Cocktail- Directed by Homi Adjania

There is nothing in 'Cocktail' that you have not seen before. It has been well and truly documented in every love triangle film with two girls and one boy! So there are no surprises here, nothing to leave you with a feeling of awe.

Considering the change of times, of course, the film has a language that is much more contemporary or in other words- more explicit. For instance, earlier where the “friendly” female character amongst the two girls world always be tom boyish, here Veronica is almost floozy. A high flying bohemian girl who gets drunk most nights at high decibel discos and has sex with random men.

Gautam is the typical cool dude- smart, suave and well provided for- hitting on every good looking girl and cheerfully cruising through life with a smirk on his face and a 'mast-maula' attitude.

Meera on the contrary is a conservative. She believes in all those traits that today's modernistic generation is guilty to own up or is proud to disown. Traits that are today considered archaic! In short, she does not approve of getting drunk and have frivolous sex. She believes in honoring the institution of marriage even if it might bring with it some pain and compromise.

A (hurried) series of events bring Gautam, Veronica and Meera together. Naturally the happy-go-lucky Gautam and the 'fun' loving Veronica begin their sleep fest. Veronica is vocal about her association with Gautam being no holds barred. Although, Meera often politely whispers her disapproval of such an arrangement to Veronica she dismisses it off as her lack of being 'hip'!

“Relax Meera”, Veronica tells her, “He is cool, fun...and new! We hare just having fun yaar. It'll last for a few days or at the most some weeks then I'll get bored. Besides, he is really good in bed!”

Such is their new-age young fun filled life.

But then enters the “old world, Indian value system” through Gautam's mother!! She is determined- like every mother- to get her son married. Although excessively intrusive, expressive and conservative, her warmth is hard to miss.

Even for the high on life 'whatever' Veronica the warmth that Gautam's mother oozes is hard to dodge. The girl for whom clothes and marriage were as obtrusive as an eyelid in the eye, puts on a salwar-kameez and gushes about marriage to Gautam.

Of course this transformation happens on the very day our cool boy with the Indian heart has tumbled lock stock and barrel in love with Meera!!

Often “what” happens in such films is not determinant of the audience. It is “how” it happens that seals the fate of the film.

Before watching the film I was discouraged to see it by all those who had. Half hour into the film I began regretting my decision. But then came that scene! It was that one scene which has made me- if not rave then at least rant in favor of the film. No reason why it should be avoided.

It was this 'one' scene that made this film a watchable experience for me. It not only justified its contemporary setting as being much more than just candy floss but made it inevitable to the message that the story wished to convey.

The scene in question came on 5 minutes post interval when the triangle had been established. Unlike any other such film wherein a Meera would be guilty for falling in love with Gautam (who was after all sleeping with Veronica) or a Gautam who would try convincing Meera to not be guilty or a Veronica would accidentally find out what was really going on.... in this particular scene-

Gautam makes the girls sit down on kitchen stools and lays out the problem simply- “Veronica, we have a problem”, he says, “You love me and I love her and she too loves me but will not say so because you are her best friend!!” BANG! NOW WHAT??

I was hooked on from there for 2 reasons-

1. 
   
   How will 'these' three people deal with this? Especially Gautam and Veronica who are- 'oh so cool!' and,
2. How will the writer- Imtiaz Ali and director- Homi Adjania- both cool themselves- make them deal with it?

May be it was personal, but I have met people in my life who strive hard to be 'cool' and 'hip'. People who look down on all things traditional or challenge every norm only to become some twisted 'cocktail' of their own creation!

Now here on screen were such 'cool' people who too are repulsed with 'drama'. People who like to keep it 'practical'. Especially Veronica who has taken pride in being bohemian. She has openly twisted her nose at Gautam's mothers' traditional manner and mocked at Meera's conservative ways. “Whats the big deal?”, has been her mantra. How will she cope with this? How will her 'defense mechanism' break?

How will the usually scattered Gautam deal with two of his best friends, both of whom are so diverse? Has he really made up his mind or is he going to swing back and forth making things worse?

Meera of course is predictable. She is too sweet. You are compelled to love her. She does no wrong. She will sacrifice. It is evident! It would be disappointing to let her down -And that is where I felt lied one loop hole among many.

Veronica's character played exceptionally well by Deepika has been done most justice to. It was wise of her to pick that one of the two offered to her but also for a new comer to hold fort with a one dimensional- Meera- Diana Penty deserves special mention. I could watch Cocktail again just for her smile! Saif as Gautam does what he does too effortlessly making us feel he is being himself!

To conclude- what I gathered from Cocktail was a conflict that most of Generation Y is going through by being someone who they are not. No matter how cool or disconnected one tries to be... at the end of the day, you cannot run away from who you truly are. If that was the message that Cocktail had, unfortunately it comes out at a few scattered instances. May be one has to really look for it. I wish this thought would have come out more clearly through the film. I wonder why it did not.

As such while Cocktail can surely be savored, I guess they added a few extra cubes of ice... it might thus not be to everyone's taste! ;)

Ferrari ki Sawaari... Don't miss this ride!

If you have seen the posters or promos of Ferrari ki Sawaari, you may have noticed an angelic smile plastered across Sharman Joshi's face. Its a perfect text book smile wherein the lips form an arc, no teeth are seen and the eyes wrinkle. I guarantee that when you leave the cinema hall after having watched 'Ferrari ki Sawaari', you too shall leave with one such smile.

You will smile on account of having been touched by a story of three ordinary yet good human beings with whom justice is done by- life.

Ferrari ki Sawaari (FKS) is- without a doubt- a very beautiful film. Warm, endearing, sweet, emotional, pure, funny and thus- thoroughly 'entertaining'.

Even before any visual of the film have graced the screen, a soft-sweet melody fades in on the Vidhu Chopra films logo setting the tone perfectly. Then begins the title sequence which establishes quiet simply yet clearly all that one needs to know about the setting of the story that is to unfold before you.

The power of visuals over dialogues is so seamlessly integrated in the sequences that you don't even realize when and how you learnt so many things about these characters. It feels as if you have known them forever and find yourself agreeing with everything they are doing even if it is something as atrocious as stealing Sachin Tendulkar's ferrari from the parkiing in his building!!

The performances of each and every character, be it the bank manager who comes in for just one scene to refuse Joshi's character a loan, the silent yet comforting coach who hardly has any lines but makes his presence felt so subtly yet warmly to the young kid playing Kayo- the budding cricketer. Every single actor gets the 'sur' bang on.

Some stories have a very thick plot line with enough characters and events to pull the story easily across couple of hours. On the other hand there are films like 'FKS' where the plot line is very thin. In the case of the later a lot needs to be woven into the screenplay to sustain the narrative without ever making it seem forced. Its a very very tricky and tedious thing to do.

FKS does it brilliantly. It is for this reason that I salute and recommend FKS to one and all.

It is a film that is very hard to not like. It is a film that is not at all easy to make- creatively and business wise. It is thus a film that needs to get its due in terms of Box Office success. I shall do my best on that front by spreading the good word as much as I can.

Many congratulations to Director Rajesh Mapuskar and the brilliant team at Vidhu Vinod Chopra films once again. For once again they have made a brilliant film.

Take the ride in this Ferrari... you will enjoy it.

Shanghai... I like it? I Like it Not?!

For the record- I am a huge Dibakar Banerjee fan. No wait! I worship the film maker! But Yes!- I have my issues with 'Shanghai'.

In fact, Having seen the film in a packed hall on Day 2 of its release- I am not even sure whether I liked the film or not.

Now, some might say 'that' is the precise beauty of the film-

“Why does every film have to leave you with a like or dislike feel? Can't a film just confuse you and keep you thinking?” Well...err...NO!

Because if a film keeps me thinking on account of its narrative, then I shall like the film. Shanghai has left me feeling short changed and confused.

I admit to being prejudiced with expectations when I walk into a Dibakar Banerjee (DB) film but I consider that fair since I am going to buy a ticket and watch a DB film in the theater no matter what!! After all if an inability of a man subjects him to being ignored by the society than the genius of a man does bring with it the burden of 'expectations'. A burden that DB has carried splendidly over three exceptional works namely- Khosla Ka Ghosla, Oye Lucky! Lucky Oye! And Love, Sex and Dhokha.

But burden or not- All his films so far have not only been unique in their concept but what makes them and DB special is the manner in which those concepts were made to unfold on screen. Their narrative, detailing and treatment- Every moment therein was justified, sensible and above all else- 'Entertaining!'

On all three ingredients mentioned above, I felt Shanghai fell short. There were things unjustified, hence not sensible and entertainment kind of seemed an effort.

I felt it more so because it seemed as though the film was almost there and missed the mark- oh so closely! Had it been way off the mark, may be, I may not have felt the pinch. All in all there was a feeling of 'over-intellectualizing-it' which I seemed to have gotten from the film.

Mainly the endless silent sequences. More as the film was just about taking off. The audience was getting bored and restless. Also a tad bit angry. Besides considering the plot was thick, the characters so many and events plenty; such a slow start to the film was uncalled for.

Then the deliberate grey shade given to the Ahmedi. Why? Oh yes- Why Not? But still- Why? Could you not have achieved the purpose of your story without tainting him? For sure you would have. Then why this deliberate 'ungli' making? Bas aise hi?

Then again, Why did Kalki's character have to be such a hyper ventilating freak? Almost close to seeming a schizophrenic! Were we to sympathize with her and root for her to get justice? No one's wanting her to be a demure damsel but cant she simply be- 'sane'? With her wide eyed perpetual heavy breathing persona how on earth is anyone to take her seriously?

And lastly, until the last ten minutes of the film the entire world is corrupt and screwed up but then suddenly... this ray of hope emerges and the wheels of hope start rolling?? Aisa kaise?

Khair...Let me confess that I was stunned by the film as the credits rolled. I remember walking to the car park, sitting in my car and staring into space for what seemed to be an eternity. I was shaken for sure. The circus of incompetency in our beloved Bharat Mata and the helplessness did seep into me. But I am a DB fan, I go to movies alone for the sake of the film and I devout my undivided attention to it. I am in the bleak minority. And hence I also remember the restlessness during the film as the crowd got bored during the movie and I remember myself asking- “Why?” on some occasions and “Really?!” on others.

The critics have raved about the film and for good reason. In the sea of the recent mindless action and crass comedy films being hailed as 100 crore hits, 'Shanghai' does keep the hope alive that we are not heading back to the gruesome 90's. The film also provides our critics the much craved opportunity to delve into the lingo of nuances, multi layered characters and silent frames. For a critic to look down upon Shanghai is to risk admitting their lack of understanding of cinema which they proudly claim to possess. Also, I can imagine after being forced to review the Housefools, Rowdy's and Shodyguards of recent times, how relieved they must have been to sit through Shanghai.

Albiet, although I am still undecided whether I liked the film or no. I am sure of one thing-For a film maker as talented as DB- who can narrate unique concepts with the right dose of sensibility and entertainment- Shanghai scores the lowest on his list of films made so far. Without doubt.

 For now, I eagerly await his next. Did I mention I am a DB fan? :)

Agneepath directed by Karan Malhotra

I have been a huge fan of the director Mukul Anand and Amitabh Bachchan combination. The 1990 release, Agneepath directed by Mukul Anand is one of my favorite and most revered films. As such i was not only shocked when Hrithik Roshan was chosen to play the larger than life and angry- Vijay Dinanath Chohan, i was also curious to see what comes of it.

After having watched the film yesterday i have got to take a bow at the vision and execution of director Karan Malhotra. The new Agneepath is not simply a remake but it is a revised and revamped one. It is much different than the original yet keeps the intensity and anger of Mukul Anand's cult classic.

The primary and most vital difference comes from the alterations in the main protagonist. The new Vijay Dinanath Chohan is not at all like the one played by the legendary Amitabh Bachchan. He is angry for sure but is far too much in pain and is far too vulnerable. My curiosity thus did not turn into disappointment on seeing Hrithik Roshan as Vijay Dinanath Chohan... and the comparison if any ended there and then!

Karan Malhotra gets his film making grammar further correct when he builds a Kancha Cheena as menacing as Sanjay Dutt! The hero is so much less stronger than the villain. The odds are so much against him that the built up to the climax has to be intriguing and the victory if any has got to be the ultimate high.

Another high point of the film are its visuals. Considering that the story is known and predictable it is the visuals that play a vital part. The transition of Mandwa from a peaceful and inviting sea side hamlet to the dark and ruinous land of gloom and despair is brilliantly captured. The action sequences choreographed by Abbas Ali Moghul accentuate the intensity of the film with their earthy and brutal demeanor. The back ground score and fast cutting give the film the pace and rush it so desperately needs.

Of course there are minor glitches here and there but compared to the over all experience it would only be cynical of me to mention them here. If experience is what a film is supposed to give you then Karan Johar's tribute to his father does that sufficiently well.

The highest point of the film for me however was when Hirthik finally mouthes the famous lines-

“Vijay Dinanath Chohan...pura naam; Gaon....Mandwa!!”

These lines have kept the Vijay Chohan of the 90's alive and breathing in her hearts and minds. They are the lines that define the anger, arrogance and style of a man who cares only for revenge and will get it at any cost. I was so not wanting them to be made a mockery off. Anyone who has seen and loved the original will tell you the importance of these lines to the essence of Agneepath. Thus when almost 80% of the film was over and there was no sign of these lines I was relieved for it was wiser not to tamper with them...But how could one keep them out of the soul of this film? 

Hrithik finally mouths the lines in a manner nothing like the original Vijay Chohan but with a pain and vulnerability that the new Vijay Chohan represents. The timing, the built up and the pitch is perfect. I had goose bumps all over in that moment for two things were clear to me then and there- 1) Karan Malhotra had done his homework and 2) The original Agneepath was in safe hands... unlike Sholay!!

As such Agneepath to me may not be a great film but is definitely a good film that is worth a watch but if you are the kind who is going to get angry on seeing auto rickshaw's plying in Gaondevi area of Mumbai(No auto's are allowed in that area!)... than don't bother!