Film Review : No Smoking

Movie  No Smoking Director  Anurag Kashyap Music  Vishal Bharadwaj Cast  John Abraham, Ranvir Shorey, Ayesha Takia, Paresh Rawal

After having watched No Smoking, the first thing you want to do is ask Anurag Kashyap, the director of this misadventure: Now what was that? Cinema is all about three Es -- enlighten, educate and entertain. But No Smoking neither educates, nor enlightens. As for entertainment, forget it!

You try so hard to understand what No Smoking tries to say, but the film is like one big puzzle that refuses to get solved.

What ails No Smoking, did you ask. Simple, it's the most complicated cinematic experience of 2007. Agreed, the director's intentions are noble. Cigarette smoking is injurious to health and Kashyap wants to highlight this message loud and clear via his new movie. But what has Kashyap come up with?

No Smoking leaves you exasperated and disgusted. Exasperated, because till the end credits roll, you just don't know what happened in those 2 hours. Disgusted, because Kashyap had solid backers [Eros, Kumar Mangat, Vishal Bhardwaj] and a competent cast [John, Ayesha, Paresh Rawal] at his disposal. Yet, he couldn't pull it off.

In short, No Smoking is a terrible waste of a terrific opportunity!

K [John Abraham] is a stubborn and obnoxious guy, who does exactly what he wants. A chain smoker, he feels nothing can come between him and his cigarette -- not his wife [Ayesha Takia], his friend [Ranvir Shorey] or his life. Till he encounters Baba Bengali [Paresh Rawal].

Baba Bengali has his own set of draconian laws to stop people from smoking. He guarantees results, provided his clients obey his orders to the T. But K revolts and pays a heavy price for it.

The only aspect that stands out in No Smoking is its cinematography [Rajeev Ravi]. It's a good-looking film with some stylishly executed scenes. But Kashyap, who is an accomplished writer himself, ought to know by now that moviegoers want to watch a good story at the end of the day. The lighting, the sepia effect, the visual effects, the production design… everything is secondary. Honestly, it's difficult to believe that the director of could conceive No Smoking.

There're hardly any songs in the narrative, but the one filmed on Jesse Randhawa [Jab Bhi Cigarette Peeta Hoon] is imaginatively filmed. Surprisingly, the popular Bipasha Basu track, which has also been publicised extensively, is placed after the end titles.

John makes a sincere attempt to leave a mark and succeeds to an extent. Really, one wonders, what prompted John to instantly approve this bizarre story! Ayesha runs through her role mechanically. The supremely talented Ranvir Shorey is a big bore this time. Paresh Rawal is okay.

On the whole, No Smoking fails miserably. Very disappointing!

Jab We Met is a cute love story

They may have split in real life but Kareena Kapoor and Shahid Kapur's reel love story Jab We Met is a cute film, and is sure to touch the hearts of those in love.

The film starts with Geet (Kareena), a Sikh who talks nonstop. She embarks on a train journey from Mumbai to her hometown Bhatinda. On the way, she runs into Aditya Kashyap (Shahid), a young man disillusioned with life after being dumped by his girlfriend. To make matters worse, even his business is going nowhere.

He's on the verge of ending his life when Geet comes into his life. She ends up missing her train while trying to get him on the train.

The thought does cross your mind, that why would she do that for a stranger. But then again, we're watching a Bollywood film.

Geet then informs Aditya that it is his responsibility to take her to Bhatinda, as she missed the train because of him. What follows next is a journey across picturesque landscapes where the two discover each other and understand the meaning of love and friendship.

Aditya learns that Geet is in love with one Anshuman but her family is against their union.

After reaching Bhatinda, you feel the plot has been lifted straight out of the Hollywood film, A Walk in the Clouds, though director Imtiaz Ali also adds Yash Chopra's  'Punjabisation'.

Aditya promises to help unite Geet with Anshuman, even though he falls in love with her.

Post-interval, we're introduced to a very new Aditya, who becomes a big businessman. And this is one of the film's flaws. The change is too abrupt, and it is difficult to connect the first half with the second.

But besides that, Jab We Met is a fun film, with quite a few moments worth watching.

Though Kareena is loud at times, she is a treat to watch -- funny and full of life. She gets to mouth hilarious lines like, 'Bachpan se mujhe shaadi karne ka bahut shauk tha.'

Shahid, on other hand, acts composed and provides a perfect foil to the Kareena's bubbly character. 

Pritam's music also enhances the film. Lyricist Irshad Kamil deserves a special mention for the song, Yeh Ishq Hai.

Om Shanti Om (Music Review)

Movie
Om Shanti Om
Director
Farah Khan
Producer
Shah Rukh Khan
Music
Vishal Dadlani, Shekhar Ravjiani
Cast
Shah Rukh Khan, Deepika Padukone, Shreyas Talpade, Kirron Kher, Bindu

Expectations. Expectations. And some more expectations. This is how one looks forward to the music of Om Shanti Om from which one expects nothing but the best. And why not? After all:

a) This is the biggest ever film starring Shah Rukh Khan.
b) This is the second directorial venture for Farah Khan who made a smashing debut with Main Hoon Naa.
c) The film has created huge buzz accompanied by immense hype ever since it was launched.
d) Vishal-Shekhar and Javed Akhtar saab are expected to bring on table a massy popular score.
e) Last but not the least, the film travels decades which makes one look forward to variety in the soundtrack.


Are these expectations met? Well, very much as each of the seven unique tracks bring on a variety that makes Om Shanti Om a winner all the way.

It is a truly unconventional beginning to Om Shanti Om as instead of an expected 'Beat-one-Beat-two' beginning from Vishal-Shekhar, one gets to hear a rather serene 'Aankhon Mein Teri' which turns out to be an extremely soulful hear. On hearing it initially, it is the sheer 'different' factor due to which it takes some time to follow the composition. But once you have heard it closely with lights switched off and no interference around you, 'Aankhon Mein Teri' turns out to be an irresistible piece of melody that lingers on for hours.


There are number of factors which go in making 'Aankhon Mein' a song that would be remembered for time to come. First and foremost it is the re-discovery of Vishal-Shekhar who create an unconventional tune that breaks the norms which they had themselves set for them. Furthermore, Vishal himself writes lyrics for this track which turns out to be a unique experience since it shows the sensitive romantic side of him. But the biggest of all is K.K. who showcases once again that he is THE most versatile singer who we have in the Bollywood musical scene today!

Well, those who love the dance numbers coming from Vishal-Shekhar don't have to wait for long with the arrival of 'Dard-E-Disco'. This is the very track which is much talked about for Shah Rukh Khan Khan's 'perfect-six-abs' and unlike 'Aankhon Mein' which grows immensely only after a few hearings, it is an instant hit from the word go. Reminding of the style, rhythm and the funk of 'Kaal Dhamaal' [Kaal], 'Dard E Disco' is a 'jump-on-the-dance-floor' number which has a Persian touch to it even as overall feel of the song stays on to be Western.

From the title of the song, one would have expected 'Dard-E-Disco' to belong to the 80s era with a Mithun hangover it but that's not the case as the song turns out to be pretty contemporary. Sukhwinder Singh is in his element for this track that has some spicy writing by Javed Akhtar. Marianne, Nisha and Caralisa come together for backup vocals who give the song a perfect disco feel. Later in the album arrives the 'remix version' which makes for a justified presence due to the song's theme and keeps the entertainment alive.

One would have expected the graph of the album to at maximum stay steady after 'Aankhon Mein' and 'Dard-E-Disco' but it shoots up amazingly with 'Deewangi Deewangi' which hooks you within first one minute itself. A sure shot chartbuster which could well have been the opening number for the film's promotion, 'Deewangi Deewangi' is what qualifies as a trademark number which could have been lapped up by Yash Raj Films or Dharma Productions.

The coming together of Shaan, Udit Narayan, Shreya Ghoshal, Sunidhi Chauhan and Rahul Saxena (heard in Indian Idol) ensures that there is not a single dull moment in this instant-attention-grabbing track. Boasting of the innocence in melody that was witnessed in the 70s and now presented in the 21st century 'avtar' with a fusion of 'qawalli', 'bhangra' and western arrangements, 'Deewangi Deewangi' that also incorporates the sound of Om Shanti Om will definitely light up the screen when it is played. It's 'Rainbow Mix' only confirms the thought as it helps in consolidating the sound of the song.

If you have ever been in love, you wouldn't have missed out the dancing-couple-on-a-glass-floor gift item that has a sweet sounding tinkling sound which compliments their moves! This is the sound that marks the beginning of 'Main Agar Kahoon' which reminds one of the 60s era when songs like these were in vogue. Picturised on the likes of Rajendra Kumar and Shammi Kapoor, they were mostly sung by Late Mohd. Rafi.

This is the very reason why Sonu Nigam has been roped in to croon 'Main Agar Kahoon' which required the kind of rendition which would succeed in getting you nostalgic about the music of the era gone by. With Shreya Ghoshal in tow who is just the right fit for a song belonging to this genre, 'Main Agar Kahoon' gives a completely different flavor to the album by bringing some 'thehrav' to it after a rocking outing experienced in the last few songs.

Names like Rahat Fateh Ali Khan and Richa Sharma are good enough reasons to expect a quality offering from Vishal-Shekhar in the song 'Jag Soona Soona Lage'. Written by guest lyricist Kumaar, this painful yet mellow track about separation has it's beginning borrowed from the opening sound of 'Main Agar Kahoon'. Both the singers are highly competent in this beautifully written number that shows an altogether different facet of the composer-duo. A track which has a thorough Indian base to it and makes for a passionate outing, expect it to make multiple appearances during the film's narrative.

It's time for the world of 'Tohfa Tohfa Tohfa' [Tohfa] as 'dhols' and 'ghunghroos' come together in unison to create the sound of late 70s and early 80s. With a Lakshmikant-Pyayelal patent all over 'Dhoom Taana', it is only consolidated further as Shreya Ghoshal sings the song in a style that was made famous by yesteryear singer S. Janaki in Jeetendra-Sridevi-Jaya Pradha films. Roping in of Abhijeet too seems to be done with a purpose since it only brings the nostalgia of Kishore Kumar in spite of no conscious effort by the singer to do so.

All through this vintage song, the 'dhol' beats accompanied by the chorus of 'Dhoom Taana' is hard to be missed though there is a shift in mood mid-way with rock-n-roll. Just recently there was news around Deepika Padukone shaking a leg with Sunil Dutt, Jeetendra and Rajesh Khanna, courtesy SFX. Well, 'Dhoom Taana' seems to be just the candidate for that setting! A winner which should definitely have the house on fire as it unfolds on the big screen. Especially watch out for the crescendo towards the song's end.

Finally comes a track which seems to be set in accordance to the reincarnation theme of the film. Set as a tribute to 'Ek Haseena Thi Ek Deewana Tha' [Karz] with even the lyrics taking a cue from the classic track by Lakshmikant-Pyarelal, 'Dastaan-E-Om Shanti Om' is set in exactly the same story telling mode. The styling of this Shaan rendered track follows the same mode as one expects a high voltage dramatic narration when the song is on.

High on orchestra, 'Dastaan-E-Om Shanti Om' is an elaborate number which has a lot to convey through it's lyrics by Javed Akhtar. With its 'mukhda' based on the film's theme music, the song makes an appearance again towards the end of the album. In it's 'remix version' as 'Dastaan - The Dark Side Mix', it is pepped up further with additional arrangements.

Another remix track which takes the album towards its completion is 'Om Shanti Om - Medley Mix' which basically is an amalgamation of all the tracks from the film presented in a 'club-mix' avtar. A good way to wind up the album. Finally comes a minute long theme piece which is titled 'Om Shanti Om - Themes'. Played on a piano, it leaves a lasting impact even as one can revisit the sound in at least half the tracks in the album.

Credit must go to Farah Khan who mixes the commercial elements of the movie with an inherent class which she wanted to lay out in the soundtrack for Om Shanti Om. This is why a fine balancing act is done in the album with hardcore massy tracks like 'Deewangi Deewangi' [best of the lot], 'Dhoom Taana' and 'Dard-E-Disco' presented along with touching tracks like 'Aankhon Mein Teri', 'Main Agar Kahoon' and 'Jag Soona Soona Lage'. And then there is always a 'Dastaan-E-Om Shanti Om' to bring the nostalgia of 'Ek Haseena Thi' [Karz'].

Om Shanti Om is easily one of the most complete scores by Vishal-Shekhar and Javed Akhtar.

The clash of real-life couples averted

With Jab We Met release pushed to October 26 and UTV locking the same date for Goal, it looks like the week will witness the clash of two real-life couples.

While Jab We Met stars Shahid Kapoor and Kareena Kapoor, Goal re-unites John Abraham and Bipasha Basu on the big screen. But the clash has been averted.

UTV has decided to shift Goal to November 23, not for of any other reason, but because the post-production work is still pending, confirms Siddharth Roy Kapur of UTV.

"The post is taking more time than we anticipated. Since the film has shaped up wonderfully well, we didn't want to hurry up things just because we have to meet the deadline. November 23 seems more practical for the movie."

Meanwhile, UTV has acquired the global distribution rights of Firoz A Nadiadwala's comic caper Welcome and are looking at bringing it on December 7.

Kareena launches music of Jab We Met

The contestants of Sa Re Ga Ma Pa Challenge on Zee TV were in for a huge surprise this week as they had a special celebrity guest gracing the show. The super sexy Kareena Kapoor took part on the show to promote her new film Jab We Met! The diva said that she couldn't contain her excitement and added that she was a follower of the program. Seems like Kareena was also in for a surprise as the organisers celebrated her birthday on the sets!

Since Sa Re Ga Ma Pa is drawing to a close, the tension and thrill has doubled, while the curiosity of who will be eliminated remains. While Amanat and Anik's bond is becoming stronger, Raja is getting worried as people's expectations soar and he knows that he forgets the lyrics very often! On the other hand, Poonam is sick and tired of hearing stories that she gets sympathy vote.

This Friday will witness the launch of the Sa Re Ga Ma Pa top ten contestants album.

Speed: Total ripoff of Cellular

    
Movie
Speed
Director
Vikram Bhatt
Producer
Harry Baweja
Music
Pritam Chakraborty
Cast
Zayed Khan, Urmila Matondkar, Aashish Chaudhary, Aftab Shivdasani

    
Vikram Bhatt has often been accused of borrowing heavily from foreign films. In Speed, he borrows from the Hollywood film Cellular, which, in turn, reminded you of Phone Booth. Despite the similarities, Speed is slick, has several compelling moments and isn't as predictable as one thought it would be.

  Speed is an edge of the seat thriller and unravels at a feverish pace. The only problem is, there're a few rough edges (a few questions unanswered, predictable climax), but the pros easily outnumber the cons here.

  In a nutshell, Speed is engrossing fare, with moments that stay with you.

What do you do when you get a phone call from a stranger begging you to save her life? What would you do if your only ray of hope is your phone?

Zayed Khan comes to London to convince his girlfriend Tanushree Dutta to give him another chance to prove his love for her. Meanwhile, Sanjay Suri, an undercover agent, receives a CD from Aftab Shivdasani and Sophie Chaudhary, which contains the recording of his kidnapped wife, Urmila Matondkar, and is asked to follow the instructions.

He's completely confused about what's happening. Soon he realizes that he is being used as a weapon to assassinate the P.M. of India on the London tour. As he is still not agreeing to plans, Aftab finally decides to kidnap his kid.

Sanjay's kidnapped wife, Urmila, starts trying to escape. Her only ray of hope is the telephone call she's accidentally made to Zayed Khan. He's in touch with her throughout, continuously talking with her and giving her moral support. As Zayed decides to help Urmila, his love of life, Tanushree gets annoyed and threatens to break up again. A happy-go-lucky brat Zayed, who never takes anything seriously, risks his own life to save an unknown family just because of a call.

Aashish Chowdhary, the super-cop of London, is in charge of security of the visiting Prime Minister. But as his girlfriend has her birthday the very same day, Aashish is caught between his personal life and duty. He obviously chooses the later. Will Aftab and Sophie succeed in their sinister plans?

  Although Speed borrows from Cellular, it must be mentioned that the Indian moviegoer has witnessed strikingly similar themes in the past. Yet, in all fairness, Vikram and his team of writers have Indianized the plot well. For, the film is absorbing in most parts, except for some glitches in the second hour.

The Aashish – Amrita track, for instance, should've been better developed. Also, the film gets slightly predictable towards the finale, although, frankly, you don't really mind it since the culmination couldn't be different.

Director Vikram Bhatt is in form this time. Thrillers have always been his forte and his handling of the subject material is commendable this time. It's stylish and most importantly, it succeeds in keeping your interest alive. Pritam's music is okay, although, given the genre, the makers have wisely restricted the songs in the narrative. Pravin Bhatt's cinematography is topnotch. The locales of London are eye-filling and give the film the required sheen. Action sequences (Abbas Ali Moghul) are well executed.

    Speed belongs to two actors primarily -- Urmila Matondkar and Zayed Khan. Urmila handles her part with dexterity and adds freshness to the goings-on since she has cut down on her acting assignments. Zayed is cool and suits the role well. Aashish Chowdhary springs a surprise. In fact, the actor is getting likable with every release.

Sanjay Suri is a fine actor, but the spark is missing this time. Aftab too isn't fiery enough and his look is a complete put-off. Tanushree Dutta needs to go easy on her makeup. Otherwise, she's passable. Sophie Chaudhary makes her presence felt. Amrita Arora looks glamorous.

  On the whole, Speed is an interesting thriller that has the advantage of being a solo release. At the box-office, this reasonably priced fare should attract its share of viewers in its initial run.

Broadway style musical nautanki for Aaja Nachle

Chak De has become an anthem. It's a great feeling to be a part of a film that has become so big," says Sulaiman Merchant of music composer duo Salim-Sulaiman who has composed music of films like >Chak De India, Iqbal, Dor and Kaal. They also happen to be the first choice for designing the background score of some of the biggest films in tinsel town. Obviously they are excited about making Madhuri Dixit dance to their tunes in Yash Raj's next Aaja Nachle. But there's something unique they've attempted in Aaja Nachle that has never been done in Bollywood before. "In Aaja Nachle, we have composed a 25 minute play written in nautanki style, something that small town people can associate with. It has been produced in a new world, western theatrical style, the kind of stuff you get to see in Broadway or theatres in West. The sadness, the pain, the fights, everything has been told in a musical format. There were 9-10 singers and 7-8 actors who've dubbed their own voices," Sulaiman said excitedly. This 25 minute play has been written by veteran theatre personality and actor Piyush Mishra. Elaborating on the music score of Aaja Nachle , Sulaiman says that it's not the typical Madhuri numbers."It is one step beyond what Madhuri has done. It has a classical base with contemporary style. There are a variety of songs. There's an English song, a slow song. There are a wide array of singers like Rahat Fateh Ali Khan and Sunidhi. The music releases on 18th October." Salim-Sulaiman have also been associated with Merchants of Bollywood, a musical choreographed by Vaibhavi Merchant that is all set to start its third season in various European countries. Incidentally, Vaibhavi has accused Morani Brothers of 'stealing' their idea for the much hyped Miss Bollywood starring Shilpa Shetty. "It's a massive production. If we would have tried to play the music live then we would have required a 100 piece orchestra," Sulaiman says. The talented duo feels strongly about the penchant for plagiarism that is common in the music industry in India. "Our population is one billion, can't we come up with something original. That's so sad." Sulaiman feels the duo would like to do quality films rather than taking up too many projects. Their next few films include Roadside Romeo (Jugal Hansraj's film, a joint production with Disney) and Cootchie Coothcie Hota Hai (Karan Johar's animation film).