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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EK VILLAIN

Balaji Motion Pictures’ Ek Villain (UA) is the story of a villain wreaking havoc in the love story of a man and his wife. Guru (Sidharth Malhotra) works for underworld don Caesar (Remo Fernandes) and is his blue-eyed boy. By chance, he meets Aisha (Shraddha Kapoor) who is a happy-go-lucky, chirpy, carefree girl and who is in a hurry to complete a number of tasks, some small and others big. Guru, who is a hardened criminal, softens as he interacts with the lively and golden-hearted Aisha. The two gradually fall in love with one another and although Aisha wants to now distance herself from Guru, he doesn’t want to leave her.

Even as Guru is trying to turn over a new leaf, calamity strikes in the form of a villain who kills Aisha. Guru’s world comes crashing down. For Guru, it is now a crazy hunt for the murderer. Who has murdered his Aisha and why?

There’s another track of Rakesh (Ritesh Deshmukh) who is frustrated in life. He seems to be below-average at his work place because of which he is the subject of ridicule. His wife, Sulochana (Aamna Sharif), whom he loves to death, is so fed up of his mediocrity that she loses no opportunity to hurl the choicest insults and abuses at him. In frustration, Rakesh murders women who speak ill about his work but he doesn’t harm his wife as he loves her more than anything else in the world. Thus far, nobody knows that the unassuming and simple-looking Rakesh is a murderer who kills people in cold blood. Rakesh and Sulochana have a little son, Manish (master Nihar Gite), who is very disturbed by the constant fights his parents have.

Is there a connection between the murders committed by Rakesh on the one hand and Aisha’s killing on the other? Was it an old enmity of Guru due to which Aisha had to lose her life? Is Guru able to avenge Aisha’s murder? Why had Aisha wanted to go away from Guru’s life? What is it that Aisha had wanted to tell Guru just before she was murdered? Does Guru get to know it? Is Rakesh booked for the many crimes he has committed? Does Guru have to pay for his crimes as Caesar’s assistant?

The film is based on Korean film I Saw The Devil. The story, penned by Tushar Hiranandani, is very engaging and also very novel because one has not seen a drama of the kind shown in this film. Tushar Hiranandani’s screenplay is splendidly written, the non-linear writing helping to reveal bits of suspense at the right time and thereby keeping the audience interest alive from the start till the very end. Also, it must be said to the writer’s credit that in spite of the drama oscillating between the pre­sent and the past (in flashbacks), the audience doesn’t get confused. There are a number of scenes which remain with the viewer till long after he has seen the film. Instances of the memorable scenes: the one in which Guru (on the railway platform) pleads with Aisha (in a moving train) to not leave him; the one in which Dipu’s mother curses Guru for having killed Dipu and tells him why she intentionally failed to identify him in court for the murder; the one in which Rakesh tells Guru how their cases are not very different and are, in fact, quite similar; the scenes of Rakesh’s mental trauma; the light scenes between Guru and Aisha; the scenes in which Guru tries to give Aisha all the happiness in the world by fulfilling her long list of wishes etc.

Although it is a love story, the film is basically a suspense thriller, and in spite of being a thriller, it has all the other ingredients of a wholesome entertainer – it has romance, light scenes, comedy, action, drama, music and even a dash of emotions which tug at the heart-strings. The best part of the story and screenplay is that it is supremely entertaining and absolutely engaging. In fact, so riveting is the screenplay that it is difficult to take one’s eyes off the screen for even a second. Milap Zaveri’s dialogues are lovely and add a lot of weight to the proceedings.

Sidharth Malhotra does an excellent job of Guru. He looks handsome as ever and fills the screen with his presence, endearing himself to the audience. He acts with effortless ease and breathes fire in the action scenes. So wonderful is his performance in the difficult role that it wouldn’t be wrong to say that the newcomer (relatively speaking) springs a mighty surprise. The boy is destined to go places! Shraddha Kapoor is cute and wins over the audience with her innocence and spontaneous acting. She is truly a natural actress and her dialogue delivery and voice modulation are a major asset. Ritesh Deshmukh is a revelation! He has given such a convincing performance in the role of the psychotic killer who leads an otherwise mundane life that one can’t help but sing his praises. He brings out his frustration so effectively that one can’t help but marvel at his performance. All in all, distinction marks to the three lead actors. Aamna Sharif shines in the role of Rakesh’s acid-tongue wife, Sulochana. So extraordinary is her acting that the viewer starts detesting her for her vitriolic comments. Remo Fernandes adds a touch of freshness to the character of the underworld don, Caesar. He acts well. Asif Basra is first-rate as Aisha’s father. Shaad Randhawa is effective as the investigating CBI officer. Kamaal R. Khan does a very fine job in a special appearance as Brijesh. Rishina Khandare makes her presence felt in the role of the nurse. As the doctor, Aradhana Uppal has her moments. Praveena Deshpande is superb as Dipu’s mother who gives a false witness in the court. Meharangiz Acharia leaves a mark as Rakesh’s female boss. Prachi Desai adds glamour in a song-dance. Sidhant Sachdev (as Dipu), master Nihar Gite (as Manish), Anagha Joshi (as Brijesh’s wife), Vidhyadhar Karmarkar (as Chhotu), master Yash Acharya (as young Guru), Jack Wayne (as Simon), Vikas Shrivastav (as Wagle), Vinita Amar (as the judge) and the rest lend excellent support.

Mohit Suri’s direction is outstanding. He has made a wholesome entertainer which doesn’t lose its grip on the audience at any point of time. His non-linear narration could’ve become confusing but it doesn’t and that’s creditable. He has taken care to include ingredients which would appeal to audiences across all age groups, and to classes and masses alike. Yes, a thin section of the women and family audience may find the violence too gruesome but that’s not a big point. Music is a major highlight of the film. Every song is delightful. The ‘Galiyan’ song (composed by Ankit Tiwari and wonderfully penned by Manoj Muntashir) is a hit song. The ‘Banjara’, ‘Zaroorat’ and ‘Humdard’ songs (all composed and written by Mithoon) are wonderfully melodious. The ‘Awari’ song (composed and penned by the duo, Rabbi Ahmed and Adnan Dhol) is a nice item song. The unplugged version of ‘Galiyan’ song, which comes in the end rolling titles, is a very intelligent addition, having been rendered by Ankit Tiwari and Shraddha Kapoor. Raju Khan’s song picturisations are good. Raju Singh’s background music is terrific. Special mention must be made of his use of the hit tunes of the film’s songs in the background score to great advantage. Vishnu Rao’s cinematography is just too lovely. A number of scenes, including the under-water sequence, are eye-filling. Javed-Aejaz’s action and stunt sequences are excellent and look truly natural. Priya Suhas’ production designing and Sandeep Suvarna and Salim A. Razzak’s sets are very appropriate. Devendra Murdeshwar deserves the highest praise for his crisp and super-sharp editing.

On the whole, Ek Villain is a super-hit, a blockbuster. It will score in the multiplexes and the single-screen cinemas, in ‘A’, ‘B’ and ‘C’ class centres, and will be loved by the masses and the classes alike. It has tremendous repeat value – yes, tremendous repeat value despite being a suspense thriller.

 

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