बॉलीवुड की 10 बेहतरीन कॉमेडी फिल्में जिसने किया लोगों को हंसने पर मजबूर!

इसी शुक्रवार को कॉमेडी फिल्म 'बोल बच्चन' रिलीज हो रही है। यह एक रोमांस कॉमेडी है, जिसमें अजय देवगन पहलवान बने हैं और अभिषेक बच्चन का इसमें डबल रोल है। बॉलीवुड के इतिहास में शुरू से कॉमेडी फिल्में बनती रही हैं।
जरा याद कीजिए ‘पड़ोसन’ फिल्म का वह सीन जिसमें गुरु उर्फ किशोर कुमार सुनील दत्त को गाना सिखाने की कोशिश करते हैं। या ‘प्यार किए जा’ का वह क्लासिकल सीन जिसमें महमूद ओमप्रकाश को अपनी फिल्म की कहानी सुनाते हैं। ‘जाने भी दो यारों’ के ओमपुरी हों या गोलमाल के राम प्रसाद-लक्ष्मण प्रसाद।

इन बातों को पढ़ते-पढ़ते ही आपके चेहरे पर हंसी खिल आई होंगी। कॉमेडी फिल्मों की तासीर ही कुछ ऐसी होती है। भारतीय सिनेमा के सौ साल के इतिहास में एक से बढ़कर एक फिल्में बनीं। एक्शन, रोमांस, हॉरर और कॉमेडी। लोग कभी सेल्युलॉयड के प्रभाव से मुक्त नहीं हो पाए। पीढ़ी दर पीढ़ी इसका नशा चढ़ता गया। हमने दस सबसे बेहतरीन कॉमेडी फिल्में चुनी हैं।

इनकी खासियत यह है कि सभी फिल्म अपने जमाने में ट्रेंडसेटर रहीं

1. अंदाज अपना-अपना (1994) : स्टारकास्ट:सलमान खान, आमिर खान, रवीना टंडन,करिश्मा कपूर। कई बार देखने पर भी यह फिल्म बोर नहीं करती। आमिर-सलमान की कैमेस्ट्री खूब जमी। इस फिल्म में आमिर के अंदर का हास्य अभिनेता उभरकर सामने आया। विनय सिन्हा ने 1994 में सलमान और आमिर को लेकर ‘अंदाज अपना अपना’ का निर्माण किया था। इसके निर्देशक थे राजकुमार संतोषी। इस फिल्म को ‘बॉम्बे टू गोवा’ और ‘पड़ोसन’जैसी हास्य फिल्मों की तर्ज पर खास स्थान प्राप्त है।

2. अंगूर:(1982)। स्टार कास्ट:संजीव कुमार, देवेन वर्मा, मौसमी चटर्जी और अरुणा ईरानी। कहानी: अंगूर ऐसी फिल्म है जिसे देखकर हास्य स्वयं ही दर्शक के अंदर उमड़ने लगता है। गुलज़ार साब ने निर्देशक के तौर पर केवल एक ही ऐसी फिल्म बनायी है जिसे पूर्ण रूप से कॉमेडी फिल्म कहा जा सकता है। फिल्म दो जुड़वां लोगों की कहानी है जो जन्म लेते ही बिछुड़ गए थे और लंबे समय के बाद जब दोनों मिलते हैं तो बेहद हास्यास्पद परिस्थितियां बनती हैं।

3. चमेली की शादी(1986)। स्टार कास्ट:अनिल कपूर,अमृता सिंह,अमजद खान,पंकज कपूर। 'चमेली की शादी' बासु चटर्जी द्वारा निर्देशित हिंदी फिल्म है| फिल्म के मुख्य कलाकार अनिल कपूर,अमृता सिंह, अमजद खान और पंकज कपूर हैं| चरणदास अपने बड़े भाई भजनदास और भाभी के साथ एक छोटे नगर में रहता है| वह बेरोजगार है और खुद को उस्ताद मस्तराम पहलवान के साथ कुश्तीबाज मानता है। पहलवान से चरणदास ने वादा किया है कि वह चालीस साल की उम्र तक कुंवारा रहेगा, लेकिन जब चरणदास की मुलाकात स्कूल की एक छात्रा चमेली से होती है तो वह उसे चाहने लगता है| दोनों एक दूसरे को बेहद पसंद करने लगते हैं, साथ घूमने जाते हैं, प्रेम पत्र लिखते हैं और शादी करने का फैसला करते हैं| लेकिन चमेली के माता-पिता चमेली की शादी वकील माखन से करना चाहते हैं जो उन्ही की जाति का है| परिस्तिथियां बिगड़ने लगती हैं और अब चरणदास को फैसला करना है कि वह पूरी उम्र मजनूं बन कर जीना चाहता है या पृथ्वीराज चौहान बन कर अपनी चमेली को भगा ले जाता है| फिल्म में सीन इतने रोचक तरीके से फिल्माए गए हैं कि दर्शक हंसते-हंसते लोट-पोट हो जाते हैं|

4. चश्मे-बद्दूर(1981)। स्टार कास्ट:फारुख शेख, राकेश बेदी, रवि बासवानी और दीप्ति नवल। 'चश्मे-बद्दूर' सई परांजपे निर्देशित शानदार रोमांटिक कामेडी फिल्म है जिसकी कहानी दिल्ली विश्वविद्यालय के तीन छात्र सिद्धार्थ (फारुख शेख), ओमी (राकेश बेदी) और जय (रवि वासवानी ) के इर्द गिर्द घूमती है। गर्मी की छुट्टियों के दौरान इनके जीवन में एक लडकी नेहा (दीप्ति नवल) दाखिल होती हैं। तीनों उसे पाना चाहते हैं और इसी जद्दोजहद में ऐसे दिलचस्प कॉमेडी सीन्स उभरकर सामने आते हैं कि आप इस फिल्म को जितनी बार देख लें बोर नहीं होंगे|

5.  चुपके-चुपके(1975)। स्टार कास्ट:धर्मेन्द्र, ओम प्रकाश, अमिताभ बच्चन, शर्मिला टैगोर और जया बच्चन। ऋषिकेश मुखर्जी की 'चुपके-चुपके' (1975) हिन्दी सिनेमा की श्रेष्ठतम कॉमेडी फिल्मों की सूची में शामिल है। मजेदार कहानी, चुस्त पटकथा, बेहतरीन संवाद और उम्दा अभिनय। इस सबके साथ ऋषिकेश मुखर्जी का सटीक निर्देशन। 'चुपके-चुपके' की जान थे धर्मेंद्र और ओमप्रकाश। प्रोफेसर परिमल त्रिपाठी (धर्मेंद्र) इस बात से परेशान है कि उसकी नई-नवेली बीवी सुलेखा (शर्मिला) अपने जीजाजी (ओमप्रकाश) को दुनिया का सबसे चतुर इंसान समझती है और दावा करती है कि जीजाजी को कोई बुद्धू नहीं बना सकता। परिमल जीजाजी को बुद्धू बनाने का बीड़ा उठाता है और पहुंच जाता है उनके यहां ड्राइवर प्यारेमोहन बनकर। जीजाजी ने न तो दामाद साहब को देखा है और न ही उनकी तस्वीर, सो वे आ जाते हैं झांसे में। आगे कई ऐसे मोड़ आते हैं जिसे देख कर आप हंसते-हंसते लोट-पोट हुए बिना नहीं रह सकते।

6. ‘गोलमाल(1979)। स्टार कास्ट:अमोल पालेकर, बिंदिया गोस्वामी, उत्पल दत्त, डेविड, दीना पाठक और शुभा खोटे। इस फिल्म में अमोल पालेकर ने जुड़वां भाइयों वाला डबल रोल किया था। वहीं, फिल्म में सुंदर और प्यारी सी हीरोइन बिंदिया गोस्वामी की मासूमियत भरी अदाएं थीं तो हीरोइन के पिता के रूप में उत्पल दत्त थे जो एक गर्ममिजाज शख्स थे। आपको बता दें कि फिल्म की कहानी बिल्कुल साधारण सी थी। मगर इसे प्रस्तुत करने के अंदाज की बदौलत ही यह फिल्म आज भी लोकप्रिय है। वैसे भी, इसके लिए निर्देशक ऋषिकेश मुखर्जी को सारा श्रेय जाता है।

7. हाफ टिकट (1962)। स्टार कास्ट: किशोर कुमार और मधुबाला। किशोर कुमार और मधुबाला की यह फिल्म 1962 में बनी थी। इसे किशोर कुमार की बेहतरीन कॉमेडी फिल्मों में शुमार किया जाता है। इसमें विजय (किशोर कुमार) नामक युवक की कहानी है, जो नियमित जिंदगी नहीं जी सकता। उसके फितूरों से परेशान होकर पिता उसे घर से निकाल देते हैं। उसके पास इतने पैसे नहीं हैं कि वह मुंबई का टिकट भी खरीद सके। वह हाफ टिकट लेता है और बारह साल के मोटे-तगड़े लड़के का वस्त्र धारण करता है। वह ऐसा नाटक करता है मानों वह कोई बच्चा है। सफर शुरू होने के समय ही एक बदमाश किस्म का व्यक्ति (प्राण) विजय का चाचा बन जाता है और उसकी जेब में दो लाख का हीरा डाल देता है। ऐसा वह पुलिस के डर से करता है। बाद में हीरा वापस लेने के लिए वह बदमाश विजय के पीछे पड़ता है। विजय की मुलाकात अचानक रजनी से होती है। वह रजनी (मधुबाला) से प्रेम करने लगता है। बाद में पता चलता है कि जिस लड़की के पिता को विजय ने भगा दिया था, आशा वही लड़की है। इस तरह हंसी-मजाक में फिल्म खत्म होती है। किशोर कुमार की बहुमुखी प्रतिभा इस फिल्म में दिखाई पड़ती है।

8. हेरा फेरी (2000)। स्टार कास्ट:अक्षय कुमार, परेश रावल, सुनील शेट्टी, तब्बू, ओम पुरी, असरानी और मुकेश खन्ना। हास्य के दौर में गंभीर फिल्मों के लिए जाने जाने वाले प्रियदर्शन ने भी दर्शकों को एक हास्य फिल्म दी है। एक ऐसी फिल्म जो रोते को भी हंसने पर मजबूर कर देगी | फिल्म की कहानी काफी दिलचस्प है जो राजू(अक्षय कुमार), श्याम(सुनील शेट्टी), बाबूराव(परेश रावल) और अनु(तब्बू) के इर्द गिर्द घूमती रहती है | चारों ऊपर से नीचे तक कर्ज़े मे डूबे हुए हैं और जिंदगी बसर करने के लिए उन्हें पैसों की सख़्त ज़रूरत है | श्याम और राजू बाबू राव के घर पर किराएदार हैं| फिल्म की कहानी सिर्फ़ एक ग़लत फोन कॉल पर टिकी है | पर प्रियदर्शन का निर्देशन दर्शकों को कुर्सी से बांधे रखने मे न सिर्फ़ सफल होता है, बल्कि उन्हें 3 घंटे तक गुदगुदाता भी है।

9. जाने भी दो यारों(1983)। स्टार कास्ट: नसीरुद्दीन शाह, रवि वासवानी, पंकज कपूर और सतीश शाह। कहानी: यह कहानी है दो भले फोटोग्राफरों विनोद और सुधीर (नसीरुद्दीन शाह, रवि वासवानी) की है, जिन्हें 'खबरदार' की संपादक शोभा (भक्ति बर्वे) खास काम सौंपती है। उन्हें बिल्डर तरनेजा (पंकज कपूर) और भ्रष्ट म्यूनिसिपल कमिश्नर डिमेलो (सतीश शाह) की मिलीभगत का भंडाफोड़ करना है। एक दिन अनजाने में विनोद और सुधीर ऐसा फोटो खींच लाते हैं जिसमें तरनेजा एक आदमी का खून करते हुए नजर आ रहा है। खोजबीन करने पर पता चलता है कि खून डिमेलो का हुआ है। वे डिमेलो की लाश ताबूत समेत ढूंढ निकालते हैं, लेकिन यह लाश जैसे एक जगह न टिकने की कसम खाकर कब्र से बाहर आई है। वह बार-बार विनोद-सुधीर के हाथ से निकल जाती है और बार-बार वे उसे फिर से हथिया लेते हैं। फिल्म का क्लाइमेक्स तो दर्शकों को हंसा-हंसाकर लोटपोट कर देता है जिसमें विनोद व सुधीर लाश को स्केट्स पर चला कर, बुर्के में ढंक कर एक सभागार में ले आते हैं, जहां 'महाभारत' का मंचन चल रहा है। पीछे-पीछे तमाम अन्य पात्र भी चले आते हैं। सबको लाश पर कब्जा करना है और लाश इधर-उधर होती हुई चीरहरण के लिए लाई गई द्रौपदी बन मंच पर जा पहुंचती है!

10. पड़ोसन (1968)। स्टार कास्ट:सुनील दत्त, किशोर कुमार, सायरा बानो और महमूद। कहानी: इस फिल्म को बॉलीवुड की श्रेष्ठ कॉमेडी फिल्मों में शुमार किया जाता है| फिल्म की कहानी शादी करने को उतावले भोला (सुनील दत्त) के इर्द गिर्द घूमती है| उसका दिल चुरा बैठी है उसकी पड़ोसन बिंदु (सायरा बानो)। बिंदु पर उसका म्यूजिक टीचर पिल्लई (मेहमूद) भी फिदा है| इनके साथ ही फिल्म में एक और किरदार है विद्यापति उर्फ गुरु का जिसे किशोर कुमार ने जीवंत किया| बिंदु को पटाने में यह भोला की मदद करता है और इसी दौरान कई दिलचस्प कॉमेडी सीन्स आपको हंसने पर मजबूर कर देते हैं|

Madhuri's fans name a star after her

Mumbai: Bollywood diva Madhuri Dixit now has a star named after her shinning in sky. This was made possible by a group of the "Dhak Dhak" girl's fans.

"Wanted to thank my fans for the honour. They had a star in the Orion constellation named after me," Madhuri tweeted.

A group of 13 members of The Empress Fanpage met the actress Thursday on the sets of dance reality show "Jhalak Dikhhla Jaa", which she is judging, to present her the star certificate. 

The certificate by Star Foundation reads: "A celestial body in the sky above has been named in honour of Madhuri Dixit-Nene and is officially located in the constellation Orion."

For Madhuri, it has been a glorious journey since she debuted with "Abodh" in 1984 and received wider public recognition with hits like "Tezaab" in 1988 and 1989 release "Ram Lakhan". After that she gave some of the big hits such as "Saajan", "Dil", "Beta", "Hum Aapke Hain Koun" and "Dil To Pagal Hai".

The 45-year-old has won five Filmfare Awards and holds the record for gettting maximum number of best actress nominations at the Filmfare Award. In 2008, she was awarded the Padma Shri, India's fourth-highest civilian award, by the government of India.

In 1999, the actress married Shriram Madhav Nene, a cardiovascular surgeon and relocated to Denver, US. After staying there for almost a decade, she has shifted her base back to Mumbai, along with her husband and two sons.

Post-marriage, Madhuri worked in "Aaja Nachle", which didn't do so well. But her stint as the judge on dance reality show "Jhalak Dikhhla Jaa 4" gave her a chance to reconnect with her fans in a big way.

Now she has has signed Vishal Bhardwaj's "Dedh Ishqiya" and Anubhav Sinha's "Gulab Gang".

Rajesh Khanna recuperating, may go home in two days

Mumbai: Yesteryear superstar Rajesh Khanna, who was yesterday admitted to a private hospital here, is recovering fast and likely to be discharged in a couple of days. The 69-year-old actor, who was not keeping well of late, was admitted to Lilavati Hospital in suburban Bandra due to 'exhaustion' and 'weakness'.

"He (Rajesh) is fine...He is much better today. He should get discharged in a day or two," Khanna's estranged wife Dimple Kapadia, who is taking care of him told PTI.

Speculations were that Khanna was suffering from liver infection whereas some reports say that his kidneys have been severely affected. However, Dimple denied the reports saying the actor was only 'little Weak'.

"No, not at all. He is exhausted and a little weak.. So for better care we have brought him to the hospital," the actress who is tending to him at the hospital said.

Khanna's manager Ashwin had said earlier this week that the actor had stopped taking food for the last three-four days though he was at home.

However, 'Kaka', as the actor is fondly referred to in the industry, had emerged at the balcony of his house 'Aashirwad' on Carter Road in suburban Bandra to wave at his fans and media persons.

Flanked by his wife and actor son-in-law Akshay Kumar, a bearded Khanna, though looking frail, attired in a crisp Kurta and sporting black shades, repeatedly flashed the victory sign with a smile.

Earlier in April too, the actor had to be admitted to Lilavati Hospital after he complained of uneasiness and exhaustion.

The actor was hailed as India's first superstar after 15 consecutive solo superhits between 1969 and 1972 including 'Aradhana', 'Haathi Mere Saathi', 'Anand' and 'Amar Prem'.

He was recently seen appearing in his first television ad, directed by filmmaker R Balki, for Havell's fan.

Rajesh Khanna in hospital, family says it’s exhaustion

Mumbai, June 23

Veteran actor Rajesh Khanna was rushed to the Lilavati Hospital here today after his condition deteriorated.

His former actor-wife Dimple Kapadia told the media that Khanna, 69, was suffering from exhaustion. Doctors have been asked not to provide details about the actor's illness to the media and reporters have been barred from entering the hospital premises.

The actor was brought to hospital this morning for consultation with his regular doctor, who advised his hospitalisation.

Two days ago, Khanna had appeared in the balcony of his bungalow ‘Ashirwad’ and waved out to fans to scotch rumours of his ill-health. Though frail, he appeared to be in good spirits.

His employees had told reporters earlier that the veteran actor was suffering from loss of appetite and was not eating properly. The actor, who has been out of action for over a decade, was hospitalised earlier this year too.

Khanna appeared in a television commercial fan for a ceiling fan recently. Dimple Kapadia and their daughter Twinkle are at his side in hospital.

The actor has appeared in 163 films of which 106 had him as the solo lead hero and 22 were two hero projects. He won three Filmfare Best Actor Awards and was nominated for the same fourteen times. He received the maximum BFJA Awards for Best Actor (Hindi) — four times and nominated 25 times. He was awarded the Filmfare Lifetime Achievement Award in 2005.

‘Ferrari Ki Sawaari’ emerges strong at Box Office, vrooms into audiences’ hearts, grosses Rs 25 cr over first weekend

Official Movie Poster

Sharman Joshi's hard work pays off
Sharman Joshi starrer ‘Ferrari Ki Sawaari’, which opened to mixed reviews last week, has thus far been successful at the Box Office. The film was director Rajesh Mapuskar’s debut project, and the way, in which the film has been gaining popularity with the audience, Vidhu Vinod Chopra Productions are only too happy. Pitted against blockbuster ‘Rowdy Rathore’, and ‘Shanghai’ that released in the previous weeks, ‘Ferrari Ki Sawaari’ hadn’t been able to make much of an impact in the beginning, and received mediocre reviews from critics. However, with its first weekend at the Box Office, the film has been riding high on the popularity meter, and has begun being steadily liked by viewers, Zee News reports.

Ritwik Sahore with Sharman Joshi

According to trade analysts, the film has taken off at a 25 to 30 percent start, which, going by the fact that it is purely content-driven and doesn’t rely only on star power, is a good enough beginning. The Ferrari and its riders have pulled this one off and people are flocking theatres to watch Sharman Joshi, Boman Irani and Ritvik Sahore zoom on the red machine!


Performances
Sharman Joshi has amassed immense exaltation for his acting skills, but FERRARI KI SAWAARI will make people sit and notice his reach and range as an actor. Sharman adjoins prodigious appraisal to the character with his exuberant act in a number of sequences. Watch him rend the piggy bank, his rummaging for the bat in the shop, the emotional scenes and of course, the upheaval in the finale. What an incredibly awe-inspiring act! 

With a variety of roles and multifariousness to his credit, he is one actor who fits into any role consummately. In FERRARI KI SAWAARI, Boman Irani delivers one of the finest, accomplished and dexterous acts. Watch the scene when he pounces on Sharman when he learns of the grandchild's plans of playing cricket. Also, the sequence with Paresh Rawal is astounding. It stays with you much after the curtains fall. There's one more sequence that deserves to be highlighted: When he offers to play cricket with his grandchild in the middle of the night. Sparkling performance indeed! 

Ritwik Sahore is a brilliant discovery. The youngster is cast opposite some of the finest talents of the country and the kid stands up to them in every sequence. He is charming and endearing in the light moments and sparks up the goings-on in moments of anxiety. Paresh Rawal is superb in a cameo. Vidya Balan ignites the screen with her lavani number. 

The supporting cast is tremendous. Each one of them -- Seema Pahwa [superb], Satyadeep Misra [effective], Aakash Dabhade [fantastic], Deepak Shirke [first-rate], Nilesh Divekar [good] and Vijay Nikam [terrific] -- is sure to be noticed. 

On the whole, FERRARI KI SAWAARI is a noble film, a film that has its heart in the right place. It's well-intended and sincere and it goes about its business with incredible earnestness. Of course, the film has its share of hiccups, but then all films do, right? But keeping the fault-finding apart, FERRARI KI SAWAARI is an accomplished effort. It's that exceptional film that communicates a point and tells a sensitive story in those 2.10 hours. This heartwarming, tender and sprightly film should not be missed.

Movie Review: Teri Meri Kahaani

Director: Kunal Kohli
Cast: Shahid Kapoor, Priyanka Chopra, Prachi Desai and Neha Sharma
Nobody loves a movie full of clichés. The party really gets pooped when the clichés are about love. Unfortunately Teri Meri Kahaani employs every known truism about love to establish its three love stories across three generations. The end result is an honest middle-of-the-road romance but unfortunately it feels too jaded to be true.

So you’ve got Shahid Kapoor and Priyanka Chopra and their romance sprawled across 100 years. The first one is from 1960 and it’s a Raj Kapoor – Nargis like cutesy story where the guy and girl are too shy to admit they’re in love. She’s an actress, he’s a struggling musician and their love story takes place and concludes in a matter of few days. Next in line is the 2012 love story based in London. Here the couple is based in separate colleges and their affections and heart breaks all happen on Messengers, Facebook and iPads. The final one is set in 1910 Lahore, as a Muslim Casanova falls for the earthy charm of a Punjabi girl. And romance gets a kick of patriotism and the pre-Independence struggle.

Yes the idea is unique and the approach fresh. But one expects more from director Kunal Kohli and his execution. His storyline seems straight out of the 2005 Taiwanese film Three Times, but that may well be a coincidence. The end credits show you a montage of how Kohli and his team recreated the Mumbai of 1960. Agreed it looks good the first time, but about 10 minutes into the film you can’t help but sneer at the CGI. No marks for Priyanka’s belly piercing and Prachi Desai’s wardrobe, which seem way ahead of the times.

Cut to 2012 and the detailing saves grace. Lovers meet over accidental exchange of cell phones, bond over WhatsApp and break up on Facebook. But where the film scores on detailing, it loses on the story. An otherwise progressive girl suddenly objects to her boyfriend for kick starting a relationship on the same day as his breakup. Finally, the film rustles up some steam in 1910. Shahid plays an Urdu couplet quoting ladies’ man and he finds his match in a grounded Punjabi girl and her patriot father. The chemistry between PC and Shahid is at its best in this segment. This part of the story, though most dated, is surprisingly the most progressive. The cherry here is some clever repartee between the lovers.

To the film’s credit, three generations of love pass by in a breeze. But unfortunately the twists in the end are quite airy as well. The film tries to tie up three different stories but their much anticipated climax seems nothing more than a convenient Mills & Boon surprise.

Both Shahid and Priyanka give it their best shot, but their charm doesn’t make up for the absence of a genuine kahani.

'Gangs of Wasseypur' a film with gripping plot

Cast: Jaideep Ahlawat, Manoj Bajpai, Richa Chadda

Director: Anurag Kashyap

On the surface, Gangs of Wasseypur is a revenge saga, a tableau of vengeance between generations of gangsters. Scratch that surface and you’ll discover more than just a grim portrait. Director Anurag Kashyap decides to tell this story his way, infusing it with moments of sly wit that give the blood-soaked drama irresistible color.

I’m reminded of a scene mid-way into the movie where Manoj Bajpayee’s character Sardar publicly embarrasses his archenemy Ramadhir Singh, played superbly by Tigmanshu Dhulia. Sitting atop a megaphone van, blasting that 80s disco hit Kasam paida karne wale ki as a dancer leads the way with trademark Mithun pelvic thrusts, Sardar pauses the song to issue a calm threat to the mine owner-turned-local politico. There is palpable dread coming off Ramadhir Singh as he watches Sardar from his balcony.

This is gang warfare set in the badlands of Dhanbad's Wasseypur district, but tinged with humor and heightened by music. It makes for a heady movie cocktail, and since Kashyap has divided his saga into two parts, you’ll leave the cinema thirsting to know how it all ends in Part 2.

What hurts the film however is its arduous length. At roughly 2 hours and 40 minutes, Gangs bears down on you, especially the opening half-hour or so, with its countless characters and complicated family tree portions that might have benefitted from tighter scripting and judicious editing.

The involved back-story of how Sardar’s father Shahid Khan (played by a magnetic Jaideep Ahlawat) kicks off a rivalry with the Qureshis is mixed in with Wasseypur’s socio-political history. When Shahid Khan is murdered by Ramadheer Singh, it sets off the revenge trail that lasts between the Khans and the Qureshis over generations.

The movie’s central character is Sardar, who vows to avenge his father’s death, not by killing Ramadhir, but making him endure many silent deaths through humiliation and the fear of being stalked. The best way to describe Manoj Bajpayee’s crackling performance would be to say that you can’t separate the character from the actor. Sardar is brutal when he kills, he cowers when he’s caught cheating by his wife Nagma, and is in a trance of lust when he first sets eyes on ‘womaniya’ Durga, who becomes his second wife.

Gangs has a cast that delivers in spades – be it Tigmanshu Dhulia as Ramadhir Singh, or the excellent Pankaj Tripathi as butcher Sultan Qureshi, who takes on Sardar. This film is a male bastion, but the women are unforgettable. Richa Chaddha sparkles as Sardar’s steely wife Nagma, while Reema Sen as the sensuous Durga says more through her eyes than her sparse lines. If there’s a character that holds up to Sardar, it’s his pot-smoking son Faisal, played by the terrific Nawazuddin Siddiqui. He’s the closest thing to Michael Corleone in this Godfather-styled, Tarantinoesque film, and a scene by the lake when he tentatively courts a film-crazy Mohsina (played by Huma Qureshi) is just deliciously funny.

Filmed crisply, without any gimmicks by Rajeev Ravi, Gangs is both steeped in cinematic tradition, yet modern in its treatment. You’re especially seduced by the way Kashyap blends the songs into his narrative, often using them against the film’s most visceral, violent scenes. A big thumbs-up for composer Sneha Khanwalkar who goes all guns blazing to deliver a marvelous mixed-bag of a soundtrack that contains such irresistible gems as I am a hunter and Keh ke loonga.

Bolstered by its riveting performances and its thrilling plot dynamics, this is a gripping film that seizes your full attention. I’m going with three-and-a-half out of five for Anurag Kashyap’s Gangs of Wasseypur. Despite its occasionally indulgent narrative, this bullet-ridden saga is worthy of a repeat viewing, if only to catch all its nuances.

Performances
"Bandit Queen, Satya, Zubeidaa, Aks, Pinjar, 1971, Swami, Raajneeti and Lanka are some of the performances of Manoj Bajpayee which are, for eternity, committed to memory. The skilled actor now adjoins Gangs Of Wasseypur to this imposing listing, wherein Bajpayee appends incredible value and weightage to the intense character he depicts. His presence illuminates every sequence that he emerges in and compels you to esteem the actor with amazement," says Adarsh.

"The other performance that takes you by surprise is that of Tigmanshu Dhulia. An accomplished director, this film makes you open your eyes to the fact that he's an incredible actor as well. So strong is his screen charisma that he is in possession of every frame he features in. Both Richa Chadda and Reemma Sen have meaty roles, but Richa is the definite discovery. She is simply brilliant from the very inception. Reemma is in terrific form, essaying a difficult part with flourish," says Adarsh.

"Nawazuddin Siddiqui is first-rate and one presumes, one would get to see more of him in the second installment of the movie. Ditto for Huma Qureshi, who's introduced much later in the film," adds the movie critic.

"The cast is mostly spot-on. Richa Chaddha and Jameel Khan are the pick of a very talented bunch, and  Nawazuddin Siddiqui (who, Part One's plot promises, will dominate the sequel) burns through the frames he's in."

Conclusion
"On the whole, Gangs Of Wasseypur symbolizes the fearless new Indian cinema that shatters the clichés and conventional formulas, something which Anurag Kashyap has come to be acknowledged for. It has all the trappings of an entertainer, but with a difference. The film prides itself with substance that connects with enthusiasts of new-age cinema. Don’t miss it.

'Gangs of Wasseypur' opens London Indian Film Festival

London: The London Indian Film Festival has has got off to a promising start with the UK-premiere of director Anurag Kashyap's 'Gangs of Wasseypur' attracting a packed audience and cheers from the crowd. There was barely any standing room at the Cineworld Haymarket as film buffs from across the world jostled for space at the glittering red carpet arrivals.

Besides Kashyap, others prominent at the red carpet included actress Tannishtha Chatterjee and Ferena Wazeir.

Bollywood royalty arriving included Pamela Chopra, the legendary Yash Chopra's wife and the associate producer of one of Indian cinema's biggest hits 'Dilwale Dulhania Le Jayenge'.

Anushka Sharma, who is currently filming in London for Yash Chopra's next along with Shah Rukh Khan, sneaked into the cinema anonymously. She said she enjoyed 'Gangs of Wasseypur' enormously and is looking forward to working with Kashyap in 'Bombay Velvet'.

"The London Indian Film Festival is lucky for me. My 'Dev D' played in year one. 'That Girl In Yellow Boots' premiered in year two and got UK distribution and now I've opened the festival. It's a great platform," said Kashyap.

The celebrity wave continued with acclaimed British Asian actors Riz Ahmed (Trishna), Upen Patel (Namastey London) and Shiv Jhala (whose 'Arjun and Alison' will enjoy its World Premiere at the festival on June 30), walking the red carpet and obliging screaming fans with photo opportunities.

Directors Asif Kapadia (Senna), Michael Winterbottom (Trishna), Q (Gandu), Sidharth Sharma (Arjun & Alison), Devanand Shanmugam ('Tooting Broadway' which will have its World Premiere at the festival today) and Sarovar Banka (A Decent Arrangement) were just some of the high-octane talent present on the occasion.

Festival Director Cary Sawhney said, "We are delighted that this year's London Indian Film Festival has opened to such a tremendous response. We have a diverse range of events scheduled for the next two weeks, including the brilliant

collaboration of director Q's Gandu Circus along with Susheela Raman and many World and UK film premieres."

Bollywood has no dancing style of its own: Madhuri Dixit

Mumbai, June 22, 2012

The Hindi film industry is devoid of a distinctive style of dance, says dancing queen Madhuri Dixit, who feels Bollywood has become a melting pot of all forms of the art. "I think Bollywood is an amalgam of all dance styles. Bollywood has no style of its own. The style is a cliche. There are so many dance styles all over the world and we get to see them all in one song itself. So this is Bollywood's specialty," Madhuri told IANS in an interview. "As soon as new styles come in, like hip-hop is becoming popular now, you see dancers amalgamating it into our own dancing. The dance forms get a Bollywood twist and it becomes a new style. So Bollywood is always incorporating not just Indian and folk, but western dances too," she added. Madhuri, who feels it is an "exciting" time for Bollywood, is credited with dance hits like Humko aaj kal hai,Dhak dhak, Ek do teen, Que sera sera, Kaahe chhed mohe and Aaja nachle. In each of these numbers, she has showcased the variety she is capable of. The diva took a break from showbiz when she married US-based surgeon Sriram Nene and shifted to Denver from Mumbai to start a family. Now she is back in tinsel town for good, and judges celebrity participants on dance reality show Jhalak Dikhhla Jaa 5. She looks as fit as ever, and her skin glows even more. What's the secret? "It's just the discipline. You have to be disciplined. I dance regularly and exercise. One has to be fit. One thing good is that I have no bad habits! So for me it's a healthy lifestyle all the way," she said. On the small screen, she was last seen on the judge's seat in Jhalak Dikhhla Jaa 4, and she admits "TV is an immediate way to get in touch with your fans." "Thousands of households have a TV and it is great that I can be in so many houses at a time. It's so wonderful," she added. The 45-year-old is also ready for her new innings in Bollywood with two films - Anubhav Sinha's Gulab Gang and Vishal Bhardwaj's Dedh Ishqiya, and she is upbeat about both projects. "It's definitely an exciting time. Bollywood has taken a leap. The audience has matured, they are ready to see different kinds of subjects and topics and different kinds of films are being made. People who have stepped in are extremely professional and so everything is done professionally," said Madhuri, last seen on the big screen in 2007 movie Aaja Nachle. She clarifies Gulab Gang is "nothing about gangsters," adding: "It's about a group of women who help other women and help solve problems that nobody else can solve. That's what fascinated me about the film... because it is all about woman power." For Dedh Ishqiya, a sequel to 2010 hit Ishqiya, Madhuri said: "It can't really be called a woman-centric movie as there are four important characters in the movie, I'm looking forward to working with Arshad Warsi and Naseeruddin Shah. I'll be working with him in a meaningful role after a long time." In the meantime, she says her family, including her husband and kids, Arin and Raayan, has settled well in Mumbai. "For me, it wasn't difficult. I've grown up here. For my husband and my kids it was tough. But they have adjusted very well. They love the food. My husband loves the dhaba food," she added.

Kaun? Kaisey?

Kaun? Kaisey? is a 1983 Hindi-language Indian feature film directed by Anil Ganguly and produced by Rajani Ganguly and Raj Valia, starring Mithun Chakraborty, Ranjeeta Kaur, Deepak Parashar and Anita Raj.

Genres:

Crime


Plot

Kaun? Kaisey? is a suspense thriller film featuring Mithun Chakraborty, Ranjeeta Kaur, Deepak Parashar and Anita Raaj in stellar roles.

Cast

• Mithun Chakraborty ... Inspector Vinod
• Ranjeeta Kaur ... Renu / Shiela
• Deepak Parashar ... Rakesh Rai
• Anita Raj ... Preeti
• Bina ... Mother of Rakesh Rai
• Ardhendu Bose ... Advocate Rajan
• Jagdish Raj ... Senior Police
• Prem Krishan ... Roselyn's Boyfriend
• Narendra Nath ... Criminal
• Deven Verma ... Photographer Nand Dukaan Bandh

Directed by	Anil Ganguly
Produced by	Rajani Ganguly Raj Valia
Music by	R.D. Burman
Release date(s)	May 13, 1983
Running time	125 min.
Language	Hindi
Budget	Rs 2 Crores

Punjabi colours of Bollywood

The growth and development of Hindi cinema owes much to Punjabis. They are pervasive in every area of filmmaking, on and off screen

Raj Kapoor brought common man centrestage Karisma and Kareena: Carrying forward the Kapoor legacy Dilip Kumar and Dev Anand are still icons Kundan Lal Saigal had a sonorous voice Yash Chopra combines style with substance

THE Hindi film industry has been a multi-cultural potpourri where the Punjabi fraternity has always enjoyed a majority. The Punjabi presence in Hindi cinema, both in the reel and real life, has been spectacular.

The Kapoors are the leading Punjabi family of Bollywood. With Grecian features, impressive personality and a booming voice, Prithviraj Kapoor played roles of kings and emperors, the most outstanding being the role of Akbar beleaguered by his son’s romantic transgressions in Mughal-e-Azam.

Raj Kapoor made the common man into an icon in his films like Awara,Shri 420, Jagte Raho. Shammi Kapoor was adored by women, envied by men and ridiculed by critics.

On the screen, his wife Geeta Bali connected astoundingly with the audience. Shashi Kapoor considers theatre superior to cinema. He was greatly influenced in his tastes by his wife Jennifer and stands apart from the extrovert Kapoors. Rishi Kapoor opted for violin and survived the reign of violence unleashed by Amitabh Bachchan. Randhir Kapoor’s high expectations and low confidence proved his Waterloo. The Kapoor girls —Karishma and Kareena — possess the Kapoors’ exuberance and energy.

Baldev Raj Chopra makes socially relevant films on diverse subjects like widow remarriage (Ek Hi Raasta), rehabilitation of prostitutes (Sadhana), communal harmony (Dharamputra), Muslim matrimonial law (Nikah), politics of rape (Insaaf Ka Tarajoo), adultery (Gumrah) and filial ingratitude (Baghbaan).

In his films, Yashraj Chopra never substitutes size and style with substance. His films, including his latest production Veer-Zaara, aim to improve the lot of society. He may shoot his films on glossy foreign locales, but his films exude Indian values and ethos.

Chetan Anand’s Neecha Nagar (1946) won an international award. Dev Anand’s rat-a-tat dialogue delivery, his hair style and romantic charm have held the audience in sway. Vijay Anand emerged as the writer-editor-director par excellence with Guide.

Two words, grandiloquence and Subhash Ghai, go together. His films,Karz, Karma, Saudagar, Khalnayak, Ram Lakhan, etc, mirror society. Gulzar has the courage of conviction to break away from the trodden path. In his films, such as Mere Apne, Koshish, Parichay, Maachis, Hu Tu Tu, etc, the complexities of life are never reduced to formulae. Shekhar Kapoor won worldwide acclaim with Bandit Queen and Elizabeth. Raj Khosla was aflame with ideas. He explored a range of styles—crime (CID,Kala Pani), musical (Ek Mussafir Ek Haseena), love triangle (Main Tulsi Terey Aangan Ki) and melodrama (Do Raaste and Do Badan).

With the passage of time, Dilip Kumar has come to be known as an institution in the field of acting or the textbook of acting. From romantic tragedies to fun-filled comedies to bone-crunching action films, the fluidity in his performance has stayed intact over the years.

Balraj Sahni won lasting fame as an optimistic peasant, Sambhu Mahato, in Do Bigha Zameen. His identification with the characters he played made his performances ring true in Kabuli Wala and Garam Hawa. Dharmendera as the ruffian Shaka in Phool Aur Pathar (1966) set the box office aflame with his raw physicality. Sunny and Bobby Deol have gone much ahead of other star sons. The granite-jawed, cleft-chinned, typically Punjabi hero Vinod Khanna made it big with Amar, Akbar, Anthony, Qurbani, etc.

A victim of the Partition, Sunil Dutt not only won his wife Nargis inMother India, his performance as Birju made him a star. His experimental film Yadein (1964)) had only one actor. Rajinder Kumar enjoyed huge success and won the appellation of ‘Jubilee Kumar’. Rajesh (Jatin) Khanna set the screen ablaze by crinkling his eyes and shaking his head. As a cheerful chatterbox living under the shadow of death in Anand, he proved that tragedy is not when the hero cries, tragedy is when the audiences cry. When Pran Sikand dilated his lynx-like eyes, he projected rancorous malevolence in films till Manoj Kumar made him Malang Chacha in Upkar. With his strong physique and an ice-in-the-vein demeanour, Amrish Puri reduced his opponents to bleating in films. An occasional positive role like in Virasat and Dilwale Dulhaniya Le Jayengey, etc, reaffirms Amrish Puri’s range of acting. Prem Nath’s performance as a callous philanderer in his brother-in-law Raj Kapoor’s Barsaat made him a star but he made a career out of projecting vices. For all Madan Mohan’s modernity, not once could you sense the dehati Punjabi at work in his compositions that were literally rooted in the Punjabi soil. The rhythm king O. P. Nayyar created songs that were intoxicating and transcended time. Jalandhar-born Khayyam was Punjab music personified. Sardar Malik (Anu Malik’s father) created a sensation as the music director ofLaila Majnu. Roshan made the name of Punjab and Punjabi fraternityroshan with Na to karvaan ki talash hai—a qawwali that is considered as the paragon effort in Hindi cinema.

Kundan Lal Saigal got the fawning adoration of the public for the sonorous sweep of his voice. Mohammed Rafi cast a spell with his vocal virtuosity singing bhajans, qawwalis, ghazals, geets, nazms or bhangra numbers. Zohrabai Ambalawali raised a musical storm with her crisp voice singing numbers like Akhiyan milake jiya bharmake chaley nahin jana inRattan. Noorjehan spun eternal classics with her brass Punjabi voice singing Bulbulo mat ro yahan. Mahendra Kapoor’s Sohni Mahiwal numberChaand chhupa aur tarey doobey raat ghazab ki aayi catapulted him to dizzy heights in the world of music. He has come to be identified with patriotic numbers such as Mere desh ki dharti sona ugley ugley heeray moti, Mera rang de basanti chola, etc. After Talat Mahmood, Jagjit Singh has revived ghazal-singing in Bollywood. Surender Kaur’s Badnam na ho jaye mohabbat ka fasana and Ujda umedon ka chaman from Shaheed are a rage even now. Unforgettable is Khamosh zindagi ko ek afsana mil gaya, sung soulfully by Jagjit Kaur in Dil-e-Nadaan. Lo apna jahan duniya walo hum is duniya ko chhod chaley, sung by popular Punjab folk singer Asa Singh Mastana in film Dooj ka Chaand brings a lump to the throat.

Sahir Ludhianvi delineated the pain and agony of the Partition in one of his poems, saying Ay rehber-e-mulk-o-kaum batta/Yeh kis ka lahoo yeh kaun mara. He used his pen to highlight social causes. He lambasted society for exploitation of women saying Aurat ne janam diya mardon ko, mardon ney use bazar diya. Rajender Krishan Duggal became a household name with Suno suno aye duniya walo Bapu ki ye amar kahani. When Gulshan Kumar Mehta appeared before a producer, he remarked: What will this bawra write? Gulshan Bawra went on to write mind-boggling numbers like Yaari hai iman mera yaar meri zindagi and Chandi ki diwar na todi, pyar bhara dil tod diya. Prem Dhawan’s poetry, whether it is Sub kuchh luta ke hosh mein aaye to kya kiya or Mera rang de basanti chola had a straight-from-the-heart quality, easily understood and yet so meaning.

Bollywood remembers 'immortal' Mehdi Hassan

Mehdi Hassan's fans feel that the world of ghazal is left with a void with the passing away of the "immortal" Pakistani maestro , fondly called as the 'King of Ghazals' who died in Karachi on Wednesday. From Amitabh Bachchan to Shreya Ghoshal, they all mourn his death, but feel his songs will keep him alive forever.

Hassan died after a prolonged illness. He was 84.

"We have grown up with his music. We have learnt a lot from his style and techniques. It is sad that he is gone, but the way he was living for past few years was not a life. So it is good for him that he is gone. My husband and I met him when we had gone to Pakistan. I will always remember his ghazal - Ranjish Hi Sahi as Chitra Singh told IANS.

Many others took to Twitter to pay respect to the singer, who sang soulful numbers like Ranjish Hi Sahi and Abke Bicchde Khwaabon Mein Mile.

Here's what they had to say:

Shah Rukh Khan:  memories of my mom cooking in a grimy kitchen as it rained outside, while mehdi hassan floated out of a Beltek 2 in 1.

Priyanka Chopra: Ranjish Hii Sahii Dil Hii Dukhaane Ke Liye Aa... aa Phir Se Mujhe Chhod Ke Jaane Ke Liye Aa... RIP Mehdi Hassan sahib..immortal memories...

Amitabh Bachchan: Deeply pained to learn of the passing away of Mehdi Hasan, in Pakistan .. a vocalist of immense fame and unique sonorous voice

Shreya Ghoshal: Mehdi Hassan saab is no more. The voice, who made many music lovers and lovers find an expression of their hearts' stories, is gone. R.I.P. Saddened beyond comprehension.

"Jagjit ji (Jagjit Singh), now Mehdi saab. The voices who kept the legacy of ghazals alive are gone... This void can never be filled ever again."

Anupam Kher: Very saddened to hear about my favourite ghazal singer Mehdi Hassan's demise. As a student I had gate-crashed into Pakistan Embassy to listen to him. RIP.

Kailash Kher: Another Legend (Mehdi Hassan) has gone from this world. Lagta hai ghazal ka suraj dukhon ke baadalon ne dhak diya (It seems the sun of ghazals is hiding behind clouds of sadness).

Shankar Mahadevan: RIP Mehdi Hassan saab, huge loss to the world of music. Your voice is immortal though.

Madhur Bhandarkar: Emperor of ghazals no more... R.I.P Mehdi Hassan. You will be missed sorely!

Ali Zafar: Mehdi Hassan moves on & lives forever. Leaving us with a legacy of music,magic,memories and so much more than words can describe.

Ghazal Maestro Mehdi Hassan Passes Away

Karachi, June 13: Legendary ghazal maestro Mehdi Hassan passed away at a private hospital in Karachi on Wednesday.

Hassan had been under treatment at hospitals in Pakistan for a while, and there had also been reports of shifting him to India. He was admitted at a hospital in Karachi for the past couple of weeks after he had developed a chest infection and breathing problems.

He passed away after he was shifted to the Intensive Care Unit (ICU) at the hospital.

Speaking to the media outside Aga Khan Hospital, Hassan’s son Asif Mehdi said that his father had a number of complications and had been admitted for treatment for a month.

Before illness ended his career he was already hailed as the king of ghazal, and a man who had revolutionized the art form forever. His life and work marked an era of traditional ghazal style that many say, has ended with his demise.

Born on July 18, 1927 in Rajasthan Hassan rose to fame with his rendition of “Gulon mein rang bhare” by Faiz Ahmed Faiz.

Here are some of his celebrated ghazals:

“Muhabbat karne wale kam na hon ge”, a ghazal by Hafeez Jalandhri in Ghazal

Maestro’s later style:

“Ku-baku Phail Gayi”, by Parveen Shakir:

Hassan has a huge fan following all over the world, which includes other greats like Lata Mangeshkar. He has also been the inspiration for many legendary singers, such as Tina Sani, and Jagjit Singh.

Lata Mangeshkar, while talking to Express News, said that she was deeply saddened to hear the news of Mehdi Hassan’s demise.

She said that it was unfortunate that such a wonderful person had to suffer so much. “He had come to India and we had met. Everyone had started crying when they saw him.”

“Yeh hee manzoor thaa Allah ko,” she said.

Mangeshkar praised Mehdi Hassan and said that it was because of him many people had started singing.

“A voice like his may never be heard again.”

She said she had all records Hassan had released and liked every single ghazal of his.

Ghazal singer Tina Sani said that Hassan had blessed the world with his work and that he was a legend even when he was alive.

“I have no words except for God bless him,” said Sani. She said that Hassan had given the world the legacy of ghazals and he was a “passport” for people like her when they went out to perform in the world.

Poet and lyricist Javed Akhtar, while speaking to a news channel, was all praise for the ghazal maestro, stating that Hassan’s voice gave one solace and peace.

Hassan was born into a family of traditional musicians at Luna village, Rajasthan, in 1927. His family migrated to Pakistan after 1947.

He had been awarded the Tamgha-e-Imtiaz, Pride of Performance and Hilal-e-Imtiaz by the Pakistani government.

REKHA - BOLLYWOOD'S MOST TALENTED ACTRESS

Rekha (born 10 October 1954) is one of the all time greatest actress of bollywood. Rekha is daugher of the well known film superstar Gemini Ganeshan and actress Pushpavalli. Her first film Sawan Bhadon was released in 1970.

She appeared in many Hindi films. Noted for her versatility and acknowledged as one of the finest actresses in Hindi cinema, Rekha started her career in 1966 as a child actress in the Telugu movie Rangula Ratnam, though her film debut as a lead happened four years later with Sawan Bhadon (1970). Despite the success of several of her early films, she was often panned for her looks and it was not until the mid-to-late 1970s that she got recognition as an actress. Since the late 1970s, after undertaking a physical transformation, she has been featured as a sex symbol in the Indian media.

Rekha has acted in over 180 films in a career spanning over 40 years. Throughout her career, she has often played strong female characters and, apart from mainstream cinema, appeared in arthouse films, known in India as parallel cinema. She has won three Filmfare Awards, two for Best Actress and one for Best Supporting Actress, for her roles in Khubsoorat (1980), Khoon Bhari Maang (1988) and Khiladiyon Ka Khiladi (1996), respectively. Her portrayal of a classical courtesan in Umrao Jaan (1981) won her the National Film Award for Best Actress. Though her career has gone through certain periods of decline, she has reinvented herself numerous times and has been credited for her ability to sustain her status

Review: Shanghai, a fine film

Cast: Abhay Deol, Emraan Hashmi, Prosenjit Chatterjee, Pitobash Tripathi, Kalki Koechlin, Farooq Sheikh
Director: Dibakar Banerjee
Shanghai is the story of a socialist professor and activist Ahmedi (Prosenjit Chatterjee) who is opposing an upcoming infrastructure project in Bharat Nagar that is backed by the ruling political party.

At a rally, Ahmedi is run over by a speeding van. While the police pass off the episode as a drunken accident, Ahmedi's adherent Shalini (Kalki Koechlin) knows it was a premeditated murder. A high ranking bureaucrat Krishnan (Abhay Deol) is appointed to investigate the case. And a local videographer Jogi (Emraan Hashmi) claims to have evidence on the mishap.

There is too less that you know about Ahmedi so his impetus behind the activism seems half-baked. There is too much that you are informed about Shalini including her father's 40-crore scam but nothing of that adds to the narrative. The two male leads are more convincing characters comparatively. Jogi, in the past, had the option of fighting with his folks or running away from home and he chose the latter. He doesn't want to do the same this time. Krishnan dreams of a secure future in Stockholm which depends on his choice between conscience and corruption.

At the outset, Shanghai is essentially not designed as a murder mystery. Right from the opening scene, the audience is aware of the killer, and the identity of the perpetrator is as much predictable. So the film primarily works as a social drama over a thriller with the three protagonists trying to fight against the system in their own possible ways. Krishnan's investigation takes the bureaucratic route and gets confusing at times with the complex state-of-affairs and the intricate hierarchy of the system. On the other hand, Jogi and Shalini explore the matter on a layman level and have a relatively easy connect with the viewer.

But after playing as a straightforward drama throughout, it's somewhat surprising that the film aspires to build on some (foreseeable) suspense in the concluding reels. Beyond the predictability, Dibakar does try to perk up the staid climax where Krishnan shrewdly arm-twists a politician (Farooq Sheikh) which results into falling of the government. And despite the potential for a melodramatic and mass-appealing confrontation, the director keeps this face-off subtle and skillful.

Dibakar Banerjee aptly adapts to the grammar of the bureaucratic background that strengthens the political drama. Whether it's the uncouth city, unruly party-men or Emraan Hashmi's untamed street dance - every scene in the dirty narrative is just picture perfect. The random cuts and extreme facial close-ups disturb you at times until you get accustomed to them.

Shanghai almost redefines Emraan Hashmi from his typical Bhatt-camp lover-boy image. From his mannerisms, attitude to wild dance - there's a new Emraan that you get to see in Shanghai. Abhay Deol, as the South Indian, doesn't fall prey of the usual tendency to overdo the accent. He's just perfect and is skillfully restrained in his act.  Playing an IAS officer applauding an item song with an eye on a Stockholm assignment, Deol wears his inscrutability thickly and delivers a strong performance.Kalki Koechlin shows the right measure of intensity in her impressive act. Prosenjit Chatterjee is good but doesn't get much scope in a short-lived character. How one wishes to see more of the talented actor. Pitobash's character is precisely an extension to what he played in Shor in the City and the actor is getting typecast. Anant Jog is retrained as compared to his recent over-the-top acts in Singhamand Rowdy Rathore. Farooq Sheikh is splendid as the scheming politician. Tillotama Shome and Kiran Karmarkar are good in their respective roles.

• Banner

• PVR Pictures

• Status

• Released

• Release Date

• 8 Jun 2012

• Genre

• Romance,Thriller

• Producer

• Ajay Bijli
• Dibakar Banerjee
• Priya Sreedharan
• Sanjeev K Bijli

• Star Cast
• Emraan Hashmi.... Jogi Parmar
• Abhay Deol.... T.A. Krishnan
• Farooq Sheikh.... Kaul
• Kalki Koechlin.... Shalini Sahay
• Pitobash Tripathy.... Bhaggu
• Prosenjit Chatterjee.... Dr. Ahmadi
• Supriya Pathak.... Chief Minister Madamji
• Anant Jog.... Jaggu
• Tina Ray.... Item Number
• Tillotama Shome.... Mrs. Ahmedi
• Kiran Karmarkar.... Morcha Leader

• Background Music

• Michael McCarthy