druglords and sleeps around with a PYT named Priya (Jacqueline Fernandez). She loves him, but he reciprocates her affection by doing the obvious in the bed and later offering her a wad of money. “Rakh le,” he says with a deadpan expression.

But Murder 2 is more about Reshma (Sulagna Panigrahi), a young girl whom Arjun uses as a bait to trap the man behind the mysterious disappearances of prostitutes in Goa, not knowing that he was feeding the rookie hookie to a raving lunatic.

Far from being a crank with an ingenious methodology, the serial killer inMurder 2 is impulsive and even downright dumb, and his murders are artless despite him being a sculptor. So the hammer and chisel are mere props while his weapon of choice is something that will put a lot of kirtan-loving ladies at unease.

Surprisingly, Prashant Narayan isn’t bogged down by the sketchy character written by Mahesh Bhatt. Narayan lends edginess to Dheeraj’s lunacy, a discomforting menace to the madman. In comparison, Emraan Hashmi as the cop is mostly left huffing and puffing. His character is resentful towards God, and much like the Vijay (Amitabh Bachchan) of Deewar he doesn’t step inside the church even when a semi-clad Jacqueline Fernandez eggs him to do so. In one scene when he stands in front of a statue of a crucified Jesus, you half expect Hashmi to say “Aaj khush toh bahut hoge tum”.

Director Mohit Suri displays shocking amateurishness in a lot of scenes. There are continuity blunders like Hashmi’s stubble mysteriously getting bushier or lighter from one scene to another, or a scene where posse of cops appear out of nowhere at a temple just as Emraan rushes in to have a dekko at the dead body inside. And guess what? Once he sees the victim in the welter of blood, a song follows!

Jeez! At that point and threw my arms in the air and looked around to check what other people were doing in the theatre. A couple necking and petting in the front row. The guy next to me glued to his cell. The aunty in the front gorging on popcorns. The uncle looking around, just like me.

This was a film that was supposed to keep us on the edge of our seats and knock the very breath out of our lungs. It doesn’t. Not that we expected some sort of Hitchcockian suspense, or Hannibalistic chills, or John Doesque lunacy. All we bargained for was a taut thriller which Murder 2 is far from being. Yet, credit to Prashant Narayan for saving the day for the Bhatts. For once, the serial killer outshines the serial kisser.

Rating: 2 stars out of 5

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Delhi Belly

Cast: Imran Khan, Shenaz Treasuryvala, Rahul Pendkalkar, Vir Das, Kunal Roy Kapoor, Vijay Raaz, Paresh Ganatra, Raju Kher, Rahul Singh, Rahul PendkalkarDirector: Abhinay DeoProducer: Ronnie Screwvala, Aamir Khan, Kiran Rao, Jim FurgeleBanner: Aamir Khan ProductionsMusic: Ram SampatLyrics: Amitabh Bhattacharya, Akshat Verma, Munna Dhiman, Ram Sampat, Chetan ShashitalStory/Writer: Akshat Verma

None of you, I am sure, is DK Bose. But the first thing you ought to do after reading this review is bhaag and get yourself a ticket for the most hilarious comedy of the year -- Delhi Belly. It’s a film that brings the house down, both figuratively and literally.

The camera scans through the cracked roof and the messy interior of a run-down room, through the musty bathroom and its antediluvian flush, and rests at last on the partly exposed bumline of the fatso who’s going to have the Delhi belly after eating a piping hot fried chicken handmade by a crotch-scratching vendor. Writer and associate director Akshat Verma sure has an imagination to cook up a plot that’s clever and hilarious without ever succumbing to the slapstick.

In this ramshackle room reside three chums - Tashi (Imran Khan), Arup (Vir Das) and Nitin (Kunaal Roy Kapur). Tashi is a journalist with a girlfriend (Shenaz Treasurywala) he doesn’t really want to marry. Arup is a cartoonist in an ad firm, and Nitin a photographer. The plot thickens when Nitin suffers from diarrhoea, and a package containing his shit sample is mixed up with another package containing smuggled diamonds.

In one of the best and yet yucky scenes in the film, the gangster (Vijay Raaz), after receiving the package, lays out a velvety cloth on the table, carefully brushes away the dust, and opens the container and upends it for the glory of sparkling diamonds, but what comes out is slushy shit. 

The squeamish souls be forewarned. Delhi Belly is stuffed with scatological gags. There’s more orange juice in the refrigerator than water in the bathroom for the diarrhoeal Nitin to potty wash. And hardly a few reels go by when he isn’t scurrying to a seedy toilet to relieve himself, and also farting liberally on the way. This apart, there’s a lot of risqué humour. Like that scene when Arup, dumped by his girlfriend for a Canadian techie, imagines himself ruining her marriage with a revelation that’s simply ‘blows’ everyone’s mind. A lot of funny scenes involve the gangster Vijay Raaz and his cronies, particularly a nitwit baldie who calls laundry “lundry” and is caught up in the confusion of putting on and then taking off the gun silencer when the moment comes to pull the trigger.

Performances are pretty spot on. Imran Khan doesn’t crack much humour, but is verily the non-committal guy with the gumption to take on a gangster or rob a jeweller or simply concuss an irate brat with a flower pot. Vir Das does chip in humour in the edgeways but it is Kunaal Roy Kapur who takes the cake with his creditable portrayal of an immoral, blackmailing, shrewd character with an upset tummy. A special mention for Vijay Raaz and his gang of oddballs. Raaz is decidedly amusing yet has a subdued menacing streak. He’s particularly brilliant with the cuss words, which Delhi Belly is generously sprinkled with. Poorna Jagannathan does make her presence felt as Tashi’s colleague.

Songs only play in the background and the cinematography verily captures the essence of downtown Delhi. As someone who has shuffled through the grime of Delhi streets for a good part of struggling life, I did not watch Delhi Belly in its original English version. Nah! The spirit of Delhi, its gullies and gaalis, cannot be captured in a language that’s still at best cosmetic for Indians. You need the absolute vernacular of desi Hindi when mouthing cuss words of the G@, L# and Ch%%% variety. It’s a pity that the film is only dubbed in Hindi, which should have been its original language.

Yet, credit to producer Aamir Khan and director Abhinay Deo for making a film that’s unpretentious, crass, but extremely funny. Yes, it takes a few cinematic liberties which leave you a tad disappointed (like the trio going scot-free after a bloody shootout), but all in all Delhi Belly (Hindi dubbed) is a film that anyone who’s an adult and not a DK Bose, shouldn’t miss. 

So don’t think or blink. Just Bhaaag!!!!!!!!!!

Rating: 4 stars out of 5

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Bbuddah - Hoga Terra Baap

Cast: Amitabh Bachchan, Raveena Tandon, Hema Malini, Minissha Lamba, Sonal Chauhan, Neha Sharma, Sonu Sood, Prakash Raj,
Charmi, Mahie Gill, Makrand Deshpande, Shahwar Ali, Rajeev Mehta, Rajeev Varma, Vishwajeet Pradhan,Atul Parchure , Abhishek BachchanDirector: Puri JagannathBanner: AB CorpMusic: Shekhar Ravjiani , Vishal DadlaniSound: Rakesh RanjanLyrics: Anvita Dutt GuptanCinematography: Amol RathodEditing: ShekharArt Direction: Aparna SudStory/Writer: Poori JagannathAction Direction: Vijay (3)Choreography: Remo D'SouzaCostume: Nahid Shah


Bbuddah - Hoga Terra Baap. Before the newly anointed superstars paved their way to stardom by doffing shirts or by their flared-nostril stutters, there was a mega star who at his best then could have been the baap of every self-proclaimed star today had he retained his pizzazz and had directors continued to come up with scripts and roles to match his talent. Director Puri Jagannadh tries to bring that baap back with a bombastic tribute toAmitabh Bachchan in the film Bbuddah Hoga Terra Baap. 

Alas Jagannadh’s idea of a befitting tribute doesn’t go beyond recreating the panache and swagger and paying token homage to the best cinematic moments of the superstar. So we have Amitabh Bachchan dressed in the gaudiest of togs, boogieing with a bunch of blondes to a medley of his popular songs from ‘Paan Banaras Wala’ to ‘Rang Barse’. In action, Big B bashes up the baddies singlehandedly and flaunts his ambidexterity with guns. And all this he does in the film that has a threadbare script to prop the comeback megastar’s shtick.

So a good length of the film unspools by with Big B just bumming around with pretty babes (Charmee and Sonal Chauhan) or training his gun on a copper (Sonu Sood) or impressing the goons (Makrand Deshpande and Prakash Raj) in seedy dens with his sharp shooting skills.

Bachchan plays an ex-hitman Viju who returns from Paris to Mumbai on his last assignment which seems assassinating the crime-busting ACP (Sonu Sood). However, as the story progresses new equations are unravelled and a family picture emerges.

The troubles with Bbuddah Hoga Terra Baap are many. It’s disjointed, it’s hardly got any story or plot progression, and it hinges only on Amitabh Bachchan’s strut and swagger. The superstar doubtlessly delivers and saves the film from being an outright disaster, but one expected a better tribute to the man who’s immortalized many a role, many a dialogue in Hindi films, including a seething monologue with the almighty.

In supporting roles, Raveena Tandon (as Viju’s smitten admirer) is almost reduced to a caricature while Hema Malini (as Viju’s wife) rekindles the old chemistry of Naseeb days. Sonu Sood doesn’t do much more than woo Sonal Chauhan who looks pretty and acts okay. Charmee simply disappears after the first half.

All in all, Bbuddah Hoga Terra Baap is strictly for Amitabh Bachchan fans.

Rating: 2.5 stars out of 5

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