Station Bollywood

Cast: Amitabh Bachchan, Aman Siddiqui, Juhi Chawla, Shah Rukh Khan, Priyanshu Chatterji

Director: Vivek Sharma

Amitabh Bachchan is an actor par excellence and that is obvious in the way each of his characters differs from the next one. True to form we have yet another spectacular and memorable performance from the Big B.

In this endeavour, he is well supported by veterans like Satish Shah and Rajpal Yadav. Juhi Chawla as Anjali Sharma and a special appearance by Shah Rukh all add to the story, but the crowd stealer is Amitabh as Bhootnath. Aman Siddiqui as Banku( Aman Sharma), the mischievous kid with a heart of gold is great. His interactions with Bhootnath form the back bone of this much awaited summer release.

It’s believed that children have the strongest connection to god. They have the ability to perceive Goodness in everything and everyone.

This is a story about a seven-year-old naughty yet innocent boy, who unknowingly turns a foe into a friend.This is a story about Banku and his friend, Bhoothnath…about innocence, honesty and the pure love of a child.

Bhoothnath is the story of a ghost named Nath (Amitabh Bachchan) who makes it impossible for anyone to stay in his home in Goa since his death. Things are so bad that even taxi drivers refuse to chauffer anyone as soon as they hear that Nath Villa is the destination. But that’s till Nath comes across Banku (Aman Siddiqui) – the new kid who has moved in with his parents Anjali (Juhi Chawala) and Aditya (SRK) into Nath Villa.

So while the rest of the city trembles at the thought of the family staying there, Banku is too busy making friends with Nath whom he calls his Angel. For Banku there is nothing like a ghost. Slowly and steadily the two forge a deep friendship much to everyone’s confusion because no one but Banku can see this so called Angel.

During one incident Banku with the help of his Angel gets his school mate out of trouble. But this only causes a rumour spreading fast across the school about Banku’s special friend. As a result the principal hauls both Banku and Anjali into his office and gives him the final warning. Anjali upset with her son’s constant mischief reprimands him and gives him a slap. Unable to prove himself, Banku sulks and doesn’t speak to either Bhoothnath or his mother.

However, soon its time for Banku’s fancy dress competition and when another mother comments on how Banku is dressed exactly like ‘Nath uncle’ does reality hit home for Anjali. Heading home after the competition with Banku, Anjali comes home to find herself dealing with a group of builders who have been given permission by Nath’s son Vijay (Priyanshu Chatterji) to build a resort there. Hearing this Nath gets very angry and raises a storm – literally! And that’s when she finally comes face to face with her son’s Angel and learns the real truth about Nath and his ghostly existence.

Now that Anjali knows of Bhothnath she sets about helping his ghost to finally stop wandering. And how after setting up a ‘shrad’ ( prayer service for the departed soul) at home Banku, Anjali, Aditya and Nath’s son - Vijay - finally help Angel achieve mukti is what the rest of the film is all about.

It is believed a mother’s love is selfless. But a child’s love can transform relationships; it comes with no expectations and no boundaries. Their love can make you believe in miracles.

Bhoothnath is a story about a little innocence, a little playfulness, and a lot of emotions that will touch hearts.This is a story that will show adults to see the world through the eyes of a child… an angel, a creation of god. It’s then that one will realize what a beautiful world they live in after all.

Vivek Sharma ,the director has done a really good job. From a script that is tightly held and moves quick to special effects that definitely reflect umpteen hours in the studio, the director’s hard work is clearly visible all throughout the movie.

Bhoothnath has everything for all age groups – fun for the kids and emotions for the adults. Aman has done a great job as the naughty kid and Big B is simply brilliant. From his emotions as a ghost trying to frighten the world to coming to terms that a child has him fooled to his final extremely emotional journey…everything leaves you spell bound.

Bhoothnath is definitely what we needed this summer to help keep this heat wave at bay. All through this movie you are so engrossed in what is happening that all other issues take a back seat.

For kids who are enjoying their summer break, for parents who need to keep their kids occupied, and most importantly for Bollywood that has had nothing much to offer this entire summer…..Bhoothnath is just what the doctor ordered!!!!

Other Related Topics:

Mr White Mr Black : Movie Review

Pranali: Movie Review

Black & White : Movie Review

Interesting Links :

Bhoothnath - The Official Website

“Pranali - The Tradition”- a movie that highlights the ills of the temple dancer custom still prevalent in some parts of the country,a never ending journey of a devdasi released last week. The movie released without much promotion or hype under Nikhil Mathur’s Harward Entertainments banner , on May 2nd.

The movie marks the solo debut of Nargis .Nargis of “Garam Masala” fame plays the main lead in the film that is directed by Hridesh Kamble, the erstwhile assistant of John Mathew Mathan, Mahesh Bhatt and Vikram Bhatt.

Harward Entertainment’s maiden venture will be released simultaneously in four languages - Hindi, Tamil, Telugu and Malayalam.

Through a dramatic story, the movie bares the thin dividing line that exists between the temple dancer tradition and the profession of prostitution among devdasis.

According to this custom, virgin girls are married off to the presiding deities of some temples in the name of service to the god. There they become temple dancers. Far too often, the dancers are forced into prostitution.

The movie takes a stand on the stigma attached to the temple dancers (devdasis). It tries to make people aware of how low caste vulnerable village girls are forced into this in the name of religion only to be exploited by influential upper caste people.

The story of the movie starts as a foreigner Judy is searching for a prostitute Pranali and the husband of Pranali is writing a book on her life. Then the movie goes into flashback -In a famine hit poor village, the parents of a little girl, Pranali get convinced by a priest to allow their daughter into the system of Devdasi where in the name of god little girls are forced to carry out prostitution. Many rich class people and famed men are afflicted to the Devdasi system.

The movie revolves round a village girl called Pranali (Nargis), a girl born in a small village who soon falls prey to the downtrodden systems of society.On the account of serving God, the child is offered as a Devdasi to the high priest in the village and soon becomes an object of lust. Forced into being a devdasi, she fights to free herself from the shackles of the vested interests who want to perpetuate the tradition in order to serve themselves.

After a sequence of incidents, Pranali reaches the Mumbai red light area decides to give birth to a baby .Though, by custom, she is not allowed to rear children, Pranali vows to bring up her illegitimate child like a normal child. Life becomes much tougher when Pranali gives birth and soon struggles to educate her child seeking a normal life for her. On grounds of being a sex workers daughter, the girl is refused admission in school. How she takes up the battle against the custom and how her fight inspires other devdasis to liberate themselves is what the movie is about.

Soon comes in an NRI (Raman Trikha) to do a research on Sex workers in India and soon engages Pranali and the gang of sex workers including Kanchi (Rohini Kapoor) , Salma (Vaidehi Singh) ,Chanda (Dipsshikha) and Akka (Sudha Chandran) into the battle for legalization of prostitution by the government.

Sounds interesting huh? Hmm!!! Well , that’s what many believe and expect it to be one of those hard-hitting films. Though the movie tackled relevant issues, the execution and direction by Hirdesh Kamble is pretty poor. The story, screenplay and dialogues by Hirdesh Kamble and Manoj Pandey literally kill the entire film.

The movie is tremendously vague and the so called journey of the devdasi leads you nowhere. The movie starts off with the little Pranali and her encounter with the high priest , minister and from there to being a sex worker and from there moves to being a mother and then fighting as a social worker etc and finally the book release makes it a complete boring and vague mix of events.

To add to it all is the boring and dull Bhaigiri sequences including Upendra Limaye as the taxi driver which makes it completely pathetic. Upendra tries to carry the film off as the solo made lead in a film overloaded with women. Upendra even gets to swing to a song sung by Kailash Kher being a complete out sync track.

The movie keeps on dragging and truly becomes a never ending journey for the audiences. On the performance scale Nargis does show us that she has immense potential but the script in this case makes us overlook all performances even that of Sudha Chandran and Dipsshika.

Bollywood singer Kailash Kher makes his debut as music director with the movie and collaborates with composers Paresh and Naresh.Music of the film by Kailash Kher and his Kailasha band members Naresh and Paresh is such a letdown and the addition of songs in the film make you yawn. No comments on the other aspects of the film.

Dance plays a key role in “Pranali” and well-known exponent of Kathak dance Pandit Birju Maharaj has given dancing tips to choreographer Saroj Khan for the film. He had earlier supervised a part of the choreography in Sanjay Leela Bhansali’s “Devdas”.

Upendra Limaye, Raman Trikha, Sudha Chandran, Dipshikha, Vinay Apte and others are part of the cast.

The movie Pranali has a socially awaking script that gets irreverent, because of the way it has been made. The movie has the biggest disadvantage that audience cannot identify with whatever is shown onscreen. The movie tries to talk about legalizing the profession of prostitution in a very unconvincing way. The debuting director Hirdesh Kamble lacks precision in implanting script onscreen and the performance of the actors (except Nargis) is unsatisfactory. Screenplay and music are equally ineffective in bringing out anything from the movie.

Performances of almost all the stars are below average except Nargis. Upendra Limaye, Sudha, Deepshika, Vinay Apte had low scope roles.

To conclude, Pranali comes across as a very poor launchpad for Harward Entertainments. With a movie being tremendously a never ending dull, boring journey; let’s hope that their next few ventures are worth a watch. Nargis no doubt is talented but needs to select her flicks carefully.

The movie is based on a theme that is anti social in current scenario and the movie even doesn’t match the taste of family audience.

Other Related Topics:

Bhoothnath: Movie Review

Mr White Mr Black : Movie Review

Black & White : Movie Review

After a four year haitus , Deepak Shivdasani is back to the stream with an out-and-out comedy flick titled ‘Mr. White Mr. Black’.

Macho man Suniel Shetty and Munnabhai’s circuit Arshad Warsi play the roles of Mr. White and Mr. Black respectively. Mahima Mehta, Rashmi Nigam and debutant actress Anishka Khosla form the female lead of the movie.

But the eternal question remains……’Is Mr. White Mr. Black funny enough to tickle your funny bone for 2 and half hours?’

The movie begins deceptively. There is a stylish heist of diamonds by a bunch of three shapely, hot girls. Having been caught off guard, you adjust in your seat, bracing up for something sensational to follow. But what you get is a mustachioed Gopi ( Sunil Shetty ) coming from his village Hoshiarpur to Goa to find his brother Kishen ( Arshad Warsi ).

Gopi (Sunil Shetty) a simpleton, arrives in Goa. His mission - to hand over an incredibly tiny piece of land to his childhood friend Kishen, which was his father’s last wish. Kishen (Arshad Warsi), now a conman, swindles people with a little help from his accomplice, Babu (Atul Kale), to earn enough money to educate his sibling Divya (Mahima Mehta) who’s studying in London. Kishen,living to his reputation, he even fools his girlfriend ( Rashmi Nigam ) into thinking that the crook is his twin brotherHari, for whose crimes he unduly gets blamed.

While Kishen avoids Gopi as if he has plague, a pretty young thing , who happens to be the daughter of a rich man, falls for Gopi.

Kishen is not going to give up his flourishing business and travel to Hoshiyarpur just to take possession of a measly piece of land! Gopi, in his mission of chasing Kishen, is given a helping hand by love-smitten Tanya (Anishka Khosla), daughter of the owner of KG Resorts.

Diamonds worth crores have been stolen in a breathtaking heist by three gorgeous girls who are now holed up at KG Resorts. As the movie plods through its plot-holes, Kishen, Babu and everyone else learns about this and joins the mad race to get their hands on the diamonds worth Rs 25 crore that actually belong to an unforgiving don (Aashish Vidyarthi).In all this mayhem, Gopi finds himself a part of the gang.

Who gets the diamonds? Does Gopi manage to take Kishen to Hoshiyarpur? And was the land just a meager piece of land or something more? The answers are out in black and white by the time you go through this hectic cinematic maze!

Mr. White, Mr. Black strives hard to make you laugh. There just isn’t any story but rather just a set of silly sequences and foolish jokes put together sloppily along with some dull music to complete the required time to qualify as a movie.

The first half of the movie is not even remotely close to what you call a comedy movie. Post interval, few moments make you smile, but that’s about it. At regular intervals the story shifts focus to some other characters that have very little significance in the movie. To add to this, the performance by the star cast is just satisfactory. Music is no relief. It just doesn’t gel with the tunes of this day and is very repulsive.

Sharat Saxena steals the show with a good performance. Suniel Shetty isnt at his comic best. Arshad Warsi disappoints. Amongst the girls, Anishka Khosla is below average. Mahima Mehta is bad and so is Rashmi Nigam. Sandhya Mridul looks bad.

Overall,if you are looking forward to an entertaining weekend, Mr. White Mr. Black is not the answer.

The film, attempted as a comedy, turns out to be a somewhat tragic experience for the unsuspecting viewers who walk in the cinema halls expecting some good laughs but walk out with their expressions suggesting they have endured some kind of torture.

To say that the film is a childish, imbecilic comedy would be a gross understatement. With a plot that seems to go nowhere (or everywhere at whim), ‘Mr. White Mr. Black’ throws at you heaps of unimaginable tripe lathered with some beaten-to-death clichés.

What ‘Mr. White Mr. Black’ lacks is a good script peppered with witty oneliners. The comedy in the film is mostly a bland mix of slapstick and kitschy moments patched up unintelligibly to make a hodgepodge of a movie. It is not that there are no funny gags, but they are few and far between. On top of it, the film’s plot really goes haywire in the second half with the romantic tracks involving the two heroes and the unwanted songs that only test your patience.The less written about performances, the better. Arshad Warsi is wasted in a role that seems to have no real comic backbone. Sunil Shetty is not made for comedy. Yet he keeps trying such roles in vain. The two girls, Rashmi Nigam and Anishka Khosla, simper and smile at right moments but don’t show much acting potential. In supporting roles, Aashish Vidyarthi is over the top. Sharat Saxena is somewhat tolerable.

Maybe you should just gift the tickets to your best friend turned enemy as a goodwill gesture!!! Or gift a CD of the songs to the girl/boy you want to break-up with! The message will be loud and clear without any of the normal melodrama.

Interesting Links :

Mr White Mr Black - The Official Website

Other Related Topics:

Black & White : Movie Review

Pranali: Movie Review

Bhoothnath: Movie Review

Black & White: What does “Black & White” mean? Two colors? Two extremes? Two polarities? Obviously about contrasts, this movie epitomises the Black and White psyche - a psyche that refuses to see shades beyond the two. A mind that is literally color blind.

Subhash Ghai’s ‘Black And White’ is different from his previous movies in regard to its budget and paraphernalia. As he is known for big budget and usually high profile movies under his banner, this doesn’t match with his image. Besides, films made by him are based on popular subjects unlike the one in the movie under review. So, you might be anxious to know the reason behind this sudden change in his attitude? Well, there is indeed something behind it that doesn’t meet the eye.

A standing ovation for Subhash Ghai for venturing into a territory that would be considered uninviting for an escapist entertainer. But “Black & White” doesn’t impress you merely because it’s a daring deviation for the showman.

It’s a well crafted, finely written and packaged piece of cinema done with more heartfelt Gandhian articulations than most films in recent times that have merchandized Mahatma Gandhi in Munna Bhai tones of bubblegum philosophy.

You don’t often come away from a film disturbed yet hopeful about the distending dimensions of modern day violence and terrorism. We did it in Mani Ratnam’s “Dil Se”, Gulzar’s “Maachis” and Santosh Sivan’s “Terrorist”. Now we feel a genuine concern for the collapse of Gandhi’s secular dream in India as Chandni Chowk, rapidly becoming a favorite haunting-ground for Hindi moviemakers, turns into a bustling hotbed of terrorist activities.

Into this arena of imposed constitutional caprices comes Numer Qazi (Anurag Sinha), a victim of atrocities in Afghanistan posing as a casualty of the Gujarat riots. After a stage-managed gun battle in the toasted-brown hinterland of Delhi, the seething simmering silent Numer wins over the super-secular Professor Mathur (Anil Kapoor) and his feisty wife Roma (Shefali Shah) and gets himself a pass into the VIP enclave for the Republic Day parade.

The movie’s story revolves around Rajan Mathur played by Anil Kapoor who resides in Chandni Chowk with his activist wife Roma played by Shefali Shah. Mathur, a professor in Urdu literature, meets Numair played by Anurag Sinha. Though the latter is a suicide bomber commissioned by a Muslim fundamentalist group to detonate a bomb near Red Fort on August 15th, he claims to be a victim of Gujarat communal riots. The professor trusts Numair and provides him shelter in his house. While helping Numair to get an entry pass for 15th August celebrations at Red Fort, Mathur introduces Numair to his Chandni Chowk friends. Luckily, the warmth and colorful lives of Old Dilliwallahs prevails on the suicide bomber and he has second thought on his mission but in vain. However, the young man remains confused now. Thus, Ghai looks deep into the psyche of a human bomb and a fanatic missionary who listens to his inner conscience, telling him to revolt against his ‘masters’. This transformation is very well depicted on screen under the guidance of the showman that Subhash Ghai is par excellence.

Luckily, the warmth and colorful lives of Old Dilliwallahs prevails on the suicide bomber and he has second thought on his mission but in vain. However, the young man remains confused now. Thus, Ghai looks deep into the psyche of a human bomb and a fanatic missionary who listens to his inner conscience, telling him to revolt against his ‘masters’. This transformation is very well depicted on screen under the guidance of the showman that Subhash Ghai is par excellence.

But ‘Black & White’ is not without its weak spots. Not every detail by Ghai is a masterpiece by the master showman, some bits in fact seem very amateur but some really stand out as master strokes.

The romantic track comes like a sore thumb. Besides, the reasons that change the fanatic’s thinking aren’t too convincing. Apart from this, from Shefali’s brutal murder to her last rites coupled with Anil and Anurag’s entry into the Red Fort, aren’t dramatic enough to attract the viewer’s attention. We wish Ghai had paid a little more attention to this. Among the strong points are the events leading to Anurag’s confronting Milind Gunaji and assaulting him brutally. Here, Ghai rises beyond the script. Most of all, Sukhwinder Singh’s music has a soothing effect. Jogi Aaya and Main Chala are melodious compositions. Somak Mukherjee’s camera captures the bylanes of Delhi excellently. Dialogues are well worded in the Old Delhi style.

Much of Ghai’s newspaper-generated politics is amateurish and simplistic. The terrorists and the intelligence wing look as terrifying and intelligent as an episode of the long-running TV serial “CID”. And Anil-Shefali’s little daughter is mute….shades of Black??

Everyone bustles around looking brilliantly self-absorbed while pretending to be wedded to a greater cause of which they seem to know as little as the director.

However, what makes “Black & White” special are the bonds, brittle or beefy, that form out of the sketchy political backdrop.

Ghai fills the centre of the plot with people who have the ability to reach out to each other within a social framework that is rapidly romancing dementia.

Most memorable of all is the old but fiery Muslim poet-professor, played with hungering humility by veteran actor Habib Tanvir. The film’s best and most moving lines are rightfully written for him.

In one sequence a young musician gifts the old man with a sherwani after having sold his poetry for a song. Habib recalls how in all his years no one, not even his own sons, had gifted him anything. In another sequence, a callow news anchor approaches Habib for a byte and he wonders, “Ab mujhe kisse bite karna hoga?” (Whom would I have to bite now?)
This interesting character’s sense of betrayal for having unknowingly harbored a hardcore terrorist in his house never comes through.
The screenplay is littered with limp and half-finished loops of storytelling where the director seems to have lost his way, only to quickly get his plot back on its foot through some sharp lines. Ghai’s dialogues are spicy and hard-hitting, and Somak Mukherjee’s cinematography captures the tragic decadence and teeming colours of Old Delhi to create both romance and intrigue.

The interplay of relationships is restrained most of the time. Anil and Shefali look more like a couple than she and Darshan Jariwala did in “Gandhi My Father”. Her excessively enthusiastic activism and his chronic embarrassment at his wife’s overzealous flag-waving provide the lighter moments in this distinctly dark drama of secular devaluation in a society with complexities due to differences between various religious groups.

Ghai doesn’t delve deeply into those complexities. Whether it is out of choice or because he cannot, we do not know. But the lightness of treatment and the overt filminess of certain interludes lends a tangy vigour to what would otherwise have been a drab prosaic and polemical tale of strife during times of mordant cynicism.

Among the performers, Habib with his emotional patriotic poetry and jovial optimism scores the highest marks, followed by Shefali who furnishes a feisty positivism to her role. Anil, last seen donning the buffoon’s mask in “Welcome”, does a complete somersault. His character of a supremely secular Hindu devoting himself to teaching Urdu is wildly idealistic. He plays the role of Mathur at a high pitch.

As for debutant Anurag, in the central role of the closet-terrorist, he wears the sullen scowl as a passionate statement from the first frame to last. To see what else he is capable of, we shall have to wait till another Friday.

Incidentally, Ghai had planned to return to filmdom with a bang and via ‘Yuvraj’, but changed his mind in favor of ‘Black And White’. So, he decided to rush the movie even if he had to convert this into a small budget and with less paraphernalia though unusual in Mukta banner movies.

In spite of a new genre of a movie coupled with a meager budget and newcomers’ cast, Subhash’s direction and production did lend the movie the high prestige and excellence that could be the envy of any of today’s filmmakers. ‘Black & White’ has proved the versatility of the showman in handling the subject with maturity. A critic colleague says that some of the scenes leave an indelible impression.

Anil Kapoor proves his versatility again. Ghai has made several newcomers as stars, not in the distant past. Now, Anurag is another addition to the long list. Shifaali Shah is excellent despite her brief role. Aditi doesn’t get much scope. The senior citizen is first-rate. Aroon Bakshi is efficient. Milind Gunaji does a good job.

On the whole, ‘Black & White’ is a laudable work of an ever-successful director. He needs word of mouth publicity, though. Then, the movie would attract its target audience at multiplexes, in particular.

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First weekend performance of latest release

MITHYA, a Planman Motion Pictures release, arrived at theaters all over on Friday 8th Feb ‘08.

My opinon:

The tongue-in-cheek, sharp humor might not make you roll on the floor but surely makes you laugh out loud.

The subtle comedy in the first half is an integral part of the plot - from a comment on “anything free is better” attitude, to the hints at the eating habits of people in the film industry. Barring a lone toilet joke, the interdependency between the lines and the situation brings a flow to the plot. The humor along with the art direction, the background score, the performances, etc. create an environment conducive to suspension of disbelief. And disbelief you can live with.

Giving credit where it’s due though, only the likes of Rajat Kapoor could cast Ranveer Shorey as the main lead. It takes guts to have Naseeruddin Shah play second fiddle. And he certainly has made an attempt to show the many layers of VK/Raj’s (Ranveer Shorey) character. Now, whether he was successful in getting them across to the audience is an altogether different issue. An awesome opportunity to portray the VK’s mental process is lost.

The first half-second half split in writing has taken its toll on the performances too. A promising start has everybody doing their bit and getting a cackle out of you with their comic timing. And suddenly, the acting too becomes very superficial as the movie approaches the climax.

On the other hand, I thoroughly enjoyed the background score throughout the movie. At times however, especially in the beginning,it overpowered the volume of the dialogues and thus I might have missed a few good dialogues. But overall, it was refreshing accompaniment.

And now ladies and gentlemen the review…..

A PLANMAN MOTION PICTURES Production

Movie Name:Mithya
Cast: Ranvir Shorey, Neha Dhupia, Naseeruddin Shah, Vinay Pathak
Rating: A good way to spend your week end

In a nutshell:

Finally, a real reason to visit the theatres this year has arrived. Don’t get me wrong- Mithya is not a masterpiece- but Mithya works very well as a comic thriller- it is hilarious, absorbing and ultimately tragic.

Promos of the film indicate that MITHYA is a funny amalgamation of Bollywood and underworld. Even director Rajat Kapoor concurs since as per him, MITHYA is a tribute to gangster films.

Money, conspiracy, deceit, betrayal, lies.. The Mumbai underworld is about all this, and more.

VK has come to Mumbai, chasing big film dreams, like thousands of others. When fate makes him a pawn in a master game plan of the underworld, he unknowingly gets drawn into a whirlpool of events that will determine his future. Then an unexpected accident turns the tables for everybody involved.

Now begins a chase that won’t stop at anything. VK is too deep into it now to step back. Unknowingly, he has become an imposter, an imposter who wasn’t..

Storyline:

Mithya follows the life of VK (Ranvir Sheorey)- a struggling film actor nursing big dreams yet struggling to make ends meet, who consoles himself and his craft by loudly reciting lines from Hamlet in his shabby apartment, much to the annoyance of his neighbors. And then, one night- when, worn out after a tough day, he sits at the seaside to enjoy a drink, he witnesses a shootout- and life is never the same again.

Revealing more of the unpredictable story which skillfully steers itself through various moods (just like its brilliant lead actor) would be spoiling the fun, and if my summarization of the premise doesn’t sound good enough, I would suggest you ignore it and still see the film.

Technically, some aspects of the film- music and the cinematography, which is occasionally straining to watch come across as a drag, but these minor issues aside, what really makes the film worth watching is Ranvir Sheorey’s standout performance- ably supported by Naseeruddin Shah, Neha Dhupia, Vinay Pathak and Brijendra Kala. Sheorey he holds the film together superbly, creating a character that’s real, amusing and full of pathos.

And thus, though you might reasonably tempted to skip this ’small film’ I would wholeheartedly suggest that you still go and catch this little gem before it cruelly gets whisked away from your friendly multiplex- for not often comes a film in Bollywood that is at once smart, thrilling, funny and poignant.And though the plot weakens and withers it is still a movie worth watching. A different storyline and a distinct treatment by Rajat Kapur alone merits the time spent watching it

In short a story worth watching despite the many short falls!