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Movie reviews:
SRK pays just tribute to Big B's Don
Raja Sen | October 20, 2006 14:01 IST
Shah Rukh Khan in Don
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The new Don is not what you expect. It kicks off with a dramatic shot of a swanky Paris bistro: Shah Rukh Khan's flat cellphone rings singsongedly, he flips it open and we look at his lips up close as one of the most wanted men alive answers his mobile with a 'Don.' There is no conversation, no drugs-money-murder order. No, this icon for cocaine trafficking across Asia says his name into the phone, snaps on designer sunglasses and walks out leaving a heavy tip -- and the restaurant unharmed.
Don: The Alternate Review
Indeed, the new Don startles you. It's designed to. While there has been both cold cynicism and feverish excitement about the Shah Rukh Khan take on Amitabh Bachchan's cult classic, Farhan Akhtar manages to surprise both camps. Just, not in a good way. If you were afraid of what Khan would do with Bachchan's dialogues, lets just say that the director has tossed us all -- I'm a purist who can quote the first film verbatim -- a bit of a googly. The usual suspects in Don, the people you expect to screw it up, are actually quite impressive, no question. It is the ones in whom you have unflagging faith who end up letting you down.
This Diwali/ Eid: Don vs Jaan-E-Mann
Shah Rukh Khan is undeniably good. Given the script, that is -- but we get to that in a bit. Khan's visibly a tremendous worshipper of the original, and every time he says a line Amitabh made immortal, there is a quiver of awe in his voice. So then this, considering it is the first film Farhan remembers ever watching, is a complete fanboy tribute, and we should look on it with empathetic indulgence. Plus, SRK manages to balance out Don by occasionally tossing us something new, and much fun.
With Kareena Kapoor, the new (and adequate) Kamini on his armrest, Khan deftly tosses us words we've heard before: The bit about not liking women who take too much, or too little, time to come to him. It is a classic moment modernised, and it takes awhile to get used to him saying Bachchan's words -- in fact, the performance stays rooted in tribute, and you always see an overwhelmed actor uttering timeless lines. Then his cell (Don uses a remarkably lo-tech model, by the way) rings and Kamini asks if she should get it. 'No,' Khan suddenly snaps to a snarl. 'It's mine.' The moment has both edge and humour, and it's authentically Shah Rukh.
So coasts along the first half, smug in the assurance that audiences must have seen the old Don. Lazily, it picks up sequences and arranges them in a disappointingly linear narrative, usually adding nothing more than backdrop. But while the inclusion of an unimaginably plush hotel room might not do much for the film, the first half makes it clear how earnest both Farhan and Khan are, with the latter shining almost every time he gets room for his own little thing.
The real catastrophe unfolds in the second half, as Farhan goes all-out in desperate attempts to surprise his audience. Herein lies the fundamental error: Don was based on a very tight Salim-Javed script, one about an innocent lookalike and how he was trapped by circumstances. The greatness of the film lies in the fact that it shows nearly all its cards to the audience -- from the death of Don to the death of DCP D'Silva -- and yet manages to stay thrilling -- giving you a twist but sticking to a good, straight story with great characters.
Farhan, on the other hand, writes a far more amateurish story, a cop-and-robber tale that suffers from way too many plot twists. By interval point, we're already kinda wary of the young director's attempt at changing the plot. As the film goes on, twist over twist is plastered on, and none of it is remotely innovative. We can see them coming, and each newly contrived turn brings with it another bagful of loopholes, turning the end product into a pretty silly film.
So is it all about the style, the slickness? An insubstantial story supplemented by sophisticated visuals and affluent gadgets? Not quite, because it isn't stylish enough. Khan wears his neckties under his shirts, and that's as fashionably groundbreaking as this movie gets. The thrills too are served cold, as if Farhan is eager to skim over them to get to memorable lines or his own alterations. And while it's fine to have a Hollywood hangover -- Akhtar obviously owns Kill Bill, Face/Off, Scarface and Con Air on DVD -- the end result is oddly tacky, despite being expensive.
Dhoom is filler, but manages to click because the action grips you. In Don, watching Shah Rukh Khan and Boman Irani in a long car chase leaves you quite cold. All the action setpieces are oddly thanda, and resolve themselves in a far too convenient, filmi fashion. There are bits handled with great finesse, but so few and far between there isn't much to be applauded. Malaysia Tourism might enjoy most of the visuals, but there isn't really much for us to wow over -- Bollywood today is used to a slicker, more compelling action film.
Priyanka Chopra is the film's big surprise. Stepping into Zeenat Aman's shoes is a tough ask, but she doesn't really waste time pretending to be the stunner's successor. Chopra handles her role with efficiency, looking every bit the competent woman of action -- and a ravishing babe who fills out a skintight white jumpsuit deliciously. Roma is a hard part to play, but Priyanka has a no-nonsense air about her throughout the film. This is an actress willing to push herself, and has definite potential for screen magic. Not to mention a great smile.
Now, the infallible falls. Boman Irani, one of India's finest contemporary acting finds, astonishes us even in substandard fare. We take excellence for granted from Boman, but he is so woefully miscast in Don it isn't funny. His character of DCP D'Silva is a far cry from Iftikaarsaab's cop, and while there an old man could convincingly pull off a gritty senior cop -- here the wheezing Boman is strictly unfit for the part. This is simply not his role.
Also, Iftikaarsaab was the iconic top cop back in the day, which is why the casting made sense. In a remake, while turning back the clock on Jasjit (earlier Pran, now an awful Arjun Rampal), couldn't they have given Don a younger, tougher cop to deal with? The cops here seem an aged, withering bunch, which poses the question: Was Om Puri chosen as Malik only because his very name is a nod to original actor Om Shivpuri? Because outside of that, the veteran actor is unforgivably wasted.
Don is a hard film to take seriously. While those who love the original will balk at it, those who aren't conversant with the 1978 film are likely to be even more alarmed -- because Farhan doesn't develop his characters, letting the old film do most of the talking. Shah Rukh Khan tries valiantly, and while he incredibly manages even the bumpkin Vijay character, the film lets him down.
Maybe it's Farhan's subversive way of biting-the-bullet, of having some fun and saving us from a potential slew of Bachchan remakes -- everything from Amar Akbar Anthony to Satte Pe Satta is in the pipeline -- and if that is so, I salute him. If not, Farhan, dude, lets just go back to three guys trippin' in Goa. Please.
It's unbelievable how many obvious plot devices the film relies on. The original is a timeless thriller -- lean and low-fat, with no frills. Farhan's remake is more conventional, predictable and a lot more Bollywood, almost to spoofy levels.
As a result, the new Don emerges more dated than the classic.
Rediff Rating:
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Akshay, Salman excel in Jaan-E-Mann
Sukanya Verma | October 20, 2006 13:58 IST
Salman Khan and Akshay Kumar in Jaan-E-Mann
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It won't take a degree in rocket science to digest Akshay Kumar floating in space in an astronaut's uniform engaged in a romantic embrace with a blonde she-astronaut. And it's not even a dream sequence.
Jaan-E-Mann: The Alternate Review
Rattle your eyeballs a bit further. Brace yourself for a blast from the past in the form of a glittering Filmfare awards function, in black and white, attended by the likes of Amitabh Bachchan, Rajesh Khanna, Dharmendra, Raj Kapoor, Hema Malini and Meena Kumari. And pray who shows up to collect the trophy? Salman Khan! I got to be kidding you, right? Right! You see, this one's a dream sequence.
Don vs Jaan-E-Mann
While you get over what you just saw, you have already zoomed past a Broadway inspired musical flashback, a punks-infested college campus, a qawaali featuring Snow White's seven dwarfs to finally enter a swanky neighbourhood in New York City.
Thirty minutes into the movie and you have already downed three songs and a series of mind-boggling episodes.
Not bad, I say. This film is definitely not like its uninspired promos. For starters, it's goofy not gooey. It doesn't try to be clever or pretentious. Instead, Jaan-E-Mann is corny, deliberately over the top and unapologetic about it. And, for once, that's a good thing.
First time director Shirish Kunder's imagination runs at a breakneck speed as he goes all out with every single wild idea that pops in his head. This could have posed a problem (and sometimes it almost does) if the chaotic set-up got out of control. But just when you think a situation might be veering in that direction, Kunder surprises you with his ability to take a jab at his own idea.
It's not an exceptional story but the treatment rendered makes the whole ride an enjoyable one. Jaan-E-Mann primarily revolves around Suhaan Kapoor (Khan), a struggling actor with no real talent but truckloads of ambition. He is sweet but self-centred, charming but irresponsible, stylish but cocky. And even though it's not mentioned in the film, I am sure in his spare, jobless time, he watches a lot of mushy fare.
His inspiration, drawn from films like Win a Date with Tad Hamilton, Hitch and Kal Ho Naa Ho, is evident in his tips to tutor 'Champoo'/Agastya Rao (Akshay Kumar), a awkward NASA type, into a splitting image of himself to impress the elusive dream girl.
A flashback, ten years back in time, reveals Agastya and Suhaan share the same alma mater.
The former was a geek (by filmi definition) of the first order with thick glasses, curly bushy hair, braces and fondness for colourful, frilly shirts and suits. He pretty much resembles the high school version of Ross Gellar (from the hit television sitcom, Friends), sans the moustache, in his hideous avatar.
While Suhaan with his rock star appearance leading a heavy metal band enjoys the cool dude status. And as Kunder would have it, both have the hots for the same girl -' Piya (Preity Zinta).
Whom does Piya love? Why is Suhaan helping out Agastya?
The twist in the past and the turn in the future are best left unrevealed to enjoy the film better.
Jaan-E-Mann adheres to every Bollywood stereotype and yet deviates from convention by ridiculing the cliche's very identity. Something Kunder's better half Farah Khan achieved with amazing self-assurance in Main Hoon Na. But unlike Main Hoon Na, which was far sleeker, Jaan-E-Mann doesn't push the sentimentality button too much. Some of it is outright crazy. It never makes any sense. It doesn't want to. The 'I yam what I yam' philosophy of Popeye depicted in Jaan-E-Mann's attitude evokes unconstrained laughs and mirth.
Even so, gregarious use of colours is harsh on the eyes. Fashioned in the format of a stage musical, music is integral to the narrative. Anu Malik's tunes, however, range from ho-hum to nice. And the placing of the songs, which follow in quick succession, is also not too impressive.
There is no doubt that Jaan-E-Mann is an extravagant affair. Provision of technology and magnificence is ample but Kunder's inexperience shows as he doesn't fully realise the potential of his resources. Nevertheless, when it comes to extracting terrific performances from his actors, Kunder is bang on. He puts their star status to good use in a subject that demands charismatic faces that have considerable hold on the audience.
Despite fatigue wearing his face, arrogance and self-confidence sit well on Salman Khan. The part is tailor made for him. His changing accent has always been a subject of speculation. He plays on those lines here, putting his best yuppie twang forward, whether for doing an audition for Boo Boo diapers or begging an American filmmaker for a part on television.
Mujhse Shaadi Karogi established an easygoing camaraderie between Salman and Akshay Kumar. Jaan-E-Mann bonds them further. Speaking of Akshay, he may dub 'Jaan-E-Mann an out-an-out-Salman film,' but the actor is simply a knockout.
A fashion icon and looker in reality, Akshay carries off as clumsy fool effectively. Even after a makeover, his personality maintains a certain 'duh'ness aided with mannerisms like a consistently comical laugh. Look out for him in the traffic signal scene with Preity, he's hilarious.
Preity plays the bone of contention with elegant conviction thanks to Surily Goel's chic dresses.
Post-Khosla Ka Ghosla, it's disappointing to see an actor of Anupam Kher's calibre wasted in a role that does nothing for him or the film, except wordplay on his bauna (dwarf) status.
Wisely enough, none of the actors take themselves or the film too seriously, and even if that is an effort, it works in Jaan-E-Mann's favour.
Jaan-E-Mann: The Alternate Review
Rediff Rating:
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Dhoom, music review:
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Dhoom 2 music disappoints
October 20, 2006
The problem with sequels is the irresistible temptation to reference the original -- and that, alone, serves to drag down Dhoom:2 to the level of the mediocre.
In Dhoom, composer Pritam -- flying solo, after forming one half of the musical duo of Jeet and Pritam -- came up with three good songs: the playful Shikdum, the disco-ish Salaame and the anthemic Dhoom Machcha Le.
Those songs defined the album as an amalgam of styles, brought together by a highly competent composer. Pritam gets a second go-round with the music of the sequel -- and this time, fails to clear the bar he had set reasonably high in the original.
Text: Prakash Kumar
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Dhoom 2 music disappoints
October 20, 2006
Crazy Kiya Re, voiced with trademark gusto by Sunidhi Chauhan, is a good album-opener.
It's up-tempo beat and upbeat singing overcome a couple of rap-py interludes that appear to have been pitch-forked into the score as afterthoughts -- all told, this one is clearly dance floor-bait.
Its remix (Bunty Rajput) is, typically for the genre, a hard-driving reprise that cuts out the frills and concentrates on undiluted energy; cool if you like that sort of stuff.
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Dhoom 2 music disappoints
October 20, 2006
From there on, things go sideways. On Touch Me, Alisha Chinai can't seem to make up her mind between baby doll seduction and come-hither husk; she ends up falling between the two stylistic stools.
More fatally for a song that, judging by its lyrics (Sameer) has seductive intent, the voices of the two singers, KK and Chinai, don't quite play off one another with any degree of chemistry.
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Dhoom 2 music disappoints
October 20, 2006
My Name is Ali (Sonu Nigam, Bipasha Basu) is, thematically, Dhoom:2's answer to the Dilbara, Dilbara song from the original.
There, it was Abhishek who chipped in with laid-back interjections; here, it is a competent Bipasha Basu playing around Sonu Nigam's vocals in a song that just might grow on you, though I wouldn't hold my breath waiting.
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Dhoom 2 music disappoints
October 20, 2006
Dil Laga Na, the sequel's equivalent of the anthemic title track from Dhoom, is nowhere near as instantly addictive as Dhoom Machcha Le. That song had a killer refrain that was instantly addictive -- and that is the very quality this song lacks.
There is, further, a plethora of voices -- Sukhbir, Soham Chakrabarty, Jolly Mukherjee, Mahalaxmi Iyer and Suzanne -- but none of them command the song.
If the five songs thus far are, by a generous estimate, passable, Dhoom Again, is an unmitigated disaster.
Asaf Ali Baig writes lyrics for this largely English reprise of Dhoom Machcha Le -- and between the lyrics and the lukewarm vocalization of Vishal Badlani and Dominique Cerejo, this reprise merely makes you eject the CD from your player and cue up the much-played Dhoom soundtrack.
source: rediff.com
Edited by sweet_kp - 17 years ago
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