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!

Thoda Pyaar Thoda Magic (June 27, 2008)

A film like THODA PYAAR THODA MAGIC makes you nostalgic. It takes you back to the light-hearted, feel-good cinema made by directors of calibre like Hrishikesh Mukherjee and Basu Chatterjee. The focus was on narrating a simple story. A movie that put a smile on your face even if you walked in with a frown.

THODA PYAAR THODA MAGIC does exactly that!

Strangely, for some reason, the film lacks the hype associated with a biggie. Perhaps, the string of flops the premiere production house [YRF] churned out, indirectly, took a toll on this movie. But THODA PYAAR THODA MAGIC should reverse the trend.

A bit of MARY POPPINS. A dash of THE SOUND OF MUSIC. A sprinkle of ENCHANTED. THODA PYAAR THODA MAGIC may not be the most original script, but the sweet and tender moments in this enterprise elevate it to a watchable status.

That Kunal Kohli is a fine storyteller has already been proved [HUM TUM and FANAA were accomplished works]. Now watch him handle a simple, uncomplicated story with dexterity and you'd agree, Kunal has only matured with time.

To put a long story short, THODA PYAAR THODA MAGIC is a simple story, well told. It's one of those films you'd enjoy watching with your family, without feeling embarrassed or red-faced. It's sure to put a smile on your face when you exit the auditorium, which, frankly, is a rarity these days!

Ranbeer [Saif Ali Khan], a leading industrialist, is a loner, not by choice, but because he lost everyone he ever loved. He is now faced with a peculiar and uncomfortable situation. In a rare and landmark court verdict, he is to look after four orphan children. The orphans hate him and want revenge from him. The children do not want to live with a man they hate; he too cannot face them or look them in the eye for certain reasons. Their life together is very unhappy.

One day, the kids pray to God for help and He does help them. He sends his most mischievous, childlike, lovable angel to the rescue, with a mission to bring Ranbeer and the kids together. Geeta [Rani Mukerji] comes bicycling down a rainbow… and bursts into Ranbeer's house as the self-proclaimed new nanny.

And then starts the roller coaster ride of fun, emotions, magic and love. An angel who doesn't know what love is. A man who always lost love. Four orphans who need love.

Kunal Kohli opens the cards at the very outset. The car accident and the subsequent court judgment set the story in motion. But the first half isn't without its share of flaws. The pranks played by the kids to harass Saif fall flat. They're anything but funny most of the times. Ameesha's character is another sore point. Actually, the film could've done without this irritating character.

However, Rani's entry in the story adds magic to the goings-on. Her interaction with the kids and how she eventually wins them over is enjoyable. The kids, of course, are the actual heroes of this enterprise, but more on that later.

It's the second hour that takes the film to a different level. How Saif bonds with each of them and the turning point, an incident that makes the kids see Saif differently, is simply excellent. Ditto for the finale, which may seem Bollywoodish, but you don't mind it.

Kunal Kohli has worked with the best of stars [Aamir, Saif, Hrithik, Kajol, Kareena, Rani], but the real test is to extract performances from four unknown kids and that's where he deserves brownie points. It's easy to handle grown-ups, but kids can be really tough. Also, Kunal doesn't [thankfully] make the proceedings melodramatic with rona-dhona thrown in to make it a perfect 'family film'. The emotions are subtle, but nonetheless move you.

Shankar-Ehsaan-Loy's music is a letdown, barring just one track, 'Pyaar Ke Liye'. Sudeep Chatterjee's cinematography is perfect. The effects are eye catching at times.

Saif fits into the sauve millionaire part [Richie Rich - the poor little rich guy?] very well. And the best part is, he never 'acts'. He's a complete natural! It's a pleasure to watch Rani in a role that does justice to her talent. She's lovable. But why is she sporting the same outfit throughout? Ameesha doesn't work, mainly because her role looks like an add-on. And what is she wearing throughout the movie? But she sizzles in the 'Lazy Lamhe' track.

The four kids are adorable. Each of them is terrific, but the one who's bound to walk away with taalis is the cute Sikh kid called Iqbal. Watch him break into the 'Main Nikla Gadi Leke' song from GADAR; it's bound to bring the house down. Rishi Kapoor is likable in a cameo. Taraana is okay.

On the whole, THODA PYAAR THODA MAGIC is a simple story told very effectively and efficiently. At the box-office, it may be a slow starter, but should gradually gather momentum with a strong word of mouth. Business at multiplexes will be the best.

Go watch it, it's a treat for your entire family!