Rafoo Chakkar - Fun on the Run (September 26, 2008)

The sole purpose of making laughathons is to transport you to ha-ha-land for the next two hours. The last few years has witnessed a barrage of comic fares and brainless comedies exploding on the Hindi screen -- some of them genuinely funny, most of them trying so hard to be funny.

Choreographer turned director B.H. Tharun Kumar's RAFOO CHAKKAR is yet another attempt at making you laugh. On paper, the concept had the potential to tickle your funny bone, but its celluloid translation is a put-off. Sure, you smile at the inane jokes at places, but the second hour falls to abysmal levels.

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Problem area? Scripting! Writer Ikram Akhtar's screenplay fails to maintain consistency from start to end. Everything's well laid out in the initial portions. In fact, the sequence of events that compel the lead men, in their early 20s, to marry women almost double their age keeps you entertained. But post-interval, the screenplay gets boring and humdrum. Sure, no one's asking for logic and common sense, but how about jokes, entertainment and amusement?

Munnu [Aslam Khan] and Pappu [Yudhishtir] are spoilt brats. Julie [Nauheed Cyrusi] and Millie [Nisha Rawal] are equally spoilt. In fact, all four are not interested in getting married and when forced by their respective fathers, run away from their respective homes.

While on the run, Munnu and Pappu meet and get attracted to Julie and Millie, not realizing that they are the same girls with whom their father [Ananth Mahadevan] had fixed their marriage. Another twist comes in the story when Julie and Millie are saved from a bunch of hooligans by Kokila [Archana Puransingh] and Koena [Mita Vashisht], two middle-aged sisters who hate men and never want to get married.

Kokila and Koena's father, who is on his deathbed, wants to see them married. He even incorporates a clause in his will that if they don't get married before they turn 45, the property should go to the trust. Kokila and Koena have only 24 hours to find the boys, get married and save their property because they turn 45 the very next day.

Munnu and Pappu land up at Kokila and Koena's house to rob them, but get overpowered by the sisters. This leads to their arrest and eventually marriage to the two sisters. All hell breaks loose.

Very few comedies have the ability to make you smile from start to end. That's one of the reasons why most comedies have proved tragedies this year. A joke here and a gag there isn't enough. And no director or actor, howsoever skilled and proficient he/she may be, can rise beyond the script. B.H. Tharun Kumar's direction falters for this reason. You do smile at times, but it has more to do with the witty one-liners [dialogues: Raghuvir Shekhawat] than the situations in the storyline.

On the music front, the title track at the start is foot-taping and well executed, but the absence of promotion takes its toll. K. Rajkumar's cinematography is passable.

Aslam Khan makes a sincere attempt. He seems more confident this time. In fact, his comic timing, at places, is just right. Yudhishtir tries hard as well and does reasonably well, but the rawness shows at several points. He needs to work on his expressions. Nauheed Cyrusi acts well, but Nisha Rawal has a long way to go.

Archana Puransingh is in comfort zone, since she's not new to comedy. But, surprisingly, Mita Vashisht looks out of place. Shakti Kapoor and Sadashiv Amrapurkar are wasted. Tinnu Anand is the best of the lot. Ananth Mahadevan is good.

On the whole, RAFOO CHAKKAR is a lacklustre attempt.

Jaane Tu... Ya Jaane Na (July 4, 2008)

Two decades ago, the Mansoor Khan-helmed QAYAMAT SE QAYAMAT TAK, starring two newcomers [Aamir Khan, Juhi Chawla], focused on teenage love, with parental opposition acting as an obstacle. The story wasn't new, but the treatment was fresh and inventive. QSQT remains one of the finest reference films in this genre and rightly so!

JAANE TU… YA JAANE NA is a love story as well, but it's more of an Archie-Jughead-Veronica-Betty kind of a plot, set in the current milieu. We witnessed a gist of it a few years ago in the Shahid Kapur launch pad ISHQ VISHK.

JAANE TU… YA JAANE NA doesn't dare to be different. Basically a simple tale about a group of friends, it focuses on one couple that's in love, but is in a state of denial. Haven't we watched similar love stories in the past, you may ask. Sure, we have, but the execution of the subject makes all the difference.

Large portions of JAANE TU… YA JAANE NA have been executed well by debutante director Abbas Tyrewala, but the problem lies in the second hour when the film gets lengthy and also, a few tracks throw a spanner in the otherwise smooth proceedings. Even the climax, although well shot, is passé [very filmy in an otherwise real film], since a number of films have had similar endings.

Yet, despite the shortcomings, JAANE TU… YA JAANE NA works for a number of solid reasons and that's what the viewer carries home. A decent fare that takes you back to your adolescence, when friends seem to be the be-all and end-all.

Jai [Imran Khan] and Aditi [Genelia] are buddies. In fact, they hang out with their group of friends, but have eyes for each other only. Their friends know that Jai and Aditi are perfect for each other. Their parents know this as well. Everybody knows this. But the couple doesn't. So when do they realize its love?

Don't expect fireworks or melodrama in this prem kahani. It's an extremely simple, uncomplicated tale that never goes over the top. The bonding amongst friends is well established. So is the relationship that Ratna Pathak Shah shares with her deceased husband's portrait [reminds you of Ashok Saraf-Priya Tendulkar relationship in the popular comedy show HUM PAANCH].

Besides, the two [popular] songs that come in the initial reels -- 'Kabhi Kabhi' and 'Pappu Can't Dance' -- only spice up the proceedings. The arrival of the 'third angle' in this love story [Manjari Phadnis] is perfect. Everything is faultless in the first hour.

But the second hour lets you down. The Ayaz-Genelia relationship is, again, well developed, but the second hour gets a tad lengthy. But what looks completely out of place in this light and breezy entertainer is the Rajput connection and how it saves the lead man from the cop [Paresh Rawal]. This track irritates!

Also, the climax, set in an airport, is beaten to death. There's no novelty in it, since we've seen the same ending in film after film.

Abbas Tyrewala has the makings of a fine director. A.R. Rahman's music is already a rage and the two songs at the start are superb compositions. Cinematography is excellent.

Every member of the cast stands out, but the film belongs to Imran and Genelia. Imran has been presented as the boy-next-door and that works in his favor. He has screen presence and acts very well for a first timer. Most importantly, he looks the part. Genelia adds freshness to her scenes. What makes you take to Genelia is her spontaneity. Also, the mischievous look in her eyes conveys sorrow with equal ease. Wish to see more of her in Hindi movies! Manjari is a complete natural. She is very effective.

The group of friends -- Karan [as Rotlu], Alishka [as Bombs], Nirav [as Jiggy] and Sughanda [as Shaleen] -- are excellent. Each compliments the other well. Ratna Pathak Shah is highly competent. Jayant Kripalani and Anuradha Patel [as Genelia's parents] are sweet. Pratiek Babbar [as Genelia's brother] springs a pleasant surprise. He is flawless in an unconventional role. Ayaz Khan [as Genelia's fiancé] registers a strong impact. A good actor!

Rajat Kapoor and Kitu Gidwani [as Manjari's parents] are fair. Naseeruddin Shah is in terrific form. Paresh Rawal, again, is wonderful. Arbaaz Khan and Sohail Khan irritate, mainly because the roles don't work.

On the whole, JAANE TU… YA JAANE NA is a breezy entertainer which will be loved by its target audience -- the youth. At the box-office, business at multiplexes should ensure a speedy recovery for this moderate budget film. A profitable venture!

Love Story 2050 (July 4, 2008)

LOVE STORY 2050 has elicited tremendous response for varied reasons…
* One, its one-of-its-kind sci-fi fare, with a big chunk of footage devoted to VFX.
* Two, the pre-release hype, the frenzy in the media, the various tie-ups/endorsements has kept LOVE STORY 2050 constantly in news.
* Three, LOVE STORY 2050 marks the debut of Harman Baweja, one actor who has been lapped up by industry bigwigs even before his debut vehicle has hit the screens. It's a hi-profile launch.

From the looks of it, LOVE STORY 2050 demands a dekho, but there's a hitch…
Special effects -- for that matter the trappings used to embellish a movie -- work only if a movie has a rock-solid base: Content. Unfortunately, LOVE STORY 2050 gives more preference to special effects, while the writing takes a complete backseat.

There's no denying that Harry Baweja's intentions are genuine and noble, but, seriously, did the veteran get carried away by special effects? No doubt, the basic idea sounds interesting and the viewer would love to be a participant in this time-travel film, but what comes across is amateurish.

Given a title like LOVE STORY 2050, the film ought to evoke strong emotions, mainly towards the second hour, when the lead man has a tough time convincing his lady-love. But technical wizardry and VFX dominate this hour, while the emotional moments fail to evoke any reactions. Actually, your heart does not pine for the lovers and that's why this love story hardly creates any impact.

The silver lining is -- you've guessed it -- Harman Baweja. You may compare him with Hrithik Roshan [in terms of looks]. You may find his dialogue delivery similar to that of SRK. But the guy is a lambe race ka ghoda. Ranbir Kapoor now has tough competition. It's Harman Baweja, the new flavor of the season!

Karan [Harman Baweja], a young, spirited, sporty boy lives life off the rules, while Sana [Priyanka Chopra], a petite, shy girl lives life by the rules. Opposites attract… and love blossoms. Karan's uncle, Dr. Yatinder Khanna's [Boman Irani] much developed time machine finally works. Sana expresses her wish to travel ahead in time to Mumbai. But there's an accident…

Mumbai 2050. Flying cars, 200 storey buildings, robots and sky rails have changed the face of Mumbai. Through a series of twists and turns, Karan finds himself separating from his love. Meanwhile, Dr. Yatinder and Karan are under threat from Dr. Hoshi.

You are mesmerized by the initial scenes in LOVE STORY 2050. And it's not the script that hooks and magnetizes you. Harman's skills as an actor and also a gymnast [watch him give the firangs a chase] makes you speechless. Note the cycle chase [wow!] or Harman wooing Priyanka on a roller coaster [superb… you sure have guts, Harman]. The film works in this hour because the chemistry between the lead actors is also piping hot.

But things go downhill in the post-interval portions. What takes precedence are special effects, robots, gizmos, the masked villain… In this melee, the writing is put on the backburner.

Director Harry Baweja is letdown by the script. The idea is exciting, but what comes across is off-putting. Anu Malik's music is tuneful. 'Sach Kehna' and 'Milo Na Milo' stand out, also because Harman's dance movements are exceptional [kudos to the choreographer]. Cinematography [Vijay Arora] is first-rate. Sound quality [Dwarak Warrier] is top class. Dialogues [Mayur Puri] suit the mood of the film. Sets [Omung Kumar] deserve special mention. They're truly imaginative! Special effects are topnotch, matching international standards. Costumes and styling are avant garde.

Harman Baweja has the potential to be a major star, a front-runner. No two opinions on that! He's an exceptional dancer and looks handsome as well. But most importantly, he knows the grammar of acting well. Watch out for this kid! Priyanka Chopra is immensely likable. She suits her part to the T. Boman Irani is efficient. Archana Puransingh is lovable. The kids don't contribute at all.

On the whole, LOVE STORY 2050 rests on a thin plot and that would curtail its reach to a major extent. Disappointing!