Shor In The City: Get Hooked To This Mesmeric Noise!

Move over pretentious Slumdog Millionaire, its time the world took notice of a brilliant and true-to-life indigenous ode to Bombay. Shor In The City has the potential to create a loud Shor not merely in India but across the world. Varied stories crisscrossing seamlessly, fallacy of human relationships and the little big emotions superbly amplified by fantastic camerawork and crafty direction. This film scores in every department. And scores very high.

Several films have been made on Mumbai. Several films have been made, which are an amalgamation of multiple stories. In that context, Shor In The City is another film on the similar lines. The narrative structure is obviously Non Linear. So, how is it different from other films? Technically, its a very superior film.Tushar Kanti Ray's breathtaking Cinematography makes this film world class. Many a times, the camera movements have a delightful hand-held rawness that is extremely captivating. Even the colour scheme gives each frame an earthy grainy effect. Ashmit Kunder's Editing is bang on. The pace is delectably laid-back and yet the story keeps on getting layered with new dimensions. The climax has a subtext that zaps you completely.

The background score and the original soundtrack are top notch. In fact, the sound design of the film at many places is like an independent character in itself. For e.g. the Visarjan sequence is accentuated by the manner in which the music tempo goes up and down, thus highlighting the mood swings of principal characters and the prevailing situations.

The real hero of Shor In The City is its screenplay. Directors Raj Nidimoru and Krishna DK have also been credited with the Story-Screenplay. There's fluidity in the manner in which each character unfolds and the kind of language that is used. Once again it gets established that Mumbai is a city that assimilates any and every culture. There's the hard core Mumbai lingo of the three petty criminals played by Tushar Kapoor, Nikil Dwivedi and Pitobash Tripathy while Sendhil Ramamurthy and Preeti Desai with their British accent find a context of their own. Aspiring cricketer Sundeep Kishan, like many others in the city, finds a cozy corner on a sea facing promenade to get intimate with his girlfriend. Each character has their dreams-n-aspirations smeared with a quest for self respect and self preservation.

The casting director deserves full marks for putting together a wonderful ensemble cast. Tushar Kapoor is brilliant. The shades of grey-n-goodness have been gelled superbly. When he helps out an injured kid or the manner in which he elevates his performance in the end is awesome. Nikhil Dwivedi holds his own and sensibly doesn’t try to overshadow others. Pitobash Tripathy as the firebrand Mandook is the real find of the film. “Chal English mein sorry bol,” he says and you end up cracking with laughter. Tripathy is in the same league as Deepak Dobriyal and will surely be an actor to watch out for in the days to come.

Sendhil Ramamurthy delivers a nuanced performance. He looks real with a flabbergasted expression when he is asked for protection money. The much hyped Preeti Desai has a miniscule role. Radhika Apte as Tushar’s wife is a revelation. She speaks so much through her eyes. Sundeep Kishan as the young cricketer effectively showcases an ability to keep the viewers interested. Zakir Hussain as the hot headed local gangster is expectedly impressive.

Directors Raj Nidimoru and Krishna DK have made everyone stand up and take notice of their tremendous talent. They have managed to make a film that not only entertains, but also makes you think and introspect without being preachy-or-profound. Their objective approach of being true to the screenplay and expertly navigating through a tricky climax inter-cutting all the stories is masterful. I really hope the makers push this film internationally so that it could get it due share of recognition.

Shor In The City: Do yourself a favour…get mesmerised with this Noise…Today!

Star Rating: ****

Chalo Dilli: Why Not!

Chalo Dilli is a feel good film wrapped in the fragrance of Desh-Ki-Mitti. The road journey from Mumbai to Delhi reminds you of Jab We Met in a way especially because of the emphasis on capturing the finer quirkiness of small town India. Decently written and sincerely executed, this Shashant Shah film has several merits to deserve your time and money at the movie hall.


Vinay Pathak's larger-than-life persona and a natural flair for comedy keeps you engaged for most parts. The Manu Gupta in him is a quintessential common man that is both likable and detestable at the same time. Lara Dutta's Meika Banerji is the high bro Corporate type who carries her mineral water and is obviously perturbed by Manu's burps-n-farts-n-spitting habits. They are an unlikely behenji-bhai sahab combo who take you through their intriguingly entertaining potholed journey.


The basic premise why Lara misses her Delhi flight and ends up hiring a seedy taxi from Jaipur Airport (I am sure the Airport gives you a better option than a rickety ambassador car) is not convincing. The climax is too stretched and the attempt to answer questions that you don't even want to ask is a needless attempt at over simplification of unearthing the plot. In fact the film could have been chopped off by at least 20 minutes. Music is strictly average. Except for the notable title track and the raunchy remix of Laila O Laila (will keep the 'Item' flag flying high), the songs tend to drag the story. Also, how on earth does Lara's make up remain prim-n-propah through the mud-n-grime of the heartland?


As a viewer, does the film keep you interested from start to finish? Yes, for most parts. And that is definitely an achievement in today's times when most of the over hyped movies fail to hold your attention. The uncouth Bablu driver, the forest Dhabha owner who unknowingly scares Lara with his tales of snakes and 'bhedias', local mafia with their gun-loaded Desi similis and metaphors, rishwatkhor train ticket collector and 'alluring' art work at the Red Tomato Hotel provide you lasting moments that you carry back home from the movie hall.


Vinay Pathak's character has been expertly written by Arshad Syed. He is a 50-50 character. If you like his simplicity, way-with-words in the trickiest of situations and sense of humour, then he will give you enough reasons to cringe at the natural tendency to invite trouble, despicable sense of hygiene-n-manners and an absolute disregard for any urgency even in the most harrowing conditions. Syed's dialogues are amusing and carry an authentic flavour of the soil.


Vinay Pathak has played his part very well and truly justified the director's faith in him. Yes, you don't have to be a six-pack-moron to get eyeballs. You can be pot bellied with bloated cheeks and yet earn the respect-n-recognition of a wide audience. Pathak knows his strengths and effortlessly plays to the gallery. Lara Dutta, despite the make-up blooper remains within her character. And to her credit, she doesn't try and do anything unconventionally 'real' to prove-a-point as a serious actress. She is a good foil to Pathak's cute antics and this unlikely pair weaves up a good chemistry. Most of the supporting actors add value to taking the narrative forward. Production Designer Teddy Maurya also plays a delightful cameo as a local don. Interestingly Maurya also played the unforgettable owner of 'Decent Hotel' in Jab We Met.


Nikos Andritsakis' camerawork is realistic and captures the hues-n-shades of rural India very well. As I mentioned earlier the editing is sloppy and the film's editor Aseem Sinha should have been ruthless in cutting off the loose ends. Director Shashant Shah has made a decent film that is watchable for sure. He is honest in his portrayal of the charm of Indian heartland. Yes, he does goof up in some areas but maybe there could have been other forces that 'influenced' his vision to allocate prominence to the people who 'matter'. My grievance is that such a film as this should not have been released at a busy junction of a filmi weekend clamouring with three other films for attention.


Chalo Dilli: Why Not!

Star Rating: ***

Bollywood On My Mind (April 22, 2011)

Interviewing Govinda is not an easy task at all. As we were about to start, an aide told him that he looked tired. The actor immediately went to the washroom to freshen up. Once he was back, he asked the cameraman who was manning the camera with his frame to shoot a tight close up and show him. One take, he felt he looked tired. Consequently, the light was shifted by a certain angle. Two more takes of the same shot and he was still not sure. I said, "Sir the moment you smile and laugh, you'll look as fresh as ever." My flattering remark worked and the interview started. Before we started, I asked if there were plans to be a Director (considering he directed us rather well). His answer was "No way".

I started the interview in Hindi since he is more comfortable in the language. Its important to understand the comfort zone of the celebrity that one is interviewing to get the best possible results. Govinda spoke on 'Naughty @40', why he still has the tag of 'doing vulgar stuff like Sarkaiye liyo khatiya' (Raja babu), he refused to accept that 'Ladki kahaan hai' line from Naughty @ 40 is in a way vulgar and demeaning to women. He kept on equating 'Virgin 40 year old man looking for love line'.

Govinda spoke on his long innings, the influence of his mom, what's happening with Partner 2, his equation with Salman Khan and does he have differences with his Partner, what's happening with 'Banda Ye Bindaas Hai' and 'Run Bhola Run'.

Director of Naughty@ 40 is Jagmohan Mundhra. Interesting man. Interesting Resume. He is an alumunus of IIT Bombay, has made erotic thrillers like 'Sexual Malice', 'Monsoon' etc and has also made films on social awarenss like 'Bawandar' and 'Provoked'. He also emphasised on the 'love' element in 'his film rather than lewdness. Mundhra also spoke about his ambitious project on Sonia Gandhi. He feels that Preity Zinta can make for a good Sonia Gandhi coz of the dimples. There's still no final word on the film.

There was an On Location of Salman Khan's 'Ready' in Mumbai today where the media shot scenes from the song 'Dhinka Chika'. The music release of the film is happening in Mumbai on April 25. I haven't seen 'Dum Maro Dum' or 'Zokkomon' yet. But hearing good things about Abhishek Bachchan's performance and apparently the second half of DMD is not working.

"Directors Are Like Sophisticated Pimps": Anurag Kashyap

Doing an interview with Anurag Kashyap is always a treat. He is honest, blunt and gives loads of headline worthy bytes. In the first part of this BH exclusive, Anurag talks about 'Shaitan', the shallow manner in which the film industry functions, his take on the Payal Rohatgi-Dibakar Banerji controversy, does he stand by his outburst against Bachchans over Khelein hum Jee Jaan Sey and is he afraid of people pointing fingers at him for promoting his girlfriend Kalki. One of my best interviews for sure.

http://www.bollywoodhungama.com/broadband/video/Interviews/fnJoOn33/3/Anurag-Kashyap-s-Bollywood-Hungama-Exclusive-Part-1.html

"We Should Stop Mixing Handsome Stars With Main Actors": Amol Gupte

"We Should Stop Mixing Handsome Stars With Main Actors. That way Brando may have to retire. We wouldn't have had Godfather," says Amol Gupte in his bollywoodhungama.com exclusive. Gupte honestly expressed his thoughts on the discrimination meted out to the writers in Bollywood. The analogies given by him are interesting. Gupte also talks about his film 'Stanley Ka Dabba'.

I've interviwed many film personalities but Amol Gupte is one of the few who make you feel special. He is not merely a special talent. He is an artiste who doesn't run after the dramatic desperation of Bollywood. Gupte also sang a few lines from a song that he has composed himself for 'Stanley ka Dabba'.


http://www.bollywoodhungama.com/broadband/video/Interviews/SXuMBI25/3/Amol-Gupte-s-Bollywood-Hungama-Exclusive-Part-1.html

Gift A Positive Smile To The Elderly

Last few days have been life altering. My father had a Stroke and spent a few days in the Hospital. Luckily it was not critical but an alarm for us nevertheless. He is back home now and recovering well. Someone said its old age (75), but still howsoever old your parents maybe, you wouldn't want them to go.

My elder brother rushed to Bombay from US. We tried to keep the surroundings of Abba as light as possible, cutting jokes, talking about all his illustrious accomplishments and achievements to bring back the confidence that gets dented by a Stroke. Insha made a few cards for him and he seems to be loving her attention and care the most.

A Stroke affects the speech and its important that the patient talks to retain his/her vocabulary and awareness of language. Abba hasn't been talking much and gives precise answers to the questions asked by us. I've been trying to put my journalistic experience to use by enquiring about the thought process for writing poetry, the movies (for which Abba had penned lyrics) that were never made, his childhood, the impact of great poets like Ghalib and great men like the former Indian President Zakir Hussain sb on his personality.

Abba had written the songs for Muzaffar Ali's 'Zooni' (famous Kashmiri poet Habba Khatoon). The film starred Vinod Khanna and Dimple Kapadia. It was shot in Kashmir in early 1990s. But the problem in the valley stalled its shooting and it was never completed. A few of the songs were recorded. One song 'Rukhe Dildaar Deedam, Daras Ko Aaye Preetam' outstandingly sung by Asha Bhosle ji had a brilliantly haunting melody composed by Khayyam sahab. We heard that song a lot during our childhood. I really hope Muzaffar Ali and HMV Saregama will someday release the 'Zooni' music album. It had the 'Umrao Jaan' stamp on it.

This was also my first personal experience of a major illness in the family. It has greatly sensitised me to the problems of old people. Weakness of body isn't equal to weakness of spirit. Patience, care and sensitivity can bring the best out of the elderly. They are far younger than the young (in age) in many ways. Abba is happy in eating anything that Aarefa makes. No complaints, no demands. He plays Ludo with Insha and reads her story books for her.

Death is an eventuality that one can't deny. Seeing your loved ones in pain, pains a lot. Somehow one starts valuing life by the mere fact that tomorrow we may not be around. I've always tried to be sensitive towards the elderly. I promise, each time I'll see any old person, I'll make sure to stop and lend a helping hand if required. Or otherwise, maybe gift a positive smile.

"Ready Is Most Wanted"

The first look promo of Ready is a good news for Salman fans. "Zindagi mein teen cheez ko kabhi underestimate nahin karna- I, Me And Myself," says Khan at the end of the promo. Worth many a whistles. I spoke to T Series Director Ajay Kapoor once again and he clarified on a few rumours and discussed the promotional plans of Ready. So, when is the music launch of Ready, is Farah Khan choreographing 'Character Dheela', how many songs in the film, when is the first song promo coming out and how is Salman going to promote his film. All this and more in this bollywoodhungama.com exclusive.

http://www.bollywoodhungama.com/broadband/video/Interviews/kAM5u549/3/Ajay-Kapoor-Speaks-On-Ready-Promotional-Plans.html