Originally posted by: chocolover89
Billa aapki favorite Imtiaz Ali film kausi hai now that you've seen Rockstar?
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Originally posted by: chocolover89
Billa aapki favorite Imtiaz Ali film kausi hai now that you've seen Rockstar?
I hope the movie does well for Ranbir's sake. With a 70 cr budget and a negative WOM things are looking tough. But on twitter though majority of the reviews are positive...not just for ranbir but also for the film...but BOI says the public reports arent encouraging
RockStar can't beat My Favourite so far "Love Aaj Kal" ... I was reading some reviews, 1 thing which keeps on repeating almost in everybody's reaction "Watch RockStar for Ranbir Kapoor only", i watched this movie for Ranbir only, was not going for Imtiaz Movie... and He didn't Disappoint Me, THE BEST Ranbir Performance of his career. Now, he is the only Actor from current Gen. for which i can go for any movie like i do for my fav. stars.
Kapoor, who many believe is Bollywood's next big Kapoor, delivers an impressive performance, portraying with aplomb the buffoonish Janardhan Jhakar, who no one takes seriously, and the grim 'rock star' Jordan who Janardhan becomes.
And Rahman goes on overdrive with a background score that lifts the film with every dive bomb (presumably by woman shred guitar star Orianthi, who you can see perform with Michael Jackson [ Images ] on the This is It documentary, and who has played on Rockstar's song Sadda Haq).
The film is beautifully shot in wonderful locales, and pleasing to the ear too. Prague, one presumes, will soon be inundated with more Indian tourists following in Ranbir and Nargis [ Images ] Fakhri's footsteps.
Apart from the standout background score, Rahman's songs, as usual, take on new life with the visuals. Nargis -- who, to borrow Janardhan's words, looks superhot and supercool -- and Ranbir glow in their scenes together. The dialogue is funny (Bugger off, she says. Burger off? He wonders). Some scenes are hilarious.
But don't let the title fool you. This movie is more an old-school Bollywood love story than the advent of heavy metal in Hindi cinema. Jordan is more like Devdas than his idol Jim Morrison.
On the surface, the film is about a guitar-toting dimwit transforming into an angry 'rock star', an expression that can perhaps give 'awesome' a run for being the most misused term in the English language (my boss sarcastically calls me rock star because I play guitar). But this film is devoid of any insight into an artiste's anguish, try as it might by quoting Jalaluddin Rumi.
There are shades of Jab We Met [ Images ], in the sense that the first half is full of light-hearted moments between an unlikely pair (in this case Janardhan and Heera Kaul, played by Nargis) and that the second half is intense, with twists.
The film opens with Jordan making a true rock star entrance -- after a fight -- in a stadium concert in Prague. But why is Jordan, who has giant billboards in Eastern European countries and the following of a, say, Mahendra Singh Dhoni [ Images ] in India [ Images ], so grim? What's his problem? That's what you will find out if you go see the movie.
The first half is full of promise, and the gags are funny as you follow the lovably foolish Delhi [ Images ] college kid Janardhan Jhakar's attempts at being the Robert Plant of Pitampura. And him and his sophisticated, rich college mate Heera going on secret excursions of all things taboo. Heera is getting married off to Prague soon, and she has a list of wild things she wants to try: Drinking desi alcohol, watching B-grade po*n in seedy theatre halls, etcetera. Nice.
But the realism disappears before you can say Sadda Haq.
Janardhan becomes Jordan, a 'rock star' unlike this country has yet seen. (If you disagree, please show me a TV 'breaking news' clip about a non-film musician's love life, or paparazzi hounding any such musician with the regularity and alacrity as those in the film do to Jordan, or any front-page report about a non-film musician.)
The trigger is, of course, a broken heart, and a set of circumstances that are weird, if not bizarre.
I don't want to burden you too much with plot giveaways, but there really is no way a kid thrown out of his house and taking refuge in Nizamuddin Dargah can suddenly start playing a Gibson guitar, which costs anything upwards of Rs 50,000.
Such trivial problems with reality generally do not burden Bollywood films. But this one tries hard to be real and deep -- including lampooning the media, and with Kashmiris shouting Sadda Haq and blurred-out-by-Censor-Board Free Tibet [ Images ] posters -- and falls flat.
It tries to pose as an insight into an artiste's anguish, when it's just a candyfloss romance that even takes the drugs out of a film about a dark star.
What work are the performances. The characters are portrayed with care, and the late Shammi Kapoor [ Images ] plays a shehnai great who spots Janardhan's talent. Many will find sentimental value in the jam scene between him and his great nephew.
Die-hard romantics will find a lot to mush over. A fellow reviewer spotted a couple of teenagers at the Mumbai [ Images ] press show weeping buckets.
Many will swoon over Nargis, and the fairer sex will find Ranbir's transformation irresistible, and forgive the fact that his fingers don't move at all like someone who has been playing the guitar since childhood.
Or that throughout the movie he plays variety of gorgeous electric guitars without a cable -- or a wireless device -- attached to any of them. That's like trying to drive a car without fuel.
Again, that amounts to nitpicking in Bollywood, but in a movie that takes care to show the guitarist's pedal board, Fender amplifiers and the singer's in-ear stage monitors, that is just funny.
In a country obsessed with watching some movie or the other every weekend (that's what people do, right? Go to malls and/or watch a film), Rockstar is what is called a one-time watch.
Just don't expect too much.
Imtiaz Ali has discovered his baroque side and it is a terrible thing to behold. Everything is in excess. Ranbir Kapoor as Janardhan Jakhar, the naive Haryanvi boy trying to flirt with Heer Kaul, the elusive St Stephen's beauty, is too much of a buffoon, and as Jordan, the angry rocker, he's a little too raging bull. Newbie Nargis Fakhri is painful to watch, her mobile mouth overpowering her face, never quite pulling off the "neat and clean" stunner who wants to get her hands and feet dirty with a bit of rough and absolutely cringingly bad as the unhappy wife whose life is slowly slipping away.
And whenever I see Shernaz Patel in any movie these days, it is an automatic Sanjay Leela Bhansali alert: I know there's trouble ahead and it will involve several medical/legal issues which she will try explaining to the audience ("the blood count is improving" or "it's a miracle") but fail.
Ali has crafted the film as one long song, and nowhere in recent times has the music integrated so well with what he is trying to say. Whether it is Kun Faaya Kun where Janardhan discovers the power of music, or the gorgeous jugalbandi between Shammi Kapoor on shehnai and Ranbir on guitar where you can see two different kinds of talent on display--one natural, almost animal-like, another refined, spiritually-inclined--AR Rahman's music is the soul of the film. What is missing is the spine, leaving just a jelly in place.
Ali's trademark obsessions are on full display -- travel for one. Jakhar discovers Heer and Kashmir on a motorcycle, he makes his grandest rockstar-like gestures coming out of a car or in a van (the only time the sultry Aditi Rao Hydari is allowed to burn on screen, mocking Ranbir's studly image). And spirited girls -- few filmmakers have plumbed the hidden spirit of good girls as he has -- whether it was Geet in Jab We Met or Meera in Love Aaj Kal. Girls who do as their families tell them but whose individuality is strong and fierce. But Nargis Fakhri is an utter failure at capturing that essence -- as Heer she was to be both wilful and wild, enigmatic and tragic. Try as you will to like her, her mouth gets in the way. She is the reason for Jordan's existence, at least as Ali must have envisaged it on paper, but here she is just an irritating presence, who just happens to look good in phirans and Kashmiri shawls, which is the extent of research Ali has done on Kashmir, peopling a Kashmiri Pandit wedding with scores of Muslim relatives.
There are moments of great beauty in the film. The heart-stopping duet between Shammi Kapoor and Ranbir; the Kun Faaya Kun song in the Nizamuddin dargah; the hilarious massage scene involving a leopard print underwear-clad music baron, Piyush Mishra; or even Ranbir dancing in a trance at a nightclub, transported into another world. But instead of taking the audience along on his journey of pain, the audience is increasingly frustrated. Too many things are left unexplained. How does Janardhan become such a symbol of rage -- does it really just take a single act of breaking in and entering a foreign country to make him the emblem of Free Tibet, angry Kashmiris and angry Khalistanis? Why does Heer not just run away with him?
I think one problem with the film is that it is about a grand passion, and mainstream Hindi cinema is not equipped to show a grand romance except in the most inane form. So while the young couple kiss each other with great gusto, they can't do much more. Ali's journey into the recesses of an artist's soul remains superficial, amplified only by its tokens -- a phiran in Kashmir, a group of gypsies in Prague, a Haryanvi haveli for Delhi's semi-urbanites. Planes, cars, motorcycles. Take whatever mode of transport you will, you come right back to the single fact: this is a film that lacks discipline. All the Rumi quotations of the world cannot provide either.
Rockstar Movie Plot: Ranbir Kapoor is a simple boy from Delhi who dreams of becoming a rockstar. The film traces his journey to his goal and also talks about his affair with his college mate, Nargis Fakhri, after she is married. Find out more in the review of Rockstar.
Rockstar Review
Business rating: 2.5 / 5 stars
Star cast: Ranbir Kapoor, Nargis Fakhri, Piyush Mishra, Shernaz Patel, Shammi Kapoor.
What's Good: The performances; the music; the look of the film; the photography and locations.
What's Bad: A couple of questions unanswered in the film; the class appeal of the film; the dark and depressing portions of the second half.
Verdict: Rockstar will meet with a mixed response: one section of the audience (mainly youngsters in the cities) will love it while another section (mainly the single-screen audience and public of smaller cities) will find it ordinary.
Loo break: Not really.
Watch or Not?: Watch it for the great performance of Ranbir Kapoor.
Shree Ashtavinayak Cine Vision Ltd. and Eros International's Rockstar (UA) is the story of a simple guy who dreams of becoming a famous musician.
Janardhan Jakhar (Ranbir Kapoor) is a simple boy from Delhi whose idol is rockstar Jim Morrison. His friends poke fun at his dreams of becoming a rockstar. Khatana (Kumud Mishra), who is, in a way, his sympathiser, tells him that all great musicians in the world have one thing in common ' they have had a big tragedy in their lives, they've had heartbreaks. Janardhan, whose life is almost a bed of roses, is perplexed. How can he have a heartbreak? He makes advances towards Heer Kaul (Nargis Fakhri), a rich and arrogant girl who studies in his college. Heer's initial irritation and arrogance give way to fondness and friendship when she realises, he is harmless. The friendship grows when Heer invites him to Kashmir for her marriage. Like a loyal friend, Janardhan goes with Heer and helps with the wedding preparations. Just before marriage, Heer realises, she loves Janardhan but doesn't have the courage to tell this to her parents or even openly to Janardhan. After marriage, Heer goes off to Prague with her husband.
Here, Janardhan is thrown out of his home by his brother for a robbery he hasn't committed. He tides over the difficult times by staying in a dargah and singing hymns in praise of Allah. A classical singer, Ustad Jameel Khan (Shammi Kapoor), hears him singing one day and prompts Dhingra (Piyush Mishra), the owner of a music company, to sign him as he foresees a great future for him. Janardhan's work is now being looked after by his sympathiser, Khatana.
Suddenly, one day, Janardhan gets an opportunity to go to Prague with a few other singers. Once there, he meets Heer who is battling depression. Sparks fly between them and Janardhan and Heer have a wild and lustful time together. Heer's good-natured husband and in-laws are unaware of Heer's passionate encounters with Janardhan as they only see him as a friend who has taken Heer out of depression.
Then, one day, Heer's husband and in-laws learn of the affair. Janardhan, who has, by now, mesmerised the people of Prague with his songs, is arrested for trespassing on Heer's property. Heer's mental condition once again deteriorates and she is hospitalised. Back in India, Janardhan is a rockstar known by the name of Jordan.
What happens thereafter? Does Heer return to India? Or does Jordan go back to Prague? Or do the two never meet? What about Jordan's rise to fame? What about Heer's illness?
Imtiaz Ali and Muazzam Beg's story about a young man's rise to superstardom is quite different from the usual commercial fare because it deals with the love story of a married woman and her college friend, both of who have no qualms or regrets about the extra-marital affair. However, the screenplay, penned by Imtiaz Ali, is of the kind which would appeal to the classes mainly. The writer has not even attempted to give a reason for the extra-marital affair, which would be difficult for the orthodox and non-elitist audience to accept. It is not as if Heer's husband is bad or that he ill-treats her. Also, the fact that Janardhan literally forcibly kisses Heer on her lips in Prague is a bit too much for the orthodox Indian audience to accept because she is a married woman and he is the hero of the drama. Since the entire second half is about and around the extra-marital affair, it keeps nagging the audience which wants things explained in clear and logical terms. Even the extra-marital affair may have been overlooked by some of the orthodox audience if that affair would've had a magical effect on Heer's illness in the end but when that doesn't happen, the audience is unable to stop itself from seeking reasons for the affair ' and not finding any.
The narrative style is also a bit confusing for the audience as overlapping scenes have been used to further the drama.
On the plus side, the making is fresh and the canvas, big and wonderful. Dialogues, penned by Imtiaz Ali, are very natural. The film is extremely colourful and youthful and for that section of the youth, which won't question the morals of Janardhan and Heer, the film becomes a veritably enjoyable fare.
Again, a minus point of the drama is that comic and light moments are few and far between. The second half, especially, becomes dark and even depressing. Emotions don't draw tears.
Ranbir Kapoor does an extraordinary job. His acting is excellent and it wouldn't be incorrect to say that he has lived the role of Janardhan/Jordan. He has played the simpleton, the passionate lover, and the rockstar with aplomb. His is indeed an award-winning performance and one which takes him to the next level. Nargis Fakhri makes a very promising debut. She looks pretty and does an extremely confident job. She would qualify for awards for the best debut. Kumud Mishra is lovely. Piyush Mishra is first-rate. Aditi Rao Hydari is very natural as the reporter. Shernaz Patel is dignified. Shammi Kapoor lends star value and delivers a mature performance in a short role. Moufid Aziz, Shikha Jain and Avantika Akrekar are alright as Heer's husband, sister-in-law and mother-in-law respectively. Shreya Narayanan leaves a mark as Janardhan's sister-in-law. Devinder Madan and baby Zoya make their presence felt in tiny roles as Janardhan's mother and niece. Sharad Sharma is okay as Heer's father. Akash Dahiya, Ram Menon, Vamsi Krishna and Parul Vaid lend ordinary support as Janardhan's college friends.
Imtiaz Ali's direction is first-rate. He has made the film like a painting on celluloid. But his narrative style is of a kind which will be loved by the youth, liked by the elite and not appreciated too much by the audience of the single-screen cinemas and small centres.
A.R. Rahman's music comprises some hit numbers and some which are not too easy on the lips. Sadda haq, Hawaa hawaa, Katiya Karoon and Kun faya are very appealing songs. Irshad Kamil's lyrics are rich and wonderful. Song picturisations (Ashley Lobo and Bosco Caesar) are refreshing. Anil Mehta's cinematography is extraordinary. Editing, by Aarti Bajaj, is very different in style from what one is used to seeing. Production values are grand.
On the whole, Rockstar will be loved by one section of the audience ' mainly the youth in the multiplexes of the big cities. But there will also be a section ' mainly the single-screen audience, masses and small-centre audience ' which will find the drama dark and depressing. Given the film's high cost on the one hand (around Rs. 60-62 crore) and its lovely start on the other, crossing the average mark shouldn't be a problem.
Komal was not paid too !!! 😆
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