Zee Studios and Dharma Productions’ Dhadak (UA) is a love story. It is adapted from all-time Marathi blockbuster Sairaat.

Parthavi (Janhvi) is a rich girl who lives like a princess in Udaipur with her father, Ratan Singh (Ashutosh Rana), mother (Shalini Kapoor) and brother, Roop Kumar (Godaan Kumar). Her father, who runs a huge hotel, is preparing for the elections and is leaving no stone unturned to defeat the ruling party leader, Sulekha Goenka (Balaji Gauri). Parthavi’s college-mate, Madhukar (Ishaan), is not half as rich as her. He lives with his father (Govind Pandey) and mother (Aishwarya Avinash) and helps his father in the modest hotel business. Parthavi and Madhukar like each other very much. However, Madhukar’s father warns him against romancing Parthavi because of the class and caste differences. He even makes Madhukar promise to keep a distance from Parthavi. But Parthavi’s advances make Madhukar for­ get the promise he had made to his father.

Even as their romance is budding, Parthavi’s family one day catches the two love birds red-handed. While forcing Parthavi to stay at home and not meet or talk to Madhukar, the tyrant Ratan Singh and the hot-headed Roop Kumar have Madhukar and his two friends, Purshottam (Shridhar Watsar) and Gokul (Ankit Bisht), arrested by the police. The three boys are beaten up mercilessly by the police.

Parthavi turns up at the police station while the boys are being taken elsewhere and manages to free the three friends. She elopes with Madhukar even as her dad, brother and others give them a chase.

The middle-class Madhukar and the very rich Parthavi escape to Nagpur to meet Madhukar’s maternal uncle, Arvind (Manish Verma). He packs them off to Calcutta to a friend, Sachin Bhowmick (Kharaj Mukherjee). The young lovers face an extremely tough life and soon, take up jobs. While Madhukar becomes a waiter, Parthavi starts working in a call centre. Both miss their families but there’s no way they can now return to Udaipur.

What happens thereafter? Do Madhukar and Parthavi get married? Do Parthavi’s parents accept Madhukar?

The story is adapted from Sairaat and is about the obstacles that come in the way of the two young lovers. Nagraj Manjule’s story does not offer much novelty as it is about a girl and a boy from different classes and castes. Shashank Khaitan’s screenplay is engaging and interesting. The first half moves at a leisurely pace and, on occasions, becomes very slow. The fun element is limited, because of which boredom creeps in at times. However, the sequence in which Parthavi helps Madhukar and his friends escape from police custody is so wonderful that it brings the audiences to the edge of their seats. This sequence is not just wonderfully written but it is also beautifully executed and, therefore, gets the complete involvement of the viewers.

The screenplay after interval is more engaging because there’s a lot of drama. The portion in which Madhukar and Parthavi have to stay in a run-down room is quite heart-wrenching. This part of the drama completely wins over the ladies and family audience because they totally embrace Parthavi as one of their own after this – because from being a princess, she metamorphoses into a lower middle-class girl, all for the sake of love! The scenes in which Madhukar and Parthavi try to speak over the phone with their parents are very good. The scenes of misunderstandings and fights between Madhukar and Parthavi may be clichéd but they are nice, especially the one on the street. Yet, a couple of more high-voltage emotional sequences could’ve made the audience weep and that would’ve heightened the impact.

The climax has a numbing effect on the viewers as it comes like a bolt from the blue. It is so shocking that the audiences are unable to even react, and take a few seconds to digest what’s happened. While a small section of the audience might have a problem with one part of the climax, that won’t really have an impact on the overall box-office performance of the film because that problem arises in the last couple of minutes, by which time the audience has decided that it has liked the rest of the drama. The way the climax has been shot makes the impact even more solid.

Ishaan is outstanding in his debut Bollywood film. He has an endearing boyish charm and such an easy-going and realistic style of acting that he will soon become a darling of the public. His acting is first-rate, whether in light, dramatic, melodramatic, romantic or emotional scenes. His dance is extraordinary and full of energy. Janhvi looks very pretty and acts with such aplomb that it’s difficult to believe, this is her debut film. She has a distinct style and voice, both of which help her come across as a supremely confident newcomer. If she’s cute in romantic and light scenes, she is simply splendid in dramatic, emotional and melodramatic ones. She, too, is a very graceful dancer. Ashutosh Rana is good as Ratan Singh. Shridhar Watsar and Ankit Bisht lend decent support as Madhukar’s friends. Godaan Kumar makes his presence felt as Janhvi’s brother, Roop Kumar. As her mother, Shalini Kapoor is fair. Govind Pandey leaves a mark in the role of Madhukar’s father. As Madhukar’s mother, Aishwarya Avinash is efficient. Manish Verma provides decent support as Madhukar’s maternal uncle, Arvind. Kharaj Mukherjee is endearing as Sachin Bhowmick. Shubhavi Harshal Choksey is okay as Promila Bhowmick. Ishika Gajneja (as Ambika), Aditya Kumar (as Devilal), Janhavi Dave (as Anuradha), Balaji Gauri (as Sulekha Goenka), Vishwanath Chatterjee (as police inspector Shikhawat), master Mohammad Hasan Salim Khan (as little Aditya), Hempushpak (as the college principal) and the rest lend the desired support.

Shashank Khaitan’s direction is very good, some scenes showing his mastery over the medium. However, he could’ve – and should’ve – added a good dose of entertainment value in the form of more light moments in the film. Ajay-Atul’s music is good. The ‘Jhingaat’ song is a super-hit. The ‘Pehli baar’ and title songs are fairly well-tuned. Amitabh Bhattacharya’s lyrics are easy on the lips. Picturisation of the ‘Jhingaat’ song (by Farah Khan) is extraordinary. Other song picturisations (by Tushar Kalia) are good. John Stuart Eduri’s background music is lovely. Vishnu Rao’s cinematography is splendid. He captures the essence and beauty of Udaipur and Calcutta very effectively. Shashank Tere’s production designing is of a high standard. Monisha R. Baldawa’s editing is pretty sharp.

On the whole, Dhadak is a good entertainer and will emerge victorious at the ticket windows. The outstanding performances of Ishaan and Janhvi could take the film to the ‘A’ class level too.

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Vinod Chopra Films and Rajkumar Hirani Films’ Sanju (UA) is a biopic on Sanjay Dutt. It deals with two major aspects of his colourful and rollercoaster ride-like life: one, dealing with his drug addiction before he became a popular film star, and the other, dealing with his brush with law for possession of an AK-56 rifle.

In its quest to present the two aforementioned important parts of Dutt’s life, from his point of view, the film concentrates on two major relationships – between Sanjay Dutt and his father, filmmaker, actor and MP Sunil Dutt (Paresh Rawal), and between Sanjay Dutt and his bosom pal, Kamlesh Kanhaiyalal Kapasi (Vicky Kaushal).

The film starts with Sanjay Dutt as a budding young actor, being directed by dad Sunil Dutt in his debut film, Rocky. It is evident quite early on that his father’s principles and image are too much for Sanjay to handle. Before one knows it, Sanjay falls into bad company and starts taking drugs. His friend and drug supplier is Zubin Mistry, also known as God (Jim Sarbh). The innocent stray incidents of doing drugs soon turn into an addiction which threatens Sanjay’s very life. The story also shows how Sanjay Dutt finds solace in substance abuse even while his mother, Nargis Dutt (Manisha Koirala), is battling with cancer at home, then in hospital in the USA, and then again at home in India. It is during his US visit for his mother’s hospitalisation that Sanjay meets Kamlesh who would go on to become a very close friend and a confidante. Why, Kamlesh flies from the US even when Sanjay needs him after his girlfriend, Ruby’s (Sonam Kapoor), father finalises her marriage with an NRI boy.

Things come to such a stage that after his mom’s demise and his break-up with Ruby, Sanjay has to be put in rehabilitation in the USA. A reformed Sanjay returns with his dad from the USA. The bond between Sanjay and his friend, Kamlesh, grows very strong – so strong that Kamlesh is by Sanjay’s side whenever he needs him. Sunil Dutt has also seen a true family friend in Kamlesh and is very fond of him.

In 1993, after Sanjay has become a very popular and successful Bollywood star, he is arrested for possession of an AK-56 rifle without licence. The media brands him a terrorist because the gun episode happens soon after the serial bomb blasts in Bombay in 1993. Sanjay Dutt is jailed. His father and family are devastated but stand behind Sanjay. Despite Sunil Dutt’s connections, nobody is willing to help because the draconian TADA has been slapped on Sanjay. Kamlesh is like a true pillar of strength in these trying times.

One day, Sanjay gets bail. But there comes a time when even Kamlesh severes all ties with Sanjay Dutt after it is reported by the media that a truck with RDX had been found parked in Sanjay Dutt’s compound. Kamlesh, who is in Sanjay’s home in India at that time, leaves for the USA, telling Sanjay that the friendship would have to end here. The Dutt family goes through hell as the legal battle goes on for years. Sunil Dutt passes away. Just a day before he breathes his last, Sanjay had prepared a speech which he was supposed to make on a public platform, in praise of his father. In that speech, he was to convey his true love for his father with whom his relations had been strained for obvious reasons. But Fate had so intervened that the contents of the speech were never conveyed to Sunil Dutt.

Years later, the final decision in Sanjay Dutt’s gun possession case is pronounced by the Supreme Court. Although he is held guilty under the Arms Act for illegal possession of a gun, he is acquitted under the TADA. He is given a five-year jail term. Before going to jail, he contacts celebrated author Winnie Diaz (Anushka Sharma) to write his side of the story to tell the world that he isn’t a terrorist. At first reluctant, Winnie agrees to pen his biography but mid-way, decides against it. Her dilemma increases when she meets Sanjay Dutt’s estranged friend, Kamlesh, in the USA. Finally, Maanayata Dutt (Dia Mirza) gives Winnie a recording of Sanjay Dutt’s radio show which he hosts in jail.

Does Winnie agree to write Dutt’s biography? Does Kamlesh reconnect with Sanjay?

The story, based on true-life incidents in Sanjay Dutt’s life, has been written by Abhijat Joshi and Rajkumar Hirani. It has a lot of drama because of the many ups and downs in the colourful life led by the actor. Since it is a biopic, it presents the drama from the point of view of Sanjay Dutt himself. While it doesn’t try to hide the mistakes committed by Sanjay, it does not also justify his gun possession. The reason for keeping the gun doesn’t come across as being very solid. Also, the attempt to put the blame for the ignominy faced by the Dutt family, on one section of society (not being revealed here) seems a bit preposterous and may not find favour with many from that section of society as also from one tiny section of the audience. But these two ‘mistakes’ in the story are not such that they can take away from the many plus points and highlights in it. In fact, let it be said here that attempting to put the blame on that one section of society will be lapped up by the majority of the audience in a big way.

The screenplay, penned by the duo, is riveting and keeps the viewers hooked on to the drama all through. Yes, there are a few dips in the screenplay but they are minor aberrations. The best part about the screenplay is that it concentrates on the bonding between father and son and between two close friends. Although the story is grim and even depressing, the screenplay writers have laced it with humour and such heart-rending emotions that the impact of the grimness and the depression is diluted to advantage. There are absolutely landmark scenes which leave the audience stunned and shaken. For instance, the scene in which Kamlesh pleads with Sunil Dutt to save Sanjay Dutt from drugs, the scene in which Sanjay Dutt pleads with Kamlesh in the US to not leave him but rather to make him give up drugs, the scene in which Sunil Dutt asks Kamlesh not to switch on the fan in his room, the scene in which Sunil Dutt exults with joy when Sanjay throws the lawyer out, the scene in which Sanjay Dutt halucinates about the identity of his father, the scene in which Sanjay hugs his father and breaks down at the premiere of his first film, Rocky, the scene in which Sanjay bids a tearful farewell to Kamlesh after the RDX news, the scene in which Sanjay Dutt reacts to the toilet in his prison cell overflowing, the scene in which Kamlesh realises his folly in the climax, the scene in Munna Bhai M.B.B.S., in which Sanjay Dutt and Sunil Dutt are locked in a tight embrace even after the director has said ‘cut’…. the list of highlight scenes is long, very long. Likewise, there are some fabulous light moments and scenes which would gladden the heart. The scene in which Sanjay Dutt and Zubin Mistry go in the middle of the night to Ruby’s house, the scene in which filmmaker Mahesh Manjrekar (played by himself) telephones Sanjay, the scene in which Sanjay prepares Kamlesh for his date with Pinky (Karishma Tanna), the scene in which Sanjay Dutt seeks help from the half-asleep minister (Anjan Srivastav) – all these scenes leave the audience smiling and laughing. No doubt, the light moments are few, and the audience yearns for more but that’s the way it is. Overall, the drama tugs at the heart strings of the viewers – and that too, on many occasions.

Dialogues, penned by Abhijat Joshi and Rajkumar Hirani, are gems. They are real, they are weighty, they are terrific. The fun dialogues evoke laughter whereas the serious, dramatic and melodramatic ones create a huge impact.

Ranbir Kapoor lives the role of Sanjay Dutt. He gets the mannerisms of the real-life character right, the prosthetics and make-up make him look like Sanjay Dutt, and his acting is outstanding. An award-winning performance indeed by Ranbir Kapoor! It must be added here that it must not have been an easy task to play a living and in-demand actor. Special mention must be made of Ranbir’s replication of Sanjay Dutt’s gait, walking and talking style. Let it be said here that this film will mark a turning point in the career of the reservoir of talent that Ranbir Kapoor is! Paresh Rawal plays Sunil Dutt with a lot of conviction. He brings the stability needed in the character and the respect that’s due to the man and his image. Vicky Kaushal will be praised to the skies and even beyond, for playing Sanjay Dutt’s bosom pal, Kamlesh. This film will do for Vicky what ten films may not be able to do. Easily and definitely, every single, repeat, every single award for the best supporting actor this year would be reserved for Vicky Kaushal. He shines in light scenes and is mind-blowing in dramatic and emotional ones. No amount of praise is good enough for Vicky Kaushal’s acting. Dia Mirza is good as Maanayata Dutt. Anushka Sharma, in a special appearance, looks gorgeous and plays author Winnie Diaz with a lot of understanding. Sonam Kapoor is cute and leaves her mark as Ruby. In the role of Ruby’s father, Boman Irani (special appearance) is terrific. Mahru Shaikh has her moments as Ruby’s mother. Manisha Koirala, in a special appearance, is effective as Nargis Dutt. Jim Sarbh makes a mark in the role of Zubin Mistry alias God. Anjan Srivastav (special appearance) evokes laughter in the single scene in which he appears as the minister. Sayaji Shinde (special appearance) is lovely as underwrorld don Bandu Dada. Karishma Tanna, in a special appearance, is natural as Kamlesh’s girlfriend, Pinky. Mahesh Manjrekar is good as himself. Sanjay Dutt plays himself in the last (ending) song. He looks pretty handsome. Piyush Mishra (in a special appearance as D.N. Tripathi), Aditi Gautam (as Priya Dutt), Shivani Mahajan (as Namrata Dutt), Ashnoor Kaur (as young Priya Dutt), Kashish Vohra (as young Namrata Dutt), Sameer Kevin Roy (as Ruby’s NRI boyfriend), Jandre Le Roux (as the rehabilitation doctor), Karolin Etzel (as the rehab dance instructor), Pooja Nair and Shonita Joshi (both as airhostesses), Sahil C. Khosla (as Samir), Hemang Vyas (as Hanif), Prateek Rai (as Abu Salem), Asif Khan (as Yusuf), Deepak Rai (as the barber in the jail), Rajiv Kumar (as the politician), Hitesh Yogesh Dave (as the politician’s secretary), Tabu (as herself), Ashwin Mushran (as the event organiser) and the rest provide superb support.

Rajkumar Hirani is a magician more than a director! He narrates the complex story of a misdirected, ignorant and foolish young man with such sensitivity that the human drama becomes quite a masterpiece of a film. Full marks to him also for extracting such great work out of his cast. With this film too, Hirani keeps his unblemished record of a hit maker intact. Music (Rohan-Rohan, Vikram Montrose and A.R. Rahman) is alright. The absence of hit songs is felt. Nevertheless, the ‘Kar har maidan fateh’ is an inspirational number. Lyrics (Puneet Sharma, Shekhar Astitwa, Rohan Gokhale, Abhijat Joshi and Irshad Kamil) are appropriate. Song picturisations (by Ganesh Acharya; ‘Ruby Ruby’ by Stanley D’costa) are eye-pleasing. Background music (Sanjay Wandrekar and Atul Raninga) is fantastic. S. Ravi Varman’s cinematography, and additional cinematography by Sudeep Chatterjee and Amit Roy, are exceptional. Sham Kaushal’s action scenes are in synch with the film’s flavour. Shashank Tere’s production designing is superb. Clover Wootton’s prosthetics make-up deserves special mention. Rajkumar Hirani’s editing is razor-sharp.

On the whole, Sanju is a definite blockbuster. It will work wonders for Ranbir Kapoor and Vicky Kaushal in particular. It will also boost the image of Sanjay Dutt in the public eye, which will help in Dutt’s future career. It can easily cross the Rs. 250-crore mark in India. It shouldn’t be a surprise if it even joins the 300-crore club, making it one of the biggest blockbusters of Hindi cinema!! Its business in multiplexes will be HUGE.

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Salman Khan Films and Tips Industries Ltd.’s Race 3 (UA) is the third film in the Race franchise. This time, however, it is a suspense thriller about one family.

Shamsher Singh (Anil Kapoor) lives life king size in Al Shifah and has a yearning desire to return to Handiya in India some day, the town he grew up in and from where he had to flee once he and brother Ranchod Singh (Milind Gunaji) were framed as traitors. His brother had been murdered, so Shamsher had escaped with Ranchod’s widow and, therefore, his own sister-in-law, Sumitra (Nishigandha Wad), and little nephew, Sikander Singh (master Mannan Handa). Shamsher had packed off Sikander to Beijing. In keeping with the custom, he had married Sumitra who had then delivered his twins, Sanjana and Suraj. Shamsher’s bodyguard and Man Friday is Raghuvendra Singh (Sharat Saxena).

Years have passed. Shamsher’s biggest enemy is Rana (Freddy Daruwala). Shamsher Singh dotes on Sikander (Salman Khan), which, obviously, doesn’t go down well with Shamsher’s biological children, Sanjana (Daisy Shah) and Suraj (Saqib Sal­eem). Sikander has a bodyguard, Yash (Bobby Deol), who shares an unbreakable bond with Sikander. The two, in fact, are like brothers.

Sikander meets Jessica (Jacqueline Fernandez) in Beijing, has a brief romantic fling with her before she simply disappears after a night of passion. Jessica reappears in Al Shifah as the girlfriend, Yash has been talking about. Sikander is perplexed and confronts Jessica. What happens thereafter? Does Jessica return to Sikander or does she continue her affair with Yash?

One day, Brijesh (Rajesh Sharma), an old friend of Shamsher, comes to Al Shifah from India and gives him proof of incriminating evidence against many ministers in compromising positions with call girls. According to Brijesh, the evidence is on a hard drive which is lying in a bank locker in Cambodia. He asks Shamsher to lay his hands on the hard drive and promises to open the hard drive with the code known exclusively to him – for a hefty sum of money, of course! Using this evidence to blackmail the ministers involved, Shamsher Singh could call them all to Al Shifah and enter into a deal whereby he would destroy the evidence if they cleared his and his family’s name so that he could return to Handiya.

Shamsher Singh agrees. He appoints Sikander to get hold of the hard drive. On his part, Sikander takes Yash, Suraj and Sanjana with him to accomplish the mission. What happens thereafter? Do they get the hard drive? Does Shamsher Singh get a clean chit?

Shiraz Ahmed has written a story which belongs in the implausible space because everything in it is so larger than life and, if one might say so, so unreal that many things don’t ring true. Of course, since Shamsher Singh leads an ostentatious lifestyle, everything is bound to be larger than life but since a lot many things don’t ring true, the story itself seems contrived. The first half, especially, is also terribly boring after the introduction of the main characters. It seems to be going nowhere in particular, simply meandering here and there. However, the second half is interesting and also more fast-paced. The last around 30 to 45 minutes have so many turns and twists that they keep the viewers engaged and engrossed. It wouldn’t be wrong to say that the last part of the drama quite saves the film because of the interesting turns and twists and the abundant and fast-paced action. The suspense keeps unfolding in this part of the drama and that is quite interesting even though it is contrived at times.

Dialogues, penned by Shiraz Ahmed and Kiran Kotrial, do not suit the scale of the film. A few dialogues are punch-packed but several of them lack fire. The idea of making every young character refer to the other young ones as ‘bro’ gives the impression of the characters trying to be extra cool and that makes them look too wannabe!

Anil Kapoor gives a dignified per­formance as Shamsher Singh. He acts with the maturity that was needed in the character of Shamsher Singh. His long intermittent absence in the first half makes the drama a bit lopsided. Salman Khan looks charming and charismatic and plays to the gallery. He performs well but is not in his element. Jacqueline Fernandez looks sexy and glamorous; her acting is nice. Bobby Deol does a fine job in the role of Yash. His chiselled body in the climax comes as a revelation. The scene in which Salman and Bobby take off their shirts will be met with applause by the masses. Daisy Shah looks stylish and lends fair support as Sanjana. Saqib Saleem is quite nice as Suraj. Freddy Daruwala gets almost no scope in the role of Rana. Sharat Saxena doesn’t have much scope to perform but he does make his presence felt as Raghuvendra Singh. Rajesh Sharma makes his mark as Brijesh (Birju). Narendra Jha also gets very limited scope in the role of Khanna. He is alright. Milind Gunaji is alright in a tiny role as Ranchod Singh. Nishigandha Wad is natural as Sumitra. Master Mannan Handa (as young Sikander), Peter (as the Cambodian banker), Behram Rana (as Johnny Shrivastava), Chaitanya Kanhai (as Gajendra’s son), Divya Bhatia (as the family lawyer) and the others lend fair support.

Remo D’Souza’s direction is found lacking in the first half but he gets hold of things after interval when the drama becomes intriguing. However, he has not been able to make a sleek and high-on-style film like the first two Race films. That is a major minus point. Music is good but there’s not a single super-hit song which a thriller of this canvas should’ve had – and that’s another minus point. The ‘Selfish’, ‘I found love’, ‘Heeriye’ and ‘Party chale on’ are quite well-tuned; the ‘Allah duhai hai’ number, which has been part of earlier Race films too, is the best song. The songs appeal more in the mashup during the end rolling titles. The songs have been composed by Meet Bros., JAM8, Vishal Mishra, Vicky-Hardik, Shivai Vyas, Ali Jacko, Jayanta Pathak and Gurinder Seagal. Lyrics (by Kumaar, Salman Khan, Shabbir Ahmed, Shloke Lal, Hardik Acharya, Shanky, Shivai Vyas, Kunaal Verma and Rimi Nique) are routine. Song picturisations (by Remo D’Souza, Rahul Shetty and Kruti Mahesh) are eye-filling and lavish but the look and feel of all the songs is similar. Salim-Sulaiman’s background music is impactful. Ayananka Bose’s cinematography is grand. Action scenes and stunts, choreographed by Anl Arasu and Thomas Struthers, are exciting and often breathtaking. Rajnish Hedao’s production designing is grand. Steven Bernard’s editing is slick. Conversion in 3D is nice.

On the whole, Race 3 is saved because of an engaging post-interval portion. Despite the terribly dull first half, it will do decent business. Since its cost of production has already been recovered from sale of non-theatrical rights, shares from India and Overseas theatrical revenues will be good enough to generate handsome profits to the producers. But those distributors, who have acquired the rights at very high prices, would lose a small part of their investments. It will definitely not qualify as a box-office hit because of the poor pre-interval portion. Collections on second day (Eid) and third day (post-Eid; Sunday) will be phenomenal.

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Reliance Entertainment, Eros International and Phantom’s Bhavesh Joshi Superhero (ua) is, as the title suggests, a superhero film. However, the superhero does not have superpowers as in many other superhero films.

Siku or Sikandar Khanna (Harshvardhan Kapoor), Bhavesh Joshi (Priyanshu Painyuli) and Rajat (Ashish Verma) are close friends who decide to raise their voice against corruption. They post videos of theirs on the Internet, with their faces covered, uncovering corrupt government officers. Soon, they begin to unearth the manipulations of the water mafia. Private water suppliers, working in cah­oots with the authorities, fill their coffers by selling the water meant for the public for free, after creating a water shortage.

Soon, the corrupt police officers, department officers and the water mafia people have Bhavesh Joshi killed because he is at the forefront of the expose. Guilty about being a silent spectator towards the end, while his friend, Bhavesh, fought to expose corruption, Siku now takes it upon himself to avenge his bosom pal’s murder and expose the rot that has spread in the water mafia scam.

Masked to hide his identity, Siku operates under the name of his dead friend and spreads terror amongst the water mafia. The mafia kingpin, Rana (Nishikant Kamat), and the other corrupt officers are at their wits’ end to understand who this Bhavesh Joshi is who is exposing their evil deeds and themselves. By the by, Siku alias Bhavesh Joshi realises that the water mafia is planning something terrible.

What is the mafia’s plan? Is Siku able to abort it? Does he succeed in exposing the water mafia?

Vikramaditya Motwane, Anurag Kashyap and Abhay Koranne have penned a story in a fashion which makes it appear childish. Besides, the concept of water mafia will not be understood universally. The audiences in the big cities will be able to comprehend the concept of water mafia but the same may not be true for other places. Again, the issue of water mafia has been dealt with in a way that it would appear as if the water mafia is capable of exploding nuclear bombs and annihilating all living beings on earth!

The trio’s screenplay is as shoddy as the story. There is not a single scene which offers thrill or excitement to the viewers. Besides, the pace of the drama is so slow that it actually gets on the viewers’ nerves and tests their patience. Another major drawback is that the one playing the superhero (Harshvardhan Kapoor) is yet to be accepted as a hero by the public! After the disastrous fate of his debut film, Mirzya, to cast Harshvardhan Kapoor as a superhero (never mind that he has no superpowers in the film) is rather ridiculous because it rests on the belief that the paying public would accept as a superhero, someone who is yet to be accepted as a hero!!

The audience’s sympathy never really goes to Siku because his character is far from endearing. The screenplay only complicates matters because despite the noble work of the three friends, the public is shown to be against them – never mind if this public sentiment is manipulated by interested people. Of course, there are no genuine well-wishers visible because nobody knows who the three friends are, due to their hidden identities. This kiddish behaviour of the three friends is one more example of the kiddish scripting by the trio. A film with this kind of a subject ought to have inspired a feeling of pride and patriotism in the viewers but that simply doesn’t happen. Even the climax fails to give the audience a feeling of achievement or purpose. The trio’s dialogues are dull. There’s one scene between Siku and friend Rajat, in which the latter reminds the former that he (Siku) is not a hero; and Siku replies that he knows it that he (Siku) is not a hero. This dialogue rings true for the actor playing Siku, in real life – because, as mentioned above, Harshvardhan Kapoor has not yet been accepted as a hero, by the public.

Harshvardhan Kapoor is a fairly good actor and acts reasonably well but his performance just does not have any impact because the character and role needed an actor with a fantastic hero image. Also, Harshvardhan Kapoor should understand that he needs to look good, handsome and desirable for him to become a darling of the masses. Like in his debut film, he looks unkempt and often unclean in this film, which will prove detrimental to his own career. Realistic looks, with cuts and knashes on his face, can wait till after he finds acceptance! Shreiyah Sabharwal gets hardly any scope in the role of Sneha. Her performance is ordinary. Priyanshu Painyuli is good as Bhavesh Joshi. Ashish Verma shines as Rajat, with a supremely natural performance. Nishikant Kamat, as Rana, makes an impact in a long speech he makes towards the end. Pratap Phad has his moments as Patil. Chinmayee Mandlekar leaves a lovely mark as Jadhav. Hrishikesh Joshi (as Mhatre), Pabitra Rabha (as Thapa), Suhas Palshikar (as Barve), Harsh Vardhan (as the passport policeman), Ganesh Divekar (as the constable), Ashish Warang (as the beat chowky policeman) and the rest provide fair support.

Vikramaditya Motwane’s direction is below the mark. He has simply failed to bring the thrill element into the superhero story. Also, his narration is slow-paced when it should’ve been racy. Another flaw in his direction is that he has not made a single protagonist’s character so endearing or likeable that the public would root for him or feel bad in times of his misery. Music (Amit Trivedi) is a mixed bag. The ‘Chyawanprash’ song is appealing whereas the other songs are ordinary. Amitabh Bhattacharya’s lyrics are nice. Uma-Gaiti’s choreography is fair. Amit Trivedi’s background music is ordinary. Siddharth Diwan’s cinematography is okay. Action scenes, composed by Cyril Raffaelli, Sebastian Seveau and Vikram Dahiya, are alright but not very thrilling. Aditya Kanwar’s production designing is so-so. Bunty Bhansali’s editing is loose.

On the whole, Bhavesh Joshi Superhero is such a disastrous fare that it will be rejected outright by the audience.

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Balaji Telefilms Ltd., Anil Kapoor Films & Communication Network and Saffron Broadcast & Media Ltd.’s Veere Di Wedding (A) is the story of four bold and modern girls who are very close to one another. The four – Kalindi (Kareena Kapoor Khan), Avni (Soham K. Ahuja), Sakshi (Swara Bhaskar) and Meera (Shikha Talsania) – have been childhood friends are are now leading their own lives.

Kalindi has been in a steady relationship since some years with Rishabh (Sumeet Vyas). She has had a traumatic childhood because of her parents’ (Kavita Ghai and Anjum Rajab Ali) constant fights. Her dad, Kishan, had remarried after her mother’s demise and although Kalindi can’t stand her stepmother, Paromita (Ekavali Khanna), she has feelings for her father, something which her paternal uncle, Cookie Chacha (Vivek Mushran), doesn’t approve of because the two brothers are sworn enemies.

Avni is a family court lawyer whose single mother (Neena Gupta) is constantly trying to convince her to get married to a suitable boy and settle down in life but Avni hasn’t found that perfect boy. Sakshi is married to Vineet (Suraj Singh) whom she now hates with a vengeance. She has returned to India after walking out on him and is currently staying with her parents (Babla Kochar and Bubbles Sabharwal). She smokes like a chimney, drinks alcohol like a fish drinks water, and uses swear words at the drop of a hat. She wants to divorce Vineet.

Meera is married to John (Edward Sonnenblick) who is a foreigner trying to learn Hindi. They have a two-year-old baby boy. Meera is not on talking terms with her guardian, her paternal uncle (Jitpreet Gill), because he has not accepted John as part of the family.

The four childhood friends meet once again for Kalindi’s marriage with Rishabh. But the marriage itself is called off by the overly sensitive Kalindi when she can’t handle the crazy wedding celebrations, planned by Rishabh’s extra-loud family. Kalindi had all along wanted a simple wedding.

After the break-up between Kalindi and Rishabh, the former is unable to erase him out of her memory. As for Rishabh, he has to deal with the break-up as also with the imprisonment of his father (Manoj Pahwa) in cheque-bouncing cases. During the wedding celebrations of Kalindi and Rishabh, Avni meets Bhandari (Vishwas Kinni), an eligible bachelor, who does all under his command to woo her. In her drunken stupor, Avni even spends a night in bed with Bhandari.

What happens finally? Does Kalindi make up with Rishabh and marry him? Does Avni find herself a suitable boy? Does Sakshi divorce Vineet or do the two of them kiss and make up? Does Meera’s paternal uncle accept John?

Nidhi Mehra and Mehul Suri have written a very bold subject in which all the four lead characters – Kalindi, Avni, Sakshi and Meera – speak their hearts out in the most colourful lang­uage. The duo has broken many norms of Hindi cinema, in their characterisations because in her own way, each of the four ladies is irreverent, unabashed, bold and even shameless. The four ladies are a far cry from the leading ladies we’ve seen in Hindi films and, therefore, they will shock the orthodox audiences. No doubt, the youngsters will accept the characterisations because one does get to see girls of the kind portrayed in the film but it must be added here, showing all of them so unabashed is a bit too much for the orthodox audience. The objectionable part for the orthodox viewers is that the girls, more often than not, encourage one another to put their ‘worst foot’ forward. Of course, the youth, especially the city-bred youth, will go with the characters and accept them for what they are. They will simply go berserk over the four-letter words mouthed by the A-list heroines, that too, with such flourish.

The duo’s screenplay is targeted at the youngsters but it is disjointed. The connection between Kalindi’s break-up with Rishabh and her traumatic past looks contrived. Also forced are Kalindi’s crazy reactions to the overtly warm and gregarious family mem­bers of Rishabh and to the loud wedding celebrations. Since such loud and colourful as well as crowded wedding celebrations are the norm rather than the exception in India, the orthodox audience will not be able to empathise with Kalindi. Some scenes are too bold for the Indian audience to digest on the big screen. An example of this is Sakshi’s vibrator scene.

But on the plus side, the two writers have remained true to the characters and have not tried to please all classes of audience or all strata of society. The film may be too bold but the writers haven’t even once tried to balance their script – they’ve written a drama which their characters can be expected to be involved in. So, the honesty of the writers needs to be lauded. Climax is hurried. Overall, the second half is better than the first half.

The duo’s dialogues, replete with four-letter words, will greatly appeal to youngsters and city audiences. The adults certificate of the film will keep a part of the target audience (between 12 and 18) away from the film.

Kareena Kapoor Khan looks gorgeous and acts with effortless ease, slipping into the character of Kalindi beautifully. Her costumes are very hep and enticing. Sonam K. Ahuja also looks very pretty and plays Avni cutely. Her costumes are a treat to the eyes. Swara Bhaskar is terrific as Sakshi and plays the foul-mouthed lady so wonderfully and so freely that it’s sheer delight to watch her. Shikha Talsania is supremely natural and effortless in the role of Meera. Sumeet Vyas is endearing as Rishabh. His acting is very realistic. Neena Gupta lends lovely support as Avni’s mom. Vishwas Kinni provides excellent support as Bhandari. Ayesha Raza is wonderful as Rishabh’s mother. As his father, Manoj Pahwa is good. Vivek Mushran has his moments as Cookie Chacha. Anjum Rajab Ali leaves a mark as Kalindi’s dad. In the brief role of her mother, Kavita Ghai is quite good. Ekavali Khanna leaves a mark as Kalindi’s stepmother. Suraj Singh (as Vineet) and Ishwak Singh (as Nirmal) stand their own. Alka Kaushal (as Santosh aunty), Sukesh Arora (as Keshav), Edward Sonnenblick (as John), Rayaan Chaudhary (as Kabir), Bubbles Sabharwal (as Sakshi’s mom), Babla Kochar (as Sakshi’s dad), Jitpreet Gill (as Meera’s paternal uncle), Kashish Kanwar (as younger Kalindi), Muskaan Khubchandani (as young Avni), Muskaan Malhotra (as young Sakshi), Smriti Setya (as young Meera), Vandana Chopra, Geeta Sudan and Vani Grewal (all three as aunties) are adequate.

Shashanka Ghosh’s direction is fairly good. Although he has adopted a fast-paced narrative style, he could’ve made a more seamless film, flowing freely from one scene to another. Nevertheless, credit is due to him for making such a bold film with such conviction. Music (Vishal Mishra, Qaran, Shashwat Sachdev and White Noise) is good and it will appeal to the youth. The ‘Tareefan’ song is very nice. Lyrics (Anvita Dutt, Qaran, Rupin Pahwa, Badshah, Shashwat Sachdev, Shellee, Gaurav Solanki, Raj Shekhar and White Noise) are appropriate. Choreography by Farhan Khan (for ‘Tareefan’), Feroz Khan (for ‘Pappi le lon’ and ‘Bhangda’) and Karishma Chavan (for ‘Veere’) is appealing. Arijit Datta’s background music is reasonably good. Sudhakar Reddy Yakkanti’s cinematography and Jayakrishna Gummadi’s additional cinematography are eye-filling. Pria Ahluwalia’s production designing and Vijay Ghodke’s art direction are of a fine standard. Shweta Venkat Mathew’s editing is crisp.

On the whole, Veere Di Wedding has taken a flying start and it will keep everyone smiling despite the fact that a section of the audience will be critical of the content. In commercial terms, this one will turn out to be a richly rewarding proposal.

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Zee Studios, Kyta Productions and JA Entertainment’s Parmanu – The Story of Pokhran is based on a true story about how India became a nuclear state after covertly building nuclear bombs and testing them in Pokhran desert in Rajasthan in record time and while not letting the world know till finally, the explosions were carried out. The story begins in 1995.

Ashwath Raina (John Abraham) is an IAS officer who feels that India should become a nuclear power but since he is too junior, his seniors poke fun at his idea. However, one of the seniors sees an opportunity to gain brownie points by hijacking Ashwath’s idea and presents it to the prime minister without going through the whole plan. After the PM gives his nod, the plan execution begins in Pokhran (Rajasthan) but since only part of the plan has been taken up for implementation, it hits a roadblock. Worse still, Ashwath is blamed for the faulty plan and suspended from his job. The fact is that the roadblock was not because of a faulty plan but because of the careless execution of the plan without reading Ashwath’s plan in entirety.

Three years later, the new chief secretary to the Prime Minister, Shukla (Boman Irani), appoints Ashwath to head the team which will restart the nuclear work in Pokhran. Taking the code name of Krishna, Ashwath appoints his five Pandavas – five accomplished persons in various fields – Dr. Viraf Wadia (Aditya Hitkari), Major Prem (Vikas Kumar), Dr. Naresh Sinha (Yogendra Tiku), Puru Ranganathan (Ajay Shankar) and Ambalika (Diana Penty) – to help him in making India’s first nuclear bombs. Dr. Viraf Wadia is given the code name of Yudhishtir, Major Prem becomes Bheem, Dr. Naresh Sinha is Arjun, Puru Ranganathan becomes Sehdev, and Ambalika is Nakul. Since the operation is covert, the team can work only during blind spots – when no satellite is crossing India in the skies. Sehdev (Puru Ranganathan) monitors the satellite movements while the others work on the field with workers.

There is a Pakistani spy (Darshan Pandya) in Pokhran, who works in tandem with an American scientist (Mark Bennington). The two soon realise that some serious activity is going on in Pokhran, and the American scientist even informs the lab in the USA about the nuclear experimentation being carried out in Pokhran.

How Krishna (Ashwath Raina) succeeds against all odds and ultimately carries out the first nuclear explosions in India is the crux of the story. It was after these nuclear tests in May 1998 that India came to be known as a nuclear state in the world.

The story is based on true-life incidents and although people are aware of the Pokhran nuclear blasts, not many know of the trying circumstances under which Indian scientists worked to make them possible. Saiwyn Quadros, Sanyukta Chawla Shaikh and Abhishek Sharma have written an interesting story which has a good dose of patriotism and human drama. Since the story is about the honour of India and involves making an ass of the Americans, the audience enjoys it even more. The trio’s screenplay is well-written and moves at such a fast pace that it hardly gives the viewers a chance to think. There are some shortcomings – like, for instance, the five Pandavas don’t get as much scope as one would expect in a film about team work; or the track of the Pakistani spy working with the American scientist is not as strong or forceful as it should’ve been – but they don’t take away from the inherent strength of the drama. The best part of the screenplay is that it keeps you rooting for Krishna and his team. Further, there are such tension-ridden moments in the drama that they offer nail-biting thrill to the audience. The trio’s dialogues are excellent and so crisp that the drama never becomes too verbose or boring.

John Abraham acts very well and looks like a man of complete integrity. Boman Irani is first-rate as Shukla, chief secretary to prime minister. Diana Penty performs ably in the role of Ambalika (Nakul). Anuja Sathe is excellent as Ashwath’s wife. She looks attractive too. Yogendra Tiku is splendid as Dr. Naresh Sinha (Arjun). Aditya Hitkari is endearing as Dr. Viraf Wadia (Yudhishtir). Vikas Kumar makes his presence beautifully felt in the role of Bheem. Ajay Shankar is rather cute in the role of Puru Ranganathan (Sehdev). Darshan Pandya is quite nice as the Pakistani spy and he leaves his mark. Mark Bennington is okay as the American scientist in Pokhran. Master Arush Nand (as Prahlad Raina), Pra­vina Deshpande (as Ashwath’s mother-in-law), Anil Rastogi (as Ashwath’s father-in-law), and the rest lend decent support.

Abhishek Sharma’s direction is fair. The best part of his narrative style is that it doesn’t give even one dull moment to the viewers and it instils the spirit of patriotism in the audience. However, he could have given more scope to the other team mates and that would’ve made a big difference. Sachin-Jigar’s music does not comprise hit songs but the tunes are rustic and appealing. Lyrics (Sachin Sanghvi and Vayu) are in synch with the mood of the film. Sandeep Chowta’s background music (Sachin-Jigar have scored the background music in the flag-hoisting scene) is lovely. Cinematography by Zubin Mistry, with additio­nal cinematography by Aseem Mishra, is very good. Amar Shetty’s action and stunts are realistic. Production designing (by T.P. Abid and Sandeep S. Ravade) is nice. Rameshwar S. Bhagat’s editing is very sharp. Production values are below the mark.

On the whole, Parmanu – The Story Of Pokhran is a fair entertainer which has patriotic flavour and good drama as two major plus points. But lack of promotion is a dampener which will not let the film realise its full potential. Yet, it will prove an earning proposal. Collections will pick up in the weekend due to positive word of mouth.

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Junglee Pictures and Dharma Productions’ Raazi (UA) is the story of Sehmat, a young and innocent college-going girl from India.

Sehmat Khan’s (Alia Bhatt) father, Hidayat Khan (Rajit Kapur), works as a secret service agent for the Indian government. He is friends with Pakistan’s Brigadier Syed (Shishir Sharma). When Hidayat learns that he has only a few days left to live because of a tumour detected in his lungs, he asks his daughter to carry on with his work of a secret service agent. Towards this end, he fixes Sehmat’s marriage to Brigadier Syed’s son, Iqbal Syed (Vicky Kaushal). Before the nikaah, Sehmat is trained by Khalid Mir (Jaideep Ahlawat) so that she could become adept at all things, a spy ought to know, like code language, transmitting information, self-defence etc.

Sehmat comes to Pakistan not just as Iqbal’s wife and Brigadier Syed’s daugther-in-law but also as an Indian spy. While the Syed family thinks, she is a simple and dutiful wife, she is actually passing on incriminating information – that too, from right under the noses of her husband and in-laws. This information, which proves that Brigadier Syed and other Pakistani armymen are planning to attack India, is used by the Indian intelligence. Abdul (Arif Zakaria), an Indian by birth, works in the Syed household in Pakistan. He seems to not be very fond of Sehmat.

Sehmat often goes to the market place where she connects with Indian spies who are under cover. Slowly, Sehmat has to resort to the ultimate for her safety – and this includes trying to murder Abdul, the loyal house help of the Syeds, and Brigadier Syed’s older son, Mehboob (Ashwath Bhatt). And then, the Pakistan government gets information that secret messages had been transmitted to India from the Syed residence. The Pakistan government wants to trace the culprit in the Syed household.

So, is Sehmat now safe in her marital home in Pakistan? Will her husband find out the truth about her? Will Sehmat’s father-in-law get her arrested? Will the Indian government save her? Or will Sehmat die in Pakistan?

The film is based on Harinder S. Sikka’s novel, Calling Sehmat, which itself is based on a true-life story. The spy drama is thrilling and supremely exciting. The story keeps the audience on the edge of their seats, making them skip a heartbeat or two on several occasions. The intrigue and the thrill keep the audiences so engaged right from the word ‘go’ that they would actually not feel like even blinking their eyes. The screenplay, written by Bhavani Iyer and Meghna Gulzar, is equally thrilling and very fast-moving. It has a lot of twists and turns, and the viewers sit in rapt attention, with their eyes glued to the screens. The scenes in which Sehmat risks her life to lay her hands on secret information are breathtaking. The scenes in which Sehmat speaks in code language are extremely interesting as the audience tries to guess what message she is passing on and what message is being passed on to her. The scenes in which she breaks down are heart-rending. The scene in which she confronts Khalid Mir in the climax is so impactful that it shakes the audience. There are some clap-trap moments too in the screenplay. Meghna Gulzar’s dialogues are fantastic and appeal to both, the mind and the heart.

Alia Bhatt’s performance is outstanding. The film rests on her shoulders and she delivers such a commendable performance that she can easily pick up awards for it. She has looked pretty and her acting is mesmerising. If she scares you with her daredevilry, she tugs at your heart strings with her emotional outbursts. Her climax scene with Jaideep Ahlawat (Khalid Mir) is absolutely mind-boggling. Vicky Kaushal gives a bea­utifully restrained performance as Iqbal Syed. He has limited dialogues to mouth and limited scenes too but he does a fine job. Jaideep Ahlawat is first-rate as Khalid Mir. In the scene in which he impersonates a Pakistani armyman, he shows his range as an actor. Rajit Kapur marks his presence in a brief role. Shishir Sharma does a fine job as Brigadier Syed. Soni Razdan lends fine support as Sehmat’s mother. Amruta Khanvilkar lends good support in the role of Sehmat’s sister-in-law. Ashwath Bhatt makes his presence amply felt as Sehmat’s brother-in-law, Mehboob Syed. Arif Zakaria (as Abdul) is terrifying, using his cold stares to great advantage. Aman Vashishth leaves a mark as Nikhil Bakshi. Kanwaljit Singh is decent in a special appearance. Sanjay Suri adds star value in a special appearance. Jairoop Jeevan (as General Beig), Pallavi Batra (as Mitali), Pramod Pathak (as Kabir Murtaza), Simran Sachdeva (as Pallavi Murtaza),Ikatar Singh (as driver Wasim), Navdeep Bandhu (as driver Rafiq), Sima Pari (as Shyama), Gulista Alija (as Salma), Balendar Singh (as driver Ismail), Amol Deshmukh (as Col. Siddiqui), Rajesh Jais (as Sarvar), Veer Samra (as Nafisa), Deepak Saini (as the tailor in Lahore), Syed Rizwan (as the perfume seller), Ankur Tripathi (as Imtiyaz), Sukesh Mishra (as Saadiq), Kanika Dang (as Suraiya Siddiqui), Dharmik Vipul Joisar (as Zain Beig), Hearty Singh (as Anwar Siddiqui), Nilofer Gesawat (as Nazima Beig), Sanjay Gurbaxani (as Commodore Basu), Jogi (as Admiral Nair), Yogesh Sahota (as Siddiqui’s driver) and the others provide the desired support.

Meghna Gulzar’s direction is excellent. She has handled the thriller tautly and with the sensitivity it deserves. Shankar-Ehsaan-Loy’s music is appealing. The ‘Aye watan’ song is very nice and will become more popular. The ‘Dilbaro’ number is also very tuneful. Gulzar’s lyrics are extraordinary. Jay I. Patel’s cinematography is superb. Production designing (by Subrata Chakraborty and Amit Ray) is lovely. Nitin Baid’s editing is very sharp.

On the whole, Raazi is a box-office winner and will keep all concerned very happy. The story, script, direction and, of course, Alia Bhatt, will ensure that people flock to the cinemas.

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