RGV Ki Aag

When Ram Gopal Varma decided to remake SHOLAY I was sceptical; the film is the epitome of 70’s masala cinema and undeniably an outright classic. To this day, SHOLAY remains a film which remains firmly etched in my memory scene for scene, character to character and dialogue to dialogue. However when Ram Gopal Varma later said in interviews that his version was a mere homage to the genre that evolved as a result of SHOLAY and not a direct copy of SHOLAY by any means, I was somewhat relieved as Varma had done a superlative homage earlier with his immensely entertaining SARKAR which was adapted from the classic THE GODFATHER.

So does RAM GOPAL VARMA KI AAG live up to expectations? Does the movie pay a homage to not only the original SHOLAY but to the entire 70’s and 80’s “masala” action genre? Being brutally honest, NO! The movie is a colossal letdown and quiet easily one of the biggest disappointments I’ve seen in recent years.

The story of the movie hasn’t been credited to anyone as the entire storyline is almost identical to SHOLAY; sure the sequence of the scenes have changed, the contemporary setting of the movie has changed, and a number of characters have been amended a little, but the basis of the story remains identical. Inspector Narsimha (Mohanlal) hires two street smart goons Heero (Ajay Devgan) and Raj (Prashant Raj) to exact revenge on the man who ruined his entire life and killed his entire family; a man who rules over the town of Kaliganj with an iron fist by unleashing terror and mayhem. The man in question, is Babban Singh (Amitabh Bachchan), Mumbai’s number one underworld kingpin. How Heero and Raj put an end to Babban’s terror and how Narsimha extracts his revenge on Babban forms the crux of the movie. Along the way there is some romance as Heero falls in love with the tomboyish, loud-mouthed taxi-driver Ghungroo (Nisha Kothari) while Raj develops a soft spot for a widow Durga (Sushmita Sen) who used to be married to Narsimha’s brother.

The screenplay by Rahil Qazi is a mere cut and paste job at it’s worst with some of the sequences in the movie being moved around in a different order, but the entire structure of the movie stays exactly the same, and almost all of the important scenes remain in the movie minus any form of impact. The movie starts off on a slow note, and the sequences with Rambha Bhai (Rajpal Yadav at his absolute worst) gyrate on the viewers nerves. The flashback sequence where we find out how Heero and Raj met Narsimha is absolutely pathetic. From there on the rest of the movie basically follows the exact same plot line as SHOLAY.

The climax is the biggest culprit and comes as the rudest shock in the entire venture. The movie ends so suddenly without any impact at all. The climax of the original SHOLAY remains etched in the viewer’s memory as Thakur takes on Gabbar one-on-one.

As a director, Ram Gopal Varma has clearly lost the plot here. The characters poorly shadows of the originals in SHOLAY and the impact of the characters have been diluted for the most. Varma relies entirely on the public’s memory of the original characters in SHOLAY to help see his characters through; however this doesn’t work as he has also changed his characters to an extent, and again the effort is simply confused.

Any redeeming factors? Well, yes! Individual scenes in the movie stand out e.g. the introduction of Babban, the face-off between Babban and Narsimha in their few scenes together. However these scenes are too few and far in between to really leave a mark and there certainly weren’t enough of them. Also Babban’s reaction at the death of his brother and Tambhe are superb. The dialogues by Farhad-Sajid are good on the whole, except those delivered by Babban which are just fantastic.

Amitabh Bachchan stepping doing a take-off on Gabbar Singh raised a lot of eye brows and a lot of speculations. However, Bachchan does the unthinkable and makes Babban Singh a character of his own stepping out of the shadows of Gabbar Singh. This performance works simply because Amitabh has been very careful not to imitate or copy Amjad Khan’s legendary performance in any way, shape or format. Right from Babban’s fantastic entry Bachchan lends the character the right amount of energy, menace and surprisingly humour which makes the character work. His larger-than-life persona, electric screen-presence, powerful and original body language and amazing delivery and diction are put to full use and Bachchan clearly gives this role all that he’s got within the confines of what he’s been given and he comes out with flying colours.

The movie lights up for the better every time he’s on screen and his performance is truly an enjoyable one as he plays the evil Babban with absolute relish and passion. The dark humour, the hilarious one-liners, and his sadistic nature combined elevate not only the character but the entire movie as without a doubt Amitabh Bachchan is one of the biggest USP’s of the movie, and this is a performance that surely deserved a better film.

Mohanlal is the perfect choice for this part. His looming presence, powerful eyes and expressive delivery are in sync with the character of Narsimha. However again, Varma has made a fundamental flaw. Varma has missed the point of revenge and his vendetta takes a backseat in the second half. Unlike Sanjeev Kumar in SHOLAY, Lal hasn’t been given enough mettle to really sink his teeth into (despite been given some of the same like as Thakur in SHOLAY e.g. “loha garam hai”) and shine and this is a total disappointment.

Ajay Devgan springs a surprise. In a role which is completely against the type of characters Devgan usually plays, he enacts his part with utmost confidence and conviction and comes out flying colours. His get-up is fabulous, and his delivery spot-on. However it’s Devgan’s comic scenes which leave the viewer surprised as he comes across as natural as ever and hits all the right notes evoking laughter and relief at the right moments. Be it the scene where he pretends to be the “baba” or the infamous scene where he does the big “naatak”.

Prashant Raj makes an extremely confident debut. The boy has a striking screen presence, looks good on-screen, has a fantastic voice (though monotone at times) and delivers his lines with utmost confidence. He holds his own against a cast of veterans which is a big enough compliment and leaves his own mark. The chemistry he shares with Devgan is good too (though there’s not enough of it), though not a patch on Jai and Veeru.

Sushmita Sen is restrained, and the she delivers a completely natural performance which is perfect for the part she is playing. There is a lack of chemistry between her and Prashant who simply looks too young to be opposite Sushmita, but thankfully their relationship is not the run-of-mill stuff either.

Nisha Kothari does well in her initial sequences, though after a point her performance starts to gyrate as it comes across as artificial and too forced. Her delivery is poor, and though she tries her absolute hardest here, her biggest fault is that she tries too hard. To give her credit, she does look cute as a button and is consistent throughout. There is a lack of chemistry between her and Ajay which doesn’t help proceedings either.

Sushant Singh doesn’t have much to do here and fails to leave much of a mark. Rajpal Yadav gives his most irritating performance to date. Virendra Saxena is excellent. His scenes are fantastic. Gaurav Kapoor is good. Ravindra Kale is okay. Sanjay Navrekar doesn’t have much to do. Chakravarthy and Suchitra Krishnamurthi play their small parts well. Sachin fails to leave a mark in his small role.

The music in the movie is plain below average. The ‘Ruk Jaa’ track is catchy, but nothing great. The ‘Holi’ song has been well captured but the tune is a total letdown. The sole redeeming factor musically is the ‘Mehbooba’ track. The entire track has been superbly canned; the choreography by Ganesh Hedge is stunning and Urmila Mantondkar looks absolutely gorgeous here. Abhishek Bachchan is alright in a small part; though not a patch on Jalal Agha who did a far better job as Abhishek’s “cool” persona just doesn’t work here.

Amar Mohile’s background score is effective on the whole, though one wishes it wasn’t so jarring at times. Also Varma’s penchant for repeating the same background score he used in SARKAR seems shoddy.

Technically, the movie is surprisingly average for a RGV film. Amit Roy’s camerawork is good, though it’s the usual stuff he does for Varma and it’s becoming a bit overdone. Pradyuman Kumar’s action is completely uninspired. Varma’s aim was to capture the “feel” of those action films from the 80’s and he manages to do that but for the worst. The action is devoid of any excitement, and all the gun fights are a bore to watch. The worst culprits are Amit Parmar and Nitin Gupta who make an absolute mess out of the editing. It looks tacky.

In a nutshell, RAM GOPAL VARMA KI AAG is a colossal disappointment! Ardent fans of Amitabh Bachchan, Mohanlal or Ajay Devgan should catch this once, but on DVD only. With this movie, it’s evident that Ramu’s indulgence has finally got the better off him and it’s high time the man sat down and had a long (very long) hard think: the “factory” needs to go on “strike”!

Chak De India

It certainly has not been Yash Raj Films ruling the cinemas in 2007. Unlike the last few years, the production house churned out very mediocre films this year. Can the power of Shah Rukh Khan bring success to Chak De India? The answer is yes and no, because the topic of this movie may not be as popular as him.

The movie is about getting back passion for a particular game and winning for your country; it’s about believing in yourselves when others give up. Of course, there could be comparisons to sports-oriented films such as Lagaan, Iqbal, or even Bend It Like Beckham, however, it’s wrong to do so because by the end of the movie, you see it’s original in its own way.

Chak De India revolves around an ex-Indian Hockey Captain, named Kabir Khan (Shah Rukh Khan), who mentors a field hockey team of young and feisty girls who lack team spirit. Their determination, ambition and skills are put to test in an ultimate contest with the world's top teams. For the girls, it is a chance to make their nation proud. For their coach, it is a chance to reclaim his lost honor after being deemed a traitor seven years ago.

The movie has the right intentions from the get-go. Kabir Khan is obsessed with getting these arrogant girls to the World Cup and have them understand the importance of not just being women (who are meant to get married to cook and clean) but to have their own identities and stand the same as men, especially in sports. In a nation that is crazy over cricket, the team encounters groups of people who do not believe the importance of their efforts or the game.

You will have to watch this movie to see how far Kabir Khan and the girls make it. Moreover, forget all thoughts of a predictable ending because the movie has its moments of nail-biting suspense and the finale will have you at the edge of your seat.

Technically, the film is visually captivating, especially the cinematography in Australia. Jaideep Saini has created an interesting story, however his screenplay could have been tighter (especially for the over-the-top reasoning of Kabir being a traitor). To his credit, he wrote many interesting sequences such as the introduction of all the girls, the McDonald’s scene, and the Men vs. Women’s game. Salim-Sulaiman’s music is adequate as a backdrop for the film but nothing to write home about. The editing is not up to par to other Yash Raj Films, especially during the sports action scenes.

Something to consider is that Shimit Amin has chosen a subject that might not appeal to many movie-goers, however, he has the right intentions and has a good vision. As a director, he extracts the right emotions from all key characters.

It’s difficult to think of anyone else who could’ve played Kabir other than King Khan. In a film with no big stars, he doesn’t overdo his role and shows the right amount of stubborness, pride, and heart in the role of a hockey coach. In the first half, some of the girls seemed wooden, however I took back these words when the real drama unfolded in the second half and the characters get down to business.

Vidya Malavade as the goalie shines. The loudness of Tanya Abrol (Balbir) adds humor. The competitiveness between Sagarika Ghatge (Preeti) and Chitrashi Rawat (Komal) is interesting. Finally, Shilpa Shukla (as Bindia) stands out as the most arrogant player and does not fall flat, especially with her scenes with Shah Rukh Khan.

Overall, this is a well-made film that deserves a chance to succeed. Never judge a book by its cover, you might just very well be surprised by Chak De India.

Who will replace Sanjay Dutt and Salman Khan?

Now that Sanjay Dutt and Salman Khan are under the police eye, Bollywood is finding itself in a great jeopardy. Who can replace the two of the most countable actors? The question has shaken quiet a few. “They are cult figures and they have a certain equation with the audience which makes them indispensible,” says David Dhawan.

Shah Rukh Khan and Hrithik roshan, the other countable stars have their hands full. So the only ones remaining are Amir Khan, Akshay Kumar, Ajay Devgan, John Abraham and Saif Ali Khan. Will they be able to deliver more number of quality acts than they usually do? So the hope remains on the recent comers Riteish Deshmukh, Sharman Joshi and the debutant Ranbir Kapoor and the likes. Let us see who grabs the show now that there are two great holes in the closely knit competition.

Chak De India enters Oscar Library!

Chak De for the team! The movie’s exceptional script by Jaideep Sahni will be at a very deserving place – no where else but the Oscar Library! “A copy of the screenplay has already reached the Academy of Motion Pictures Arts & Sciences, which hosts and hands out the Oscar Awards, to be a part of their script collection.”
The script will be kept at the Margaret Herrick Library and will be accessible only to film students, filmmakers, writers and actor. Now that is truly Chak De! India.

Shilpa Shetty to launch yoga DVD

Bollywood actress Shilpa Shetty is filming a yoga DVD and plans to market it overseas later this year, her publicist said Thursday.

The two-hour yoga DVD is currently being filmed by Shetty's production house in southern India's Kerala state, said Dale Bhagwagar, Shetty's spokesman.

"Shilpa practices yoga every day and she believes it should be a way of life for everyone," said Bhagwagar. "Yoga has become a fashion statement in the West, but Shilpa wants to educate people about the original form of yoga, the ashtanga yoga, with the right techniques and breathing exercises."

The well-known Indian actress underwent intensive training this month in preparation to ensure she perfected the "asanas" or postures for the DVD, which will initially be sold in Britain and Dubai.

"Shilpa will give details about how to stay trim and fit with a normal diet," said Bhagwagar. "She will talk about what foods to avoid and how she maintains her figure since she is known to have the best figure in Bollywood."

A popular actress in India, Shetty, 31, hit international headlines after winning the British reality show "Celebrity Big Brother." The show sparked a huge outcry in Britain and India after house mates made racist comments against her, forcing Channel 4 to apologize.

Later this year, Shetty will play the lead in a musical "Miss Bollywood" to open in Germany, followed by shows in Britain, the United States and Australia.

She has acted in more than 40 Bollywood movies since her 1993 debut.