When you manage to cast two of the finest actors around, you believe your job is done. When you manage to get like 3-4 chart-buster songs in your films, you believe you have cracked it. And especially when you have taken 7 years to write a fitting follow up to your spicy first film, you know you have a winner on your hands. How then can you mess it all up? Well, Shaadi ke Side Effects offers to answer this question. A lot has changed in Bollywood since Saket Chaudhry gave us Pyaar Ke Side Effects. Mallika Sherawat has become past tense. Rahul Bose only does niche films. And many other things have changed. But what has not changed is the winning formula. You make a good film and success would follow you for sure.
My problem with Shaadi ke Side Effects is not that its a bad film. My issue is that the film reeks of the episodic daily soap feel which has already been milked to death by one of the film’s producers-Balaji. So why then do you cast two sparkling actors and straddle them with roles which are so one note that I am sure even Farhan and Vidya must be wondering half way through the film that what have they got into.
The film by the way is the story of Sid and Trisha who are happily married and their lives are going along just fine, till they are blessed with a bay girl. All hell breaks loose and how the couple reacts to a new addition in the family and what sacrifices they make forms the crux of the story.
The film looks good throughout and the songs whenever they do pop up act as a sort of relief from the monotony. But then it is the performances of Farhan Akhtar and Vidya Balan which you take back home. Both the actors have pretty much conquered the awards stage recently. Farhan doing it this year and Vidya doing it last year and the year before. The music by Pritam is as usual peppy but it is Saket Choudhry who leaves a lot to be desired. From the director of Pyaar ke Side Effects and the screenwriter of Asoka, I certainly expected a better film. I don’t know whether it was the pressure to succumb to a sequel or something else, but if this kind of work takes you seven years to execute, then I suggest making a quickie film pronto.
For the new found fans of Farhan and the growing fans of Vidya, wait for their next film. Give this one a miss and you will be glad to escape the side effects of watching this boring story unfold on screen.
Yashraj’s Gunday is everything a good film is not…..It is unbearably long, it abuses slo-mo to the extent of frustration (just like Bhaag Milkha Bhaag) and it tries to pelt us with one claptrap dialogue after another not realising that none of the dialogues have wit or charm of any kind. But what it does right is get its cast bang on and whips up an action drama which pays homage to the Bollywood of yore when friendship ruled and when love wasn’t just sex and dhokha but was a bone of contention between two best friends.
Welcome to the world of Gunday where even the Calcutta police is as intelligent as RAW (all my Kolkata friends would definitely get the pun), and where if you go hide in Dhanbad, then the Calcutta police cannot catch you. A world where a man’s hair is always ironed and his chest well oiled. All this and more define Gunday, a typical commercial pot-boiler which had so much going for it but prefers to squander it away all in the name of commercial cinema. But it is Priyanka Chopra’s cabaret dancer act which shines in the film much like Banglar alo. Her drool worthy performance and the couple of chartbusters is what i took back home from a film which insists that the attention is sorely on the leading men-Ranveer Singh and Arjun Kapoor a.k.a Gunday.
The film is the second effort of Ali Abbas Zafar who made the forgettable Mere Brother Ki Dulhan few years back. And like his previous effort, this film also is a rehash of films which we have seen umpteen number of times. Add to the mix Irrfan Khan (credited as special appearance although he appears throughout the film) and you have a film bursting at its seams. The story is based out of Calcutta, so every cliche like a Durga Puja, the Metro theatre, Howrah bridge and all such prominent landmarks have an integral part to play in the story. But then the story is of the coal Mafia and how two young men go from dishwashers to He-Men and ultimately lover boys. The film also has Priyanka Chopra returning to form after a long long time where she plays the seductress with élan.
Performance wise, Ranveer and Arjun give this film their all and you cant expect anything more from them. But then again, they are not Khans that anything done by them would be accepted blindly. Aseem Mishra has a blast shooting the film and the myriad colours lend the film its own charm. Sohail Sen delivers a kickass soundtrack, which makes me wonder why isn’t the man composing more frequently?
Gunday is all heart, but alas what it lacks is an exciting story and its predictability is its biggest bane. But I am guessing, it will do well and for that the makers have to thank Sohail Sen’s insanely catchy ditty, Tune Maari Entriyaan…..Man, I just cant stop humming this song….Bappi Da, are you listening?
Long after I was done watching Yaariyan, I was still wondering how was this script green lighted in the first place? Ofcourse, there is nothing original in the film, not that I was expecting any. But the outright dumbness of the whole concept made me realize how lucky it is to be the producer’s wife. You can go ahead and create an absolute junk of a film, garnish it with foot tapping songs and actually get a decent opening weekend. But then, the tall claim made by Divya Khosla Kumar at the end of the film about being a mother and director and managing both the jobs simultaneously is a joke and I sincerely hope she is doing a better job at being a mother because as a director she isn’t going anywhere.
Story you may ask. Well, surprisingly, the film has a story which involves the college dean picking the 5 most worthless students of the batch to salvage the college ground as well as the girl’s hostel, that too from an Australian businessman. Very conveniently, 3 competitions are held in Australia and 2 in India. Here again the director takes you for a ride and lands you in South Africa filling in for Australia. Budget issues, you ask? Anyway, one after one the silly competitions are bumped off and the hero ends up attracting every girl within a kilometer. Chick magnet, you see. Finally, India has to win and that happens after a round of desh bhakti, tamasha etc.
As for the actors, none of the newbies manage to leave an impact. The hero is too girly and all his efforts at being the macho-man look silly on screen. The girls are all variants of dumb blondes and actors like Deepti Naval and Gulshan Grover are reduced to sobbing throughout the film.
The only redeeming factor is of-course the songs which pop up at regular intervals, without any requirements. But the film has been well shot and the beauty of Sikkim is the only thing to look forward to, if you still want to watch the film after reading this review.
If you have absolutely nothing to do and really want to watch this film, I would still recommend watching Main Hoon Na and Jo Jeeta Wohi Sikandar back to back. At least you have seen it all earlier and know what to expect.
There was a time when films were star vehicles which had no story, no logic but were full of herogiri, hand to hand combats and lovey dovey songs. Then the audience lost patience watching the same thing again and again which gave rise to the Kashyaps and the Motwanes of today. But the tide changed yet again few years back, and the man who was partly responsible for this was Prabhu Dheva. His Wanted set the ball rolling and gave the perennial Superstar in the making Salman Khan a new lease of life. And we all know the box office monster he has become now. Not just that, Prabhu Dheva is also responsible for giving Akshay Kumar his biggest blockbuster, a feat which none of his subsequent films have managed to even come close to. Of course, Ramaiyya Vastavaiya was a minor aberration, but he managed to carve out a decent success there as well with a rank newcomer. So when he decided to cast Shahid, I had reasons to believe that this film would be a game changer for him and give him the hit he so desperately needs. That is for the audience to decide, but Prabhu Dheva gives it his all and serves a piping hot entertainer which strikes all the right notes.
The story is about Romeo Rajkumar, a roadside tapori who comes to a village with a specific agenda. He gets into Shivraj’s gang (Sonu Sood in top form) and starts eliminating his enemies one by one, till he falls head over heels in love with Chanda (Sonakshi Sinha, for the 99th time in the same old role). Romeo’s attraction towards Chanda is so strong that every time she comes in front of him, he forgets the world and only focuses on impressing her. The mauj masti and romance take a violent turn midway when Shivraj also falls for Chanda’s charm. The battle lines are drawn and then begins a fight to the finish between Shivraj and Romeo. Who wins is anybody’s guess, but this was one fight which was among st equals. Then again it was refreshing to see a villain who is not Prakash Raj and is an equal match to the hero.
The film worked for me in most parts. Shahid’s dancing to Pritam’s chart-busters is the film’s biggest draw. Although when Shahid bulldozes over 50 odd men, it looks a bit unconvincing but he gives it his all. He is an impeccable actor and his romance, dance, fights and above all his uninhabited style take the film to another level. Sonu Sood in his nostril flaring role is uniformly good, but has nothing new to offer. Sonakshi wears the same clothes she wore last week in Bullett Raja,its just that this role has her in a more spunkier avatar.
The direction is top notch and Prabhu Dheva who directs his first original Bollywood film deserves brownie points for his work. The dialogues by Shiraz Ahmad are clap worthy and are in sync with the mood of the film. Pritam delivers two excellent songs and 3 average songs which give Shahid ample scope to exhibit his dancing skills.
This is one spicy masala entertainer, probably the best among the several which have released this year and deserves a watch for Shahid alone whose metamorphosis into a violent killing machine leaves you silent at the end of it all!!!
Let me state this fact loud and clear. I am a big fan of masala films. Between art and commerce, I will always choose commerce. That is the kind of cinema I enjoy and lets face it, YOU enjoy. But there always should be a method to madness. And BOSS clearly lacks that method. A film which is racy and funny in parts, loses gas midway and comes to a grinding halt simply because the writers choose to do so. Ronit Roy as the mean villian just does not cut ice as there just isn’t anything scary about him. Typically in a film which celebrates the act of one-upmanship, the hero and the villain need to keep going at one another before that penultimate point. Case in point- The baap of brawn porn-Force. But Boss is all about a snarling Ronit Roy who for sheer lack of dialogues ends up repeating the same dialogue thrice, but then it never sounded chilling even the first time round.
But then Boss isn’t all wrong. It has Akshay Kumar at his best, jumping buildings, kicking the goons and spewing Haryanvi as if he was born there. The action scenes remind you more of Akshay’s Thumsup commercials and just when he decides Aaj kuch Toofani karte hai, the director sets up his clash with Ronit Roy at a cement quarry. What is so wrong with climax places? In Besharam, it was a garage and now this. Nevertheless, it is a fight to finish and you quite enjoy the fun till its on. And there in lies the basic problem of Boss. The gags are too few and far in between and the rest of the film is just a boring drag. Mithun Chakraborthy as Akshay’s righteous father gives the year’s hammiest performance and the one Shaitan wonder Shiv Pandit is used just to fill up a role. Heroine, you may ask? Yes, the talented Aditi Rao Hydari gets exactly 3.5 scenes to exhibit her goods and her acting skills.
But if I have to compare Boss to Akshay’s biggest money spinner Rowdy Rathore, then Boss wins hands down as it is far more viewer friendly than that repulsive film. It also tries its best to extract tears out of you courtesy the strong bond between Mithun and Akshay. But Anthony D Souza after delivering a big budget disaster in the form of Blue decides to play safe and remake a southie and comes up with Boss. He garnishes his film with groovy music, saleable stars, expensive sets and for the first time a HOT Sonakshi Sinha.
So if you want to spend an evening watching the Khiladi Kumar back inform delivering those swerving kicks and thumping clap trap dialogues, then Boss is just what the doctor ordered. But keep your expectations in check. The title is where the fun ends.