KICK

UTV Motion Pictures and Nadiadwala Grandson Entertainment Pvt. Ltd.’s Kick (UA) is the story of Devi Lal Singh (Salman Khan), who is so brainy and so different that he just doesn’t fancy doing the usual, routine and mundane things. He gets a kick in his life when he does the unusual. Hence, by his very nature, he is adventurous.

Devi falls in love with a psychiatrist, Poland-based Shaina Mehra (Jacqueline Fernandez), whom he meets in Delhi under strange circumstances. Obviously, Shaina’s father, Brijesh Mehra (Saurabh Shukla), is not happy with Shaina’s choice because, among other things, Devi doesn’t even have a permanent job – he quits jobs within days as he gets bored very easily. Even as their romance is blossoming, Devi walks out of Shaina’s life after a tiff with her. For one year, there’s no contact between the two. Shaina is extremely sad about the breakup because she also loves Devi very dearly. Brijesh Mehra, who is very worried about Shaina’s marriage, sees a potential groom in Himanshu Tyagi (Randeep Hooda). Himanshu, the son of a family friend, is a police officer, who comes to Poland from India in connection with a criminal case and who stays in their house during his Poland stint.

Shaina, who can’t get over Devi, is in no mood to marry anyone else. She tells Himanshu the story of Devi and how he had gone out of her life. On his part, Himanshu tells Shaina about the case that has brought him to Poland. He wants to nab Devil (Salman Khan under a new identity; the name is got by adding the ‘l’ of Lal Singh to his name ‘Devi’) who has been killing rich businessmen on important dates but has still not been nabbed by the Indian police. In fact, the Indian police does not even know what Devil looks like or who he is! Himanshu, who has had a spotless and cent per cent track record, has taken it upon himself to arrest Devil, come what may. Himanshu is sure, Devil’s next victim would be Shiv Gajra (Nawazuddin Siddiqui), the corrupt nephew of India’s equally corrupt home minister, Vishnu Gajra (Vipin Sharma). Since Shiv Gajra is due to arrive in Poland for some work, Himanshu is sure, Devil would try to kill him on the foreign soil. Even otherwise, Devil has given Himanshu enough hint that he would be going to Poland.

As luck would have it, Devi Lal alias Devil also stays with the Mehras while in Poland – even as Himanshu is their guest. Meanwhile, Shaina has given her consent to marry Himanshu as Devi Lal Singh, she learns, is suffering from a mental disorder because of which he has forgotten his past. In fact, Shaina has brought Devi to her home from hospital just so that she can cure him and make him remember his past including their love affair. Himanshu and Shaina, of course, are unware that Devil is none other than Devi Lal. But Devi Lal knows that Himanshu has come to Poland to thwart his (Devil’s) attempt to eliminate Shiv Gajra and to arrest him (Devil).

Why does Devil want to kill Shiv Gajra? Is it a personal vendetta or is there some other reason too? Does he succeed in his mission? Or does Shiv Gajra prove to be too smart for Devi Lal alias Devil? Does Himanshu get to know who Devil is? Does he get to know that Devil is none other than Shaina’s ex-boyfriend, Devi Lal? Does Himanshu succeed in arresting or killing Devil before the latter can murder Shiv Gajra? Does Shaina learn of the fact that the criminal whom Himanshu is looking for is none other than Devi Lal? Does Devi Lal get back his lost memory? Whom does Shaina marry – Devi Lal or Himanshu?

The film is a remake of the Telugu hit, Kick. The story is very engaging and keeps the audience involved and engrossed right from the word ‘go’. The screenplay, penned by Rajat Aroraa, Keith Gomes, Sajid Nadiadwala and Chetan Bhagat, is so fast-paced and so entertaining that the audience doesn’t get time to even think. There are a few dull moments, no doubt, but they are for very short durations, be­cause of which boredom doesn’t creep in. Overall, the drama has so many twists and turns that the audience’s eyes remain glued to the screen lest they miss something. Actually, the second half appears a bit confusing for a while but that’s because the back story of Shiv Gajra is revealed later. Once that happens, all the confusion is put to rest.

The screenplay is so clever that it caters to the classes and the masses alike, to the young and the old, the rich and the poor, the guys and the girls, the multiplex audience and the single-screen cinema audience, the viewers in ‘A’ class centres as well as in ‘B’ and ‘C’ class centres. The film has a balanced dose of romance, comedy, drama, action, song, dance and even a dash of emotions. The romance is fresh, the comedy is extremely entertaining and enjoyable, the action is supremely breathtaking and the emotions definitely move the viewer even if they may not make everyone cry. The climax sequence, involving kids, is a highlight and will evoke a loud round of applause in the cinema halls.

Not just the climax, there are a number of other scenes which will be met with thunderous rounds of applause. Some of the highlight scenes and sequences are: the introduction sequence of Devi Lal in which he gets Vidhi (Sumona Chakravarti) married to Jignesh (Kavin Dave) against her MLA-mother’s (Manita Malik) wishes; the romantic scenes of Devi Lal and Shaina; the scene in which Devi Lal goes to Shaina’s house to meet her father (this scene will bring the house down with laughter); several action sequences and breathtaking stunts; the scenes of Shiv Gajra; the scene in which Devi Lal and Himanshu bond over drinks; the scene in which Devi Lal alias Devil puts a gun to Shaina’s head to escape from Himanshu; the very last scene when Devi Lal alias Devil comes face-to-face with Himanshu (there will be deafening applause in this scene); and several more. The cartoon characters used to narrate the story of Devi Lal’s growing up years are interesting. The scene in which Devil crosses the railway tracks and misses being hit by a speeding train by just a whisker will evoke shrieks and claps from the audience!

Rajat Aroraa’s dialogues are veritable gems and serve to heighten the drama. In fact, several scenes between Devi Lal and Brijesh Mehra as also between Devi Lal and Himanshu Tyagi are highly entertaining because of the wonderful dialogues. His dialogue, mouthed by Devi Lal (Salman Khan), about him (Devi Lal) endearing himself to people but about people being unable to understand him (‘Main dil mein aata hoon, samajh mein nahin’) is one of the best dialogues of this year so far, more so because it rings true for Salman Khan in real life.

Salman Khan gives a mind-blowing performance, playing to the gallery with all the conviction at his command. He excels in dramatic, romantic and comic scenes, is superb in action and stunt scenes and also makes a swell impact in the emotional scenes. He looks handsome as ever and also stands out in the dances. Jacqueline Fernandez looks glamorous and sexy and acts with admirable ease. Her dances are just too outstanding, leaving the audience staring in disbelief. Randeep Hooda shines in the role of Himanshu Tyagi. He delivers an extraordinary performance and makes his character so very likeable. Nawazuddin Siddiqui is unbelievably fantastic! His style of dialogue delivery and his acting in this film will win him lakhs of new fans. Saurabh Shukla deserves distinction marks for a job wonderfully executed. He provides many entertaining moments. Mithun Chakraborty has a brief role as Devi Lal Singh’s father but he definitely makes his presence felt with a solid show. As his wife, Archna Pooran Singh stands out in a very brief role. Vipin Sharma is superb as home minister Vishnu Gajra. His dialogue delivery is remarkable. Sanjay Mishra leaves a mark as police inspector Ram Avtaar Rathi. Arun Verma has his moments as the peon. Rajit Kapur is good as Dr. Jayant. Sumona Chakravarti (as Vidhi) and Kavin Dave (as Jignesh) lend able support. Baby Diya Chalwad is endearing and natural as Jhumki. Manita Malik is effective as Vidhi’s MLA-mother. Kamlesh Gill (as Shaina’s grandmother), Riya Vij (as Shaina’s younger sister), Sunil Pal (as the drunkard), Rajshri Deshpande (as Jhumki’s mother), Karan Anand (as Jhumki’s father), Pankaj Kalra (as minister), Ranjan Dumra (as Dr. An­sari) and master Shivansh (as the little Sikh boy) lend able support. Nargis Fakhri adds oomph, sex appeal and glamour in a song-dance. Others are effective.

Sajid Nadiadwala’s direction is so wonderful that it doesn’t look like this is his debut film. His narrative style caters to all strata of society and all age groups, to the multiplex as well as single-screen cinema audiences. Right with his first film, Sajid establishes himself as a force to reckon with among the tribe of directors. Music is very good. ‘Jumme ki raat’ (composed by Himesh Reshmmiya and written by Kumaar and Shabbir Ahmed) is already a hit song. ‘Hangover’ (music: Meet Bros. Anjjan; lyrics: Kumaar) and ‘Mar jaawaan’ (penned and composed by Yo Yo Honey Singh) are also very appealing songs. Mayur Puri’s lyrics in ‘Tu hi tu’ song (set to tune by Himesh Reshammiya) are meaningful. Song picturisations (by Ahmed Khan) are beautiful; the best choreography is of ‘Jumme ki raat’, followed by ‘Mar jaawaan’ and ‘Hangover’ songs. Julius Packiam’s background music is excellent and increases the impact of the dramatic and action scenes. Ayananka Bose’s camerawork is splendid. The cinematographer has made the film visually very eye-filling. Anl Arasu and Stefan Richter deserve distinction marks for their death-defying action and stunt sequences which provide great thrill to the masses. Sets by Acropolis (Rajnish Hedao, Sumit Basu and Snigdha Basu) are truly stylish. Rameshwar S. Bhagat’s editing is very sharp.

On the whole, Kick is a blockbuster of epic proportions! It entertains audiences of all kinds and classes. It is the kind of film which – to borrow from a dialogue mouthed by Salman Khan in the film – dil mein aati hai aur samajh mein bhi aati hai! With tremendous repeat value too, this one will shake the box-office, set cash registers ringing and ultimately emerge as one of the biggest blockbusters of Indian cinema. It could easily turn out to be the highest grosser of Salman’s career so far!

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KICK

UTV Motion Pictures and Nadiadwala Grandson Entertainment Pvt. Ltd.’s Kick (UA) is the story of Devi Lal Singh (Salman Khan), who is so brainy and so different that he just doesn’t fancy doing the usual, routine and mundane things. He gets a kick in his life when he does the unusual. Hence, by his very nature, he is adventurous.

Devi falls in love with a psychiatrist, Poland-based Shaina Mehra (Jacqueline Fernandez), whom he meets in Delhi under strange circumstances. Obviously, Shaina’s father, Brijesh Mehra (Saurabh Shukla), is not happy with Shaina’s choice because, among other things, Devi doesn’t even have a permanent job – he quits jobs within days as he gets bored very easily. Even as their romance is blossoming, Devi walks out of Shaina’s life after a tiff with her. For one year, there’s no contact between the two. Shaina is extremely sad about the breakup because she also loves Devi very dearly. Brijesh Mehra, who is very worried about Shaina’s marriage, sees a potential groom in Himanshu Tyagi (Randeep Hooda). Himanshu, the son of a family friend, is a police officer, who comes to Poland from India in connection with a criminal case and who stays in their house during his Poland stint.

Shaina, who can’t get over Devi, is in no mood to marry anyone else. She tells Himanshu the story of Devi and how he had gone out of her life. On his part, Himanshu tells Shaina about the case that has brought him to Poland. He wants to nab Devil (Salman Khan under a new identity; the name is got by adding the ‘l’ of Lal Singh to his name ‘Devi’) who has been killing rich businessmen on important dates but has still not been nabbed by the Indian police. In fact, the Indian police does not even know what Devil looks like or who he is! Himanshu, who has had a spotless and cent per cent track record, has taken it upon himself to arrest Devil, come what may. Himanshu is sure, Devil’s next victim would be Shiv Gajra (Nawazuddin Siddiqui), the corrupt nephew of India’s equally corrupt home minister, Vishnu Gajra (Vipin Sharma). Since Shiv Gajra is due to arrive in Poland for some work, Himanshu is sure, Devil would try to kill him on the foreign soil. Even otherwise, Devil has given Himanshu enough hint that he would be going to Poland.

As luck would have it, Devi Lal alias Devil also stays with the Mehras while in Poland – even as Himanshu is their guest. Meanwhile, Shaina has given her consent to marry Himanshu as Devi Lal Singh, she learns, is suffering from a mental disorder because of which he has forgotten his past. In fact, Shaina has brought Devi to her home from hospital just so that she can cure him and make him remember his past including their love affair. Himanshu and Shaina, of course, are unware that Devil is none other than Devi Lal. But Devi Lal knows that Himanshu has come to Poland to thwart his (Devil’s) attempt to eliminate Shiv Gajra and to arrest him (Devil).

Why does Devil want to kill Shiv Gajra? Is it a personal vendetta or is there some other reason too? Does he succeed in his mission? Or does Shiv Gajra prove to be too smart for Devi Lal alias Devil? Does Himanshu get to know who Devil is? Does he get to know that Devil is none other than Shaina’s ex-boyfriend, Devi Lal? Does Himanshu succeed in arresting or killing Devil before the latter can murder Shiv Gajra? Does Shaina learn of the fact that the criminal whom Himanshu is looking for is none other than Devi Lal? Does Devi Lal get back his lost memory? Whom does Shaina marry – Devi Lal or Himanshu?

The film is a remake of the Telugu hit, Kick. The story is very engaging and keeps the audience involved and engrossed right from the word ‘go’. The screenplay, penned by Rajat Aroraa, Keith Gomes, Sajid Nadiadwala and Chetan Bhagat, is so fast-paced and so entertaining that the audience doesn’t get time to even think. There are a few dull moments, no doubt, but they are for very short durations, be­cause of which boredom doesn’t creep in. Overall, the drama has so many twists and turns that the audience’s eyes remain glued to the screen lest they miss something. Actually, the second half appears a bit confusing for a while but that’s because the back story of Shiv Gajra is revealed later. Once that happens, all the confusion is put to rest.

The screenplay is so clever that it caters to the classes and the masses alike, to the young and the old, the rich and the poor, the guys and the girls, the multiplex audience and the single-screen cinema audience, the viewers in ‘A’ class centres as well as in ‘B’ and ‘C’ class centres. The film has a balanced dose of romance, comedy, drama, action, song, dance and even a dash of emotions. The romance is fresh, the comedy is extremely entertaining and enjoyable, the action is supremely breathtaking and the emotions definitely move the viewer even if they may not make everyone cry. The climax sequence, involving kids, is a highlight and will evoke a loud round of applause in the cinema halls.

Not just the climax, there are a number of other scenes which will be met with thunderous rounds of applause. Some of the highlight scenes and sequences are: the introduction sequence of Devi Lal in which he gets Vidhi (Sumona Chakravarti) married to Jignesh (Kavin Dave) against her MLA-mother’s (Manita Malik) wishes; the romantic scenes of Devi Lal and Shaina; the scene in which Devi Lal goes to Shaina’s house to meet her father (this scene will bring the house down with laughter); several action sequences and breathtaking stunts; the scenes of Shiv Gajra; the scene in which Devi Lal and Himanshu bond over drinks; the scene in which Devi Lal alias Devil puts a gun to Shaina’s head to escape from Himanshu; the very last scene when Devi Lal alias Devil comes face-to-face with Himanshu (there will be deafening applause in this scene); and several more. The cartoon characters used to narrate the story of Devi Lal’s growing up years are interesting. The scene in which Devil crosses the railway tracks and misses being hit by a speeding train by just a whisker will evoke shrieks and claps from the audience!

Rajat Aroraa’s dialogues are veritable gems and serve to heighten the drama. In fact, several scenes between Devi Lal and Brijesh Mehra as also between Devi Lal and Himanshu Tyagi are highly entertaining because of the wonderful dialogues. His dialogue, mouthed by Devi Lal (Salman Khan), about him (Devi Lal) endearing himself to people but about people being unable to understand him (‘Main dil mein aata hoon, samajh mein nahin’) is one of the best dialogues of this year so far, more so because it rings true for Salman Khan in real life.

Salman Khan gives a mind-blowing performance, playing to the gallery with all the conviction at his command. He excels in dramatic, romantic and comic scenes, is superb in action and stunt scenes and also makes a swell impact in the emotional scenes. He looks handsome as ever and also stands out in the dances. Jacqueline Fernandez looks glamorous and sexy and acts with admirable ease. Her dances are just too outstanding, leaving the audience staring in disbelief. Randeep Hooda shines in the role of Himanshu Tyagi. He delivers an extraordinary performance and makes his character so very likeable. Nawazuddin Siddiqui is unbelievably fantastic! His style of dialogue delivery and his acting in this film will win him lakhs of new fans. Saurabh Shukla deserves distinction marks for a job wonderfully executed. He provides many entertaining moments. Mithun Chakraborty has a brief role as Devi Lal Singh’s father but he definitely makes his presence felt with a solid show. As his wife, Archna Pooran Singh stands out in a very brief role. Vipin Sharma is superb as home minister Vishnu Gajra. His dialogue delivery is remarkable. Sanjay Mishra leaves a mark as police inspector Ram Avtaar Rathi. Arun Verma has his moments as the peon. Rajit Kapur is good as Dr. Jayant. Sumona Chakravarti (as Vidhi) and Kavin Dave (as Jignesh) lend able support. Baby Diya Chalwad is endearing and natural as Jhumki. Manita Malik is effective as Vidhi’s MLA-mother. Kamlesh Gill (as Shaina’s grandmother), Riya Vij (as Shaina’s younger sister), Sunil Pal (as the drunkard), Rajshri Deshpande (as Jhumki’s mother), Karan Anand (as Jhumki’s father), Pankaj Kalra (as minister), Ranjan Dumra (as Dr. An­sari) and master Shivansh (as the little Sikh boy) lend able support. Nargis Fakhri adds oomph, sex appeal and glamour in a song-dance. Others are effective.

Sajid Nadiadwala’s direction is so wonderful that it doesn’t look like this is his debut film. His narrative style caters to all strata of society and all age groups, to the multiplex as well as single-screen cinema audiences. Right with his first film, Sajid establishes himself as a force to reckon with among the tribe of directors. Music is very good. ‘Jumme ki raat’ (composed by Himesh Reshmmiya and written by Kumaar and Shabbir Ahmed) is already a hit song. ‘Hangover’ (music: Meet Bros. Anjjan; lyrics: Kumaar) and ‘Mar jaawaan’ (penned and composed by Yo Yo Honey Singh) are also very appealing songs. Mayur Puri’s lyrics in ‘Tu hi tu’ song (set to tune by Himesh Reshammiya) are meaningful. Song picturisations (by Ahmed Khan) are beautiful; the best choreography is of ‘Jumme ki raat’, followed by ‘Mar jaawaan’ and ‘Hangover’ songs. Julius Packiam’s background music is excellent and increases the impact of the dramatic and action scenes. Ayananka Bose’s camerawork is splendid. The cinematographer has made the film visually very eye-filling. Anl Arasu and Stefan Richter deserve distinction marks for their death-defying action and stunt sequences which provide great thrill to the masses. Sets by Acropolis (Rajnish Hedao, Sumit Basu and Snigdha Basu) are truly stylish. Rameshwar S. Bhagat’s editing is very sharp.

On the whole, Kick is a blockbuster of epic proportions! It entertains audiences of all kinds and classes. It is the kind of film which – to borrow from a dialogue mouthed by Salman Khan in the film – dil mein aati hai aur samajh mein bhi aati hai! With tremendous repeat value too, this one will shake the box-office, set cash registers ringing and ultimately emerge as one of the biggest blockbusters of Indian cinema. It could easily turn out to be the highest grosser of Salman’s career so far!

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LAI BHAARI
(Marathi)

Zee Talkies, Essel Vision Produc­tions Ltd., Cinemantra Production and Mumbai Film Company’s Lai Bhaari (Marathi; tax-free) is the story of good versus evil. Pratap Nimbalkar (Uday Tikekar) is a much-loved man in his village because he is very noble, generous and extremely helpful. His brother and nephew, Sangram (Shar­ad Kelkar), lose no opportunity to cheat and torture the villagers by usurping their land. Since Pratap Nimbalkar comes in the way of their nefarious activities, Sangram and his father have him murdered. Prince, the educated son of Pratap, is also killed by Sangram as he gets down to exposing the father-son duo.

Sumitra Devi (Tanvi Azmi), the widow of Pratap Nimbalkar, is humiliated by Sangram and thrown out of her own mansion. Accompanied by a family friend-cum-assistant, Sakha (Sanjay Khapre), Sumitra Devi goes to Pandharpur where she is in for a surprise. What is the surprise?

Sumitra Devi pleads with Mauli (Ritesh Vilasrao Deshmukh), whom she meets in Pandharpur, to avenge the murder of her husband and son. Why does she ask Mauli to come to her rescue? Who is Mauli? Does he come to the village and help Sumitra Devi and the helpless villagers? If yes, what is it that prompts him to aid people he has never met in his life? If no, what stops him from helping the helpless?

Sajid Nadiadwala has penned a story which is a complete masala entertainer. It has some excellent twists and turns, which keep the audience’s eyes glued to the screen. Ritesh Shah’s screenplay is absolutely mass-oriented. He has packed in a lot of action, some emotions, a bit of romance, a good touch of mythology, comedy, drama and songs to make the film a wholesome entertainer. The screenplay is so fast-paced that it doesn’t give the audience time to think or get distracted. Of course, the emotional appeal could’ve been stronger but that’s not a major aberration. Over­all, the film entertains the audience so thoroughly that the defects don’t really matter too much. There are, in fact, several clap-worthy scenes. Sanjay Pawar’s dialogues are excellent.

Ritesh Vilasrao Deshmukh does a very fine job and plays to the gallery after interval. He acts wonderfully and also impresses in the action scenes. Radhika Apte may have a small role but she shines as Kavita. Sharad Kelkar does a remarkable job as Sangram. He fills the screen with his presence, and his wonderful voice adds beautifully to his character. Tanvi Azmi is effective but she falls short in a couple of scenes in which she could have moved the audience to tears. Sanjay Khapre is splendid in the role of Sakha. He acts wonderfully. Uday Tikekar makes his presence felt with a convincing performance. Aditi Pohankar leaves a mark as Nandini. Baby Mrunal Jadhav is very cute and confident and impresses every time she comes on the screen. Maushmi Had­kar has her moments as Sumitra Devi’s maid. Salman Khan is supremely endearing in a special appearance. The dialogues he mouths are inspired by his real life and that will provide the audience a big reason to enjoy them. Genelia Deshmukh comes like a whiff of fresh air in a special appearance in a song-dance. Others in the cast provide able support.

Nishikant Kamat’s direction is excellent. He has given the film a huge canvas and his narration keeps the viewers engrossed all through. He could’ve handled the emotional scenes with more sensitivity, though. Ajay-Atul’s music is very good. The ‘Mauli’ song is terrific. A couple of other songs are also appealing. Guru Thakur and Ajay-Atul’s lyrics are good. Sameer Phaterpekar deserves distinction marks for his extraordinary background music. Sanjay Memane has shot the film just too beautifully. His cinematography is truly remarkable. His capturing of the scenes of the Pandharpur pilgrimage is outstanding. Arif Shaikh’s editing is sharp.

On the whole, Lai Bhaari is an excellent entertainer and will prove to be a richly rewarding film despite being a very costly one (investment is about Rs. 9 crore). Sureshot hit!

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HUMPTY SHARMA KI DULHANIA

Dharma Productions Pvt. Ltd.’s Humpty Sharma Ki Dulhania (UA) is the love story of Rakesh alias Humpty Sharma (Varun Dhawan) and Kavya (Alia Bhatt). Kavya lives in Ambala with her father (Ashutosh Rana), mother (Deepika Amin), brother (Aditya Sharma), grandmother (Jaswant Daman) and a divorced sister (Mahnaz Damania). She is due to get married to an NRI boy selected by her father. She is keen to wear a designer lehenga on her big day and to shop for that, she goes to Delhi to her maternal uncle’s house. Since her family won’t let her buy such an expensive outfit, she decides to earn money by means fair and unfair, to pay for the designer dress.

In Delhi, Kavya meets Humpty under strange circumstances. They become friends and soon, the friendship turns to love. In spite of the fact that she is due to get married in less than a month-and-a-half, Kavya gets physical with Humpty, who is also aware of her impending marriage.

Back in Ambala, Kavya is unable to forget Humpty. She sends him a car he had yearned for, as a gift, in return for his help in getting back the money her friend in Delhi had paid her blackmailing boyfriend. Since Humpty is also madly in love with Kavya and as Kavya had returned to Ambala without buying the expensive designer lehenga, Humpty reaches her home in Ambala with the dress she would have loved to wear on her wedding day, taking his two best friends along. But Kavya’s father is too smart for Humpty and he smells a rat. He gets Humpty to vomit out the truth and he is livid when Humpty tells him that he and Kavya are in love with one another. Kavya’s brother beats up Humpty and his two friends, Shonty (Gaurav Pandey) and Poplu (Sahil Vaid), mercilessly but instead of returning to Delhi, Humpty is persistent in his quest to marry Kavya. Anyway, Kavya’s marriage is now just a few days away.

Seeing Humpty’s persistence, Kavya’s father thinks up a plan to get him out of Kavya’s life. As Kavya’s to-be-husband, Angad (Siddharth Shukla), is due to reach Ambala, he challenges Humpty to interact with and/or observe Angad and give him (the father) reasons why he is not the right life partner for Kavya. Left with no option, Humpty accepts the challenge and, along with his two friends, sets out to find shortcomings, if any, in Angad. For, if only he can prove that Angad is not the perfect match for Kavya would her father give her hand in marriage to him (Humpty).

So, what happens thereafter? Is Humpty able to prove to Kavya’s father that Angad is not the right choice for her or not? Does Kavya sacrifice her love and get married to Angad? Does Humpty reconcile himself to the situation and walk out of Kavya’s life? What is the stance of Kavya’s father? What does Angad do?

Shashank Khaitan has scripted a love story which midway turns into a family drama too. His story about a boy falling in love with a girl who is soon to be married, reminds of Dilwale Dulhania Le Jayenge and Chalte Chalte but the similarity ends there. His screenplay is quite different. The first half is light and the emphasis is on the fun element. There are many scenes in which the audience ends up smiling or laughing. The first couple of reels are routine but once Kavya and Humpty meet in Delhi, the film moves very smoothly and at a good pace, keeping the audience entertained thoroughly. The second half becomes a bit repetitive but if, in spite of that, the audience’s interest remains alive, it is because of the several twists and turns in the drama. The sequences in which Humpty and his friends try to find out the shortcomings of Angad, are truly funny. The scenes of Humpty interacting with Kavya’s father are very cute. The climax is not as arresting as the issue (drama) warrants and it also looks hurried. But it must be said that the pre-climax scene, in which Humpty confronts Kavya’s father, is a highlight and would come in for a lot of praise and even elicit claps. All in all, the screenplay, despite some dips post-interval, is engaging and entertaining. Shashank Khaitan’s dialogues are very nice and if the funny ones evoke laughter, the dramatic ones also have a huge impact on the audience.

Varun Dhawan does a lovely job and plays Humpty Sharma with all the earnestness at his command. His dialogue delivery in the typical middle-class, Delhi-based Punjabi ‘Romeo’ style, is very endearing. Alia Bhatt shines, delivering a first-rate performance as Kavya. Her dialogue delivery and expressions are simply excellent. She looks pretty too. At the rate at which Alia is going, film after film, it shouldn’t be long before she reaches the top! Ashutosh Rana is extraordinary as Kavya’s father. He plays the character with remarkable ease and understanding. Siddharth Shukla is impressive in his maiden film role. He has screen presence and charisma and he also acts ably. Sahil Vaid is wonderful as Poplu and evokes laughter with his antics, acting and facial expressions. Gaurav Pandey also lends admirable support as Shonty. Jaswant Daman (as Kavya’s grandmother), Kenneth Desai (as Humpty’s father), Deepika Amin (as Kavya’s mother), Mahnaz Damania (as Kavya’s sister) and Aditya Sharma (as Kavya’s brother) stand their own, in well-defined roles. Jaswinder Kapoor (as the examiner), Jimmy Viryani (as Bhanu), Manish Walia (as the salesman at the garment store), Sagar Kale (as the tailor), Shivani Mahajan (as Mrs. Chhibber) and the others provide able support.

Shashank Khaitan, whose maiden release this is as a writer and director, adopts a narrative style which is very easy and of the kind which would appeal to audiences of all age groups. He has used a simplistic style of direction to match his simple story of matters of the heart, and he deserves distinction marks for that. Music is very good but rather than the original compositions, the two re-arranged songs (by Sharib-Toshi) – ‘Saturday Saturday’ (originally composed by Badshah and Titans) and ‘Samjhawan’ (originally composed by Jawad Ahmed) – are the best. They are, in fact, already hits and they are supremely appealing in the film, too. The other songs (composed by Sachin-Jigar and Sharib-Toshi) are good but they aren’t very popular. The ‘Daingad Daingad’ (Sachin-Jigar) song is the better of the lot. Lyrics (Indeep Bakshi and Feat Badshah for ‘Saturday Saturday’, additional lyrics by Kumaar; Ahmad Anees for ‘Samjhawan’, additional lyrics by Kumaar; Irshad Kamil, Shashank Khaitan and Kumaar for the other songs) are very good. Ahmed Khan’s choreography in ‘Saturday Saturday’ and Adil Shaikh’s choreography in ‘Daingad Daingad’ are excellent. Remo D’Souza’s choreography in ‘Lucky tu lucky me’ and Chinni Prakash’s, in the ‘D se dance’ song are also eye-filling. John Stewart Eduri’s background music is of a good standard. Neha Parti Matiyani’s cinematography is lovely. Vikram Dahiya and Deepak Sharma’s action scenes and stunts are fairly good. Parichit Paralkar’s production design is appropriate. Manan Sagar’s editing is crisp.

On the whole, Humpty Sharma Ki Dulhania is an enjoyable entertainer and will keep everyone associated with it, as also the audience, very happy. With around 75% of its cost of Rs. 28-30 crore already recovered prior to release, it is anybody’s guess that it will yield very handsome profits to the producers and distributors, right from the first weekend itself, while keeping the exhibitors smiling from ear to ear. Hit!

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जैन समाज के 90,000 से अधिक बायोडाटा

वैवाहिक रिश्ते

90,000 से अधिक जैन समाज के वैवाहिकयोग्य युवक युवतियो के बायोडाटा के लिये सम्पर्क करें l

DOCTOR ,ENG, MBA, MCA , CA, CS, High Status & Middle Status .

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LEKAR HUM DEEWANA DIL

Eros International, Illuminati Films and Maddock Films’ Lekar Hum Deewana Dil (UA) is the story of Dino (Armaan Jain) and Karishma (Deeksha Seth). They are very friendly with one another. Dino is always at loggerheads with his father (Kumud Mishra) because he seems to be always rubbing him the wrong way. Karishma is quite a rebel and ensures that she does not conform to the traditional rules set by her orthodox South Indian family. Why, she doesn’t even want to marry the person of her parents’ choice as she is scared, she would then have to lead a boring life in an equally traditional South Indian family.

Dino and Karishma soon realise that they are so compatible that they could marry one another. This would ensure that Karishma does not have to get married into a South Indian family of her father’s choice. Dino and Karishma elope, much to the shock of their families. They hide in different cities and even get married but cracks soon develop in their relationship. The two return to their respective homes, convinced that they had erred in getting married.

They are soon in the family court, eager to divorce one another. The marriage counsellor (Gautami Kapoor) is at her wits’ end while trying to convince them to reconsider their decision to divorce. Meanwhile, Karishma’s strict father has already selected a boy, Mahesh (Akhil Iyer), for Karishma to marry, after the divorce comes through.

Does Karishma, the rebel, marry Mahesh? Do Dino and Karishma divorce one another before that?

Arif Ali’s story is about how frivolous today’s youngsters are. It is about a generation which acts first and thinks later, a generation which considers impulse as its biggest tool. The story, however, still does not ring very true because the way Dino and Karishma decide to marry and, again, the flimsy reasons for their breakup rob the drama of plausibility. Agreed, that’s how today’s generation behaves but the drama, which unfolds on the screen, still remains too frivolous to appeal to an audience fed on more substantive stuff down the years. Arif Ali’s screenplay lacks the intensity needed in a love story. Had there been truly intense moments in the film, even the frivolous actions and reactions may have worked big time. What is a bit too unpalatable is that both, Dino and Karishma, appear as giddy-headed as ever. And because their breakup is so stupid, the audience somewhere loses its sympathy for the two lovers when they walk out on one another and land up in the family court. Arif Ali’s dialogues are very good. For instance, the comment the family court judge (Rohini Hattangady) makes about Indian marriages is lovely.

Armaan Jain makes a fair debut as Dino. He looks alright. Deeksha Seth is very confident and acts with natural ease in her maiden Hindi film. She shows a lot of promise. She looks beautiful. Kumud Mishra is first-rate as Dino’s father. Anita Kulkarni is effective as Dino’s mother. In the role of Dino’s brother, Sudeep Sahir leaves a mark. Rahul Shetty does a fair job as Karishma’s father. As Karishma’s mother, Rinku Karmarkar has her moments. Akhil Iyer is splendid as Mahesh. Rohini Hattangady performs wonderfully as the family court judge. Gautami Kapoor goes a bit overboard as the marriage counsellor but she is, nevertheless, effective. Jaywant Wadkar (as Karishma’s lawyer) and Darius Shroff (as Dino’s lawyer) lend able support. Varun Badola (as Chacha), Neha Mahajan (as Seema), Chandraprabha Suvarna (as grandmother), Dhanusmati (as aunty), Prabuddha Dayama (as Uzair), Shravan Mehta (as Milind), Aayushi Lahiri (as Juhi), Nikita Dutta (as Rose), Dharmendra Jaiswal (as judge’s peon) and the others are adequate.

Arif Ali’s direction is good, and it doesn’t look like this is a debut attempt, but the drawbacks of the script are far too many to be camouflaged by decent direction. A.R. Rahman’s music does not have the hit quality. No doubt, the ‘Khalifa’ song is lovely and two more songs – ‘Alaahda’ and ‘Mawwali qawwali’ – are also quite good but absence of hit and chartbusting songs in a love story starring new and young faces is a big minus point. Amitabh Bhattacharya’s lyrics are good. Choreography (Ashley Lobo, Ganesh Acharya, Ahmed Khan and Bosco-Caesar) is nice; special mention must be made of the picturisation of the ‘Khalifa’ song, which is excellent. A.R. Rahman’s background music is okay. Laxman Utekar’s camerawork is good. Sets (by Acropolis – Sumit Basu, Snigdha Basu and Rajnish Hedao) are nice. Shan Mohammed’s editing is effective.

On the whole, Lekar Hum Deewana Dil is a dull love story which is so frivolous and implausible that it will fail to connect with the audience. Given its dull start, it will entail losses to all concerned.

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BOBBY JASOOS
Reliance Entertainment Ltd. and Born Free Entertainment’s Bobby Jasoos is the story of Bilkees alias Bobby Jasoos (Vidya Balan) who yearns to be a detective. Her father (Rajendra Gupta) is totally against her detective dreams and he wants her to get married so that the path for her younger sisters to get married could then open up. For this reason, Bilkees and her father are always at loggerheads.
Doing odd detective jobs, Bobby Jasoos gets her big break when Anees Khan (Kiran Kumar), a mysterious and wealthy man, hires her services to track down one Nilofer. He has no picture for Bobby’s reference and gives her minimum clues but Bobby does the job successfully. Anees Khan pays Bobby handsomely and next asks her to trace Aamna. Again, there is no photograph of Aamna, just a couple of reference points. Once again, Bobby Jasoos uses her detective skills and finds Aamna.
Next, she is asked by Anees Khan to trace Ali. As in the previous two cases, he doesn’t give her any reference picture of Ali but a couple of hints. However, Bobby Jasoos smells a rat because she soon realises that Nilofer and Aamna have gone missing. She now starts investigating into Anees Khan’s credentials. Is he into some criminal activity? What has he done to Nilofer and Aamna? Has Bobby unknowingly helped Anees Khan in his crime?
Bobby Jasoos’ investigations reveal a shocking truth. What is that truth? Is she able to trace Ali? Does she get to know the whereabouts of Nilofer and Aamna?
There’s also a track of Bobby and Tasawur (Ali Fazal), a TV show host, who doesn’t want to marry as yet although his family is in a hurry to see him married. Bobby helps Tasawur by ensuring that all the marriage proposals brought to him by his family are discarded by the family for some reason or the other. By a turn of events, Bobby and Tasawur’s marriage is fixed but are they both ready for it?
Samar Shaikh has written a story which is not very convincing. Sanyukta Chawla Shaikh’s screenplay only underlines the fact that it is one of convenience because the script is unable to answer basic questions which arise in the viewer’s mind. For instance, when Bobby Jasoos corners Anees Khan in the climax and the truth about Anees Khan’s identity is revealed, the question which immediately crops up is, why did Anees Khan not do what he did now, many years ago? There is no plausible answer which the writers offer, probably thinking that the audience won’t question Anees Khan’s action. Even if the writers would have the audience believe that Anees Khan could not have done this earlier, the question which begs an answer is: why not? If he can do what he has done, today, he could’ve done it five, 10 or 15 years ago, too. The reaction of the persons for whom he was doing what he has done would’ve been no different five, 10 or 15 years ago also. Assuming that the writers would have us believe that Anees Khan would’ve been misunderstood then, gives rise to another question: then why is he not misunderstood today? In other words, there is simply no justified reason for Anees Khan’s actions today as against years ago – and if that is so, the audience is left wondering why the whole drama took place in the first place? Again, there is no justification for Anees Khan’s mysterious persona. It creates an element of suspense and becomes the base for Bobby Jasoos to go after him but when the suspense is revealed, it becomes clear to the audience that the suspense was unwarranted.
On the plus side, the Hyderabadi Muslim atmosphere looks supremely authentic. The uneasy relationship between Bobby Jasoos and her strict father is also pretty interesting. Some scenes like the one in which Tasawur is prompted by Bobby to tell his father to call off his marriage with her are interesting. The scene in which Bobby pleads with her angry father to not throw her out of the house is touching and could draw tears from the audience’s eyes.
Although the first half is designed as a light entertainer, a lot of the light scenes don’t really create the mirth they are meant to. Sanyukta Chawla Shaikh’s dialogues are very good and impress the viewer.
Vidya Balan does an extraordinary job of Bobby Jasoos. She is supremely natural and gives her cent per cent to the character. It’s a delight to watch her go through her role with such ease. Ali Fazal is also likeable and natural as ever. He stands his own although he has a secondary role despite being the hero. Kiran Kumar leaves a mark in the role of Anees Khan. Arjan Bajwa gets limited scope as Lala but he makes his presence felt. Rajendra Gupta shines as Bilkees’ father. He makes every scene of his special, with his fine acting. Supriya Pathak is absolutely delightful as Bilkees’ soft-hearted mother. Tanvi Azmi acts with admirable ease and makes the character of Kausar Khaala what it is. Anupriya (as Afreen) and Zarina Wahab (as Afreen’s mother) lend able support. Benaf Dadachanji has her moments as Noor. Aakash Dahiya (as Munna) and Prasad Barve (as Shetty) are very good. Vinay Varma (as Tasawur’s father) leaves a mark. Sangeeta Pamnani (as Tasawur’s mother), Surbhi (as Aamna), Ankita Roy (as Nilofer), Pushpa (as Nilofer’s mother), Ranjana Chilani (as the woman at MQ Stationery) and the others add their bit in small roles.
Samar Shaikh’s direction is fair. His narrative style is unable to sustain the audience’s interest throughout, as the interest level dips at several points. Given a better script, he may be able to do a much better job. Shantanu Moitra’s music is good but the absence of chart-busting songs will definitely tell on the business of the film. The ‘Jashn’ song is the better of the lot. Swanand Kirkire’s lyrics are appropriate to the drama. Brinda’s choreography is more functional than anything else, probably because none of the actors on whom the songs are picturised is a great dancer. Vishal Sinha’s camerawork is good. Tariq Umar Khan’s sets are realistic. Hemal Kothari’s editing is effective.
On the whole, Bobby Jasoos is not half as funny as it should’ve been, and it is also very unbelievable. It is different from the usual masala films alright but that is simply not enough to entertain the audience or to keep the producers and distributors in good spirits. Flop.

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