DABANGG MOVIE WALLPAPERS

SALMANN KHAN , SONAKSHI SINHA IN DABANGG MOVIE WALLPAPERS

Sonakshi Sinha, daughter of Shatrughan Sinha IN HER DEBUT FILM DABANGG HINDI MOVIE HIGH QUALITY DESKTOP WALLPAPERS

LAFANGEY PARINDEY MOVIE REVIEW

Cast: Deepika Padukone, Neil Mukesh

Direction: Pradeep Sarkar

Producer: Yash Raj Films

Genre: Drama/ Romance

Release date:20 August 2010

Rating:

Lafangey Parindey Hindi Movie Review:

Only a Mumbaikar who takes that crowded local train everyday to work, dances on Nashik Dhol, Lezim taasha during Ganapati festival, plays the dandiya in Navratri and does the popular Govinda dance during Dahi Handi knows where the beauty of his city lies. It does not lie in malls, multiplexes and any form of modernisation that Mumbai is often associated with. It lies in its Mumbaiyya culture, created by its real inhabitants who predominantly reside in sprawling chawls and match box sized flats rather than palatial sea facing bungalows. Pradeep Sarkar pans his camera on these gritty streets and gullies of Mumbai and tells a simple tale of two free-spirited youngsters who believe nothing is impossible.



Story and Movie Analysis:

Popularly known as One Shot Nandu, Nandan Kamtekar (Neil Nitin Mukesh) is a small time boxer who beats his opponent in one punch. Though Nandu’s popularity is limited to his locality, it doesn’t limit his dreams. Nandu dreams of stepping into his mentor Anna’s (Kay Kay Menon) shoes. He also dreams of becoming an important member of his godfather Usman’s underworld gang.

Another Tilakwadi resident, a blind Pinky Palkar (Deepika Padukone) too is a dreamer. Pinky is a skater who loves to dance. She thus dances on skates and dreams of becoming a world renowned dancer some day. Pinky curses herself for being born in a lower middle class family but her tapori neighbourhood that fondly addresses her as ‘dance bar’ and ‘Kareena Kapoor of Tilakwadi’ does not bog her down. As fate would have it, a tragic incident brings the two together while their dreams come crashing down. Will the two be able to overcome all odds, fight their destiny and shun the mediocrity they thoroughly despise... forms the story of Lafangey Parindey.

The beauty of the film lies in its simplicity. Sarkar does not get preachy or patronizing in his storytelling in spite of his story being predictable. The portrayal of Mumbai life including the taporigiri showed is not over-the-top. The clothes and even the names of the characters fit the setting. Second half is a bit of a drag but even then the film never loses its grip. High on emotions, the film is more of a drama but comedy and romance too have their prominence in the script.



Artist Performance:

Deepika Padukone is an apt choice for Pinky Palkar. She looks, walks and talks like a perfect Mumbaichi Marathi Mulgi. She is in fact a revelation as far as her performance goes. As a blind girl who loathes any kind of sympathy coming her way, she is superb. This has to be Deepika’s best performance so far.

Neil too acts exceptionally well. He is restrained and real when he displays all of Nandu’s emotions through his eyes. Nandu’s inner conflict with his biggest regrets and fight to achieve redemption is beautifully portrayed by Neil although the actor falls short of getting into the skin of his character. His stylish clothes, neat and clean accent and fairer than fair complexion, unfortunately fails him.

The supporting cast is superb. The actors who play Chaddi and Diesel are just like your real best friends who would never leave a single chance to pull your leg.



Other Departments:

Music is decent with ‘ Main Lafanga Bada’ by Mohit Chauhan and ‘ Dhatad Tatad’ being the best songs of the lot. Direction and screen play was not bad.



Final View:

Lafangey Parindey is a human tale of risk and loss, and emotional victories. It is a tribute to the indomitable spirit of Mumbai. Watch it for its earnest performances, real characters and sheer simplicity. After churning out letdowns like Tashan, Pyaar Impossible, Dil Bole Hadippa and Badmaash Company, Yash Raj finally gets it right this time.

KHALEJA MOVIE WALLPAPERS

MAHESH BABU IN KHALEJA TELUGU MOVIE WALLPAPERS

AISHA MOVIE REVIEW

Cast :Abhay Deol,Sonam Kapoor,Arunoday Singh,Cyrus Sahukar

Music : Amit Trivedi

Cinematography : Diego Rodriguez

Editing : Sreekar Prasad

Screenplay :Devika Bhagat

Dialogues: Ritu Bhatia,Manu Rishi

Director : Rajshree Ojha

Producer : Anil Kapoor,Rhea Kapoor

Distributed by : Anil Kapoor Film Company,PVR Pictures

Released date : August 6, 2010

Rating:

Aisha HIndi Movie Review:

In a late line from the film, Aisha Kapoor’s father tells her, “ Hum Kapoor hai. Hum zyada sochte nahi. We believe in action ”. This pretty much qualifies as an (unintentional) self-mocking line on producer Anil Kapoor and Rhea Kapoor and actress Sonam Kapoor. Perhaps the Kapoors put this picture into production without much pondering. What starts as a cheerful chick flick sadly ends up being a lame love story. Based on Jane Austen’s novel Emma , the problem with the cinematic adaptation, unlike the book, is that within the first twenty minutes of the film you can predict the last twenty minutes. Which means once the characters are introduced and established, you can easily figure out which girl is gonna fall for which boy by the end, irrespective of all the cross-connections that the narrative attempts to mislead you.

Story And Analysis:

Aisha (Sonam Kapoor) is a sassy Delhi dame who believes she is the best matchmaker in town. With friend Pinky (Ira Dubey), she plans to hook up her new bucolic buddy Shefali (Amrita Puri) with common friend Randhir (Cyrus Sahukar). When things don’t work out, she tries to set Shefali up with another friend Dhruv (Arunoday Singh) until Shefali falls for Arjun Burman (Abhay Deol). So far so good but like in all average love stories Arjun happens to be Aisha’s childhood friend! And abruptly Aisha’s heart starts beating for Arjun.

Seeking the sparkling spirit from chick flicks like Sex and the City, Confessions of a Shopaholic , 27 Dresses , et al director Rajashree Ojha sets the tone of the film correct. With her feminine perspective, the lady director adds a youthful zing to the female bonding, packaging the film with the requisite glitz and glamour. Also what’s amusing is the interesting characterization of Aisha modeled on Austen’s Emma Woodhouse. Aisha deviously dominates her friends, decides for them and (as her friend Arjun mentions) turns them into her Xerox copies. The silliness of her ideas and actions amuse and irritate.

But beyond its slick skin, the movie is weakened by Devika Bhagat’s standard screenplay. Pre-interval the film wanders aimlessly amidst polo matches and river-rafting camps and continues casually post-interval to reach a conventional ending. One can’t overlook the loose ends in the story for its lighthearted storytelling. While the first half is shallow on story, the second half is short on originality. What adds to the clichés is Aisha’s perplexity to profess love out of fear of rejection (a conflict too common) followed by a public declaration of her feelings in the climax (a scene too common).

The romantic chemistry between Sonam Kapoor and Abhay Deol seems nonexistent. You acknowledge them as good friends as the film starts but never realize when cupid has struck in the climax. The jealousy pangs that arouse adoration in Aisha’s mind are conspicuously absent. As a result, you don’t relate to her turmoil.

Artist Performance:

Director Rajashree Ojha succeeds in extracting decent performances from the entire cast. Sonam Kapoor fits the title role to T. Aisha is the most defined role she has essayed so far and Sonam adds spark and soul to it. Even when she irritates with her antics, she is in sync with her character. Abhay Deol as the suave corporate guy adds poise to, both, his character and performance, bringing sanity whenever Aisha goes insane. Amrita Puri as the small-town wannabe is hilarious with her middle-class mannerisms and elite aspirations. At times she overdoes it but still manages to be the scene-stealer. Ira Dubey as Aisha’s best pal is impressive. Cyrus Sahukar plays a loser in love and is funny. Lisa Haydon is plain pinup material. Arunoday Singh tries hard to play the Casanova.

Techincal and Other Departments:

The pace drops drastically in the second half and even Sreekar Prasad’s editing doesn’t save the narrative from dragging. Shefali’s sudden realization towards the climax that she was taken for a ride all-through by Aisha seems a bit too rushed. The supposed romance between Shefali and Arjun is never elucidated. The film concludes with a peppy Punjabi track ( Gall Mithi Mithi Bol ) amidst wedding celebrations much in the vein of the Kawa Kawa number from the finale of Monsoon Wedding . Just that the end fails to have the same gratifying effect like the Mira Nair film.

On the upside, the film is blessed with a brilliant musical score by Amit Trivedi (of Dev.D fame). Also Trivedi’s treatment to the background score is refreshingly different and aptly complements the flavour of the film. The styling by Kunal Rawal and Pernia Qureshi is uber-cool and trendy. Cinematographer Diego Rodriguez imparts colourful richness to the frames. Dialogues by Manu Rishi and Ritu Bhatia are funny at instances but the climactic romantic discourse sounds verbose.

Final View:

A beautiful body but a shallow soul’ is what qualifies for, both, Aisha – the character as well as Aisha – the film. If You are a Big fans of Sonam kapoor , go and watch it for this weekend

DON SEENU MOVIE REVIEW

Film: Don Seenu

Cast: Ravi Teja, Srihari, Shriya, Anjana Sukhani, Shayaji Shinde, Mahesh Manjrekar, Brahmanandam, Ali& others

Story, screenplay: Kona Venkat

Music: Manisharma

Cinematography: Sameer Reddy

Editing: Gowtham Raju

Art: A S Prakash

Produced by: Venkat

Banner: R R Movie Makers

Dialogues and directed by: Gopichand Malineni.

Release date: August 06, 2010

Rating :

Don Seenu Telugu Movie Review :

Story:

As a child, Seenu (Ravi Teja) is fascinated with Amitabh Bachchan’s acting and his especially the star’s role of Don. His sole aim is to become Don; so he changes his name to Don Seenu. His stepmother scolds as he turning into a bad guy that prompts him to run away from home. Years later, he comes to Hyderabad and joins in a gang run by Machiraju (Shayaji Shinde) who wants to on another gang leader Narsing (Srihari). Machiraju sends Don Seenu to Germany to woo Narsing’s sister Deepthi (Shriya), to scuttle her marriage alliance with a big businessman’s (Mahesh Manjrekar) son. Rest of the drama is all about Don Seenu impressing Deepthi (Shriya) and revealing his true side in the end.

Artist Performance:

Ravi Teja brings fabulous energy and entertainment with his interpretation of character. And we never get tired of his kind of comedy. All he needs is an average script to make a film hit. Ravi Teja is excellent in mimicking Amitab Bachchan.
Others: Shriya is seen in a Telugu straight film after a long gap. She is nice. New actress Anjana Sukhani is good in the role of second heroine. Srihari repeats his role after Dhee and King. Mahesh Manjrekar has a spineless role of international don. Ali entertains a lot in the swiss episode though there are double meaning dialogues. Venu Madhav’s comedy episodes are good. Brahmanandam partly entertains in the second half. Brahmaji and Sayaji Shinde are adequate.

Technical and Other Departments:

Story - screenplay - direction: Story of the movie is routine and is of Seenu Vytla’s kind. It has resemblance to Seenu Vytla’s movies like Dhee, Ready and King. Screenplay is nice in the first half, but is messed up in the second half. Debutant director Gopichand Malineni shows promise and succeeds in getting the entertainment scenes right, but fails in narrating the movie in a crisp manner in the second half. There are too many loose ends and uninteresting moments in the second half. However, I liked the following scenes in the movie -
1. The usage of ‘bhavani gang’ term in the kid’s intro scene.

2. Ravi Teja interaction with the pop-up of Amitabh in some scenes.

3. Interval twist

4. Ravi Teja’s performance as a mute guy in the second half.

Other departments: Cinematography by Sameer Reddy is adequate. Dialogues by Kona Venkat are interesting. Music by Mani Sharma is average. So is the background music. No proper care is taken during the post-production process and it shows up. Editing is ok. Stunt sequences are adequate and they look forced.

Analysis:

First half of the movie is entertaining with a nice interval twist. The graph in the second half goes down as the climax progresses. Mute episode is good in the second half. Climax should have been better. The plus points in the movie are Ravi Teja’s performance and entertainment. On the flip side, a better second half would have helped the movie. There are a few double-entendre scenes in the movie. We have to wait and see how it performs at Box Office.

Final View:

If you are expecting typical laughs from Ravi Teja’s film, Don Seenu may seem good timepass. But if you are really looking some ‘kick’ entertainment, this film is not right choice. On the whole, Don Seenu is predictable but the package of glamour, some comedy and action makes it okay. Second half is big letdown.

ONCE UPON TIME IN MUMBAAI MOVIE REVIEW

Cast : Emraan Hashmi,Ajay Devgan,Kangna Ranaut,Prachi Desai Music : Pritam

Written by : Rajat Arora
Cinematography : Raju Khan

Producer : Ekta Kapoor,Sharan Kapoor

Director : Milan Luthria

Distributed by : Balaji Telefilms

Release date: 30 July 2010

Rating:

Once Upon A Time In Mumbaai Hindi Movie Review:

Once upon a time in Hindi cinema there used to be the writer duo of Salim-Javed who induced drama in every scene merely by their metaphorical dialogues. Once upon a time in Hindi cinema there used to be directors like Manmohan Desai and Prakash Mehra, known for their high-voltage sagas, who devised filmi formula, which if not used with the requisite panache, could end up becoming corny clichés. Once upon a time in Hindi cinema there used to be actors of the likes of Amitabh Bachchan and Vinod Khanna who confronted through the intensity of eyes and their synchronized conversations. That time was the retro era of the 70s, the period in which this underworld drama is set. And the film gets the best of the era it revisits, reviving the combined cinematic charm of Salim-Javed, Manmohan Desai and Amitabh Bachchan. Director Milan Luthria recreates the underworld of 70s in Once Upon a Time in Mumbaai with as much glamour and flamboyance as Farah Khan recreated the cine-world of 70s in the retroactive Om Shanti Om . There’s smuggling, cabaret, a Robin Hood don, vintage Mercedes cars, the quintessential Bollywood backdrop, R D Burman overtones in music, dramatic dialogue- baazi and substantial style.

Story and Analysis:

The film presents to you two equally powerful protagonists who are so strongly written charismatic characters that at no point they lose their onscreen heroism. And then it gives you the more difficult task – to choose between these two glorified gangsters. The senior of the two is Sultaan Mirza (Ajay Devgan), a smuggler reigning in the 70s with typical Robin Hood traits to his character. Shoaib (Emraan Hashmi) looks up to Sultaan, trains under him only to go against his mentor to be the undisputed ruler of Mumbai, eventually. The entire film is seen in flashback mode through the eyes of Inspector Agnel (Randeep Hooda) who narrates the upheaval in the underbelly of Mumbai’s crime world from 70s to the 90s.

At the outset, the underworld setting and the basic plot of a senior don being challenged by his protégé might remind of Ram Gopal Varma’s Company , more so with Ajay Devgan playing the same part. But once into the film, you realize that the treatment in Rajat Arora’s screenplay and Milan Luthria’s direction has its individualistic approach and any analogy between the two gangster films are ruled out. Arora’s screenplay moves at a brisk pace to establish the upsurge of Sultaan, introduce the overambitious Shoaib, ascertain the faith of former in latter and concludes with Shoaib’s arrogance taking over. The scenes are short in length, several in number and packed with pulsating drama.

It would be a crime not to mention the theatrical touch that Rajat Arora adds to every second line of the film reviving the golden magic of Salim-Javed. The metaphors in the dialogues are so distinctive of 70s and different from today’s subtlety. Sample some semantic gems like – “ Sher se hall chalaoge to kisaan to marrega hi ”, “ Saari zindagi prasad nahi khaya aur aaj bhagwan hi badal liya ”, “ Ab supari lee hain toh chuna nahi lagaunga ”. Where else do you get to hear lines like these in contemporary cinema! A potential contender for the Best Dialogue Award!

Right from the early action sequence where a train derailment is averted, the film gets on track and sets the tempo right. One can’t deny that Ajay Devgan’s character is loosely modeled on real life gangster Haji Mastan in terms of his Madras origin, pure white dressing, chauffeur-driven Mercedes, smuggling trade, Bollywood connections and political aspirations. Emraan Hashmi’s Shoaib comes from noted underworld don Dawood Ibrahim whose father was also a police constable and connected to Mastan. The fresh chemistry between Ajay Devgan and Emraan Hashmi is a major highlight of the film. Note how the latter aspires to upgrade himself from being a standard smuggler to a sophisticated don – a term still nascent to the era. The pacing is swift and never lets you pause to ponder over what’s already happened. Rather you look forward to what will happen next. The end however seems somewhat abrupt. Also Emraan Hashmi’s tacky item track ( Baburao Mast Hai ) in the second half was absolutely unnecessary.

Artist Performance:

Ajay Devgan is authoritative as the smuggler, suave in his business and as much adorable as the starry-eyed lover of film actress. He glides through the role so effortlessly that you feel he was custom-made for the character. Emraan Hashmi, for once, gets above his loverboy image. In fact much above all his earlier acts, giving a remarkable performance as the aggressive mafia man wanting to take over the city. The rebellious and arrogant streak that he brings in his character is simply brilliant. Randeep Hooda impresses in his extended special appearance as the commanding cop and the imposing base effect that he brings to his voice adds depth to his character. Kangana Ranaut looks gorgeous as the ethereal yesteryear actress Rehana. Prachi Desai is natural and beautiful, both, in her act and appearance.

Technical and Other Departments:

The theme piece that plays in the background score is instantly infectious and you just can’t get over it even after the show ends. Art director Nitin Desai’s recreation of the 70s is impeccable as always. Costume designers Rushi Sharma and Manoshi Nath make Kangana Ranaut look stunning and desirable, add colorful flamboyance to Emraan and dress Devgan in decent designer whites. Cinematographer Aseem Mishra aptly captures glory of the Bombay of 70s. Choreographer Raju Khan promptly establishes romance through the songs, not letting the love story drag beyond music to the movie. Akiv Ali keeps the narrative crisp and quick with his flawless editing, never letting you lose the film for a second. Pritam’s soothing tunes ‘ Pee Loo ’ and ‘ Tum Jo Aaye ’ and the R.D.Burman styled cabaret number ‘ Parda ’ are chartbuster material.

Final View:

As Sultaan Mirza switches from underworld to politics, he quotes, “ Maine apna tareeka badla hain, tevar nahi ” (I have changed by functioning, not my attitude). Director Milan Luthria might have upgraded the technique of filmmaking but his film radiates the same attitude of the retro era. Once Upon a Time in Mumbaai is revival of good old Hindi cinema. As Mumbai goes rewind, you look forward to a dynamic and gripping entertainer.