Hindustan Times, 27. September 2007
Priya Dutt: Mein Vater wurde im Stich gelassen, er war ein Einzelkämpfer
Priya Dutt, Tochter der legendären Bollywood-Stars Sunil und Nargis Dutt und Schwester von Sanjay Dutt, hat zusammen mit ihrer älteren Schwester Namrata ein Buch über ihre Eltern geschrieben. „Mr and Mrs Dutt: Memories of our Parents“ wird am Freitag durch Premierminister Manmohan Singh präsentiert werden im Rahmen einer Zeremonie, bei der auch Sonia Gandhi, Vorstand der regierenden Koalition, anwesend sein wird. Priya Dutt ist ebenfalls Parlamentsmitglied aus der Mumbaier Kongresspartei.
Ausschnitte aus einem Interview:
Hindustan Times: Was war das für ein Gefühl, den Lebensweg Ihrer Eltern nachzuvollziehen?
Priya: Das Ganze war ein heilsamer Prozess für uns. Wir haben so viel über unsere Eltern erfahren, und besonders über ihre Beziehung zueinander, die so schön war – mein Vater hat Tausende von Fotos, Briefen und kleinen Dingen aufgehoben, und es war wirklich nostalgisch, die alle durchzugehen. Es war ein schönes Gefühl. Und wir erhielten auch einen Einblick in das Leben unserer Eltern, über unsere Erinnerungen hinaus. Uns wurde bewusst, dass ihr ganzes Leben eine Liebesbeziehung zueinander war – auch nach Mutters Tod.
Hindustan Times: Wie sind Ihre Erinnerungen an ihn als Politiker?
Priya: Er hat sich selbst nie als Politiker betrachtet. Aber ich finde, er war der beste. Jener Padyatra (Friedensmarsch) mit ihm hat mein Leben völlig verändert. Das war überhaupt kein politischer Padyatra, er hat ihn aus rein persönlichen Gründen unternommen, und ich habe mich ihm aus rein persönlichen Gründen angeschlossen. Ich absolvierte gerade mein letztes Jahr am College, und es war eine tolle Gelegenheit für mich, das Land zu sehen und kennenzulernen. Ich empfand es als großartiges Abenteuer. Wir gingen in 78 Tagen eine Strecke von 2.800 Kilometern.
Wie gesagt, ich war 19 und in meinem letzten Collegejahr. Damals bestand meine Welt aus meinem College und meinen Freunden. Ich hatte keine Ahnung, was in der Welt oder auch nur außerhalb der Stadt vor sich ging. Diese Expedition öffnete mir die Augen und erweiterte meinen Horizont dafür, was Indien ist, wie vielfältig unser Land ist. Verschiedene Staaten zu durchwandern, Menschen kennenzulernen, zu sehen, wie unterschiedlich sie waren, ihr Kleidung, ihr Essen – es war ein staunenswertes Erlebnis für mich.
Wir gingen jeden Tag etwa 30 Kilometer. Dabei wurden wir immer wieder aufgehalten von Menschen, die meinen Dad kennenlernen wollten. Und das Lustige dabei war, dass diese Menschen nicht einmal wussten, wer er war. In diesen abgelegenen Gebieten gab es keine Kinos, sie hatten keine Ahnung – sie wussten nur, dass da ein Mensch für den Frieden marschierte. Und sie warteten draußen, um zu sehen, wer dieser Mann war. Das war eine Erfahrung, die mich wirklich bescheiden machte. Sie haben uns Wasser gebracht oder Feldfrüchte, alles Mögliche.
Ich denke, mein Vater hat den Menschen wirklich Gandhismus gebracht, lange bevor sein Sohn ihnen Gandhigiri brachte.
Hindustan Times: Während der Revolten, war er da wütend darüber, wie die Sache gehandhabt wurde?
Priya: Ja, er war wütend. Seiner Ansicht nach hätte etwas unternommen werden müssen, um die Raserei zu beenden. Viele Menschen behaupten, er sei pro-muslimisch und anti-hindu gewesen. Aber das ist nicht wahr. Er hat stets jedem geholfen.
Aber ob es Ihnen nun gefällt oder nicht, die Minderheiten waren am meisten betroffen. Solche Ereignisse haben ihn so richtig erschüttert. Und umso größer war dann seine Entschlossenheit, etwas zu tun. So wie damals, als er die Punjab yatra unternahm... viele warnten ihn damals, aber er sagte, das sei ihm egal, und er tat es einfach. Aber so war er nun einmal.
Hindustan Times: Fühlte er sich von seiner Partei enttäuscht oder im Stich gelassen?
Priya: Ja, das geschah oft, wenn er das Gefühl hatte, dass seine Worte nicht die richtigen Stellen erreichten. Er war ein besonderer Mensch, anders als andere. Selbst in der Politik hatten die Menschen seines Volkes für ihn höchste Priorität.
Mein Vater war ein überzeugter und loyaler Kongressmann. Und er glaubte an die Ideale und die Philosophie der Kongresspartei. Ich würde nicht sagen, dass er jedes einzelne Parteimitglied auf seiner Seite hatte – das hatte er ganz bestimmt nicht. Und das wusste er. Aber das brachte ihn nicht von seinen Überzeugungen ab. Ich sage immer, in der Politik machst du dir mehr Feinde als Freunde, selbst wenn du der unumstrittenste Mensch überhaupt bist – irgendwie machst du dir trotzdem Feinde, wegen nichts. Aber solche Sachen haben meinen Vater nie gekümmert. Und er hätte nie daran gedacht, zu einer anderen Partei zu wechseln; solchen Ehrgeiz hatte er nicht.
Das alles hat ihn nie betroffen. Er war ein Einzelkämpfer. Er tat, was er tat, weil er daran glaubte – und er hatte erkannt, dass er aus vielen Richtungen keine Hilfe bekommen würde, aus welchen Gründen auch immer... Er war hundertprozentig ein Mann seines Volkes, und das war sein krönender Ruhm.
Hindustan Times: Wie war das, als Sanjay verhaftet und inhaftiert wurde? Hatte er damals ähnliche Gedanken?
Priya: Manchmal gab er sich selbst die Schuld für das, was Sanjay zugestoßen war. Er meinte, „vielleicht leidet Sanjay meinetwegen“ – ich weiß nicht, vielleicht wurde er nur wegen der Politik in all diese Dinge verstrickt.
Hindustan Times: Können Sie das etwas näher erläutern?
Priya: Ich denke, er hat dafür bezahlt, ein Dutt zu sein. Die Leute sagen viel, dass er eine Sonderbehandlung bekommen hätte oder so, aber diese Leute waren alle nicht dabei, als es geschah. Wie er behandelt wurde wie jeder andere Häftling auch. Mein Vater war damals Parlamentsmitglied, aber auch er wurde behandelt wie jeder andere. Er saß oft stundenlang außerhalb des Arrestbereichs. So hatten wir unseren Vater nie gesehen. Und meine Schwester und ich pflegten stundenlang vor dem Besuchsbereich zu warten.
Die Leute machen es sich so leicht, wenn sie sagen, er muss gut behandelt worden sein. Auch jetzt noch gibt es diese kleinen kleinen Dinge... das Medienaufkommen ist so riesig geworden, es gibt so viele Sender, und jeder will sein Pfund Fleisch. Ich denke, das sind wir inzwischen gewohnt (lacht).
Wenn du eine Berühmtheit bist, dann wollen alle alles über dich wissen. Es gibt Tausende, die im Gefängnis schmachten – so viele Menschen sind im Gefängnis, weil sie keine tausend Rupien für eine Kaution bezahlen können. Warum schreiben die Medien nichts über sie?
Und ganz ehrlich, ich finde, solange eine Sache noch rechtshängig ist, sollte auch die Medienberichterstattung darüber eingeschränkt werden.
Ich weiß nicht, inwieweit die Tatsache, dass Sanjay ein Dutt ist, gegen ihn gearbeitet hat, als der Terrorismus-Vorwurf aufkam – wie es geschah, wieviel Politik dahintersteckte. Aber ich denke, die größte Erleichterung war, als der Richter sagte, dass er kein Terrorist ist. Ich habe meinen Vater dreizehn Jahre lang leiden sehen. Das war wie eine Last, die er zu tragen hatte.
Hindustan Times: Es gibt ein berühmtes Foto, auf dem Sanjay Sie umarmt, bevor er ins Auto stieg und zum Gericht fuhr. Was sagte er in diesem Augenblick?
Priya: Nichts. Ich sagte: „Mach dir keine Sorgen, wir stehen dir bei.“
Hindustan Times: Erzählen Sie mir von Ihren Besuchen bei ihm im Gefängnis nach dem Urteilsspruch.
Priya: Es war schwer, aber er war sehr stark. Zuerst traf ich ihn im Arthur Road, wohin sie ihn direkt nach der Verurteilung gebracht hatten. Ich saß da und redete mit ihm. Aber der Moment, in dem wir alle wirklich zusammenbrachen, war, als er uns verließ und hineingeführt wurde und wir wussten, dass wir ihn nun nicht wiedersehen würden.
Dann traf ich ihn im Yerawada-Gefängnis, und das war wirklich eine Erfahrung. Er trug seine Gefängniskleidung. Es war ein sehr schwieriger Augenblick. Aber wir waren stark, wir wussten, dass wir das durchkämpfen mussten. Er war sehr stark. Und wir alle wussten, dass wir es aus eigener Kraft schaffen mussten, da unser Dad nicht mehr da ist. Er war immer unsere Zuflucht gewesen.
Hindustan Times: Wie war das mit Ihrem Termin bei Sonia Gandhi?
Priya: Ich bin nie zu Sonia Gandhi gegangen, um sie um etwas zu bitten. Das Ganze ist unnötig aufgebläht worden. Ich war nicht bei ihr, um Hilfe zu ersuchen. Ich wusste ja, dass wir den legalen Weg gehen mussten. Mrs Gandhi hat uns stets sehr unterstützt, meinen Vater und die Familie. Aber wissen Sie, das war schon lustig: Als ich zu ihr ging, waren die ganzen Medien da und haben berichtet, ich wäre eine halbe bzw. eine Dreiviertelstunde bei ihr gewesen und dies und jenes wäre dabei geschehen. Und ich dachte nur, wie zum Teufel wollen die wissen, was da drin geschehen ist? Da ist ein ganzer Raum voller Menschen, die zu ihr wollen und warten. Ich habe eine halbe Stunde gewartet, bis ich dran war, und dann hatte ich gerade mal fünf Minuten mit ihr. Und ich sagte zu ihr, „Ma’am, ich bin hier wegen Sanjay“ – natürlich habe ich sie kurz über die Ereignisse informiert – und ich sagte, dass ich deshalb diesmal nichts ins Parlament kommen könne. Aber ich habe sie nicht um Hilfe gebeten. Ich habe sie informiert, was meine Pflicht als Parlamentsmitglied war.
Hindustan Times: Sanjay hat sich über die Jahre verändert, nicht wahr?
Priya: Ich finde, seit dem Tod meines Vaters hat er sich in mehrfacher Hinsicht verändert. Er hat sich stärker unter Kontrolle. Er hat mehr Charakter denn je. Er ist ja schon seit langem viel ruhiger und nüchterner geworden. Jetzt ist er mehr zu einem Hausmann geworden, viel häuslicher, zielstrebiger, ein Mensch, der das Heft in die Hand genommen hat.
Hindustan Times: Hat er auch Angst?
Priya: Er hatte zuvor sicher Angst; es war eine sehr schwierige Zeit. Aber ich glaube, im Augenblick der Verurteilung verschwand die Angst. Dieses ganze Nicht-Bescheid-Wissen ist viel schlimmer. Wenn man erst einmal weiß, was Sache ist, kann man sich genaue Gedanken darüber machen, wie man mit der Situation umgeht. Und in diesem Punkt, finde ich, war er sehr stark.
Hindustan Times: Es geht zwar die Medien nichts an, aber freut er sich schon darauf, sein Leben neu aufzubauen, vielleicht irgendwann auch wieder zu heiraten?
Priya: Ich weiß nicht, ich weiß es wirklich nicht. Aber ich sehe ihn heute viel öfter zu Hause. Er liebt es, Zeit mit meinem Sohn zu verbringen, er genießt das. Und er genießt seine Arbeit, er macht nicht mehr zu viele Filme. Andere Dinge sind wichtiger für ihn geworden... ich denke, das Leben ist kostbarer für ihn geworden.
Hindustan Times: Wissen Sie, ob er vorhat, zu heiraten?
Priya: Nicht dass er etwas in der Richtung erwähnt hätte (lacht). Ich weiß nichts über Hochzeit und so. Aber er ist glücklich, und das, finde ich, ist wichtig – solange er glücklich ist, ist das alles, was zählt.
Hindustan Times: Braucht er Abhängigkeit?
Priya: Ja, so war er schon immer. Er ist ein Mensch, der Anker braucht. Und unseligerweise passiert es oft, dass andere sich dadurch einen Vorteil für sich verschaffen. Er ist ein sehr offener Mensch, der gerne gibt, und ich hasse es zu sehen, wenn er verletzt wird.
Neelesh Misra; Deutsch von Diwali
Samstag, 29. September 2007
Dienstag, 25. September 2007
Anthony Kaun Hai? (2006) - Review in English
About the story: The killer Master Madan (Sanjay Dutt) was hired by Lucky Sharma (Chetam Hansraj) to kill the sensationalist journalist Anthony Gonsalvez: He filmed Lucky as he strangled a woman and blackmailed him. Master Madan indeed does meet a man who calls himself Anthony Gonsalvez in the hotel-room in question. However, when the man (Arshad Warsi) notices that his live is in danger, he claims that his real name is Champak Chaudhary and that he has nothing to do with this Gonsalvez person. As Master Madan was going to wait with the fulfilment of his commission until Lucky has paid him, he gives Champak the chance to throw light on the situation for him. Champ now tells him that he gorses passports and in prison got to know a man called Raghuvir Sharma (Raghuvir Yadav) who buried some expensive diamonds. After their release he joined Raghuvir’s daughter Jiya (Minisha Lamba) and adopted the identity of Anthony Gonsalves, whose body had been found a short time earlier...
Anthony Kaun Hai? (Who is Anthony?) is no masterpiece but a well-crafted movie in which Arshad Warsi has the lead for a change, while Sanjay supports his inspired partner from the Munnabhai movies, which IMO is a nice gesture on his part. The part is certainly no challenge for him – characters like this sophisticated, cold-hearted and stylish killer (red Ferrari, excellent taste in wines), Sanju is able to pull of in his sleep. On screen his mere appearance exudes so much authority that one becomes almost automatically submissive to him and Arshad’s small time crook Champ submits to him like an obedient child. Obviously, the plot does not allow Arshad and Sanjay to continue their brilliant performance as Munnabhai and Circuit but one nevertheless notes at all times that the two are an experienced team.
Arshad gives a solid performance. From time to time his acting suffers from the slow speed of the entire movie, but he manages to pull of the most important thing: to make Champ loveable enough for the viewer to worry about him and to want him to survive. Gulshan Grover as Inspector Suraj Singh gives a solid performance. He seems to have stepped straight from the set of Tathastu to the one of Anthony Kaun Hai. However, like all minor characters he has little enough to do. Most attention is given to Manisha Lamba but she does not make very good use of this opportunity. Anusha Dandekar as Champ’s ex-girlfriend has more character and presence than her colleague but her time on screen would fit in a thimble. The main focus of the movie clearly is Champ and his story, and therefore the frame where Master Madan rules with his silencer-gun in one hand and wine-glass in the other. With this flashback-narration Raj Kaushal indulges in some enjoyable detail, for example when Master Madan is not impressed with Champ’s narrative style and asks him to start again in a different style, for example in the style of Yash Chopra. Thanks to the solid performances of Sanjay and Arshad this works very well. They are a good reason to watch this movie anytime, although it is not a masterpiece, as I mentioned earlier. In any case, it delivers two hours entertainment. (And afterwards one can always watch Amar, Akbar, Anthony, or at least Amitabh Bachchan’s song “My name is Anthony Gonsalvez”.)
Produced by Nikhil Panchamiya; Directed by Raj Kaushal
126 Min.; DVD: Adlabs, English Subtitles (including songs); the DVD also contains a Making Of.
© Diwali; Translated by gebruss
Pictures
P.S. In a Stardust interview (8/2006) Arshad reveiled that it was his idea to cast Sanju for Master Madan – and that there was no need to talk it into him:
There was a buzz that you convinced Sanjay Dutt to do the film? And that he gave priority dates for this film?
Arshad: That’s right. Actually, I felt that Sanjay would be the best choice for the role of Master Madan, and when I approached and asked him if he would do the film, he immediately called his secretary and had the dates allotted for the film. I was excited and glad that he did the film because I was able to convince him.
Anthony Kaun Hai? (Who is Anthony?) is no masterpiece but a well-crafted movie in which Arshad Warsi has the lead for a change, while Sanjay supports his inspired partner from the Munnabhai movies, which IMO is a nice gesture on his part. The part is certainly no challenge for him – characters like this sophisticated, cold-hearted and stylish killer (red Ferrari, excellent taste in wines), Sanju is able to pull of in his sleep. On screen his mere appearance exudes so much authority that one becomes almost automatically submissive to him and Arshad’s small time crook Champ submits to him like an obedient child. Obviously, the plot does not allow Arshad and Sanjay to continue their brilliant performance as Munnabhai and Circuit but one nevertheless notes at all times that the two are an experienced team.
Arshad gives a solid performance. From time to time his acting suffers from the slow speed of the entire movie, but he manages to pull of the most important thing: to make Champ loveable enough for the viewer to worry about him and to want him to survive. Gulshan Grover as Inspector Suraj Singh gives a solid performance. He seems to have stepped straight from the set of Tathastu to the one of Anthony Kaun Hai. However, like all minor characters he has little enough to do. Most attention is given to Manisha Lamba but she does not make very good use of this opportunity. Anusha Dandekar as Champ’s ex-girlfriend has more character and presence than her colleague but her time on screen would fit in a thimble. The main focus of the movie clearly is Champ and his story, and therefore the frame where Master Madan rules with his silencer-gun in one hand and wine-glass in the other. With this flashback-narration Raj Kaushal indulges in some enjoyable detail, for example when Master Madan is not impressed with Champ’s narrative style and asks him to start again in a different style, for example in the style of Yash Chopra. Thanks to the solid performances of Sanjay and Arshad this works very well. They are a good reason to watch this movie anytime, although it is not a masterpiece, as I mentioned earlier. In any case, it delivers two hours entertainment. (And afterwards one can always watch Amar, Akbar, Anthony, or at least Amitabh Bachchan’s song “My name is Anthony Gonsalvez”.)
Produced by Nikhil Panchamiya; Directed by Raj Kaushal
126 Min.; DVD: Adlabs, English Subtitles (including songs); the DVD also contains a Making Of.
© Diwali; Translated by gebruss
Pictures
P.S. In a Stardust interview (8/2006) Arshad reveiled that it was his idea to cast Sanju for Master Madan – and that there was no need to talk it into him:
There was a buzz that you convinced Sanjay Dutt to do the film? And that he gave priority dates for this film?
Arshad: That’s right. Actually, I felt that Sanjay would be the best choice for the role of Master Madan, and when I approached and asked him if he would do the film, he immediately called his secretary and had the dates allotted for the film. I was excited and glad that he did the film because I was able to convince him.
Freitag, 21. September 2007
Deewaar (2004) - Review in English
About the story: During the India-Pakistan war in December of 1971, 54 Indian soldiers are captured by the Pakistani army. 33 years later more than half of them are still alive, amongst them Major Ranvir Kaul (Amitabh Bachchan) who has never given up hope to see India again. At long last, he manages to get a message to his wife (Tanuja) – but the government wishes to avoid a conflict with Pakistan and does nothing to free the prisoners. At this point major Kaul’s son Gaurav (Akshaye Khanna) takes on the initiative and travels to Pakistan. There he can locate the prison camp and witnesses an attempt of the prisoners to escape which only one of them succeeds in: the Indian spy and maverick Khan (Sanjay Dutt). In cooperation with him Gaurav developes a plan to free the Indian captives. In order to instruct the major and the other prisoners, Khan lets himself get captured again...
The tagline of Deewaar leaves no doubt about the message of the film: "Let’s bring our heroes home." Once again the everlasting and ineffable cliche of "good and brave Indian soldiers versus cruel and heartless Pakistani" is put to work – a cliche that won’t fit the more peaceful tone the Indian film industry started using some time ago towards the northern neighbours. At least not all Pakistani were conjured up to be bad guys; e.g. the Pakistani major Qureshi (Piyush Mishera) always treats major Kaul with sincere respect, and Gaurav finds helpers for his mission among Khan’s muslim friends, while on the other hand the Indian government forsakes its brave soldiers. So in the end you can live with the result, particularly as the patriotic phrases are kept within limits.
This of course is firstly due to Amitabh Bachchan who plays the unbreakable major Kaul with breathtaking intensity. Throughout the film you only wish for his successful escape and the long awaited return to India, his wife and his son, and that applies for his comrades as well. Akshaye Khanna is much better placed in those rather active-aggressive roles than in the romantic ones, although even in Deewaar he falls in love with Radhika, his host’s daugther, echantingly and charmingly played by Amrita Rao. But in the end, the love plot and Amrita are about as unimportant for the film as Tanuja, even if Tanuja is acting very forcefully in her few scenes. Deewaar completely belongs to the men, who are either fighting or helping each other; the Indian prisoners as well as the Pakistani are casted very well, with the crippled and sadistic camp commander Sohail (a great performance by K.K. Menon) at the top. However, beyond any doubts, it is Amitabh who carries the film – supported by Sanjay Dutt who is equally brilliant in developing his role.
Although his role is smaller than Amitabh’s, Sanjay turns it into a perceived main role. Similarly to Plan, he enters the plot after about an hour, but afterwards the movie is unthinkable without him – particularly since his part as "Allah’s pride" Khan is crucial to the conclusion of the plot. As a prisoner he has to endure even more than Amitabh, but in the course he never loses his self-esteem or his diabolical humour. Sanjay is just great in this film and he looks strikingly attractive. The speedy "Marhaba" number, where he dances while his hand is aflame, leaves you just breathless. The Star Screen Awards found his performance worthy of a nomination as best actor in a supporting role.
Amitabh and Sanjay make Deewaar worth watching. Even those who don’t like such patriotic issues in particular, can look forward to a thrillingly staged story with two main actors who by their intense acting and their charisma once again prove that they belong to the top-league of actors.
Produced by Gaurang Doshi; Directed by Milan Luthria
156 Min.; DVD: EROS, English Subtitles (including songs)
© Diwali; Translated by nandini67
The tagline of Deewaar leaves no doubt about the message of the film: "Let’s bring our heroes home." Once again the everlasting and ineffable cliche of "good and brave Indian soldiers versus cruel and heartless Pakistani" is put to work – a cliche that won’t fit the more peaceful tone the Indian film industry started using some time ago towards the northern neighbours. At least not all Pakistani were conjured up to be bad guys; e.g. the Pakistani major Qureshi (Piyush Mishera) always treats major Kaul with sincere respect, and Gaurav finds helpers for his mission among Khan’s muslim friends, while on the other hand the Indian government forsakes its brave soldiers. So in the end you can live with the result, particularly as the patriotic phrases are kept within limits.
This of course is firstly due to Amitabh Bachchan who plays the unbreakable major Kaul with breathtaking intensity. Throughout the film you only wish for his successful escape and the long awaited return to India, his wife and his son, and that applies for his comrades as well. Akshaye Khanna is much better placed in those rather active-aggressive roles than in the romantic ones, although even in Deewaar he falls in love with Radhika, his host’s daugther, echantingly and charmingly played by Amrita Rao. But in the end, the love plot and Amrita are about as unimportant for the film as Tanuja, even if Tanuja is acting very forcefully in her few scenes. Deewaar completely belongs to the men, who are either fighting or helping each other; the Indian prisoners as well as the Pakistani are casted very well, with the crippled and sadistic camp commander Sohail (a great performance by K.K. Menon) at the top. However, beyond any doubts, it is Amitabh who carries the film – supported by Sanjay Dutt who is equally brilliant in developing his role.
Although his role is smaller than Amitabh’s, Sanjay turns it into a perceived main role. Similarly to Plan, he enters the plot after about an hour, but afterwards the movie is unthinkable without him – particularly since his part as "Allah’s pride" Khan is crucial to the conclusion of the plot. As a prisoner he has to endure even more than Amitabh, but in the course he never loses his self-esteem or his diabolical humour. Sanjay is just great in this film and he looks strikingly attractive. The speedy "Marhaba" number, where he dances while his hand is aflame, leaves you just breathless. The Star Screen Awards found his performance worthy of a nomination as best actor in a supporting role.
Amitabh and Sanjay make Deewaar worth watching. Even those who don’t like such patriotic issues in particular, can look forward to a thrillingly staged story with two main actors who by their intense acting and their charisma once again prove that they belong to the top-league of actors.
Produced by Gaurang Doshi; Directed by Milan Luthria
156 Min.; DVD: EROS, English Subtitles (including songs)
© Diwali; Translated by nandini67
Montag, 17. September 2007
Taxi No. 9211 (2006; narrator) - Review in English
In this film Sanjay is just the narrator!
About the story: Jai Mittal (John Abraham), son of a millionaire, always was interested just in the pleasant sides of life and is flabbergasted when he after his father’s death comes to know that his father has left his entire property to his old friend Arjun Bajaj (Shivaji Satham). He insists on another testament which makes him his father’s heir and files a suit. But the evening before the court hearing Jai has an accident with his car so that next morning he is forced to take a taxi. Of all taxis, he gets into the one of choleric misanthrope Raghav Shastri (Nana Patekar) who soon is unnerved by Jai’s arrogant behaviour. To top it all, Raghav meets with an accident, and while he starts fighting with the other party, Jai skives off. But when he wants to take the testament out of a safe-deposit box he realizes that he has lost the box key in Raghav’s taxi. Jai is hell-bent to get the key back – but Raghav is similarly hell-bent to score off this arrogant millionaire, so soon both of them fight each other with all means...
When a star does a cameo or a guest appearance, I love to speculate why he did it and to whom he possibly did a favour with it. There could be several reasons for Sanjay volunteering as narrator in Taxi No. 9211 (for which he was appreciated with "Special Thanks" in the credits). Maybe it was Milan Luthria, his director from Deewaar, whom "Allah’s pride" wanted to rejoyce. Maybe it was John Abraham whom Sanju with this gesture thanked for their cooperation in Zinda. But it’s also possible that Sanjay just simply liked this film, and it would be fully comprehensible.
Taxi No. 9211 is more than just a contest of rich against poor. Both main characters are beautifully shaped with both positive and negative sides so that the viewer makes heavy weather of taking sides, for essentially you would like to grant success to both of them; more than that, both characters develop and change during the film. Nana Patekar is the choleric and loser who for his pride even puts his happy family life with his wife and son at stake by lying to his wife Sunita (Sonali Kulkarni) that he works as an insurance agent while he is actually a taxi driver. John Abraham plays the classical yuppie who just by mentioning his name expects people to go down on their knees before him and who, however, has to undergo an enormous change of thinking when, facing defeat in his fight for his inheritance, his friends turn away from him – including Rupali (Sameera Reddy) whom he wanted to marry. John and Nana with devotion fight their running battle about safe-deposit box key and testament, and they don’t spare each other. But they also credibly carve out how their characters – after the crucial experience of suddenly being left completely alone – by and by start changing their attitude against each other and against the people around them.
Both their partners – Sonali Kulkarni and Sameera Reddy – give them wonderful support; Kurush Deboo as safe-deposit box manager Batliwala is delightfully funny; and also Priyanka Chopra enrichens the film by a short and very vivacious guest appearance. Not to mention Sanju’s unique voice at the beginning of the film. But all in all, Taxi No. 9211 is completely Nana’s and John’s film and is, in short, high class. An unconditional recommendation.
Produced by Ramesh Sippy; Directed by Milan Luthria
114 Min.; DVD: UTV, English Subtitles (including songs); the DVD also contains a Making Of and Milan Luthria’s commentaries about the film. You even get a colourful brochure with information about film, actors and crew.
© Diwali
About the story: Jai Mittal (John Abraham), son of a millionaire, always was interested just in the pleasant sides of life and is flabbergasted when he after his father’s death comes to know that his father has left his entire property to his old friend Arjun Bajaj (Shivaji Satham). He insists on another testament which makes him his father’s heir and files a suit. But the evening before the court hearing Jai has an accident with his car so that next morning he is forced to take a taxi. Of all taxis, he gets into the one of choleric misanthrope Raghav Shastri (Nana Patekar) who soon is unnerved by Jai’s arrogant behaviour. To top it all, Raghav meets with an accident, and while he starts fighting with the other party, Jai skives off. But when he wants to take the testament out of a safe-deposit box he realizes that he has lost the box key in Raghav’s taxi. Jai is hell-bent to get the key back – but Raghav is similarly hell-bent to score off this arrogant millionaire, so soon both of them fight each other with all means...
When a star does a cameo or a guest appearance, I love to speculate why he did it and to whom he possibly did a favour with it. There could be several reasons for Sanjay volunteering as narrator in Taxi No. 9211 (for which he was appreciated with "Special Thanks" in the credits). Maybe it was Milan Luthria, his director from Deewaar, whom "Allah’s pride" wanted to rejoyce. Maybe it was John Abraham whom Sanju with this gesture thanked for their cooperation in Zinda. But it’s also possible that Sanjay just simply liked this film, and it would be fully comprehensible.
Taxi No. 9211 is more than just a contest of rich against poor. Both main characters are beautifully shaped with both positive and negative sides so that the viewer makes heavy weather of taking sides, for essentially you would like to grant success to both of them; more than that, both characters develop and change during the film. Nana Patekar is the choleric and loser who for his pride even puts his happy family life with his wife and son at stake by lying to his wife Sunita (Sonali Kulkarni) that he works as an insurance agent while he is actually a taxi driver. John Abraham plays the classical yuppie who just by mentioning his name expects people to go down on their knees before him and who, however, has to undergo an enormous change of thinking when, facing defeat in his fight for his inheritance, his friends turn away from him – including Rupali (Sameera Reddy) whom he wanted to marry. John and Nana with devotion fight their running battle about safe-deposit box key and testament, and they don’t spare each other. But they also credibly carve out how their characters – after the crucial experience of suddenly being left completely alone – by and by start changing their attitude against each other and against the people around them.
Both their partners – Sonali Kulkarni and Sameera Reddy – give them wonderful support; Kurush Deboo as safe-deposit box manager Batliwala is delightfully funny; and also Priyanka Chopra enrichens the film by a short and very vivacious guest appearance. Not to mention Sanju’s unique voice at the beginning of the film. But all in all, Taxi No. 9211 is completely Nana’s and John’s film and is, in short, high class. An unconditional recommendation.
Produced by Ramesh Sippy; Directed by Milan Luthria
114 Min.; DVD: UTV, English Subtitles (including songs); the DVD also contains a Making Of and Milan Luthria’s commentaries about the film. You even get a colourful brochure with information about film, actors and crew.
© Diwali
Sonntag, 16. September 2007
Tathastu (2006) - Review in English
About the story: Ravi Rajput (Sanjay Dutt) lives with his wife Sarita (Amisha Patel) and his little son Gaurav (Yash Pathak) a modest but content life. But when Gaurav one day collapses during a cricket match, a nightmare begins for his parents. Ravi can hardly scrape together the 30000 rupees for his son's treatment in hospital, and when the doctor tells him that Gaurav has a weak heart and only can be saved by a heart transplantation which costs 1,5 million rupees, Ravi desperately tries to arrange for this amount but faces one setback after the other. Adding to that, there is also another candidate for the heart which could become Gaurav’s – a politician from the ruling party. To save his child, Ravi feels that there is only one chance left for him: He purchases a gun, takes thirty hospital visitors hostages and thus tries to enforce his son’s operation. While doctor Nita (Jaya Pradha), Ravi’s friends and finally even the hostages sympathize with the desperate father, deputy commissioner Rane (Gulshan Grover) arranges for sharpshooters outside the hospital...
A father fighting for his child and not shying back from committing a crime for this. Surely this awakes memories of another Sanjay movie – Pitaah. But there is a crucial difference between Pitaah and Tathastu: In Pitaah the father reacts to an injustice already done while in Tathastu the father wants to avert an unjustice not done yet – that a little boy is denied a life saving operation because his father is too poor to pay for it. Moreover as you may reckon that the other heart patient who probably is able to finance the operation with his petty cash hardly would get an invoice at all due to his state as a ruling politician.
And my compliments to director Anubhav Sinha that he, in spite of every appreciation of Ravi’s situation (also expressed by many people in the film), even brings counter-arguments into play: What if everybody who gets a feeling of being treated unjustly gets himself a gun and starts taking hostages? Not every copycat would treat his victims as cautiously and considerately as Ravi does. And when a spectator in front of the hospital asks whether it is okay to put thirty lives at stake for one life, then you must admit that her question is not unjustified. The same applies to the question about how to judge about such a crime committed out of a feeling of helplessness. Tathastu (= so be it) is thought-provoking in many respects.
Sanjay Dutt is the emotional center of the story. In a manner of speaking, all his co-stars could be wiped aside with a scratch of a pen even though there are also some very felicitous performances e.g. by Jaya Pradha (a nice reunion with Sanjay’s partner from many of his early films) and by Gulshan Grover; and if we leave aside her crying scenes she once again mulled then even Amisha Patel was okay. But the story’s motor is Ravi – and thanks to Sanjay this motor is going nicely. Sanjay neck and crop embodies the desperate father who is ready to sell himself for his son, and he moves to tears with his emotional outbursts. Thanks to his forceful performance the film hits you right into your heart. I even dare to claim that without Sanjay this film wouldn’t have worked at all. For to work, this film needed an absolute authentic leading actor the audience could identify with – and Sanju succeeded hundred per cent.
It says in a Tathastu review in the Hindustan Times City, "The film belongs to Dutt. He once again proves that he has it in him to actually go beyond the script." There is nothing I could add to this.
Produced by Nitin Manmohan; Directed by Anubhav Sinha
111 Min.; DVD: Shemaroo, English Subtitles (including song)
© Diwali
A father fighting for his child and not shying back from committing a crime for this. Surely this awakes memories of another Sanjay movie – Pitaah. But there is a crucial difference between Pitaah and Tathastu: In Pitaah the father reacts to an injustice already done while in Tathastu the father wants to avert an unjustice not done yet – that a little boy is denied a life saving operation because his father is too poor to pay for it. Moreover as you may reckon that the other heart patient who probably is able to finance the operation with his petty cash hardly would get an invoice at all due to his state as a ruling politician.
And my compliments to director Anubhav Sinha that he, in spite of every appreciation of Ravi’s situation (also expressed by many people in the film), even brings counter-arguments into play: What if everybody who gets a feeling of being treated unjustly gets himself a gun and starts taking hostages? Not every copycat would treat his victims as cautiously and considerately as Ravi does. And when a spectator in front of the hospital asks whether it is okay to put thirty lives at stake for one life, then you must admit that her question is not unjustified. The same applies to the question about how to judge about such a crime committed out of a feeling of helplessness. Tathastu (= so be it) is thought-provoking in many respects.
Sanjay Dutt is the emotional center of the story. In a manner of speaking, all his co-stars could be wiped aside with a scratch of a pen even though there are also some very felicitous performances e.g. by Jaya Pradha (a nice reunion with Sanjay’s partner from many of his early films) and by Gulshan Grover; and if we leave aside her crying scenes she once again mulled then even Amisha Patel was okay. But the story’s motor is Ravi – and thanks to Sanjay this motor is going nicely. Sanjay neck and crop embodies the desperate father who is ready to sell himself for his son, and he moves to tears with his emotional outbursts. Thanks to his forceful performance the film hits you right into your heart. I even dare to claim that without Sanjay this film wouldn’t have worked at all. For to work, this film needed an absolute authentic leading actor the audience could identify with – and Sanju succeeded hundred per cent.
It says in a Tathastu review in the Hindustan Times City, "The film belongs to Dutt. He once again proves that he has it in him to actually go beyond the script." There is nothing I could add to this.
Produced by Nitin Manmohan; Directed by Anubhav Sinha
111 Min.; DVD: Shemaroo, English Subtitles (including song)
© Diwali
Vaah! Life Ho Toh Aisi! (2005) - Review in English
About the story: In a big old house in Lokhandwala near Mumbai lives an extended family, headed by grandmother Dadi (Suhashini Mulay) and uncle Harish (Prem Chopra); the responsibility as the housefather, however, lies on the shoulders of young car mechanic Adi (Shahid Kapoor) who, after his brother’s and sister-in-law’s death and because of his other brother Sunil’s (Mohnish Bahl) alcohol addiction, is the surrogate father for all eight children of the house. So that his sister Anjali (Radhika Apte) can get married well, Adi takes up a loan and for this mortgages the house. Estate shark Hirachand (Sharat Saxena) who always has casted a convetous eye on this house, realizes his chance, buys the mortgage and fakes the deadline set for Adi to repay the loan. But soon the family faces worse problems than that: Shortly after Adi and the children’s tutor Priya (Amrita Rao) discovered their love for each other, Adi dies with an accident. Together with little Shakti (Adil Badshah) who also is dead, Adi is picked up by the God of Death, Yamraj (Sanjay Dutt) who, at Adi’s pleading request, grants him and Shakti seven more days on earth – as ghosts. By the medium Fakira (Arshad Warsi), they attain the abilities they need to save Adi’s family from the intrigues of Hirachand and his helpers – while Yamraj makes acquaintance with human achievements like disco and whiskey...
Mahesh Manjrekar’s versatility is really amazing. In front of the camera an adept actor, behind the camera a director of films as different as the underworld classics Vaastav and Hathyar, thoughtful stories about pugnatious family fathers like Kurukshetra, Pitaah or Viruddh, spine-chiller thrillers like Rakht – and now also a cheerful and colourful family film which would do a Disney credit. And yes, Manjrekar can do this, too. The story about a surrogate father of a lively children horde comes very likeable and without unbearable mush – Manjrekar shot the mourning scenes after Adi’s death without holding them up to the audience’s laughter, and with a lot of respect for the feelings of those who have to face such a disaster in reality. Anyway, not everyone meets like Adi a God of Death who every now and then gets emotional.
Without the Munnabhai films, Vaah! Life Ho Toh Aisi! (= wow, life should be like this) without doubt would be Sanjay’s most delightful comedy film. As Yamraj, God of Death with inclination to alcohol and to emotional outbursts (meaning: snivellings) he is adorable and godlike in the true sense of the word. When he protests, "No emotional blackmail!", or when he just casts a glance at the whiskey bottle, I’m rolling on the floor laughing. Sanjay has a delightful sense of humour, and thanks to his very lively mimic art he even without words is able to express more than most of his colleagues manage with big gestures and words. And in my opinion, this is a higher art of acting than expressive dramatic.
Sanju obviously had a ball playing this modern Yamraj with cabriolet and computer equipment ("it's 2005, my boy!"), and he shapes his God of Death as a lovable big child: Behind the cool facade (very attractive in a red suit turning the God of Death in between to a veritable little devil) Yamraj hides a childlike soul and thus now and then also can become stubborn or a classical cry-baby. But never, neither when Yamraj is snivelling nor when he’s boozing, Sanjay succumbs to the danger of hamming. As Yamraj he is pure delight. In Shahid Kapoor he’s got an immensely likeable young co-star who partially (not only in the dance scene with sweet Amrira Rao at the pyramides – kind regards from K3G) astonishingly reminds of young Shahrukh Khan. The other cast members including the children are very good, and a special enjoyment is Arshad Warsi in the (unfortunately much too short) minor role of pragmatic medium Fakira.
In the end, Mahesh and Sanjay even arrange a sort of advanced Sanjay Dutt movie quiz. Those who haven’t seen the film yet and don’t want to spoil the sport, please avoid to read my attached P.S. ;) Apart from that, let me finally state, in short, that Yamraj is an absolute must-see. Cheers, Yamrajji – make us emotional!
Produced by Sangeeta Ahir; Directed by Mahesh Manjrekar
135 Min.; DVD: One, English Subtitles (including songs); after about 105 minutes there is a complete subtitle blackout in one scene. The DVD also contains a Making Of (with scenes from the music launch), deleted scenes and the deleted song "Dil Ke Maare".
© Diwali
P.S. Surely life is not easy for a God of Death when he is a lookalike of film star Sanjay Dutt; no wonder Yamraj is permanently confused with characters he’s never heard of. When he towards the end of the film visibly presents himself to Adi’s family and all of them burst out in a surprised "Sanjay Dutt???", Yamraj indignantly replies that he is fed up being called by strange names like Munnabhai, Khalnayak and Raghubhai (= Sanju’s three most successful roles); then he calms down and tells the family with a big grin that they should tell this Sanjay Dutt that he looks like Yamraj. (And all this is accentuated by the "Bole to" motive from Munnabhai MBBS...) Shortly thereafter his figure appears in front of Adi’s house again, but when he now is joyfully greeted with "Yamraj!", he reacts in bewilderment that this must be a confusion as his name is Sanjay Dutt and he now and then plays small movie roles. His plea for a glass of water is the cue for the children to quote several lines which show that they are perfectly familiar with Sanjay’s movies from Vaastav till Munnabhai MBBS. The scene ends with a collective "jadoo ki jhappi"... ;)
Mahesh Manjrekar’s versatility is really amazing. In front of the camera an adept actor, behind the camera a director of films as different as the underworld classics Vaastav and Hathyar, thoughtful stories about pugnatious family fathers like Kurukshetra, Pitaah or Viruddh, spine-chiller thrillers like Rakht – and now also a cheerful and colourful family film which would do a Disney credit. And yes, Manjrekar can do this, too. The story about a surrogate father of a lively children horde comes very likeable and without unbearable mush – Manjrekar shot the mourning scenes after Adi’s death without holding them up to the audience’s laughter, and with a lot of respect for the feelings of those who have to face such a disaster in reality. Anyway, not everyone meets like Adi a God of Death who every now and then gets emotional.
Without the Munnabhai films, Vaah! Life Ho Toh Aisi! (= wow, life should be like this) without doubt would be Sanjay’s most delightful comedy film. As Yamraj, God of Death with inclination to alcohol and to emotional outbursts (meaning: snivellings) he is adorable and godlike in the true sense of the word. When he protests, "No emotional blackmail!", or when he just casts a glance at the whiskey bottle, I’m rolling on the floor laughing. Sanjay has a delightful sense of humour, and thanks to his very lively mimic art he even without words is able to express more than most of his colleagues manage with big gestures and words. And in my opinion, this is a higher art of acting than expressive dramatic.
Sanju obviously had a ball playing this modern Yamraj with cabriolet and computer equipment ("it's 2005, my boy!"), and he shapes his God of Death as a lovable big child: Behind the cool facade (very attractive in a red suit turning the God of Death in between to a veritable little devil) Yamraj hides a childlike soul and thus now and then also can become stubborn or a classical cry-baby. But never, neither when Yamraj is snivelling nor when he’s boozing, Sanjay succumbs to the danger of hamming. As Yamraj he is pure delight. In Shahid Kapoor he’s got an immensely likeable young co-star who partially (not only in the dance scene with sweet Amrira Rao at the pyramides – kind regards from K3G) astonishingly reminds of young Shahrukh Khan. The other cast members including the children are very good, and a special enjoyment is Arshad Warsi in the (unfortunately much too short) minor role of pragmatic medium Fakira.
In the end, Mahesh and Sanjay even arrange a sort of advanced Sanjay Dutt movie quiz. Those who haven’t seen the film yet and don’t want to spoil the sport, please avoid to read my attached P.S. ;) Apart from that, let me finally state, in short, that Yamraj is an absolute must-see. Cheers, Yamrajji – make us emotional!
Produced by Sangeeta Ahir; Directed by Mahesh Manjrekar
135 Min.; DVD: One, English Subtitles (including songs); after about 105 minutes there is a complete subtitle blackout in one scene. The DVD also contains a Making Of (with scenes from the music launch), deleted scenes and the deleted song "Dil Ke Maare".
© Diwali
P.S. Surely life is not easy for a God of Death when he is a lookalike of film star Sanjay Dutt; no wonder Yamraj is permanently confused with characters he’s never heard of. When he towards the end of the film visibly presents himself to Adi’s family and all of them burst out in a surprised "Sanjay Dutt???", Yamraj indignantly replies that he is fed up being called by strange names like Munnabhai, Khalnayak and Raghubhai (= Sanju’s three most successful roles); then he calms down and tells the family with a big grin that they should tell this Sanjay Dutt that he looks like Yamraj. (And all this is accentuated by the "Bole to" motive from Munnabhai MBBS...) Shortly thereafter his figure appears in front of Adi’s house again, but when he now is joyfully greeted with "Yamraj!", he reacts in bewilderment that this must be a confusion as his name is Sanjay Dutt and he now and then plays small movie roles. His plea for a glass of water is the cue for the children to quote several lines which show that they are perfectly familiar with Sanjay’s movies from Vaastav till Munnabhai MBBS. The scene ends with a collective "jadoo ki jhappi"... ;)
Zinda (2005) - Review in English
About the story: Software engineer Balajeet Roy (Sanjay Dutt) has all he can wish for: a good job in Bangkok, his wife Nisha (Celina Jaitley) he’s been happily married to for one year now, and his relyable childhood friend Joy Fernandez (Mahesh Manjrekar). But then within one second nothing is as it was before: Bala disappears out of Nisha’s life without a trace. No one has a clue that he is kept imprisoned in a dark cell with a TV as his only contact to the world outside. By TV news Bala also comes to know that Nisha was murdered and that he is believed to be the murderer. For fourteen years Bala thus lives in complete isolation without knowing who is holding him captive and why. Then, one day, he suddenly is free again. With the help of taxi driver Jenny Singh (Lara Dutta) Bala starts looking for answers to his questions of who and why. The track leads him to a man named Rohit Chopra (John Abraham) – and soon enough Bala has to realize that even in freedom he still is a prisoner and that his nightmare is far away from ending...
Theatre, so once Aristotle wrote, shall have a catharsic, that means purifying effect on the audience. If this is also valid for the actors themselves, then Zinda must have had an enormous potential for Sanjay Dutt. Solely the memory of his scenes in his cell makes me shiver and I just wonder wherefrom he took the strength to do these scenes as they must have been a gruesome déjà vu for his psyche, a bitter memory of his months in solitary confinement where he also was all alone and did not know how long he would be kept imprisoned. Like such dark times in a cell, Sanjay also knows exactly that you can be free and nevertheless prisoner like Bala – after all, his life has been ruled and regulated by bail provisions since 1995, and even Bala’s longing for family members forcefully taken away from him is something Sanjay unfortunately knows all too well.
However, Sanjay underwent this catharsis to the highest degree voluntarily as Zinda, as a White Feather Film, is his home production, directed by his friend and partner Sanjay Gupta and "in loving memory of Dutt sahab" commemorating his father Sunil Dutt. Mahesh Manjrekar, director with actor roots and almost a kind of lucky mascot for Sanju’s production house after having played a role in every White Feather Film up till then, was even in Zinda in the role of Joy Fernandez a good support for Sanjay. Lara Dutta is convincing, and the scene in which Bala for the first time since fourteen years is meted out a loving touch again by Jenny, is shot similarly decently and tastefully as its equivalent in Shabd. The other actors don’t have very much to do – except, of course, Sanjay’s main opponent: John Abraham plays with very strong presence and intensity which makes especially his scenes with Sanjay, when the two of them fight out emotionally thrilling duels, to highlights of the film. When rediff writes in its review, "Dutt shines in Zinda", then it should rightfully be added, "And Abraham sparkles". A terrific performance – by both of them.
For me, Zinda is a very powerful film – dark, cold (not least for the full use of blue filter), intensely going under your skin and up to a certain degree even suspense-packed. Of course, several scenes are strong stuff, and I’m talking not only about the psychically but also about the physically demanding scenes – I don’t want to give away details, the warning will do that a lot of blood is shed and that not every body makes ends meet safe and sound. The hatred Rohit and, after his torture of fourteen years, even Bala are driven by, leaves no space for mercy. Calmness as a surprising and pleasant contrast is created rather by the music which this time remains more in the background and thus adds an inner strain to the film. Zinda surely is not perfect, it has its weak points, but the thrilling plot and the two excellent leading actors are reason enough for a recommendation. Provided that you are not attuned to two hours of relaxing candyfloss entertainment.
Produced and directed by Sanjay Gupta
114 Min.; DVD: Eros, English Subtitles (including songs); the DVD also contains two music videos ("Zinda Hoon Main" and "Yeh Hai Meri Kahani") featuring Sanjay and an interview with Lara Dutta about Zinda.
© Diwali
Theatre, so once Aristotle wrote, shall have a catharsic, that means purifying effect on the audience. If this is also valid for the actors themselves, then Zinda must have had an enormous potential for Sanjay Dutt. Solely the memory of his scenes in his cell makes me shiver and I just wonder wherefrom he took the strength to do these scenes as they must have been a gruesome déjà vu for his psyche, a bitter memory of his months in solitary confinement where he also was all alone and did not know how long he would be kept imprisoned. Like such dark times in a cell, Sanjay also knows exactly that you can be free and nevertheless prisoner like Bala – after all, his life has been ruled and regulated by bail provisions since 1995, and even Bala’s longing for family members forcefully taken away from him is something Sanjay unfortunately knows all too well.
However, Sanjay underwent this catharsis to the highest degree voluntarily as Zinda, as a White Feather Film, is his home production, directed by his friend and partner Sanjay Gupta and "in loving memory of Dutt sahab" commemorating his father Sunil Dutt. Mahesh Manjrekar, director with actor roots and almost a kind of lucky mascot for Sanju’s production house after having played a role in every White Feather Film up till then, was even in Zinda in the role of Joy Fernandez a good support for Sanjay. Lara Dutta is convincing, and the scene in which Bala for the first time since fourteen years is meted out a loving touch again by Jenny, is shot similarly decently and tastefully as its equivalent in Shabd. The other actors don’t have very much to do – except, of course, Sanjay’s main opponent: John Abraham plays with very strong presence and intensity which makes especially his scenes with Sanjay, when the two of them fight out emotionally thrilling duels, to highlights of the film. When rediff writes in its review, "Dutt shines in Zinda", then it should rightfully be added, "And Abraham sparkles". A terrific performance – by both of them.
For me, Zinda is a very powerful film – dark, cold (not least for the full use of blue filter), intensely going under your skin and up to a certain degree even suspense-packed. Of course, several scenes are strong stuff, and I’m talking not only about the psychically but also about the physically demanding scenes – I don’t want to give away details, the warning will do that a lot of blood is shed and that not every body makes ends meet safe and sound. The hatred Rohit and, after his torture of fourteen years, even Bala are driven by, leaves no space for mercy. Calmness as a surprising and pleasant contrast is created rather by the music which this time remains more in the background and thus adds an inner strain to the film. Zinda surely is not perfect, it has its weak points, but the thrilling plot and the two excellent leading actors are reason enough for a recommendation. Provided that you are not attuned to two hours of relaxing candyfloss entertainment.
Produced and directed by Sanjay Gupta
114 Min.; DVD: Eros, English Subtitles (including songs); the DVD also contains two music videos ("Zinda Hoon Main" and "Yeh Hai Meri Kahani") featuring Sanjay and an interview with Lara Dutta about Zinda.
© Diwali
Freitag, 14. September 2007
Ek Ajnabee (2005; end credits clip) - Review in English
In this film Sanjay only appears in the clip during the end credits.
About the story: Ravi Rathore (Vikram Chatwal), a wealthy Indian businessman, lives in Bangkok with his wife Nikasha (Perizaad Zorabian) and his little daughter Anamika (Rucha Vaidya). When Ravi seeks a new bodyguard for his daughter, ex-soldier Shekhar (Arjun Rampal) recommends his former superior, retired colonel Suryaveer Singh (Amitabh Bachchan) who, after traumatic war experiences and excessive consumption of alcohol, is close to being a mere wreck. Surya is not delighted by the prospect of having to guard a child, but soon the cheerful girl wins over his heart, and Surya and Anamika become close friends. But Surya cannot hamper that Anamika is abducted, and when he comes to know that she has been killed, his world is shattered. His only ambition now is revenge – and by and by he unveils ourageous truths...
Amitabh Bachchan’s era as the "angry young man" surely may be over, but as an "angry old man" he still is very impressive (and the only thing he doesn’t manage to make me believe him is that young and fit men cannot beat him in a dogfight). After Black and Viruddh, Ek Ajnabee (= a stranger) was another really great performance of Big B in 2005, a year of success which cemented his rank as a living legend of Hindi Cinema more than ever.
Sanjay appears only after the film’s last scene: During the end credits he creates the clip "They don’t know" – a guest appearance he’s appreciated for with "Special Thanks to Mr Sanjay Dutt" at the beginning of the film. To watch Ek Ajnabee only because of him therefore would be very senseless. But for those who like Amitabh Bachchan in powerful roles, maybe also have a soft spot for Arjun Rampal (who, equipped with hot tattoos, delivers a convincing performance) and, adding to that, want to see a promising newcomer with potential (sweet Rucha Vaidya), Ek Ajnabee is a very good choice as it’s a very thrilling film. And as a bonus, as I said, you get afterwards a piece of stylised gangster-rap which Sanju did out of his friendship to Bunty Walia, Apoorva Lakhia and Amitabh Bachchan – and as he stated in Filmfare 12/2005, he had "a great time" doing the number.
Produced by Bunty Walia & Jaspreet Singh Walia; Directed by Apoorva Lakhia
136 Min.; DVD: Eros, English Subtitles (including songs); the DVD also contains a Making Of and an interview with Amitabh Bachchan about the film.
© Diwali
About the story: Ravi Rathore (Vikram Chatwal), a wealthy Indian businessman, lives in Bangkok with his wife Nikasha (Perizaad Zorabian) and his little daughter Anamika (Rucha Vaidya). When Ravi seeks a new bodyguard for his daughter, ex-soldier Shekhar (Arjun Rampal) recommends his former superior, retired colonel Suryaveer Singh (Amitabh Bachchan) who, after traumatic war experiences and excessive consumption of alcohol, is close to being a mere wreck. Surya is not delighted by the prospect of having to guard a child, but soon the cheerful girl wins over his heart, and Surya and Anamika become close friends. But Surya cannot hamper that Anamika is abducted, and when he comes to know that she has been killed, his world is shattered. His only ambition now is revenge – and by and by he unveils ourageous truths...
Amitabh Bachchan’s era as the "angry young man" surely may be over, but as an "angry old man" he still is very impressive (and the only thing he doesn’t manage to make me believe him is that young and fit men cannot beat him in a dogfight). After Black and Viruddh, Ek Ajnabee (= a stranger) was another really great performance of Big B in 2005, a year of success which cemented his rank as a living legend of Hindi Cinema more than ever.
Sanjay appears only after the film’s last scene: During the end credits he creates the clip "They don’t know" – a guest appearance he’s appreciated for with "Special Thanks to Mr Sanjay Dutt" at the beginning of the film. To watch Ek Ajnabee only because of him therefore would be very senseless. But for those who like Amitabh Bachchan in powerful roles, maybe also have a soft spot for Arjun Rampal (who, equipped with hot tattoos, delivers a convincing performance) and, adding to that, want to see a promising newcomer with potential (sweet Rucha Vaidya), Ek Ajnabee is a very good choice as it’s a very thrilling film. And as a bonus, as I said, you get afterwards a piece of stylised gangster-rap which Sanju did out of his friendship to Bunty Walia, Apoorva Lakhia and Amitabh Bachchan – and as he stated in Filmfare 12/2005, he had "a great time" doing the number.
Produced by Bunty Walia & Jaspreet Singh Walia; Directed by Apoorva Lakhia
136 Min.; DVD: Eros, English Subtitles (including songs); the DVD also contains a Making Of and an interview with Amitabh Bachchan about the film.
© Diwali
Shaadi No. 1 (2005) - Review in English
About the story: Raj (Fardeen Khan), Aryan (Sharman Joshi) and Veer (Zayed Khan) are friends, and all three of them have been getting married on the same day. Since then, however, they have to share their wives with "rivals": Raj’s wife Bhavana (Ayesha Takia) prays all day long together with her guru, Aryan’s wife Sonia (Soha Ali Khan) is a lawyer and more concerned about her cases than about her husband, and Veer’s wife Diya (Esha Deol) fully concentrates on her career as an actress. So the three friends feel no qualms when their employer Kothari (Satish Shah) asks them to do him a favour: They shall woo Kothari’s beautiful daughters Dimple (Sophia Chaudhary), Madhuri (Riya Sen) and Rekha (Aarti Chhabria) and then break their hearts so that they agree in marriages arranged by their father. But then the friends really fall in love with their victims and even start thinking about how to arrange for double matrimonies, when they suddenly face an unexpected obstacle: Lakhwinder Singh Lakha, aka Lucky (Sanjay Dutt) whose only ambition is to put some spokes in the three friends’ wheels...
Ouch. This film was not necessary – in no way. And this I mean unfortunately also concerning Sanjay. After Ek Aur Ek Gyarah, this was the second time I experienced him unrestrainedly hamming, and my hopes that the first time possibly was a one-time lapse of Sanjay were gone with the wind... But even the film itself leaves nearly everything to be desired. Dhawan nowadays doesn’t shy away even from the most stupid slapsticks; and even worse: He makes fun of people’s justified fears of bomb attacks. To avoid his extra-marital affair to be unveiled, Zayed as cool as a cucumber picks up the phone and deadly serious maintains that a bomb is hidden in a fully crowded fairground whereupon the park immediately is evacuated and people in panic run for their lives. Hello? How irresponsible may film makers be? No need to wonder at copycats in real life anymore. And what the hell has come over Sanju to join in and also crack a little bomb-blast joke?
No, even the nice insider gags with allusions to several films of stars like Madhuri Dixit or Shahrukh Khan (including Sanjay’s own blockbuster Munnabhai MBBS) cannot save this film for me; I just want to forget it. I don’t want recommend it either, except you are a fan of the young leading actors (of whom I want to make positive remarks only for Ayesha Takia and Sharman Joshi) or of ridiculous and partially ineffable Dhawan slapstick. Or except you are thus Sanjay-fanatic that you can bear this hamming role which surely was meant to be funny but unfortunately isn’t. Sorry, Sanju, you know I love you, but please: Never ever again do something like this Lucky!
Produced by Yashu Bhagnani; Directed by David Dhawan
134 Min.; DVD: Eros, English Subtitles (including songs); the DVD also contains a Making Of and reports of the Music Launch and the Première.
© Diwali
Ouch. This film was not necessary – in no way. And this I mean unfortunately also concerning Sanjay. After Ek Aur Ek Gyarah, this was the second time I experienced him unrestrainedly hamming, and my hopes that the first time possibly was a one-time lapse of Sanjay were gone with the wind... But even the film itself leaves nearly everything to be desired. Dhawan nowadays doesn’t shy away even from the most stupid slapsticks; and even worse: He makes fun of people’s justified fears of bomb attacks. To avoid his extra-marital affair to be unveiled, Zayed as cool as a cucumber picks up the phone and deadly serious maintains that a bomb is hidden in a fully crowded fairground whereupon the park immediately is evacuated and people in panic run for their lives. Hello? How irresponsible may film makers be? No need to wonder at copycats in real life anymore. And what the hell has come over Sanju to join in and also crack a little bomb-blast joke?
No, even the nice insider gags with allusions to several films of stars like Madhuri Dixit or Shahrukh Khan (including Sanjay’s own blockbuster Munnabhai MBBS) cannot save this film for me; I just want to forget it. I don’t want recommend it either, except you are a fan of the young leading actors (of whom I want to make positive remarks only for Ayesha Takia and Sharman Joshi) or of ridiculous and partially ineffable Dhawan slapstick. Or except you are thus Sanjay-fanatic that you can bear this hamming role which surely was meant to be funny but unfortunately isn’t. Sorry, Sanju, you know I love you, but please: Never ever again do something like this Lucky!
Produced by Yashu Bhagnani; Directed by David Dhawan
134 Min.; DVD: Eros, English Subtitles (including songs); the DVD also contains a Making Of and reports of the Music Launch and the Première.
© Diwali
Viruddh (2005) - Review in English
About the story: Vidhyadar Ramkrishna Patwardhab (Amitabh Bachchan) and his wife Sumitra (Sharmila Tagore) are very happily married since many years, and small everyday tiffs belong to their matrimony as well as a loving caring for each other. Their son Amar (John Abraham) studies in London and announces his return for his birthday. To his family’s surprise he arrives with a girlfriend in tow: lovable Jenny Mayer (Anusha Dandekar) who only speaks very little Hindi but seriously struggles to learn it and with her gleefulness immediately wins over the hearts of Amar’s parents. But shortly after Jenny’s and Amar’s wedding the harmonic family happiness abruptly is ended; Vidhya’s and Sumitra’s lives are shattered, and Vidhya is forced to fight for his son’s honour. In this crisis they are supported above all by mechanic Ali Asghar (Sanjay Dutt) who, after initial frictions, has become the family’s best friend...
Mahesh Manjrekar’s linear and songless film Viruddh was tailor-made for Amitabh Bachchan, and Big B thanked him with a terrific performance. He plays the roller coaster ride from joyful and light-hearted comedy to deepest tragic, despair and anger with a range of expressions without equal, and rarely I have seen him act with such sophisticated gestures – often Amitabh doesn’t need words, his glances and gestures are enough. Even Sharmila Tagore with the warm-hearted but nevertheless resolute authority of a former teacher is gorgeous, and her chemistry with Amitabh is marvellous. Especially in the first part of the film they make you roar with laughter, and I guess that many Indians recognized in Vidhya and Sumi their own parents or grandparents, like Anusha Dandekar did as she admitted in the Making of Viruddh.
Originally Mahesh Manjrekar had roped in Sharmila’s son Saif Ali Khan for the role of Amar, and some details of the script still remind to this, e.g. Vidhya’s remark that Amar is looking like Sumitra (Sharmila and Saif are indeed very alike) or a nice hint to Saif’s movie Kal Ho Naa Ho. But then Saif could not do the film due to schedule hassles, and John Abraham stepped in for him. He plays unostentatious and tasteful, is absolutely likeable and obviously has a good chemistry with Amitabh which he, however, couldn’t deepen considerably in this film as his role is not very big. A pleasant discovery is Anusha Dandekar from Australia who enchants with her fresh and fuss-free nature; just crying is not her strong point, in this discipline she’s probably only beaten by Amisha Patel among the other Hindi Cinema actresses.
Alongside these four leading roles there are many lovingly shaped minor characters wonderfully supporting Amitabh, all of them charved out by routiniers like Sachin Khedekar, Shivaji Satham and Prem Chopra, good old acquaintances from former joint film productions Manjrekar could rope in for Viruddh. Another of them is Sanjay Dutt "in a dynamic appearance" as it says in the credits. His Alibhai is a small but good role, and as usual Sanjay taps at least its full potential if not even more. Very credibly he portrays the change from the rough-cheeky fellow to an understanding and relyable friend. Too bad that Manjrekar didn’t extend this character a bit, once or twice it would have been easily possible. But even so the film offers some funny and also absolutely heart-rending interactions of Amitabh and Sanjay (they are and remain a wonderful screen jodi), and in a hilarious encounter with Sharmila Sanjay once again proves that he has enough humour to pull his own leg.
Viruddh is a very watchworth film, but please, keep your hankies ready – you’ll need them for your tears with laughing as well as for your tears of compassion and fury. Hardly ever the gap between cheerfulness and despair has been bigger and a plot twist more shattering than in Viruddh. Though you learn the reason for this twist already after a few minutes, the consequences are not given away beforehand. So I won’t do it either and just recommend to watch the film and find out yourself.
Produced by A.B Corp Limited & Satyajeet Movies Pvt. Ltd.; Directed by Mahesh Manjrekar
131 Min.; DVD: UTV, English Subtitles (including song); the DVD also contains a Making Of and Deleted Scenes (among them, after about ten minutes, even one with Sanjay).
© Diwali
(By the way, I want to make a big compliment for the Making Of which features hardly any interviews but primarily offers you backstage impressions from the set. In combination with humourous intertitles this makes 38 minutes of informative entertainment.)
Mahesh Manjrekar’s linear and songless film Viruddh was tailor-made for Amitabh Bachchan, and Big B thanked him with a terrific performance. He plays the roller coaster ride from joyful and light-hearted comedy to deepest tragic, despair and anger with a range of expressions without equal, and rarely I have seen him act with such sophisticated gestures – often Amitabh doesn’t need words, his glances and gestures are enough. Even Sharmila Tagore with the warm-hearted but nevertheless resolute authority of a former teacher is gorgeous, and her chemistry with Amitabh is marvellous. Especially in the first part of the film they make you roar with laughter, and I guess that many Indians recognized in Vidhya and Sumi their own parents or grandparents, like Anusha Dandekar did as she admitted in the Making of Viruddh.
Originally Mahesh Manjrekar had roped in Sharmila’s son Saif Ali Khan for the role of Amar, and some details of the script still remind to this, e.g. Vidhya’s remark that Amar is looking like Sumitra (Sharmila and Saif are indeed very alike) or a nice hint to Saif’s movie Kal Ho Naa Ho. But then Saif could not do the film due to schedule hassles, and John Abraham stepped in for him. He plays unostentatious and tasteful, is absolutely likeable and obviously has a good chemistry with Amitabh which he, however, couldn’t deepen considerably in this film as his role is not very big. A pleasant discovery is Anusha Dandekar from Australia who enchants with her fresh and fuss-free nature; just crying is not her strong point, in this discipline she’s probably only beaten by Amisha Patel among the other Hindi Cinema actresses.
Alongside these four leading roles there are many lovingly shaped minor characters wonderfully supporting Amitabh, all of them charved out by routiniers like Sachin Khedekar, Shivaji Satham and Prem Chopra, good old acquaintances from former joint film productions Manjrekar could rope in for Viruddh. Another of them is Sanjay Dutt "in a dynamic appearance" as it says in the credits. His Alibhai is a small but good role, and as usual Sanjay taps at least its full potential if not even more. Very credibly he portrays the change from the rough-cheeky fellow to an understanding and relyable friend. Too bad that Manjrekar didn’t extend this character a bit, once or twice it would have been easily possible. But even so the film offers some funny and also absolutely heart-rending interactions of Amitabh and Sanjay (they are and remain a wonderful screen jodi), and in a hilarious encounter with Sharmila Sanjay once again proves that he has enough humour to pull his own leg.
Viruddh is a very watchworth film, but please, keep your hankies ready – you’ll need them for your tears with laughing as well as for your tears of compassion and fury. Hardly ever the gap between cheerfulness and despair has been bigger and a plot twist more shattering than in Viruddh. Though you learn the reason for this twist already after a few minutes, the consequences are not given away beforehand. So I won’t do it either and just recommend to watch the film and find out yourself.
Produced by A.B Corp Limited & Satyajeet Movies Pvt. Ltd.; Directed by Mahesh Manjrekar
131 Min.; DVD: UTV, English Subtitles (including song); the DVD also contains a Making Of and Deleted Scenes (among them, after about ten minutes, even one with Sanjay).
© Diwali
(By the way, I want to make a big compliment for the Making Of which features hardly any interviews but primarily offers you backstage impressions from the set. In combination with humourous intertitles this makes 38 minutes of informative entertainment.)
Donnerstag, 13. September 2007
Munna Bhai M.B.B.S. (2003) - Review in English
About the story: Murli Prasad Sharma, aka Munnabhai (Sanjay Dutt), is the leader of a small-time crook gang, and together with his right-hand man Circuit (Arshad Warsi) he turns Mumbai upside down. However, he told his parents Shri Hari Prasad Sharma (Sunil Dutt) und Parvati (Rohini Hattangadi) that he has become a doctor, and in order not to betray their pride for their son, he turns his headquarters into a hospital every time they come to visit him. But one fine day Shri Hari is told the the truth about his son’s profession by his acquaintance, Dr J. Asthana (Boman Irani). As Munna realizes how deeply he has hurt his parents, he decides to really become a doctor. Of all places, Circuit chooses the college and clinic of Dr Asthana for Munna’s studies, a place characterized by Dr Asthana’s strict and disciplinary rules which Munna with his unconventional views cannot understand and accept, so he immediately starts shaking things up thoroughly. While Munna is falling in love with Dr Suman (Gracy Singh) without knowing that she is his childhood friend Chinki and thus Dr. Asthana’s daughter, the clinic staff and patients more and more take Munna into their hearts and defend him passionately against every effort of Dr Asthana to finally get rid of the gangster once and for all...
I admit straightforwardly that I’ve fallen in love with this film. A comedy with a deeper meaning and a hanky factor, and a beautifully arranged cast. For the role of Munnabhai, this lovable crook rising to godlike status in the recognition of his fellow men due to the goodness of his heart, Sanjay Dutt is simply perfect: an extraordinary actor, blessed with an unusual charisma, a natural lovableness, a charming smile, a brilliant humour and a strong sense for emotions – and once again he unconditionally throws all this into his role. The result is a mind-blowing role portrait – a gorgeous performance for which Sanju was rightfully rewarded with a number of awards (Filmfare Award for best comedian, Stardust Star of the year Award and Bollywood Movie Award as Most Sensational Actor; adding to this nominations as best actor at the IIFA Awards, the Sansui Awards and the Star Screen Awards). Arshad Warsi’s Circuit also is an award-winning study without any weaknesses, and his chemistry with Sanjay is terrific. Gracy Singh cannot really keep up with her great partners, but all in all her performance is okay. Jimmy Shergill plays the small, but nice role of Zaheer beautifully and touchingly. Boman Irani evades cliches instead of selling his character out for the effects: he's mean, but not a classical goon, funny, but not a comic relief. Hats off!
This is, by the way, a special attribute of this film: It is toned down and more subtle than usual. It uses one or the other plot cliches of the Hindi Cinema, but always a bit more downshifted than in other films. The gags, twists and emotional scenes don’t come with a bang but happen quasi in passing and naturally. Even the moralizing sequences are presented without a dominating hint. And who can resist Munnabhai when he, with his "jadoo ki jhappi" (magic hug), brings sunshine into the joyless lives of the people around him, fulfills a last heart’s desire of Zaheer who is dying of cancer, or when he with his loving care brings back into life paralyzed Anand Banerjee (Yatin Karyekar) who had been degraded to an object of study. Munnabhai may be a gangster, but his soul is innocent like a child’s, and he thinks and acts in a more human way than others who might consider themselves of higher moral value just because of his profession - for Munna’s thoughts and actions are spontaneous and come directly from his heart, and they are not manipulated by discipline-stuck or bureaucratic ways of thinking.
The most touching scenes are of course those revolving around Sanjay and his father Sunil Dutt (standing in front of the camera again after ten years and despite a broken shoulder) – especially when you know about the very special father-son relationship they shared: Munna’s facial expression when he realizes how much he has hurt his father with his lies, or the reconciliating hug of father and son in the end, all this love and gratefulness Munna is putting into it – that is not merely acted by Sanju, that’s genuine. Because for him, it was not his film father standing in front of him but his real-life father for whom he indeed feels all this love and gratefulness after all the heavy crises they have suffered through together. It is simply beyond belief that this was the only time ever that these two great personalities of the Hindi Cinema were granted to work together in front of the camera, and watching the beautiful chemistry father and son Dutt shared on the big screen just hardenes the pain as it's clear that after Sunil Dutt's death in 2005 there is no chance to make up for this default.
By the way: Vidhu Vinod Chopra had originally planned the role of Munnabhai for Shahrukh Khan (while Sanju was casted for the role Jimmy Shergill took on later) who is even thankfully mentioned in the end credits. But because of his urgent back operation he had to walk out of the film. And though I surely can imagine Shahrukh in this role – in this case I can live splendidly with the "replacement solution". Because Sanjay Dutt simply IS Munnabhai, it is the role of his life and besides Khalnayak the one his name will always be associated with in the future. Especially since three years later, together with his congenial partner Arshad Warsi, he even topped this film with another brilliant performance in the sequel Lage Raho Munna Bhai.
Munna Bhai M.B.B.S. is entertainment and enjoyment without remorse. Highly recommendable. Even for those who are no Sanjay Dutt fans in particular – in this point Munnabhai definitely has the potential for conversion. Just like it says in the tagline: "Statutory warning – he might just cure you!"
Produced by Vidhu Vinod Chopra; Directed by Rajkumar Hirani
155 Min.; DVD: Eros, English Subtitles (including songs); the DVD also contains a Making Of.
© Diwali; Translated by nandini67
P.S.: Sanju even cures himself with this film. According to Filmfare 7/2004 he downloaded his favourite parts from Munna Bhai M.B.B.S. to his mobile – to watch them in hard times.
P.P.S. Dr Asthana's memories / Sanjay Dutt in the end credits of the Telugu remake Shankar Dada MBBS (2004)
I admit straightforwardly that I’ve fallen in love with this film. A comedy with a deeper meaning and a hanky factor, and a beautifully arranged cast. For the role of Munnabhai, this lovable crook rising to godlike status in the recognition of his fellow men due to the goodness of his heart, Sanjay Dutt is simply perfect: an extraordinary actor, blessed with an unusual charisma, a natural lovableness, a charming smile, a brilliant humour and a strong sense for emotions – and once again he unconditionally throws all this into his role. The result is a mind-blowing role portrait – a gorgeous performance for which Sanju was rightfully rewarded with a number of awards (Filmfare Award for best comedian, Stardust Star of the year Award and Bollywood Movie Award as Most Sensational Actor; adding to this nominations as best actor at the IIFA Awards, the Sansui Awards and the Star Screen Awards). Arshad Warsi’s Circuit also is an award-winning study without any weaknesses, and his chemistry with Sanjay is terrific. Gracy Singh cannot really keep up with her great partners, but all in all her performance is okay. Jimmy Shergill plays the small, but nice role of Zaheer beautifully and touchingly. Boman Irani evades cliches instead of selling his character out for the effects: he's mean, but not a classical goon, funny, but not a comic relief. Hats off!
This is, by the way, a special attribute of this film: It is toned down and more subtle than usual. It uses one or the other plot cliches of the Hindi Cinema, but always a bit more downshifted than in other films. The gags, twists and emotional scenes don’t come with a bang but happen quasi in passing and naturally. Even the moralizing sequences are presented without a dominating hint. And who can resist Munnabhai when he, with his "jadoo ki jhappi" (magic hug), brings sunshine into the joyless lives of the people around him, fulfills a last heart’s desire of Zaheer who is dying of cancer, or when he with his loving care brings back into life paralyzed Anand Banerjee (Yatin Karyekar) who had been degraded to an object of study. Munnabhai may be a gangster, but his soul is innocent like a child’s, and he thinks and acts in a more human way than others who might consider themselves of higher moral value just because of his profession - for Munna’s thoughts and actions are spontaneous and come directly from his heart, and they are not manipulated by discipline-stuck or bureaucratic ways of thinking.
The most touching scenes are of course those revolving around Sanjay and his father Sunil Dutt (standing in front of the camera again after ten years and despite a broken shoulder) – especially when you know about the very special father-son relationship they shared: Munna’s facial expression when he realizes how much he has hurt his father with his lies, or the reconciliating hug of father and son in the end, all this love and gratefulness Munna is putting into it – that is not merely acted by Sanju, that’s genuine. Because for him, it was not his film father standing in front of him but his real-life father for whom he indeed feels all this love and gratefulness after all the heavy crises they have suffered through together. It is simply beyond belief that this was the only time ever that these two great personalities of the Hindi Cinema were granted to work together in front of the camera, and watching the beautiful chemistry father and son Dutt shared on the big screen just hardenes the pain as it's clear that after Sunil Dutt's death in 2005 there is no chance to make up for this default.
By the way: Vidhu Vinod Chopra had originally planned the role of Munnabhai for Shahrukh Khan (while Sanju was casted for the role Jimmy Shergill took on later) who is even thankfully mentioned in the end credits. But because of his urgent back operation he had to walk out of the film. And though I surely can imagine Shahrukh in this role – in this case I can live splendidly with the "replacement solution". Because Sanjay Dutt simply IS Munnabhai, it is the role of his life and besides Khalnayak the one his name will always be associated with in the future. Especially since three years later, together with his congenial partner Arshad Warsi, he even topped this film with another brilliant performance in the sequel Lage Raho Munna Bhai.
Munna Bhai M.B.B.S. is entertainment and enjoyment without remorse. Highly recommendable. Even for those who are no Sanjay Dutt fans in particular – in this point Munnabhai definitely has the potential for conversion. Just like it says in the tagline: "Statutory warning – he might just cure you!"
Produced by Vidhu Vinod Chopra; Directed by Rajkumar Hirani
155 Min.; DVD: Eros, English Subtitles (including songs); the DVD also contains a Making Of.
© Diwali; Translated by nandini67
P.S.: Sanju even cures himself with this film. According to Filmfare 7/2004 he downloaded his favourite parts from Munna Bhai M.B.B.S. to his mobile – to watch them in hard times.
P.P.S. Dr Asthana's memories / Sanjay Dutt in the end credits of the Telugu remake Shankar Dada MBBS (2004)
Mittwoch, 12. September 2007
Musafir (2004) - Review in English
About the story: At a coup which was to be his last one, cheater Lucky (Anil Kapoor) is cheated himself: His girlfriend Lara (Koena Mitra) clears away with the money he duffed. And as if this weren’t enough, Lucky’s victim turns out to be a henchman of gangster boss Billa Bhai (Sanjay Dutt) who in such cases takes no jokes. He gives Lucky a grilling and offers him a last chance to save his skin: Lucky shall fetch a money bag from Whacko Jacko (Shakti Kapoor) in Goa and deliver it to Billa. But again things go wrong for Lucky: He loses the money from Whacko Jacko, gets into trouble with fanatic cop Tiger (Aditya Pancholi) and falls for Sam (Sameera Reddy), a married woman who wants to get rid of her husband Lokha (Mahesh Manjrekar) as well as the latter wants to get rid of her – and both hire Lucky for this job. To crown it all, finally Billa himself shows up in Goa to keep a close eye on Lucky...
The best things come in threes. This is probably the thought which inspired Sanjay Dutt and Sanjay Gupta, after Kaante and Plan, to the third film of their production house White Feather Films: In Musafir (= voyager) Sanju plays his third White Feather role as the cool gangster, or rather said: He tops it in every means. He was never cooler, he never sang more wickedly than in "Tez Dhaar" (during the credits), and he never made a hotter clip than "Saaki Saaki" where he simply looks breathtakingly supercool and razor-sharp. And gorgeous Koena Mitra in no way needs to hide behind her attractive predecessors Isha Koppikar and Priyanka Chopra, all the more as she afterwards also has an unforgettable acting scene with Sanjay.
And there’s one more element Musafir has in common with Kaante and Plan, and that is Dutt-director Mahesh Manjrekar in front of the camera. As an actor, Mahesh seems to have a faible for crazed roles and even this time he convinces as the shady and sleazy husband. At his side he has Sameera Reddy who definitely advanced as an actress since her debut two years ago – very well done. The biggest surprise package, however, was Anil Kapoor. Until now I only knew him as an actor who in every film seemed to be an advertiser for hair spray with his – in every situation perfect – blow-dry hairstyle and moustache; in Musafir, however, he sports short hair, two-day-old beard and shaven chest (and frankly, Anil, this look is damned good for you, you should keep it). More than that, he plays his role (which also differs from his usually preferred scheme) really well, and that he, inspite of having most of the screentime, not became the only outstanding hero is not primarily Anil’s fault – these things do happen if you get involved with Sanjay Dutt as antagonist.
For even if Sanjay has less screentime than Anil in Musafir, his part is definitely no minor character. Billa is Lucky’s big opponent, and Sanjay issues Billa with so much charisma, authority and ingenious power that he effortlessly dominates his scenes. Whether he shoots to Goa on his heavy motorbike, strides in a capuchin along the nocturnal streets (accompanied by the sounds of Koyaanisqatsi), casually dangles his butterfly knife, fixes his opponent with a brown and a blue eye or with cool-nasty grin shows his gold choppers – Billa is always the boss. And the ladies are at his feet, too. That this super-hot big cat was named Billa (= tomcat) at first seems like a strange joke, but looking closer you find that even Billa has his cuddly sides. He just doesn’t show them to everybody. And when he knows that he has his enemies in his pocket he indeed reminds of a big contentedly purring tomcat. (To the IIFA Awards, Sanjay's performance was worth a nomination for the Best Negative Role.)
The film’s styling is open to dispute, e.g. the colour-filters or the partially astonishing editing and image effects. As for me, I liked it; the whole film is very stylish and cool, and in the end everything goes together well. I also like the ways the plot is told, the flashbacks and the parallel telling of Sam’s and Lokha’s stories. I would always recommend Musafir – and be it just for watching Billa sovereignly and with his most lovely gold-chopper grin playing his games with people. Or because of the première Anil Kapoor mentioned when Musafir was presented at the IIFA: For the first time Nayak and Khalnayak met in front of the camera – Anil, the nayak = hero of many films (including Nayak), and Sanjay, the khalnayak = villain of many films (including Khalnayak). And "Saaki Saaki" is an absolut must-see anyway as the clip is like Sanju – hot as a chilly.
Produced and directed by Sanjay Gupta
145 Min.; DVD: Spark, English Subtitles (including songs), after 126 minutes the sound is missing for a few seconds. The Bonus-DVD contains the Making of the Movie, White Feather Films – An Intro, Musafir Item Bomb – Zee Music and IIFA Footage.
© Diwali
Screenshots
P.S. Sanjay Dutt is known for his perfect style (even got some awards for it), and his fashion passion made him a costume designer for the film Musafir where he designed the look for Anil Kapoor, Aditya Pancholi, Mahesh Manjrekar and himself.
The best things come in threes. This is probably the thought which inspired Sanjay Dutt and Sanjay Gupta, after Kaante and Plan, to the third film of their production house White Feather Films: In Musafir (= voyager) Sanju plays his third White Feather role as the cool gangster, or rather said: He tops it in every means. He was never cooler, he never sang more wickedly than in "Tez Dhaar" (during the credits), and he never made a hotter clip than "Saaki Saaki" where he simply looks breathtakingly supercool and razor-sharp. And gorgeous Koena Mitra in no way needs to hide behind her attractive predecessors Isha Koppikar and Priyanka Chopra, all the more as she afterwards also has an unforgettable acting scene with Sanjay.
And there’s one more element Musafir has in common with Kaante and Plan, and that is Dutt-director Mahesh Manjrekar in front of the camera. As an actor, Mahesh seems to have a faible for crazed roles and even this time he convinces as the shady and sleazy husband. At his side he has Sameera Reddy who definitely advanced as an actress since her debut two years ago – very well done. The biggest surprise package, however, was Anil Kapoor. Until now I only knew him as an actor who in every film seemed to be an advertiser for hair spray with his – in every situation perfect – blow-dry hairstyle and moustache; in Musafir, however, he sports short hair, two-day-old beard and shaven chest (and frankly, Anil, this look is damned good for you, you should keep it). More than that, he plays his role (which also differs from his usually preferred scheme) really well, and that he, inspite of having most of the screentime, not became the only outstanding hero is not primarily Anil’s fault – these things do happen if you get involved with Sanjay Dutt as antagonist.
For even if Sanjay has less screentime than Anil in Musafir, his part is definitely no minor character. Billa is Lucky’s big opponent, and Sanjay issues Billa with so much charisma, authority and ingenious power that he effortlessly dominates his scenes. Whether he shoots to Goa on his heavy motorbike, strides in a capuchin along the nocturnal streets (accompanied by the sounds of Koyaanisqatsi), casually dangles his butterfly knife, fixes his opponent with a brown and a blue eye or with cool-nasty grin shows his gold choppers – Billa is always the boss. And the ladies are at his feet, too. That this super-hot big cat was named Billa (= tomcat) at first seems like a strange joke, but looking closer you find that even Billa has his cuddly sides. He just doesn’t show them to everybody. And when he knows that he has his enemies in his pocket he indeed reminds of a big contentedly purring tomcat. (To the IIFA Awards, Sanjay's performance was worth a nomination for the Best Negative Role.)
The film’s styling is open to dispute, e.g. the colour-filters or the partially astonishing editing and image effects. As for me, I liked it; the whole film is very stylish and cool, and in the end everything goes together well. I also like the ways the plot is told, the flashbacks and the parallel telling of Sam’s and Lokha’s stories. I would always recommend Musafir – and be it just for watching Billa sovereignly and with his most lovely gold-chopper grin playing his games with people. Or because of the première Anil Kapoor mentioned when Musafir was presented at the IIFA: For the first time Nayak and Khalnayak met in front of the camera – Anil, the nayak = hero of many films (including Nayak), and Sanjay, the khalnayak = villain of many films (including Khalnayak). And "Saaki Saaki" is an absolut must-see anyway as the clip is like Sanju – hot as a chilly.
Produced and directed by Sanjay Gupta
145 Min.; DVD: Spark, English Subtitles (including songs), after 126 minutes the sound is missing for a few seconds. The Bonus-DVD contains the Making of the Movie, White Feather Films – An Intro, Musafir Item Bomb – Zee Music and IIFA Footage.
© Diwali
Screenshots
P.S. Sanjay Dutt is known for his perfect style (even got some awards for it), and his fashion passion made him a costume designer for the film Musafir where he designed the look for Anil Kapoor, Aditya Pancholi, Mahesh Manjrekar and himself.
Rakht (2004) - Review in English
About the story: Since her early childhood, Drishti (Bipasha Basu) is gifted with visions which let her look into the future; but yet she could not prevent her husband from dying with an accident. Now she brings up her little son Arjun alone and earns a part of her livings as fortune teller. Two men are seeking her friendship: mentally disabled mechanic Mohit (Suniel Shetty) and schoolmaster Rahul (Sanjay Dutt) who is engaged with Natasha (Amrita Arora), the young and fun-loving daughter of mayor Raj Bahadir Singh (Sharat Saxena). When Natasha disappears without a trace, Drishti, due to a vision, can give ACP Ranveer (Rajat Bedi) a hint thanks to which the girl’s dead body is found in a lake. Under suspicion is violent Sunil Tehan, called Sunny (Dino Morea) who regularly ill-treats his wife Rhea (Neha Dhupia) and had an affair with Natasha. Though Sunny claims to be innocent, public persecutor Abhigyan Gupta (Himanshu Malik) succeeds in getting him pronounced guilty and sentenced to lifetime imprisonment. But now Drishti gets one vision after the other, all of them indicating clearly that the murderer still is at large...
Rakht is a combination of crime story, thriller and spine-chiller and as such works quite well; just don’t spoil the tension and fast-forward to the end even if you’re dying to know who’s the murderer – you would spoil the whole film as it for the most subsists on the search for Natasha’s murderer. Amrita Arora is very good as a right little hussy, and Neha Dhupia also delivers an appalling performance as the mistreated wife. Leading lady, however, is Bipasha Basu, and hats off – her portrait of the fortune teller tortured by visions is convincing, a successful and credible combination of self-secure worldly wisdom and fearful panic.
Outstanding in the male squad are Sanjay Dutt, Suniel Shetty and Dino Morea. Sanjay, for a change, plays a quiet and considerate character in Rakht, therefore zeroes his energies in on Rahul’s inner tension and thus makes him sovereign and credible. Dino Morea, on the other hand, can give free reign to his energy as the sadistic husband who not only beats up his wife but also threatens Drishti and Arjun; a really convincing rotter. Suniel Shetty had the most difficult part as to play mentally disabled people easily misleads to (unbelievable) overacting. But at the most, Suniel controls himself very well and thus also has the audience by his side – until he in a shocking scene settles old accounts with his father; one of several shock moments director Manjrekar spreads out in his film, sometimes like a flash, sometimes extended. Rakht is, all in all, okay but no film where you can just lean back and enjoy, except when in between Abhishek Bachchan appears as Manav, Drishti’s friend of her youth – a special appearance which is nice but, with all due respect, was not necessary.
Produced by Cine Blitz Productions Pvt. Ltd.; Directed by Mahesh Manjrekar
150 Min.; DVD: Videosound, English Subtitles (including songs), once some of them appear much to early and you should keep them in mind to understand the next scene...
© Diwali
Rakht is a combination of crime story, thriller and spine-chiller and as such works quite well; just don’t spoil the tension and fast-forward to the end even if you’re dying to know who’s the murderer – you would spoil the whole film as it for the most subsists on the search for Natasha’s murderer. Amrita Arora is very good as a right little hussy, and Neha Dhupia also delivers an appalling performance as the mistreated wife. Leading lady, however, is Bipasha Basu, and hats off – her portrait of the fortune teller tortured by visions is convincing, a successful and credible combination of self-secure worldly wisdom and fearful panic.
Outstanding in the male squad are Sanjay Dutt, Suniel Shetty and Dino Morea. Sanjay, for a change, plays a quiet and considerate character in Rakht, therefore zeroes his energies in on Rahul’s inner tension and thus makes him sovereign and credible. Dino Morea, on the other hand, can give free reign to his energy as the sadistic husband who not only beats up his wife but also threatens Drishti and Arjun; a really convincing rotter. Suniel Shetty had the most difficult part as to play mentally disabled people easily misleads to (unbelievable) overacting. But at the most, Suniel controls himself very well and thus also has the audience by his side – until he in a shocking scene settles old accounts with his father; one of several shock moments director Manjrekar spreads out in his film, sometimes like a flash, sometimes extended. Rakht is, all in all, okay but no film where you can just lean back and enjoy, except when in between Abhishek Bachchan appears as Manav, Drishti’s friend of her youth – a special appearance which is nice but, with all due respect, was not necessary.
Produced by Cine Blitz Productions Pvt. Ltd.; Directed by Mahesh Manjrekar
150 Min.; DVD: Videosound, English Subtitles (including songs), once some of them appear much to early and you should keep them in mind to understand the next scene...
© Diwali
Dienstag, 11. September 2007
Rudraksh (2004) - Review in English
About the story: During excavations in Yala/Sri Lanka in 1990, worker Bhuria (Suniel Shetty) annexes an amulet. He doesn’t know that this amulet is a rudraksh – a tear of the god Rudra/Shiva – and that touching these tears is highly dangerous as they contain forces which destroy everyone who is not worthy of them. More than that, Ravana, the Prince of Demons, once put all his demonic powers into this rudraksh before he lost his fight with Rama. Bhuria has no chance against this amount of evil powers who turn him and his girlfriend Lali (Isha Koppikar) into demons who henceforth work to establish a new reign of demons in the world. But after 14 years Bhuria realizes that his powers are not enough for this task. So he tries to ensure the help of the healer Varun (Sanjay Dutt) who inherited transcendental powers from his father Pandit Ved Bhushan (Kabir Bedi). But Varun, whose powers are being studied and explored by scientist Dr Gayatri (Bipasha Basu), is determined to stop Bhuria...
When I saw the Videosound DVD cover featuring two attractive men (Sanjay and Suniel) armed with swords, my first thought was that this might be a sort of an Indian Highlander. But I got a wrong impression. Rudraksh is a rather crude fantasy construct where Indian myth world and contemporary global computer world shake hands without finding some common ground on which to base for a workable story. The plot is rather askew, many mysteries are not really solved, and if you are not familiar with the Ramayana or don’t know what a rudraksh is, you’re partially really left out in the rain. The word rudraksh obviously cannot be translated, but of course it doesn’t help at all when in the subtitles only the word "rudraksh" appears as long as you have no clue about it, and when it later finally is explained you have already missed too many important pieces of information and have to re-start the film to understand it. The special effects were surely made with loads of ambition, the result, however, more amuses than amazes you. And the sexy chicks in hot outfits you are supposed to take serious as respectable scientists from California finish you off for good.
By the way, the outfit is an issue you could write books about. Kabir Bedi is so much overgrown with ice-grey hair and beard that you can only recognize him by his voice. Suniel Shetty, with all due respect, looks like a Neanderthal man with his longhair wig, only after a long while he may expose (with shining blue contact lenses) in all his attractivity. But mostly they have sinned against Sanjay. With his expressive eyes he technically is cut out for a healer with transcendental powers, but what’s the use when these eyes are permanently half-hidden behind a thick hair curtain? And when Bipasha believes that she can save something by cutting a few inches of his mane, she is totally wrong as Sanju with the shoulder-length wig looks even worse than with the long shaggy mane. In addition they made him wear a white lace shirt which baffles all description. Later he gets a Crow make-up, red-glowing contact lenses, green cat eyes, vampire teeth – nothing is left out. When Sanjay after 105 minutes finally gets rid of his wigs and presents himself with his fashionable Plan hair-style, one of Bipasha’s girls intelligently exclaims, "You’re looking different." Sorry, sweetheart, but that’s what he does all the time in this film.
Too bad, for Sanjay and Suniel are a good and (as the last quarter-hour shows) very attractive jodi, and thanks to their excellent physiques they surely would have been able to deliver great fight scenes. But even those were spoilt by too many special effects. A flying sword fight? Ridiculous. And the final showdown is very very close to the border (which side, you decide). Bipasha and her pseudo-academic girls are a bit unnerving, not to mention the scene when Sanjay has to oil Bipasha’s body – supposedly this was to be erotic but it isn’t. No more words. I just hope that Amitabh Bachchan did his narrator part for Rudraksh before he knew the film.
Rudraksh is recommendable to people who’re dying to see Kabir Bedi as Gandalf the Grey with apple laptop or Sanjay Dutt with cat eyes and vampire teeth. Or to people who just love fantasy trash. Other than that, I would be very careful with this film... though, some people say that Rudraksh is so funky that it’s good again. And there is definitely something in this point of view. After having watched Rudraksh for the third time, I start liking it. Just don’t take the film too serious then you can absolutely enjoy it.
Produced and directed by Mani Shankar
132 Min.; DVD: Videosound, English Subtitles (including songs)
© Diwali
When I saw the Videosound DVD cover featuring two attractive men (Sanjay and Suniel) armed with swords, my first thought was that this might be a sort of an Indian Highlander. But I got a wrong impression. Rudraksh is a rather crude fantasy construct where Indian myth world and contemporary global computer world shake hands without finding some common ground on which to base for a workable story. The plot is rather askew, many mysteries are not really solved, and if you are not familiar with the Ramayana or don’t know what a rudraksh is, you’re partially really left out in the rain. The word rudraksh obviously cannot be translated, but of course it doesn’t help at all when in the subtitles only the word "rudraksh" appears as long as you have no clue about it, and when it later finally is explained you have already missed too many important pieces of information and have to re-start the film to understand it. The special effects were surely made with loads of ambition, the result, however, more amuses than amazes you. And the sexy chicks in hot outfits you are supposed to take serious as respectable scientists from California finish you off for good.
By the way, the outfit is an issue you could write books about. Kabir Bedi is so much overgrown with ice-grey hair and beard that you can only recognize him by his voice. Suniel Shetty, with all due respect, looks like a Neanderthal man with his longhair wig, only after a long while he may expose (with shining blue contact lenses) in all his attractivity. But mostly they have sinned against Sanjay. With his expressive eyes he technically is cut out for a healer with transcendental powers, but what’s the use when these eyes are permanently half-hidden behind a thick hair curtain? And when Bipasha believes that she can save something by cutting a few inches of his mane, she is totally wrong as Sanju with the shoulder-length wig looks even worse than with the long shaggy mane. In addition they made him wear a white lace shirt which baffles all description. Later he gets a Crow make-up, red-glowing contact lenses, green cat eyes, vampire teeth – nothing is left out. When Sanjay after 105 minutes finally gets rid of his wigs and presents himself with his fashionable Plan hair-style, one of Bipasha’s girls intelligently exclaims, "You’re looking different." Sorry, sweetheart, but that’s what he does all the time in this film.
Too bad, for Sanjay and Suniel are a good and (as the last quarter-hour shows) very attractive jodi, and thanks to their excellent physiques they surely would have been able to deliver great fight scenes. But even those were spoilt by too many special effects. A flying sword fight? Ridiculous. And the final showdown is very very close to the border (which side, you decide). Bipasha and her pseudo-academic girls are a bit unnerving, not to mention the scene when Sanjay has to oil Bipasha’s body – supposedly this was to be erotic but it isn’t. No more words. I just hope that Amitabh Bachchan did his narrator part for Rudraksh before he knew the film.
Rudraksh is recommendable to people who’re dying to see Kabir Bedi as Gandalf the Grey with apple laptop or Sanjay Dutt with cat eyes and vampire teeth. Or to people who just love fantasy trash. Other than that, I would be very careful with this film... though, some people say that Rudraksh is so funky that it’s good again. And there is definitely something in this point of view. After having watched Rudraksh for the third time, I start liking it. Just don’t take the film too serious then you can absolutely enjoy it.
Produced and directed by Mani Shankar
132 Min.; DVD: Videosound, English Subtitles (including songs)
© Diwali
Plan (2004) - Review in English
About the story: In a train compartment four young men meet on their way to Mumbai: Bobby (Dino Morea) wants to become a film star; Omi (Rohit Roy) was sent by his father to find a man who had robbed him; Jai (Bikram Saluja) flees from an arranged engagement and hopes to find his lost love again; and Lucky (Sanjay Suri), a passionate gambler, left his stifling home village behind him. With the help of a friend they find shelter together in a building to be demolished, but in other respects they are cursed with bad luck. When they run out of money, they put all their eggs into one basket – but for once, Lucky loses a game, and now the four of them have to clear gambling debts of 700.000 rupees within seven days. A business man who regularly visits a bar spending large sums of money inspires them to a plan to kidnap him and to press ransom. But their supposedly harmless victim turns out to be underworld don Moosa Bhai (Sanjay Dutt) who, however, spares his kidnappers and doesn’t bump them off as he realizes that they, by kidnapping him, have foiled a plan of his rival Sultan (Mahesh Manjrekar) to get him murdered...
After Kaante, Plan was the second film of Sanjay Gupta’s and Sanjay Dutt’s production house White Feather Films starring Sanju in a leading role, and at least in this point they banked on the formula for success well-tested in Kaante – Sanjay Dutt as a cool and very, very stylish gangster who sings at least one song himself (in this case "Aim Kaim") and with his sex appeal and a seductive female co-star makes another song to a hot central clip; and even though "Pyar Aaya" cannot completely match up to Kaante’s "Ishq Samunder", it is still a terrific number. Sanju’s partner here is Priyanka Chopra who, however and unlike Isha Koppikar in Kaante, is not just an item girl but plays the female lead as Moosa’s self-confident girlfriend Rani, and Priyanka does a splendid job though her screentime is very limited. On the other hand, Sameera Reddy as Sapna, Riya Sen as Shalini and Payal Rohatgi as Tanya surely would have been grateful if they had got to do at least nearly as much as Priyanka. But what to do: Plan is – like Kaante – a men’s film.
But at this point the parallels to Kaante are ending. In Kaante, Sanjay Dutt had been one of six crooks and had to share the part of the leading man at least with Amitabh Bachchan. Plan, however, is completely his film. Even though it takes an hour until he steps into the story, he immediately grabs the film and leaves neither his four impeded kidnappers a chance nor his enemies from the underworld. The best match up to him is probably Mahesh Manjrekar: The Vaastav director delivers another appealing performance as an actor after his Bali in Kaante. As Moosa’s and Sultan’s boss Ali Bhai Mukesh Khanna gives a short appearance – for Sanju surely a nice reunion with his co-star from many films of the 90es. Dino Morea, Rohit Roy, Bikram Saluja and Sanjay Suri are all doing well, and Priyanka Chopra is, as I said, a little highlight of the film, and this explicitly not just because she is a very attractive appearance on stylish Moosa Bhai’s side.
Sanju, however, outshines them all. He plays Moosa with style and energy and once again mixes up ice-cold and heart-warm facets as only he is able to. As an actor he is really a top gangster – and all the more funny is the scene where Dino Morea as wannabe actor Bobby blames kidnapped Moosa (whom he still takes for a harmless business man, not believing his claims to be a don) to be a lousy actor and tells him that he, Bobby, now would show him how to credibly play a gangster. Whereupon Dino imitates, of all things, Sanju’s award-winning role of Raghubhai in Vaastav while Sanju watches him with a glance like "oh yes, really?". This scene is just to kill yourself laughing, and I’m sure that Sanju, Dino and of course even Vaastav director Mahesh had a ball while doing it.
Plan is one of the films I always recommend immediately when someone wants to experience Sanjay Dutt in a cool role. All the more as this film – as soon as you have once watched it completely, of course – comes in very useful if you in between don’t have enough time for a whole full-length movie: Just hop over the first hour and enjoy Sanju at his best. :)
Produced by Sanjay Gupta; Directed by Hriday Shetty
145 Min.; DVD: Spark, English Subtitles (including songs)
© Diwali
After Kaante, Plan was the second film of Sanjay Gupta’s and Sanjay Dutt’s production house White Feather Films starring Sanju in a leading role, and at least in this point they banked on the formula for success well-tested in Kaante – Sanjay Dutt as a cool and very, very stylish gangster who sings at least one song himself (in this case "Aim Kaim") and with his sex appeal and a seductive female co-star makes another song to a hot central clip; and even though "Pyar Aaya" cannot completely match up to Kaante’s "Ishq Samunder", it is still a terrific number. Sanju’s partner here is Priyanka Chopra who, however and unlike Isha Koppikar in Kaante, is not just an item girl but plays the female lead as Moosa’s self-confident girlfriend Rani, and Priyanka does a splendid job though her screentime is very limited. On the other hand, Sameera Reddy as Sapna, Riya Sen as Shalini and Payal Rohatgi as Tanya surely would have been grateful if they had got to do at least nearly as much as Priyanka. But what to do: Plan is – like Kaante – a men’s film.
But at this point the parallels to Kaante are ending. In Kaante, Sanjay Dutt had been one of six crooks and had to share the part of the leading man at least with Amitabh Bachchan. Plan, however, is completely his film. Even though it takes an hour until he steps into the story, he immediately grabs the film and leaves neither his four impeded kidnappers a chance nor his enemies from the underworld. The best match up to him is probably Mahesh Manjrekar: The Vaastav director delivers another appealing performance as an actor after his Bali in Kaante. As Moosa’s and Sultan’s boss Ali Bhai Mukesh Khanna gives a short appearance – for Sanju surely a nice reunion with his co-star from many films of the 90es. Dino Morea, Rohit Roy, Bikram Saluja and Sanjay Suri are all doing well, and Priyanka Chopra is, as I said, a little highlight of the film, and this explicitly not just because she is a very attractive appearance on stylish Moosa Bhai’s side.
Sanju, however, outshines them all. He plays Moosa with style and energy and once again mixes up ice-cold and heart-warm facets as only he is able to. As an actor he is really a top gangster – and all the more funny is the scene where Dino Morea as wannabe actor Bobby blames kidnapped Moosa (whom he still takes for a harmless business man, not believing his claims to be a don) to be a lousy actor and tells him that he, Bobby, now would show him how to credibly play a gangster. Whereupon Dino imitates, of all things, Sanju’s award-winning role of Raghubhai in Vaastav while Sanju watches him with a glance like "oh yes, really?". This scene is just to kill yourself laughing, and I’m sure that Sanju, Dino and of course even Vaastav director Mahesh had a ball while doing it.
Plan is one of the films I always recommend immediately when someone wants to experience Sanjay Dutt in a cool role. All the more as this film – as soon as you have once watched it completely, of course – comes in very useful if you in between don’t have enough time for a whole full-length movie: Just hop over the first hour and enjoy Sanju at his best. :)
Produced by Sanjay Gupta; Directed by Hriday Shetty
145 Min.; DVD: Spark, English Subtitles (including songs)
© Diwali
Montag, 10. September 2007
LOC Kargil (2003) - Review in English
About the story: LOC Kargil portrays the events of the Indian-Pakistani border conflict in the border region Kargil/Kashmir in 1999. On May 4, terrorists and mujaheddin (seemingly supported by Pakistan) crossed the line of border (LOC) and tried to occupy Highway No. 1 and thus to cut off Kashmir from India, whereupon India sent its best regiments to Kargil to fight the Pakistani. The film combines extended siege and battle scenes of the soldiers (Sanjay Dutt, Ajay Devgan, Saif Ali Khan, Suniel Shetty, Sanjay Kapoor, Nagarjuna, Akshaye Khanna, Manoj Bajpai, Abhishek Bachchan and others – all of them playing historical characters) with memories of their beloved ones (Raveena Tandon, Kareena Kapoor, Rani Mukherjee, Mahima Chaudhary, Esha Deol, Isha Koppikar, Namrata Shirodkar, Preeti Jhangiani and others) who, hoping and trembling, are waiting for them at home...
Oh. My. God. What a pathetic effort. Hadn’t I set out to watch every Sanjay Dutt film I can get from the beginning till the end, I would have capitulated here at the latest after 90 minutes. I surely respect JP Dutta’s honorable concern to raise a memorial in the honour of the soldiers who fought and died during the Indian-Pakistani border conflict in 1999, but with this film he did them a bad service for, with all due respect, who wants to watch for more than four hours endless sieges and battles, only sometimes interrupted by the memories of the loved ones far away at home? LOC Kargil is an oversized documentary feature, and the difference to usual documentaries is that the scenes are not played by no-names but by Hindi Cinema’s nearly complete actor elite who obviously considered it an honour to be part of this patriotic epic – by the way, did really no one of them mind the film’s anti-Pakistani tone, and this in a time when the Indian film industry finally started to strike more conciliable tones towards the neighbour in the north?
If at least a good role for Sanjay had compensated me for the four torturing long hours! But again I had to realise that Sanjay’s name at the top of the cast list is usually a tribute to his state as senior actor and doesn’t automatically implicate that he plays an outstanding part; in this case other actors like Ajay, Saif, Manoj and Abhi IMHO had more to do than Sanju. All the fan of Dutt jr can get from this film are a few close-ups showing Sanju at his emotional best and the short and forceful scene towards the end when Sanjay as Lt. Col. Y.K. Joshi, aka Joe, calls back his soldiers who want to follow some escaping Pakistanis over the LOC – God, I never heard Sanjay yelling like this. Here at the latest you understand why he was casted for this role for this man simply has an authority which is stronger than every revenge fury. Insofar Sanju actually was outstanding in LOC Kargil – except Amitabh Bachchan I know no other actor with the same natural authority on screen.
I suppose you have to be Indian patriot, soldier or historian to be able to make use of this epic. As I am neither nor, I had my problems – especially when one battle looks like the other and you as an outsider, in spite of pernickety naming of the regiments and posts, inevitably lose the track. Without all the well-known actor faces it would even be difficult to keep apart the most important soldiers. And war films are not my cup of tea in any case. Without Sanju even the whole big star cast would not have been able to seduce me to buy this film at all. LOC Kargil will remain on my shelf as a part of my Sanjay Dutt film collection – but I doubt that I will make a revisit of this movie.
Produced and directed by JP Dutta
244 Min.; DVD: Eros Collector’s DVD (2 DVD set with tie-in book), English Subtitles (including songs)
© Diwali
Oh. My. God. What a pathetic effort. Hadn’t I set out to watch every Sanjay Dutt film I can get from the beginning till the end, I would have capitulated here at the latest after 90 minutes. I surely respect JP Dutta’s honorable concern to raise a memorial in the honour of the soldiers who fought and died during the Indian-Pakistani border conflict in 1999, but with this film he did them a bad service for, with all due respect, who wants to watch for more than four hours endless sieges and battles, only sometimes interrupted by the memories of the loved ones far away at home? LOC Kargil is an oversized documentary feature, and the difference to usual documentaries is that the scenes are not played by no-names but by Hindi Cinema’s nearly complete actor elite who obviously considered it an honour to be part of this patriotic epic – by the way, did really no one of them mind the film’s anti-Pakistani tone, and this in a time when the Indian film industry finally started to strike more conciliable tones towards the neighbour in the north?
If at least a good role for Sanjay had compensated me for the four torturing long hours! But again I had to realise that Sanjay’s name at the top of the cast list is usually a tribute to his state as senior actor and doesn’t automatically implicate that he plays an outstanding part; in this case other actors like Ajay, Saif, Manoj and Abhi IMHO had more to do than Sanju. All the fan of Dutt jr can get from this film are a few close-ups showing Sanju at his emotional best and the short and forceful scene towards the end when Sanjay as Lt. Col. Y.K. Joshi, aka Joe, calls back his soldiers who want to follow some escaping Pakistanis over the LOC – God, I never heard Sanjay yelling like this. Here at the latest you understand why he was casted for this role for this man simply has an authority which is stronger than every revenge fury. Insofar Sanju actually was outstanding in LOC Kargil – except Amitabh Bachchan I know no other actor with the same natural authority on screen.
I suppose you have to be Indian patriot, soldier or historian to be able to make use of this epic. As I am neither nor, I had my problems – especially when one battle looks like the other and you as an outsider, in spite of pernickety naming of the regiments and posts, inevitably lose the track. Without all the well-known actor faces it would even be difficult to keep apart the most important soldiers. And war films are not my cup of tea in any case. Without Sanju even the whole big star cast would not have been able to seduce me to buy this film at all. LOC Kargil will remain on my shelf as a part of my Sanjay Dutt film collection – but I doubt that I will make a revisit of this movie.
Produced and directed by JP Dutta
244 Min.; DVD: Eros Collector’s DVD (2 DVD set with tie-in book), English Subtitles (including songs)
© Diwali
Ek Aur Ek Gyarah (2003) - Review in English
About the story: The brothers Sitara (Sanjay Dutt) and Tara (Govinda) have developed elaborate methods to shift for a living as thieves and cheaters. But they are just small fry in comparison to the duo Cobra (Ashish Vidyarthi) and Panther (Gulshan Grover) who steal a super modern weapon from under Major Ram Singh’s (Jackie Shroff) nose. While Singh manages to arrest Panther, Cobra escapes – and out of the frying pan lands in the fire thanks to Tara and Sitara. The brothers have to flee from furious Cobra, and hunted by him and by the police they find shelter in Major Singh’s house. There Tara falls in love with Singh’s sister Pinki (Nandini Singh) and Sitara with Pinki’s friend Priti (Amrita Arora). But Cobra remains on the brothers’ track. He abducts their mother (Himani Shivpuri) and thus blackmails Tara and Sitara to betray Singh’s hospitality and to free Panther...
Ek Aur Ek Gyarah (1+1=11) is a poor imitation of Jodi No. 1. And already Jodi No. 1 wasn’t a good film. Why Sanjay temporary lends himself to undemanding comedies of this kind is an enigma to me; I mean, even old amicable relations (like Sanju’s to Dhawan and Govinda) should have limits. But the worst is yet to come: In Jodi No. 1 Sanjay had kept to his normal way of acting and left the hamming to Govinda, but in Ek Aur Ek Gyarah he suddenly starts hamming himself! Why, Sanju, for heaven’s sake? Okay, I can imagine after all those serious and difficult roles he otherwise plays it may be a welcome break for Sanjay to turn up the heat and to bugger around free from restraints. But even then there are taste limits, and he always preserved them even in comedy films like Thanedaar or Jodi No. 1. And now he permanently crosses them. (Except in one single scene where he in emotional exuberance for one moment forgets his hamming tone of voice and talks in his normal way – if genuine feelings are called for, Sanju simply cannot simulate...)
As even the other cast members don’t make any efforts to upgrade the film or to outstand in a positive way, I spare every more word as it is not worth the labour. Ek Aur Ek Gyarah is a good bet for the rank of the worst movie in Sanjay’s filmography, and even his team-play with Govinda touched bottom – too bad, it had started so promising in the end-80es but unfortunately later became marshy in the shoals of stupid buddy slapstick.
Produced by Mukta Arts Limited; Directed by David Dhawan
155 Min.; DVD: Eros, English Subtitles (including songs)
© Diwali
Ek Aur Ek Gyarah (1+1=11) is a poor imitation of Jodi No. 1. And already Jodi No. 1 wasn’t a good film. Why Sanjay temporary lends himself to undemanding comedies of this kind is an enigma to me; I mean, even old amicable relations (like Sanju’s to Dhawan and Govinda) should have limits. But the worst is yet to come: In Jodi No. 1 Sanjay had kept to his normal way of acting and left the hamming to Govinda, but in Ek Aur Ek Gyarah he suddenly starts hamming himself! Why, Sanju, for heaven’s sake? Okay, I can imagine after all those serious and difficult roles he otherwise plays it may be a welcome break for Sanjay to turn up the heat and to bugger around free from restraints. But even then there are taste limits, and he always preserved them even in comedy films like Thanedaar or Jodi No. 1. And now he permanently crosses them. (Except in one single scene where he in emotional exuberance for one moment forgets his hamming tone of voice and talks in his normal way – if genuine feelings are called for, Sanju simply cannot simulate...)
As even the other cast members don’t make any efforts to upgrade the film or to outstand in a positive way, I spare every more word as it is not worth the labour. Ek Aur Ek Gyarah is a good bet for the rank of the worst movie in Sanjay’s filmography, and even his team-play with Govinda touched bottom – too bad, it had started so promising in the end-80es but unfortunately later became marshy in the shoals of stupid buddy slapstick.
Produced by Mukta Arts Limited; Directed by David Dhawan
155 Min.; DVD: Eros, English Subtitles (including songs)
© Diwali
Kaante (2002) - Review in English
About the story: Six men, unknown to each other, are gathered in a prison cell in Los Angeles, detained for questioning: ex-gangster Yashvardhan Rampal, aka Major (Amitabh Bachchan), pimp Jay Rehan, aka Ajju (Sanjay Dutt), bouncer Marc Issak (Suniel Shetty), moron Raj Yadav, aka Bali (Mahesh Manjrekar), quiet Maqbool Haider, aka Mak (Lucky Ali) and software specialist Anand Mathur, aka Andy (Kumar Gaurav). All of them are under suspicion to have raided a money transporter. Unnerved by the long examinations Ajju suggests to his fellows in misery to take revenge on the police and to rob the Service American Bank where most of the cops have their accounts. All the five are willing to join in Ajju’s plan, and after their release the Major organises the coup in every detail. But after the raid, the six men face a police task force in front of the bank building, and during a heavy shootout they just by a hair manage to escape and to reach their meeting point where now the merciless search for the traitor in their midst begins...
Kaante was the first film of the production house White Feather Films founded by Sanjay Dutt and his friend Sanjay Gupta, and for this ambitious debut project Sanju managed to gather some of his closest friends for a respectable and highly interesting star cast: living film legend Amitabh Bachchan (who never forgot that Sunil Dutt once had given him a big chance with the role of Chhotu in Reshma Aur Shera when Amitabh still was a newcomer in the film industry and who now with his role in Kaante could return this favour to Sunil’s son), director Mahesh Manjrekar (who had directed several movies starring Sanju, among others Vaastav and Hathyar), singer Lucky Ali and actors Kumar Gaurav (Sanju’s brother-in-law) and Suniel Shetty (one of Sanju’s best buddies). Especially Mahesh Manjrekar was a big surprise – who would have thought that this director is such a good actor too! Lucky Ali who at that time started to establish himself also in front of the camera in addition to his job as a playback singer, due to his role could not distinguish himself very much as sober-minded Mak mostly remained in the background. Even Kumar Gaurav who after his glorious teamwork with Sanju in Naam had made himself rather scarce on screen doesn’t attract too much attention, while Suniel Shetty at least has some exciting interactions with Sanjay.
Above all, however, the interest of course concentrates most on the two big stars Amitabh Bachchan and Sanjay Dutt. In the cool and stylish ambience of Sanjay, Suniel & Co, Amitabh sometimes looks like a foreign substance, but when he as Major wields his uncompromising authority then it’s really only Sanjay who can match up to him. As Ajju, he presents himself for the first time in a look and a role type he is cut out for and which he would extend and refine in upcoming films like Plan or Musafir: the cool macho gangster, one step further after his gorgeous bhais (not without reason he got the Bollywood Movie Critics Award and another Filmfare nomination as Best Supporting Actor for it). That Sanjay still possesses a considerable amount of sex appeal – maybe even more than ever before – he shows e.g. in the dance clips vitally belonging to these macho roles, be it Kaante’s "Ishq Samunder", Plan’s "Pyaar Aaya" or Musafir’s "Saaki Saaki". I don’t know when the term "Deadly Dutt" was invented for Sanjay, but at least after these clips you definitely know why.
A part of the credit for "Ishq Samunder" of course also goes to the authors (the song is simply hot), the choreographer and to Isha Koppikar who as item dancer in this number is a feast for the eyes as well as Malaika Arora as Marc’s girlfriend Lisa who, as she’s a night club dancer, also gets her chances to prove her dancing skills. But other than that, women have nothing to do in Kaante. This film belongs completely to the six men who plan their big coup singing "Rama Re" (with a refrain remarkably reminding of "Koi Na Koi" in Deewana) and "Chhod Na Re" but who finally founder on an undercover cop and on their mutual mistrust.
Kaante is no pop corn movie you enjoy while doing something else, it demands full concentration. But the film is worth it – because of the forceful final controversy between Amitabh and Sanjay, because of Sanjay’s overcool performance and because of his singing in "Rama Re" and "Chhod Na Re" (I simply adore his voice). And, of course, because of "Ishq Samunder".
Produced by Sanjay Gupta, Raju Sharad Patel, Pritish Nandy Communications Ltd.; Directed by Sanjay Gupta
143 Min.; DVD: T-Series, English Subtitles (including songs), partially very delayed
(Kria Inc. presents a Collector's Edition; here the film is running 151, including end credits 154 minutes; the Bonus DVD provides Deleted Scenes, TV Promos and Trailers, Songs and the Remix Song "Jaane Kya Hoga Rama Re".)
© Diwali
Hindustan Times: Top Gun
Kaante was the first film of the production house White Feather Films founded by Sanjay Dutt and his friend Sanjay Gupta, and for this ambitious debut project Sanju managed to gather some of his closest friends for a respectable and highly interesting star cast: living film legend Amitabh Bachchan (who never forgot that Sunil Dutt once had given him a big chance with the role of Chhotu in Reshma Aur Shera when Amitabh still was a newcomer in the film industry and who now with his role in Kaante could return this favour to Sunil’s son), director Mahesh Manjrekar (who had directed several movies starring Sanju, among others Vaastav and Hathyar), singer Lucky Ali and actors Kumar Gaurav (Sanju’s brother-in-law) and Suniel Shetty (one of Sanju’s best buddies). Especially Mahesh Manjrekar was a big surprise – who would have thought that this director is such a good actor too! Lucky Ali who at that time started to establish himself also in front of the camera in addition to his job as a playback singer, due to his role could not distinguish himself very much as sober-minded Mak mostly remained in the background. Even Kumar Gaurav who after his glorious teamwork with Sanju in Naam had made himself rather scarce on screen doesn’t attract too much attention, while Suniel Shetty at least has some exciting interactions with Sanjay.
Above all, however, the interest of course concentrates most on the two big stars Amitabh Bachchan and Sanjay Dutt. In the cool and stylish ambience of Sanjay, Suniel & Co, Amitabh sometimes looks like a foreign substance, but when he as Major wields his uncompromising authority then it’s really only Sanjay who can match up to him. As Ajju, he presents himself for the first time in a look and a role type he is cut out for and which he would extend and refine in upcoming films like Plan or Musafir: the cool macho gangster, one step further after his gorgeous bhais (not without reason he got the Bollywood Movie Critics Award and another Filmfare nomination as Best Supporting Actor for it). That Sanjay still possesses a considerable amount of sex appeal – maybe even more than ever before – he shows e.g. in the dance clips vitally belonging to these macho roles, be it Kaante’s "Ishq Samunder", Plan’s "Pyaar Aaya" or Musafir’s "Saaki Saaki". I don’t know when the term "Deadly Dutt" was invented for Sanjay, but at least after these clips you definitely know why.
A part of the credit for "Ishq Samunder" of course also goes to the authors (the song is simply hot), the choreographer and to Isha Koppikar who as item dancer in this number is a feast for the eyes as well as Malaika Arora as Marc’s girlfriend Lisa who, as she’s a night club dancer, also gets her chances to prove her dancing skills. But other than that, women have nothing to do in Kaante. This film belongs completely to the six men who plan their big coup singing "Rama Re" (with a refrain remarkably reminding of "Koi Na Koi" in Deewana) and "Chhod Na Re" but who finally founder on an undercover cop and on their mutual mistrust.
Kaante is no pop corn movie you enjoy while doing something else, it demands full concentration. But the film is worth it – because of the forceful final controversy between Amitabh and Sanjay, because of Sanjay’s overcool performance and because of his singing in "Rama Re" and "Chhod Na Re" (I simply adore his voice). And, of course, because of "Ishq Samunder".
Produced by Sanjay Gupta, Raju Sharad Patel, Pritish Nandy Communications Ltd.; Directed by Sanjay Gupta
143 Min.; DVD: T-Series, English Subtitles (including songs), partially very delayed
(Kria Inc. presents a Collector's Edition; here the film is running 151, including end credits 154 minutes; the Bonus DVD provides Deleted Scenes, TV Promos and Trailers, Songs and the Remix Song "Jaane Kya Hoga Rama Re".)
© Diwali
Hindustan Times: Top Gun
Annarth (2002) - Review in English
About the story: Sameer Deshmukh (Gautam Rode) returns after many years to his home village Sainagar where his childhood friend Jai, called Jimmy (Suniel Shetty), meanwhile has taken the course of a gangster career. Don Raghavbhai (Ashutosh Rana), Jimmy’s elder brother, works for the more mighty don Dayal Bhai (Tinnu Anand) who under no circumstances allows gang wars. Therefore Dayal Bhai dislikes hot-headed Jimmy who always goes looking for trouble with the henchmen of Raghavbhai’s rival Afzal Bhai – especially after his friend Bandhya (Vinod Kambli) is killed. Jimmy has no idea that Bandhya’s killer is his own brother Raghav who acted by order of Dayal Bhai. Neither does he know that Sameer whom he channelled into Raghav’s gang and who fell in love with Jimmy’s sister Preeti (Preeti Jhangiani), keeps a secret which might become dangerous for them all. Only one man seems to know about everything and everybody: former don and current bar owner Iqbal Danger (Sanjay Dutt)...
The film has its moments, no doubt about that. And I don’t even mean just the moments featuring Sanju but also especially those with Suniel Shetty who shapes a very compact and intense figure. Nevertheless, the film left me somehow cold. Ashutosh Rana appears as Raghavbhai not half as dangerous as he did as women’s killer in Dushman, the other dons are rather reserved, too, and Gautam Rode remains dismayingly colourless. Preeti Jhangiani does her best and adds a bit life and tension to the story, but unfortunately she has too little screentime to upgrade the plot noticeably. If Annarth inspite of all this is worth a watch then, as I said, due to Suniel’s forceful performance and of course due to Sanjay Dutt even though his role (though he as the senior actor is credited first) is not more than a better special appearance.
His Iqbal Danger is a rather shady character. As a don he once had shot his ladylove’s lover and then, after having served his term in prison, quit his job and opened the Bewafa Bar (deceiver bar) where he gives consolation and encouragement to people with bad luck in love and with broken hearts. But his eyes and ears are still open, he’s keeping himself informed about the events in the town as well as in the underworld, and within the whole gang war affair he plays his very own game. Figures like this are a piece of cake for Sanjay, and Iqbal Danger is no real challenge for him. But as unshaven deus ex machina this charismatic actor is a sight to see even in this small role. Quite apart from the fact that in Annarth he belies all those who claim that he cannot dance (any more).
Produced and directed by Ravi Dewan
146 Min.; DVD: GVI, English Subtitles (including songs), towards the end a bit delayed
© Diwali
The film has its moments, no doubt about that. And I don’t even mean just the moments featuring Sanju but also especially those with Suniel Shetty who shapes a very compact and intense figure. Nevertheless, the film left me somehow cold. Ashutosh Rana appears as Raghavbhai not half as dangerous as he did as women’s killer in Dushman, the other dons are rather reserved, too, and Gautam Rode remains dismayingly colourless. Preeti Jhangiani does her best and adds a bit life and tension to the story, but unfortunately she has too little screentime to upgrade the plot noticeably. If Annarth inspite of all this is worth a watch then, as I said, due to Suniel’s forceful performance and of course due to Sanjay Dutt even though his role (though he as the senior actor is credited first) is not more than a better special appearance.
His Iqbal Danger is a rather shady character. As a don he once had shot his ladylove’s lover and then, after having served his term in prison, quit his job and opened the Bewafa Bar (deceiver bar) where he gives consolation and encouragement to people with bad luck in love and with broken hearts. But his eyes and ears are still open, he’s keeping himself informed about the events in the town as well as in the underworld, and within the whole gang war affair he plays his very own game. Figures like this are a piece of cake for Sanjay, and Iqbal Danger is no real challenge for him. But as unshaven deus ex machina this charismatic actor is a sight to see even in this small role. Quite apart from the fact that in Annarth he belies all those who claim that he cannot dance (any more).
Produced and directed by Ravi Dewan
146 Min.; DVD: GVI, English Subtitles (including songs), towards the end a bit delayed
© Diwali
Hathyar (2002) - Review in English
About the story: Underworld don Raghubhai (Sanjay Dutt) once married prostitute Sonu (Namrata Shirodkar). After his death Sonu tried to provide their son Rohit Raghunath Shivalkar a better future, far away from the world of crime. But society never gave the son of a gangster boss a chance. Stigmatized from his earliest childhood on and permanently provoked because of his mother’s profession, adolescent Rohit one day responds with his fists and thereby kills for the first time. Don Hasan Bhai (Shakti Kapoor) sees Raghubhai’s potential in Rohit and takes him under his wing: Soon Rohit (Sanjay Dutt), aka Boxerbhai due to his passion for boxing, follows his father’s footsteps. In company with Munna (Sachin Khedekar) and Pakya (Sharad Kapoor) Rohit becomes the mightiest don in Mumbai and even is elected as a city-councillor. When he, after many detourings, finally can marry his beloved Gauri (Shilpa Shetty) and they get their little daughter Shanti, Rohit’s cup seems to run over. But soon enough it becomes more and more difficult for him to differ between friend and foe...
Hathyar – Face to Face with Reality (at the planning stage still called Pratibimb) is Mahesh Manjrekar’s sequel to his success movie Vaastav – The Reality, again with Sanjay Dutt who thus plays his own son in Hathyar, so to say. In some sequences he is even to be seen in his parade role as Raghubhai once again. Other figures from Vaastav return in Hathyar, too; e.g. Raghu’s parents Shanta (Reema Lagoo) and Namdev (Shivaji Satham), his wife Sonu (Namrata Shirodkar) and his friend DCP Kishore Kadam (Deepak Tijori). It’s not absolutely necessary to know Vaastav for to understand Hathyar but it would be helpful as Hathyar (= weapons) in the first half-hour contains many flashbacks – sometimes even flashbacks within the flashbacks – where you easily can go into a skid when you don’t know the characters and the Vaastav events, especially when Sanjay alternately appears as Raghubhai and as Rohit. Above all, however, Hathyar gives away the unusual showdown of Vaastav, and those who happen to see first Hathyar and then Vaastav are definitely cheated of the effect of Vaastav’s shaking final.
In both films, Sanjay Dutt plays the roles of the bhais who despite of all their coldbloodedness and cruelty still have a soul, and he plays them with an amount of energy, power and passion which knocks you off your feet. He is simply gorgeous. Those who never experienced Sanjay as Raghubhai and Boxerbhai will never understand why I am at this character actor’s feet. This man is a god’s gift to the film world. His Rohit is even a bit more pitiless than Raghu, and nevertheless Sanjay, thanks to his forceful emotionality, makes you commiserate with him when he commits downright unforgivable sins – because his despair and his remorse about his mistakes are genuine and true and unveil emotional dephts which go as well under your skin as previously his cold-blooded use of his gun.
Apart from Sanjay, the rest of the cast fade to minor characters; solely intense Shilpa Shetty and Sachin Khedekar can match up to him. Shivaji Satham had some very forceful father-son scenes with Sanjay in Vaastav while he now in Hathyar hardly appears at all. Reema Lagoo as Rohit’s grandmother has a bit more to do but cannot match up to her achievement in Vaastav; okay, her terrible make-up is surely not her fault – I mean, sorry, but face-lines just painted with dark colour are good for stage perfomances but look simply ridiculous in films. Apart from that, Reema’s character is symptomatic for the incorrigibility of society’s mentality: She has learnt nothing from her experiences with Raghu. Like in Vaastav her son, she now also condemns her grandson from the moment on when he enters the world of crime and cold-heartedly rejects him every time he tries to contact her instead of giving him the support he desperately is looking for and with which many things probably would have changed for the better.
By the way, I nearly was flabbergasted when Sanjay’s first few lines in this film came with a strange voice. Could Hathyar possibly have been another Jung – with Sanju keeping away from the dubbing studio? But fortunately I soon realized that these first lines belonged to the entry clip and the makers – unlike one year later in Munnabhai MBBS – simply did without asking Sanju to do the spoken parts in the song himself. So Sanju had to act his first few lines in playback before he – thank heaven for that – could use his own voice again...
In short: Vaastav and Hathyar are must-sees, and please exactly in this chronological order. Even those without a special faible for gangster movies will get their money’s worth thanks to Sanjay’s fabulous performances. Nobody plays such bhais as he does.
Produced by Ganesh Jain, Ratan Jain; Directed by Mahesh Manjrekar
139 Min.; DVD: Eros, English Subtitles (including songs)
© Diwali
Hathyar – Face to Face with Reality (at the planning stage still called Pratibimb) is Mahesh Manjrekar’s sequel to his success movie Vaastav – The Reality, again with Sanjay Dutt who thus plays his own son in Hathyar, so to say. In some sequences he is even to be seen in his parade role as Raghubhai once again. Other figures from Vaastav return in Hathyar, too; e.g. Raghu’s parents Shanta (Reema Lagoo) and Namdev (Shivaji Satham), his wife Sonu (Namrata Shirodkar) and his friend DCP Kishore Kadam (Deepak Tijori). It’s not absolutely necessary to know Vaastav for to understand Hathyar but it would be helpful as Hathyar (= weapons) in the first half-hour contains many flashbacks – sometimes even flashbacks within the flashbacks – where you easily can go into a skid when you don’t know the characters and the Vaastav events, especially when Sanjay alternately appears as Raghubhai and as Rohit. Above all, however, Hathyar gives away the unusual showdown of Vaastav, and those who happen to see first Hathyar and then Vaastav are definitely cheated of the effect of Vaastav’s shaking final.
In both films, Sanjay Dutt plays the roles of the bhais who despite of all their coldbloodedness and cruelty still have a soul, and he plays them with an amount of energy, power and passion which knocks you off your feet. He is simply gorgeous. Those who never experienced Sanjay as Raghubhai and Boxerbhai will never understand why I am at this character actor’s feet. This man is a god’s gift to the film world. His Rohit is even a bit more pitiless than Raghu, and nevertheless Sanjay, thanks to his forceful emotionality, makes you commiserate with him when he commits downright unforgivable sins – because his despair and his remorse about his mistakes are genuine and true and unveil emotional dephts which go as well under your skin as previously his cold-blooded use of his gun.
Apart from Sanjay, the rest of the cast fade to minor characters; solely intense Shilpa Shetty and Sachin Khedekar can match up to him. Shivaji Satham had some very forceful father-son scenes with Sanjay in Vaastav while he now in Hathyar hardly appears at all. Reema Lagoo as Rohit’s grandmother has a bit more to do but cannot match up to her achievement in Vaastav; okay, her terrible make-up is surely not her fault – I mean, sorry, but face-lines just painted with dark colour are good for stage perfomances but look simply ridiculous in films. Apart from that, Reema’s character is symptomatic for the incorrigibility of society’s mentality: She has learnt nothing from her experiences with Raghu. Like in Vaastav her son, she now also condemns her grandson from the moment on when he enters the world of crime and cold-heartedly rejects him every time he tries to contact her instead of giving him the support he desperately is looking for and with which many things probably would have changed for the better.
By the way, I nearly was flabbergasted when Sanjay’s first few lines in this film came with a strange voice. Could Hathyar possibly have been another Jung – with Sanju keeping away from the dubbing studio? But fortunately I soon realized that these first lines belonged to the entry clip and the makers – unlike one year later in Munnabhai MBBS – simply did without asking Sanju to do the spoken parts in the song himself. So Sanju had to act his first few lines in playback before he – thank heaven for that – could use his own voice again...
In short: Vaastav and Hathyar are must-sees, and please exactly in this chronological order. Even those without a special faible for gangster movies will get their money’s worth thanks to Sanjay’s fabulous performances. Nobody plays such bhais as he does.
Produced by Ganesh Jain, Ratan Jain; Directed by Mahesh Manjrekar
139 Min.; DVD: Eros, English Subtitles (including songs)
© Diwali
Sonntag, 9. September 2007
Maine Dil Tujhko Diya (2002) - Review in English
About the story: Parentless Ajay (Sohail Khan) is the leader of the "Aryans" who take care of law and order at their college. Ayesha Varma (Sameera Reddy), new entrant at the college, falls in love with Ajay and by and by even wins his heart over. But Ayesha’s father, wealthy Mr Varma (Kabir Bedi), doesn’t approve this love as Ajay at their first unfortunate encounter had made a bad impression on him and he now suspects him to woo his daughter just because of her fortune. Varma’s business partner Chopra (Dalip Tahil) also dislikes Ajay as he sees his plans endangered to get his own son Raman (Aashif Sheikh) married to Ayesha and thus to get the Varma imperium in his hands. So Chopra hires Munna (Rajpal Yadav) and Chotte (Sarfaraz Khan), two goons in the service of underworld don Bhai-Jaan (Sanjay Dutt), to put Ajay away – a job Munna and Chotte willingly accept as Ajay in the past often has put paid to their drug deals in college. And as if all this wouldn’t be enough, Ajay unintendedly gets another enemy who wants to eliminate him personally: Bhai-Jaan himself...
Maine Dil Tujhko Diya was Sohail Khan’s first film as producer, director and leading actor in one. So the story is tailor-made for him: a young hero who surely has his own idiosyncrasies but always puts himself out for the right, sometimes has to suffer for it and finally fights with all means for the love of his life. Sohail does surprisingly well even though he unfortunately shares his more famous brother Salman’s passion for physical exaggerations. In the second half of the film it’s a bit difficult to stay on his side as he becomes rather unlikeable in his behaviour aganist Kabir Bedi who acts with his usual impressing aplomb (and, I must admit it, rarely looked more attractive than here). But on the other hand it’s excatly this fact that Ajay is not just the flawlessly positive super hero, which keeps the tension between him, Varma and Bhai-Jaan intact till the end.
Even if you can give this film good marks on the whole, there are several points you have to fine. So as a whole, the film is too much extended and sometimes too didactic, e.g. when Ajay sermonizes to his muslim friend with literally risen forefinger, "You only stop drinking when the muezzin calls for the prayer? But God sees you always, even when you’re not praying, so quit boozing for good." Some details of the story are not understandable, e.g. why does Ayesha’s younger sister keep crucial evidence material for herself? Even though she presents it in the end, it’s at a time where normally everything would have been too late and some people would have walked right into a trap before. A definite bad point is ineffable Bobby Darling against whom Johny Lever even in his worst comic reliefs is an aspirant for a Best Actor award. And Sameera Reddy in her first film is okay, but not more.
An absolute upgrading Maine Dil Tujhko Diya gets, however, by the two highly charismatic actors Kabir Bedi and Sanjay Dutt. As an old friend of Salman Khan and his family, Sanjay played in Sohail’s debut film (as producer, director and leading actor) the small but crucial role of Bhai-Jaan and made it a piece of finest and mature acting skills. Solely to see him, this film is always worth a watch. By the way, obviously Sanjay didn’t take any fees for his friendly turn; before the end credits start, Salim Khan, his sons Salman, Arbaaz and Sohail and Bunty Walia thank him with the words, "Our heartfelt gratitude to Sanju for his generosity of heart and soul..."
Produced by Bunty Walia, Sohail Khan; Directed by Sohail Khan
165 Min.; DVD: Spark, English Subtitles (including songs)
© Diwali
Maine Dil Tujhko Diya was Sohail Khan’s first film as producer, director and leading actor in one. So the story is tailor-made for him: a young hero who surely has his own idiosyncrasies but always puts himself out for the right, sometimes has to suffer for it and finally fights with all means for the love of his life. Sohail does surprisingly well even though he unfortunately shares his more famous brother Salman’s passion for physical exaggerations. In the second half of the film it’s a bit difficult to stay on his side as he becomes rather unlikeable in his behaviour aganist Kabir Bedi who acts with his usual impressing aplomb (and, I must admit it, rarely looked more attractive than here). But on the other hand it’s excatly this fact that Ajay is not just the flawlessly positive super hero, which keeps the tension between him, Varma and Bhai-Jaan intact till the end.
Even if you can give this film good marks on the whole, there are several points you have to fine. So as a whole, the film is too much extended and sometimes too didactic, e.g. when Ajay sermonizes to his muslim friend with literally risen forefinger, "You only stop drinking when the muezzin calls for the prayer? But God sees you always, even when you’re not praying, so quit boozing for good." Some details of the story are not understandable, e.g. why does Ayesha’s younger sister keep crucial evidence material for herself? Even though she presents it in the end, it’s at a time where normally everything would have been too late and some people would have walked right into a trap before. A definite bad point is ineffable Bobby Darling against whom Johny Lever even in his worst comic reliefs is an aspirant for a Best Actor award. And Sameera Reddy in her first film is okay, but not more.
An absolute upgrading Maine Dil Tujhko Diya gets, however, by the two highly charismatic actors Kabir Bedi and Sanjay Dutt. As an old friend of Salman Khan and his family, Sanjay played in Sohail’s debut film (as producer, director and leading actor) the small but crucial role of Bhai-Jaan and made it a piece of finest and mature acting skills. Solely to see him, this film is always worth a watch. By the way, obviously Sanjay didn’t take any fees for his friendly turn; before the end credits start, Salim Khan, his sons Salman, Arbaaz and Sohail and Bunty Walia thank him with the words, "Our heartfelt gratitude to Sanju for his generosity of heart and soul..."
Produced by Bunty Walia, Sohail Khan; Directed by Sohail Khan
165 Min.; DVD: Spark, English Subtitles (including songs)
© Diwali
Yeh Hai Jalwa (2002; special appearance) - Review in English
In this film Sanjay does just a special appearance.
About the story: Wealthy Raju Saxena (Salman Khan) has lost his mother Meghna Saxena in an early state and has never met his father who allegedly passed away before Raju was born; he only owns his father’s photo. So his surprise is enormous when he in a TV report about England’s new top manager Rajesh Mittal (Rishi Kapoor) recognises his father who very well is alive. Meghna had been Rajesh's love of his youth, but as his father Purushottam Mittal (Kader Khan) had refused his permission for him to marry her, Rajesh had obeyed him and left Meghna without knowing that she was pregnant. Meanwhile Rajesh has found his private luck in London with his wife Smita (Rati Agnihotri) and his children Rinkie (Rinke Khanna) and Bunty (Ajay Nagrath). So he is not exactly happy when Raju suddenly appears in London, claims to be his illegal son and threatens to destroy the family’s peace if Rajesh doesn’t accept and acknowledge him as his son. Together with his lawyer Robin Singh (Anupam Kher) he tries to get rid of Raju – but Raju, supported by Singh’s daughter Sonia (Amisha Patel), fights them with all means...
The plot idea is nice, no doubt about that. A father meets his illegal son he up till now never even knew to exist, but fearing for his intact family life he refuses to accept him. A story with great potential, especially when the father is played by cheerful Rishi Kapoor and the son by crowd favourite Salman Khan. But when the son is carved out so unlikeable that suddenly the father becomes the more popular figure than the son, then something went really wrong. Okay, Rajesh’s reactions are not correct. But even Raju fights with no holds barred for his acknowledgement as Mittal’s son, openly threatens to destroy the happiness of Rajesh’s family if he is not taken on (and to underline this threat he smashes the big family photo to pieces) and not even shies back to get his father brutally thrashed and then to appear as his saviour. Does he really expect to be taken on with open arms for this? Does anyone expect this? Obviously not even the script writers did as they in the end only could help themselves out of the fix with a mean trick: In a for their father critical situation, his legal children suddenly become the negative and ingrateful brats so that Raju can distinguish himself as the shining hero and model son. Too bad, the film definitely had more potential and surely is upgraded by Rishi Kapoor, Anupam Kher and (a little less) Salman Khan. But on the other side there are the half-baked story and Amisha Patel.
And what about Sanjay? As "Shera, Indian from London" (so he introduces himself) he has only two short scenes – which he plays nicely but which are absolutely irrelevant for the story – and the dance clip "London Mein India Ka" in which he encourages Salman for his plans to win his family over and which is a welcome and zestful blur of colour in this film which nearly completely is located in London. I guess this guest appearance was a sort of compensation for Sanju as Yeh Hai Jalwa originally was planed to be a joint film for him and Salman; but when the plot was ready Ketan Desai got the feeling that it did justice to only one of the two heroes. So he decided to concentrate only on Salman this time and in return to do another project with Sanjay later. Obviously Sanju accepted this turn of events uncomplainingly (which gives the credits "We are grateful to Shri Sanjay Dutt" a double meaning) and proved his friendship to David Dhawan and Salman Khan with his little guest role which without doubt is an uprating for the film. But even though it is a delight to see Sanju and Sallu dancing together again even if it’s just for a few seconds: It is no must-see.
Though, if you are particular about it then Sanju maybe even got the film’s best line: When Salman in a bar in London is attacked by some goons, Sanju comes to his aid and drily remarks in his inimitable way, "Ten people, one Indian - not good. Two Indian, ten people - very good!" Actually this single sequence is worth the film.
Produced by Kanchan Ketan Desai; Directed by David Dhawan
140 Min.; DVD: Spark, English Subtitles (including songs)
© Diwali
About the story: Wealthy Raju Saxena (Salman Khan) has lost his mother Meghna Saxena in an early state and has never met his father who allegedly passed away before Raju was born; he only owns his father’s photo. So his surprise is enormous when he in a TV report about England’s new top manager Rajesh Mittal (Rishi Kapoor) recognises his father who very well is alive. Meghna had been Rajesh's love of his youth, but as his father Purushottam Mittal (Kader Khan) had refused his permission for him to marry her, Rajesh had obeyed him and left Meghna without knowing that she was pregnant. Meanwhile Rajesh has found his private luck in London with his wife Smita (Rati Agnihotri) and his children Rinkie (Rinke Khanna) and Bunty (Ajay Nagrath). So he is not exactly happy when Raju suddenly appears in London, claims to be his illegal son and threatens to destroy the family’s peace if Rajesh doesn’t accept and acknowledge him as his son. Together with his lawyer Robin Singh (Anupam Kher) he tries to get rid of Raju – but Raju, supported by Singh’s daughter Sonia (Amisha Patel), fights them with all means...
The plot idea is nice, no doubt about that. A father meets his illegal son he up till now never even knew to exist, but fearing for his intact family life he refuses to accept him. A story with great potential, especially when the father is played by cheerful Rishi Kapoor and the son by crowd favourite Salman Khan. But when the son is carved out so unlikeable that suddenly the father becomes the more popular figure than the son, then something went really wrong. Okay, Rajesh’s reactions are not correct. But even Raju fights with no holds barred for his acknowledgement as Mittal’s son, openly threatens to destroy the happiness of Rajesh’s family if he is not taken on (and to underline this threat he smashes the big family photo to pieces) and not even shies back to get his father brutally thrashed and then to appear as his saviour. Does he really expect to be taken on with open arms for this? Does anyone expect this? Obviously not even the script writers did as they in the end only could help themselves out of the fix with a mean trick: In a for their father critical situation, his legal children suddenly become the negative and ingrateful brats so that Raju can distinguish himself as the shining hero and model son. Too bad, the film definitely had more potential and surely is upgraded by Rishi Kapoor, Anupam Kher and (a little less) Salman Khan. But on the other side there are the half-baked story and Amisha Patel.
And what about Sanjay? As "Shera, Indian from London" (so he introduces himself) he has only two short scenes – which he plays nicely but which are absolutely irrelevant for the story – and the dance clip "London Mein India Ka" in which he encourages Salman for his plans to win his family over and which is a welcome and zestful blur of colour in this film which nearly completely is located in London. I guess this guest appearance was a sort of compensation for Sanju as Yeh Hai Jalwa originally was planed to be a joint film for him and Salman; but when the plot was ready Ketan Desai got the feeling that it did justice to only one of the two heroes. So he decided to concentrate only on Salman this time and in return to do another project with Sanjay later. Obviously Sanju accepted this turn of events uncomplainingly (which gives the credits "We are grateful to Shri Sanjay Dutt" a double meaning) and proved his friendship to David Dhawan and Salman Khan with his little guest role which without doubt is an uprating for the film. But even though it is a delight to see Sanju and Sallu dancing together again even if it’s just for a few seconds: It is no must-see.
Though, if you are particular about it then Sanju maybe even got the film’s best line: When Salman in a bar in London is attacked by some goons, Sanju comes to his aid and drily remarks in his inimitable way, "Ten people, one Indian - not good. Two Indian, ten people - very good!" Actually this single sequence is worth the film.
Produced by Kanchan Ketan Desai; Directed by David Dhawan
140 Min.; DVD: Spark, English Subtitles (including songs)
© Diwali
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