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Prince - Aa bhi Ja Sanam HQ [FULL SONG]

Prince - Tere Liye HQ [FULL SONG]

Prince

Cast:	Vivek Oberoi,Aruna Shields,Rajesh Khattar, Nandana Sen, Sanjay Kapoor, Dalip Tahil, Mohit Chauhan, Manish Anand
Direction:	Kookie V Gulati

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Prince review: It's a royal mess!

Movie Prince Director Kookie V Gulati Cast Vivek Oberoi, Aruna Shields, Nandana Sen, Neeru Singh, Dalip Tahil and Sanjay Kapoor

Sonia Chopra

It's that kind of a movie; where the hero – a mix of James Bond (the gadgets) and Spiderman (swinging from ropes) – is named Prince and the retro-style villain – with flowing hair and a metallic hand – is called Sarang. This is also the kind of picture where, in South Africa, everyone from the hero to the baddie to the bartender is Indian and speaks only in Hindi. Prince's character is inspired by countless others (like Dhoom 2's A) where the central protagonist is a glorified thief, described several times as a chalaak and shaatir chor. One morning this character does a Ghajini and wakes up with zero memory. He understands that Sarang, described as 'the world's biggest white-collar criminal', is after an antique coin. Prince now has to find this coin the whereabouts of which he can't recollect. Meanwhile, three women claim to be his girlfriend Maya, each with a different version of his past. Like in Race (Shiraz Ahmed has written both the films), there are silly twists along the way. There is a raunchy item song in Hindi in a nightclub. We get to know that the coin has mythological connections, been taken from Raavan's rath and all, and has magical powers. That's never explored because the focus shifts to a chip that could turn out to be a national security threat. The story follows a predictable pattern, finally flowing into the elongated finale with the essential hero-villain combat. For most part, our superhero of sorts maintains a quizzical expression. This is an interesting departure from other alpha-heroes who know just what to do and when. Here, he's often led than leading, and the filmmakers seem to want to experiment with the concept of the unshakable action hero. Sadly, even the vulnerability doesn't come through, and you don't empathize with the character and his conflict. There are portions that crack you up unintentionally: in describing how dangerous the crime boss is, we are shown a scene where he takes his enemy on a plane ride, then jumps off, and blows up the entire plane! He then clumsily opens the parachute, holding on for dear life, and lands on a boat. Would have been easier the other way around, one reckons. Also, all the characters wear black leather, gloves and shades in daylight. Super-secret info is sourced by googling; safes are opened by plastic clips. Before jumping off mountains and buildings, Prince croons his favourite dialogue: 'It's Showtime'. The music blares non-stop playing the signature tune whenever the hero is in midst of a designer stunt. Debut director Kookie V Gulati's attempt to add special effects (giant screens, gizmos and gadgets) to spice up the story works only to an extent. Those familiar with English films (Mission Impossible, Matrix, the Bourne Series, Minority Report) have seen all this and more a long time ago. The hero and villain — the two central characters are terribly boring. Vivek Oberoi has given far more impassioned performances earlier; here's he's damp squib. Isaiah who plays Sarang is bland too, bringing out none of the edginess of a good villain. That leaves the three leading ladies to steal the show, which they do. Go for it if the appeal and screen presence of the leading ladies and a couple of neat stunts (Allan Amin) is good enough for you. Somewhere during the film, a character says to media persons, 'why are you glorifying him (Prince). He's a robber, not God'. With the film showing the criminals walking around in slow-mo, a girl on each arm, driving in luxurious cars, owning homes in the most exotic locations, the irony is indeed

City of Gold review: It shines in places

Movie
City of Gold
Director
Mahesh Manjrekar
Cast
Vineet Kumar, Sameer Dharmadhikari, Kashmira Shah and Satish Kaushik

Sonia Chopra

The film’s title is sarcastic. For the message, it wishes to inculcate is that while Mumbai is assumed to be city of gold (opportunities), these riches have been paved upon the toils of several mill workers who never got their due. The setting is a chawl in the `80s (a time when mill shutters were being downed robbing thousands of their livelihood) – the protagonists are a family supported by a textile mill-worker. The workers haven’t been paid for six months and are being encouraged to retire voluntarily. Without any income, the workers’ families are distraught. Tired of false promises by the owners who are keen to sell off the land for a new mall, a family in the chawl commits suicide. Their union leader Rane (Sachin Khedekar) fights for their rights, but can’t battle the attitude of his own people who are ready to quit the fight for a little money. There are some arresting moments – you truly feel for the plight of the workers, and are moved when their firebrand leaders climb on top of cabs and rev up the workers. The story of disillusioned young, with an easy access to alcohol, guns and smooth-talking crime lords is also disturbing. The character you feel for the most is the home’s matriarch Aai (Seema Biswas) who sees each of her children let her down one by one. Post-retirement, the husband too refuses to take any responsibility. It’s left to her to handle the lives of each of her family members, and welcome money into the home, even if got by questionable means. She watches helplessly as one son loses a job over robbery, another gets embroiled in crime, while a third must sell a kidney to keep things afloat. The realism is often hampered by melodramatic bits: the neighbourhood wife having an extra-marital affair explaining her infidelity, for the benefit of the viewer and the eavesdropping husband outside the door; the women turning to prostitution; criminal gangs running with 14-year-olds drunk on power and alcohol, and so on. This melodrama has been questioned also by a columnist who quotes PUKAR activist Ajit Abhimeshi. As per the article, Abhimeshi who has had first-hand experience of working with mill workers, City of Gold chooses to showcase only the sensational bits – “Instead of choosing to show how women of mill workers often got together in the most enterprising of ways, the film chooses to focus on those rare cases of prostitution that may have happened. The underworld did seep into the neighbourhood. Unemployment and lack of financial support did have the potential to degrade the most ethical of youngsters. But never to the point that anyone would attack a passerby at night or pick up a fallen vada pav from the pavement. This is clearly a gaze that comes from the outside.” And truly enough, the film plays on one heart-rending episode after the other, never seamlessly weaving them all. It’s mean to manipulate and shock (a character ends up with a contract to kill his own friend’s father; another character dies most unexpectedly), never really saying much. Mahesh Manjrekar (Astitiva, Virudh, Vaastav) while taking up the cause of the mill worker doesn’t tell us enough. What we see is stock film portrayal of the city’s underprivileged and their daily struggle for survival. You wish the film had delved deeper with a more hands-on approach and more layered characters. The ending sequence is simply offensive. The Maharashtrian family speaking in Hindi also robs the film of its authenticity; one is certain the Marathi version (Lalbaugh-Parel) is more effective. Performance by the cast is a huge bonus. One can call the film somewhat gripping, but hardly one that explores the mill worker’s tribulations with an honest heart.

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I have a badmaash streak: Shahid Kapoor

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Paathshaala will wear you down!

Sonia Chopra

Not one thing. You don’t like one thing about this film. Borrowing from previous hits always robs a project of its credibility. And when you take a serious subject and try and do a Taare Zameen Par (TZP) with a dose of Kuch Kuch Hota Hai, it can only make for an unpalatable mishmash. So we have a towering institution called SVM, a reputed boarding school; and we are about to see their staff meeting. Principal Sahay (Nana Patekar, in his career’s most boring role) addresses the staff of teachers - a timid Bengali, an eccentric Parsi, the young dietician (Ayesha Takia), the disciplined army man-turned-sports coach (Sushant Singh), a silent lady dressed like a retro heroine in extended eyeliner and a rose in her hair, and the new English teacher Rahul Prakash Udyavar (Shahid Kapoor, doing the cheery teacher act again after Chance Pe Dance), an obvious duplicate of Aamir’s Ram Shankar Nikumbh from TZP. For reasons unexplained (why can’t they hire a music teacher), the staff laments the children’s yearning to learn music and pester Rahul to take them under his wing. He plays the guitar to the tune of Mere Khuda, a nice song, possibly the only thing that works in the film. An overbearing trustee, meanwhile, hollers that the school’s not making enough profits - giving 5-star facilities and hiking the fee is the new idea. Now this is a topic likely to touch a raw nerve with city parents - the school systems are messed up and becoming increasingly commercialised. But the treatment of the subject makes you wish the makers would just leave alone an issue they can’t articulate and do justice to. So back in SVM school, the management head (Saurabh Shukla) turns things around - students not purchasing a school basketball won’t be taken into the team, combo-meals will now have aerated drinks, and a child whose fee is delayed is made to stand under the sun through the day. More melodrama - the school liases with reality talent hunt shows. The show casting-in-charge is insensitive and makes children cry; the director calls the kids duffers when they forget to mention the sponsors; and in one priceless scene when there is an accident on the sets, the director asks the camera to zoom in while the child is in pain. Now, all this is bull. It’s over dramatised to the point of ridiculousness. And these manipulative tricks are shameful to say the least. Even the angle of a child, lonely due to an unattractive birthmark on his face, is thrown in for good measure. These tricks reek of makers who want to piggybank on a hit film (TZP), stars, and an empty film trying to pass off as issue-centric. The Kuch Kuch Hota Hai element is prevalent: the director confuses school uniforms to be cheerleader uniforms, silly romance is added, and the child actors (a plethora of famous TV faces) are made to do their affected cute act. The dialogue is insipid and could lull you to sleep. Performances are average; let down by the stiff characterisation. Director Milind Ukey’s style is a confluence of many - it’s an unoriginal voice constantly looking to the past for inspiration, instead of telling a story in his own unique expression. As for the film, it’ll wear you down even before the halfway mark. Avoid.

Movie
Paathshaala
Director
Milind Ukey
Cast
Shahid Kapoor, Nana Patekar and Ayesha Takia Azmi

I was lucky I found Barbara: Hritik Roshan

With just two weeks away for the release of his film Kites, Hritik Roshan tells Jyothi Venkatesh that he had to actually unlearn whatever he had learnt as an actor in the last ten years when he set out to act in Kites under the direction of Anurag Basu, and both Barabara and Kangana helped him discover a new part of his art. Is it true that you were actually hesitant to take up Kites, when your dad narrated the subject? To tell you the truth, when my dad narrated the story to me, I just got an idea about the subject, but was not quite sure whether it would be good or not. My knee was in very bad shape at the time and I could not even walk then. In fact, I was so frustrated that I had even thought that I should take up an alternate career like say singing or direction since I was doubtful whether I would be back on my feet. I thought that I could no more jump or dance and I did not want to take the risk of doing a film as an actor because I was shattered to the core. Did you ask dad why he wanted Anurag Basu to direct the film instead of himself? Yes. When I asked him why, dad told me that he wanted Anurag Basu to direct the film because he is already 60 and has done all kinds of films till date and was very keen to learn what the perspective of the new generation of directors like Anurag Basu would be on a subject like this. Is it true that Anurag’s screenplay appealed to you instantly? Dad asked Anurag to work on the screenplay and when he showed me the screenplay, I could see Anurag’s strong vision. I could see myself actually in all the scenes he had visualized in the screenplay. Interestingly, Anurag told me that he had also seen me doing all that he wanted in the screenplay. I felt that God himself up there had given me the sign and jumped up with my hands and feet and was happy that after eight months after the tragedy had happened and I had my knee problem, a subject like the one Anurag had visualized hit my heart instantly. Did you like Anurag’s screenplay more than your dad’s idea? Yes. Anurag’s sensitivity and the language of the film were so real that I actually fell in love with the film. I felt that it was exactly my kind of film. Though it was hard for me to understand dad’s vision when he narrated the story, I could instantly identify with what Anurag had visualized as far as the film was concerned, as the screenplay writer. What have you learnt from your dad, as far as creativity is concerned? I have learnt from my dad that you have to first kill your ego in creativity, because there is no truth in the whole world except each individual point of view, especially as far as filmmaking is concerned. I would say that, as a dad, he keeps me strong and gives me no choice. What I like about my dad is that he is still passionate about his work. I am glad because I am aware of the fact that there are several fathers and sons who fight and have separated. How did you find Anurag Basu as a director? I found Anurag, too, to be a simple guy and hence we could be on the same page while shooting for Kites. I should say that my comfort level was actually more with Anurag than my dad because he is of my age and hence my friend. What home work did you do to prepare for your role in Kites? I play the role of the street smart Jay who is born and brought up in Los Angeles. My home work was to do no home work for the film. We shot for the film in North Mexico which is surrounded by magnetic mountains, which have the capacity to heal. When I started shooting for the film, my fears were put to rest and I could not only jump but also dance and my knee problem was solved. Was it quite tough to zero in on Barbara Mori as the leading lady for Kites? We – my dad, Anurag and I, had looked at almost 100 faces for the role that Barbara played in the film but we were not sure, because apart from beauty we needed a graceful girl with dignity. You see beauty also has its own pitfall. It is about the way you smile. We discovered Barbara only on the last day. Till then we had short listed three other girls. I was lucky we found Barbara because Anurag’s vision got an extra impetus with her and also both Anurag and Barbara could empathize with one another because both of them had braved cancer and survived to live. Is it true that you had to unlearn whatever you had learnt as an actor for Kites? As an actor, I got a lot of help also from a mountain girl like Kangana Ranaut. I had to actually unlearn whatever I had learnt as an actor in the last ten years when I set out to act in Kites under the direction of Anurag Basu. Both Barabara and Kangana helped me discover a new part of my art. In what way are the Hrithik Roshan of Kaho Na Pyar Hai and the Hrithik Roshan of Kites different? The Hrithik Roshan of Kaho Na Pyar Hai ten years ago was running to finish line as if a dog was about to bite him, because he had to win and had no choice whatsoever but today he runs because he enjoys running though he knows that the dog is not chasing him and also there is no finishing line. What is your goal now as an actor? My goal is to do something more meaningful and honest, whether it is our own film Kites, Sanjay Leela Bhansali’s film Guzarish or for that matter Zoya’s film Zindagi Na Mile Dobara, which are in my kitty as of now. There is a compliant against you that you do very few films! Hey, I'd want to do ten films a year, but I am not able to. It isn’t a choice, but the problem is that just one film itself takes a year for me to complete. Take for example my film Jodha Akbar. I was initially asked to dole out just 80 days for the film but eventually I ended up giving as many as 200 days for the film. Because an actor like me, a film that I set out to do becomes my film and not just the producer’s film and I cannot just abandon it by leaving it mid-way, especially since all the directors that I have worked with till date are like my dad, including the younger ones whether it is Zoya, Farhan, or for that matter even Anurag Basu. Now I have become smarter and stronger and what’s more wiser and have decided to put everything in writing on paper even before the film goes on the floor

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