The fight between good and bad has been the fodder of many a Hindi film of 1970s and 1980s. In fact, it wouldn't be erroneous to state that these films dominated the cinema of yore and a lot of us, who have grown up on masala films/wholesome entertainers, will vividly recall the serpentine queues outside cinema halls and a mad scramble to book the tickets of those films. Hardcore masala films were relished with glee by the audience then.
However, for some inexplicable reason, masala films became extinct or should I say, disappeared from the face of Hindi cinema over a period of time. GHAJINI and WANTED revived this genre, bringing back memories of the bygone era. Now DABANGG takes this genre one step ahead.
Be forewarned. DABANGG is rustic, has loads of action, harps on the age-old mother-son and varied relationships [half-brother, step-father], eventually turns into a vendetta fare, has a number of songs placed smartly in the narrative [including an item number]... but the packaging is slick and polished. Sure, it's old wine, but packed in a brand new bottle, with a new brand ambassador [Salman Khan] endorsing this masalathon.
Most importantly, it has Salman like never before. Breathing fire and venom, Chulbul Pandey aka Robinhood Pandey taps Salman's star power like no film has and the result is sheer magic. In fact, DABANGG stands on three pillars - Salman's star power, smashing stunts and super music.
Final word? Salman fans, rejoice! You walk in DABANGG with 100% expectations and you exit with 200% gratification. Entertainment guaranteed. This film will create a pandemonium of sorts, a mass hysteria, crushing old records and setting new benchmarks at the box-office.
Set in Uttar Pradesh, DABANGG is a story of Chulbul Pandey [Salman Khan], a totally fearless but corrupt police officer with unorthodox working methods. But even the most fearless at times face a tough fight with their innermost demons. Chulbul has had a bitter childhood. His father passed away when he was very young, after which his mother [Dimple Kapadia] married Prajapati Pandey [Vinod Khanna]. Together, they had a son Makhanchan [Arbaaz Khan].
Prajapati favors Makhanchan, which does not go down well with Chulbul. He decides to take control of his destiny and detaches himself from his step-father and half-brother. His sole attachment is his mother. However, after his mother's demise and an unsuccessful attempt to mend wounds, Chulbul snaps all ties with his step-father and half-brother.
Rajo [Sonakshi Sinha], with her unique perspective of life, enters his world and turns life upside down. Chulbul starts to see life more positively and also gets sensitized to the value of a family. But his detractors, especially the dubious Cheddi Singh [Sonu Sood], have their own vested interests and emerge as spokes in the wheels, putting one brother against the other. Makhanchan ends up carrying out an act oblivious to the consequences.
When Makhanchan realizes he has been used, he turns to Chulbul. Will Chulbul take his extended hand? Will the brothers be able to thwart their detractors?
The job of a promo is to give a gist of the film and prepare the audience well in advance about what to expect when they saunter into an auditorium. The promos of DABANGG have sent the right signals to the audience about it being a paisa vasool entertainer. Let's face it, DABANGG has nothing ground-breaking to offer as far as its plot is concerned. We've visited similar stories in the past, but what makes DABANGG shine, and shine brightly, is Salman's star power, which camouflages the aberrations wonderfully. The darling of the masses has been cast in a role that his fans love to see him in, which explains why this film works from start to end.
Like I pointed out earlier, DABANGG is special for two more reasons: S. Vijayan's stunts and Sajid-Wajid's music, with an additional song by Lalit Pandit. Talking of action scenes, Salman's introduction at the start and the fight-to-finish in the climax will send the masses in frenzy. To state that the action scenes are outstanding, especially the fight in the finale, would be an understatement. In the finale fight, when Salman's shirt tears apart and the rippling muscles and the bare-chest fight ensues, mark my words, it will lead to chaos at mass-dominated centres, especially at single screens. The climax will be one of the prime reasons for repeat viewing, for sure.
It's difficult to accommodate music in an action film, but Sajid-Wajid come up with a melodious score. The title track, 'Tere Mast Mast Do Nain' and 'Munni' [composed by Lalit Pandit] are the icing on the cake.
Director Abhinav Singh Kashyap is in his element. He's made an out and out entertainer with an eye at the masses and he succeeds in his endeavour. Doing justice to vintage formula is no cakewalk, let's not forget. Besides, the director stays away from going overdramatic while handling the dramatic and emotional moments. This explains why you don't exit the theatre with a spinning head. Mahesh Limaye's cinematography is perfect. I'd like to make a note of the editing [Pranav V. Dhiwar], which is super-slick in action scenes. Dialogue, especially those delivered by Salman, will be greeted with claps and whistles. Especially the one 'Itne chhed karunga'.
Salman Khan is the boss, when it comes to playing to the masses. This film reaffirms this truth. The role provides him ample opportunity to prove his star power and he does it with remarkable ease. Let me put it on record. DABANGG is yet another landmark film in his career, besides MAINE PYAR KIYA, HUM AAPKE HAIN KOUN, JUDWAA [tapping the funny side], TERE NAAM [tapping the emotional side] and WANTED.
Sonakshi Sinha looks fresh, acts confidently and pairs off very well with Salman. Most importantly, she delivers the right expressions and is not overpowered by the galaxy of stars in the cast. Arbaaz Khan is efficient. He underplays his part well. Sonu Sood is electrifying, matching up to Salman at every step. In fact, the fight in the finale between Salman and Sonu is awe-inspiring.
Vinod Khanna is excellent in a role that has grey shades. Dimple Kapadia is truly wonderful. Anupam Kher is, as always, good. Ditto for Om Puri. Mahesh Manjrekar doesn't get ample scope. Mahi Gill is alright. Tinnu Anand is effective. Murli Sharma is nice. Malaika Arora Khan sizzles in the 'Munni' track.
On the whole, DABANGG is a full on entertainer with three aces - Salman Khan like never before, stylish action and super music. It's a foregone conclusion that DABANGG will open huge. As far as the business prospects are concerned, the film will set new benchmarks, so much so that DABANGG will be one of the yardsticks to gauge the level of business in times to come. Sure to fetch an earth-shattering opening, the film will create a pandemonium at the box-office, cementing the status of Salman Khan as the darling of the masses and making the distributors laugh all the way to the bank. It has Blockbuster written all over it!
RATING: 4.5/5
Till a few years ago, if a director approached a producer with a script that had just two characters from Scene A to Z, the producer would scoff at him and show him the door. After all, devoting an entire film on merely two characters is nothing short of a risk. That's not all, for the two characters aren't friends, acquaintances or lovers. They are strangers who meet accidentally on a bridge, since both have decided to commit suicide. If that's how your film begins, it's akin to taking another [giant] risk by Bollywood standards.
ANJAANA ANJAANI works for two major reasons. The first being the powerhouse performances by its lead pair. Having watched their careers from the very onset, I would like to state that the two actors deliver career-best performances in ANJAANA ANJAANI. The second reason why ANJAANA ANJAANI works is due to the terrific moments in its second hour. 
Director Siddharth Anand has a fine sense of story and how to present his characters well. ANJAANA ANJAANI is no different. Of course, you don't take to the film instantly, primarily because it's not the usual prem kahani. In fact, there's hardly any movement in the story in the first hour. It's a collage of some wonderful, some okay moments, frankly. The sequence at the bridge and the various attempts at committing suicide stay with you and so does the sequence in the sea, when they go sailing and decide to swim. Also, the first hour unwinds at a leisurely pace and that's bothersome. 
When two of the film industry's finest actors meet, it puts more pressure on the film. Ranbir is an actor with an infinite range and his dedication to his work is evident in every film. I have often stated that he is the finest actor of his generation and the fact comes alive yet again as you watch him donning a new character in ANJAANA ANJAANI. Priyanka sinks into the role beautifully, so much so that she forgets herself and starts becoming Kiara. When an actor kills his or her eminence and surrenders completely to the role is when the film really takes off. Priyanka has this unique quality. Zayed Khan is likable in a cameo. Tanvi Azmi is wonderful. 
Okay, WE ARE FAMILY is the official adaptation of Chris Columbus' STEPMOM [1998] and lots of us have already watched this Julia Roberts - Susan Sarandon starrer. Even otherwise, the story of a woman, diagnosed with a terminal illness, entrusting her kids to the 'other woman' before she does the final salute, gives the feeling of deja vu. But WE ARE FAMILY is not a tear-jerker. Sure, it has dollops of emotions, but also integrates the light moments wonderfully in those 12 reels.
Final word? WE ARE FAMILY is for the family. It is well acted, deftly written, entertaining and broadly appealing drama. Watch it with someone you love!
On the flip side, the film tends to stagnate in the middle of the second hour. One expects the story to move forward, but there's not much movement here [thankfully, the film picks up wonderfully towards the penultimate reels]. Also, the music by Shankar-Ehsaan-Loy is a complete letdown. You feel it all the more because Dharma is synonymous with excellent music. The only redeeming track in the enterprise is 'Let's Rock', which is high on energy. S-E-L need to reinvent themselves by experimenting a little more.
WE ARE FAMILY gives the two popular actresses an opportunity to sink their teeth into strongly drawn, juicy, challenging and interesting female roles that move beyond the normal stereotypes. The scene stealer is, without doubt, Kajol. She expresses the gamut of emotions brilliantly and speaks a million words even when silent. This is yet another incredible performance from an actor par excellence. Kareena excels yet again and her sequences with the kids are a delight. In fact, casting Kareena as the stepmom is just right, since she's the only actor who can stand up to Kajol in high-voltage scenes and that's because Kareena is a powerful actor herself. Arjun continues to surprise. ROCK ON, HOUSE FULL, RAAJNEETI and now WE ARE FAMILY indicates the growth of this actor. He handles the emotional moments well too. The kids - all three of them - are superb. In fact, the casting of the kids [done by Shanoo Sharma] is an ace.
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Sometimes, your reputation precedes you. Pradeep Sarkar carries the reputation of making women-centric movies. Films like PARINEETA and LAAGA CHUNARI MEIN DAAG prove it. Who would've ever thought Sarkar would do a 360 degree turn in his third film by calling it LAFANGEY PARINDEY, set it in a chawl and make his characters speak tapori lingo? Hard to digest, isn't it? Frankly, the skilled storyteller takes you on a trip least expected from him.
Final word? Sure, it has its share of shortcomings, but is an engaging watch nonethess. 
Blemishes? Oh yes! The love story is conventional and dreary. Also, the investigating officer's track is half-baked and looks like an add-on. Besides, the film is embellished with a mediocre musical score [R. Anandh]. Also, the Bambaiya Hindi has its limitations. 
When Aamir Khan produces a film, or is associated with any film in the capacity of an actor, be prepared for the unpredictable. Films like TAARE ZAMEEN PAR and 3 IDIOTS took pot shots at the education system in India and PEEPLI [LIVE], directed by Anusha Rizvi, is a tongue-in-cheek satire on the farmers' suicides and the role of vote-hungry politicians and the over-enthusiastic, TRP-seeking desperate electronic media jostling for eyeballs.
The best part is that at no point does the film gets preachy or starts offering solutions to the grave issue. It's a mere tool that the makers have used to discuss bureaucracy, the rural and urban divide and lack of concern of the administration. 
PEEPLI [LIVE] tells the story of today: Rural society, the games politicians play, the bureaucracy and the manipulative electronic media. It's a well penned and well executed film that deals with a serious issue in a witty and entertaining manner. Although very real, it creates a world full of vivid characters and incidents and keeps the viewer engrossed throughout. 
Manikpuri is brilliant as Natha. Raghubir Yadav shines as the opportunist brother. Malaika Shenoy [as the television reporter] is exceptional. Shalini Vatsa [as Natha's wife] is outstanding. Ditto for Farrukh Jaffer [Natha's bed-ridden mother]. In fact, the constant tu-tu-main-main between the saas-bahu is thoroughly enjoyable. Nawazuddin Siddiqui [as Rakesh, the local journalist] is natural. Vishal Sharma [as Kumar Deepak, the rival journalist] is top notch. Naseeruddin Shah is first-rate as the conniving, shrewd politician. The remaining cast - there're lots of actors in the film - pitch in believable performances. 
The fascination with gangster movies has been immense worldwide. On this side of the Atlantic, several gangster films have left giant footprints on the sands of time. Films like DEEWAAR [Yash Chopra], DHARMATMA [Feroz Khan], NAYAKAN [Mani Ratnam], ANGAAR [Shashilal Nair], PARINDA [Vidhu Vinod Chopra], AGNEEPATH [Mukul Anand], SATYA and COMPANY [Ramgopal Varma], VAASTAV [Mahesh Manjrekar], GANGSTER [Anurag Basu], D [Vishram Sawant] and SHOOTOUT AT LOKHANDWALA [Apoorva Lakhia] have tremendous recall value to this day.
Since there's tremendous speculation in the media that ONCE UPON A TIME IN MUMBAAI chronicles the lives of Haji Mastan and Dawood Ibrahim, the curiosity to watch the film increases manifold. Of course, I am no one to comment if it's actually based on their lives or merely borrows a few incidents from their lives or is pure fiction, but as a cinematic experience, I couldn't help getting transported to the bygone era, getting sucked into a world I had no clue of. 
ONCE UPON A TIME IN MUMBAAI is a power-packed drama that makes you thirst for more. You rewind to an era of romance, smuggling, cabaret and mafia, but director Milan Luthria and writer Rajat Aroraa ensure that there's no sleaze or bloodshed-n-gore. In fact, there's hardly any violent sequence in the movie, except for one when Ajay hammers a cop during a naaka-bandi. 
On the flipside, the story begins with Randeep attempting suicide, but the writer should've cited the reason that prompted him to take that drastic step. Sure, there's a mention at the start, but it doesn't register well. Also, you are keen to know the chain of events that drove Randeep to suicide. Also, the pace slackens in the middle of the second hour, but picks up dramatically when Ajay returns from Delhi and confronts Emraan. Besides, how I wish the film had a shorter, mass appealing Hindi title to attract more eyeballs and a big jump in footfalls [at single screens and smaller centres mainly] for a mass appealing subject like this. 
Pritam's music is another ace. Injecting songs and that too a terrific soundtrack in a gangster film is tough. He did it in GANGSTER. He does it again in ONCE UPON A TIME IN MUMBAAI. 'Pee Loon', 'Tum Jo Aaye' and the remix of APNA DESH track are super compositions, which are also placed appropriately in the plotline. Cinematography [Aseem Mishra] captures the look to perfection. Akiv Ali's editing is sharp. 
Kangna Ranaut is extremely natural and performs very well. Also, she brings so much of sensuality and glamour to her character [an actress of the 70s]. In fact, Ajay and Kangna make a wonderful on-screen pair. Prachi Desai is a bundle of talent who proves her mettle yet again. She's proficient in emotional scenes and sizzles in the BOBBY song-sequence. Besides, the chemistry between Emraan and Prachi is exciting. Randeep Hooda is top notch. Even though the film belongs to Ajay and Emraan, Randeep makes his presence felt with a powerful performance. This film should prove to be the turning point in his career. 
When Priyadarshan and Akshay Kumar join hands, you expect the cineplex to reverberate with laughter. Let's not forget, the team has regaled us with some terrific entertainers in the past. Naturally then, you expect KHATTA MEETHA to take the legacy forward.
KHATTA MEETHA raises a finger at the corruption in government establishments, but what it tries to say, or expose, has been witnessed over and over again. In fact, it's the writing -- sorry, the absence of it -- that makes matters worse. The beginning is good, the middle falters and the end is exasperating. 
While the romantic track is the weakest link [half-baked; the songs are forced down your throats, without valid situations whatsoever], the flashback portions, depicting Akshay Kumar as a college student [!!!], is just hard to digest. Even the end is worn out and doesn't give the feel of contentment that one expects at the conclusion of a film. 
Akshay Kumar plays the common man with gusto. He looks his part and more importantly, not once do you feel that he's repeating himself. However, he goes over the top in a few sequences. Trisha carries the Plain Jane look well, but fails as an actress. The fiery attitude, so vital when you're enacting the role of the Municipal Commissioner, is missing. Rajpal Yadav is in terrific form yet again. What a splendid actor! 
