Nagina

Directed by: Harmesh Malhotra

Starring: Rishi Kapoor, Sridevi, Amrish Puri, Prem Chopra

Released: 1986

Verdict: destroy every copy ? horrible ? bad ? whatever ? flawed but enjoyable - good ? great ? amazing

I HATE snakes. And this movie reminded me why. They are quick, noiseless and the way they move freaks me out. Usually I cannot even stand the sight of them. But I?m willing to watch this film again and again! Yes, it is good, one of the actual classics among the 80s pile of average crap. And let?s not play games: it is so because of Sridevi and Amrish Puri. While the movies would still be good with Jayapradha, the original choice for the film, Sridevi gave it something special and to be honest I think this is my favourite performance of hers. But more on that later.

Sweater-wala Rajeev (Rishi) returns home from abroad after 15 years, to his loving mother (who probably had him when she was 11) in India ready to take over family business, till now managed by an unusually friendly Prem Chopra, who is hoping that in return for a good service Rajeev would marry his beloved daughter. It may all have just gone according to plan, but ?Raju? falls in love with a mysterious young woman he encounters in the misty-veiled ruins of an ancient mahal. Rajni (Sridevi) introduces herself as a poor orphan, and Raju is happy enough to accept that and prance around the trees with her. But breaking manager daughter?s heart may just yet prove costly....

Nagina starts as a typical romance against all odds movie, but as it progresses it turns more to an action and family drama (with saas-bahu conflict) with distinct horror features. Those are rather subtle ? for Bollywood at least - which makes them all the more effective. It is a great reminder that you don?t need super computer effects to create an illusion of supernatural and mysterious being real. From the haunting hide-and-seek song in the ruins of an old building to ever-present snakes following the protagonists everywhere, it gives hints but is never ?in your face?. It is not predictable ? another considerable plus.

Rishi Kapoor was already beginning to look very much out of shape at the time. There can be no questioning his acting abilities, but as a jawaan chokra for whom the girls are vying for after one glance he was not suitable anymore. Though yes, the charm he excludes makes his pairing with Sridevi quite nice (something which cannot be said for any actress younger than her, whom he romanced in the decade that followed). His character is not too endearing either. Raju comes off as somebody who cannot deal with anything himself and is constantly in need of help and guidance, be it from the manager, his mother of Rajni. He is actually just a pawn moving from one stronger persona to the next.

The film belongs to Sridevi, as I have already mentioned. Though dubbed by someone else in several scenes, she did just absolutely wonderful in the role. The highlight has to be her interaction with Amrish Puri. The fierceness she projects while threatening him can only be matched by his own thundering dialogues of the dark and the supernatural. Indeed, it is these two performers who steal the show and others just do not match. The legendary Main Teri Dushman dance number is a crowning jewel of Sridevi?s performance ? and film. A song that actually sounds rather unpleasant was made into a fabulous spectacle by the dancer and choreographer (it is, to my knowledge, the song that put Saroj Khan on the map.)

One thing I could have done without was the (un)neccesary comic track. Apart from the usual loud people who talk but don?t think it was full of fat people and nasty wives jokes, that everyone in the film seemed to find hilarious, while I kept rolling my eyes and cringe. Ironically the funniest moment has to be the very end: ?they lived happily ever after? title plastered over an image of Raju sobbing over his mother?s corpse was just too unexpected and too much of a temptation for the cynic in me.

Besharam

Directed by: Abhinav Kashyp

Starring: Ranbir Kapoor, Pallavi Sharda, Rishi Kapoor, Neetu Singh

Released: 2013

Verdict: destroy every copy ? horrible ? bad ? whatever ? flawed but enjoyable - good ? great ? amazing

After drowning us with tears in emotional Rockstar, warming our hearts with delightful Barfi and entertaining us with romantic YJHD Ranbir Kapoor has apparently decided it was time to screw his reputation with Besharam. He is without a doubt my most favourite actor from the new generation (yes, even after this film), but truth to be told that only made the whole matter worse. I admit - I was not as appalled and horrified as I probably should have been, because appalled and horrified reviews kept coming from all sides and my expectations hit rock bottom. When I found some himmat to watch, I was ready for the WORST. The first half is decent - if we forget the disgusting morning erection scene and the most repulsive scene EVER (starring living legend Rishi Kapoor and a toilet) which was not needed and pretty much an INSULT to all his fans. Ranbir is acting well (even though his character is a disgusting creep for most part) and the new girl can dance. And Rishi Kapoor is the one who gives you a few chuckles (when he is not doing potty).

The story is extremely weak, and even though one is not supposed to look for logic in these kind of movies, the stupidity of actions these people go to is just too much. There was no need to steal the car again, at least not once the girl knew the truth. And did they really think they couldn?t be tracked down? Did they really think nobody would look for the money? The bones of this plot are rusty, and the tofu you are trying to plaster on them ain?t no meat. So what that Babli is an orphan. How does that justify him being a thief? And that he gives everything to the orphanage makes even less sense - he could be doing any honest job and do the same. In other words Babli is a thief - because he likes it. There is no majboori involved, no matter how much they are trying to shovel that into your throat.

I will do something I usually hate when others do it and say that Pallavi Sharda is just not beautiful enough. Not for this movie. She IS pretty and she is not a bad actress at all, however this role called for a STUNNING lady that would just catch your eye immediately. And Pallavi does not have this quality. She completely lacks star quality and is very bland. She shares no chemistry with Ranbir (obsessed with his crotch be it in the songs or otherwise) whatsoever, and their love story is very much awkward and superficial. It doesn?t feel natural at all, has no progress.

The girl is treated just bad in the whole movie. She is pursued by the hero because of no other reason than her looks. He is stalking her even though she several times rejects him and makes it clear she has no interest in him whatsoever. Later in the film she is deceived and lied to. And when she gets upset - SHE is the one who gets lectured on being spoilt, heartless and cold. WTF?! Sexist much director saab?

Neetu Singh.... the pyaari Neetu.... got the worst character in the film and is pretty much stripped of all her grace and ellegance. She was obnoxious and annoying and unfortunately only PARTLY because her character sucked. One of the main attractions of the film was the fact the three Kapoors were starring together in it - for the first time ever - but in the end it makes everything even more sad.

In the end I can only say that not even super low expectations save anything - except perhaps it doesn?t make you that mad. It also doesn?t guarantee you will not want to barf at the toilet scene. Besharam Abhinav Kashyap took us for a ride and drove so recklessly we all can only feel sick.

D-Day

Directed by: Nikhil Advani

Starring: Irrfan Khan, Arjun Rampal, Rishi Kapoor, Huma Qureshi, Shruti Hassan

Released: 2013

Verdict: destroy every copy ? horrible ? bad ? whatever ? flawed but enjoyable - good ? great ? amazing

Being neither Pakistani nor Hindustani I cannot really judge if the film was hurtful in sentiment, but truth to be told I did not feel like either side was made heroes or villains. In fact both sides are shown as showing no mercy or thinking twice about sacrificing lives of common folk while going after their goal ? which is what they believe will secure their country. I don?t think anyone should imagine their country is not doing these things.

Inspired by the foul deeds of Dawood Ibrahim, D Day is about an attempt of four RAW agents trying to capture a man behind terrorist attacks from Pakistan, where he is hiding with the approval of local authorities, and to escort him back to India. Carefully planned and almost successful operation ?Goldman? takes place during Dawood?s son?s wedding. Unfortunately things go wrong and the four agents find themselves trapped in the streets of Karachi, pursued by both Dawood and their own Hindustani agency, who has quickly decided to give up on them and terminate them as unwanted evidence. How to lure them out though? Maybe some of them have weaknesses. Maybe some of them have families.

D Day is a skillfully crafted picture and possibly the best action thriller coming out of Bollywood last year. I was positively shocked to find out Nikhil Advani, the man behind the whiny glycerine-fest Kal Ho Na Ho, was the director. The pace was really good, even if it slowed down a bit in the second half, the work with numerous flashbacks seamless and effective. There are quite many characters and all are given at least some backstory - Irrfan?s is the best explored since it moves the plot. I was hoping to see more of Huma and Arjun?s past and relathionships, but that never happened, possibly because it would slow the film down too much. I think the weakness of the story was the fact that way too many things happen seemingly without reason. For example - why kill off the prostitute? And why does one of our protagonists suddenly decide to blow everything up, even though there is really no need for such drastic measures? And when did Irrfan and Arjun made that last bit of a plan up??? After a little stale bit we spent with our protagonists in hiding, the renewed tempo of the climax is refreshing, superb and again the whole scene very well edited, switching between thrills and emotions.

Actors do a solid job, with Irrfan being (not surprisingly) the best among them. Arjun Rampal as a silent, expressionless soldier without past fits the role and so does well, Huma Qureshi screams a bit too much from time to time but you believe her at any given moment. Shruti Hassan has a small role, is lovely to look at and in beautiful song Alvida her eyes steal the show by telling a story on their own. Her dialogue delivery sucks - something 90% of young actresses these days struggle with. Rishi Kapoor is brilliant. There is really nothing you can complain about when it comes to him. His mannerism and command over voice are remarkable.

I truly enjoyed the movie. It had just the right mix of mystery, thrilling stuff and emotions, it didn?t feel too stretched out of reality at any point, it was very "human" without any emotional blackmail involved. It was dark and rough, but not graphic. Definitely one of the better films of 2013. I repeat, I cannot say if it was politically correct or not. But strictly as a film, it was well made.

Love Aaj Kal

Directed by: Imtiaz Ali

Starring: Saif Ali Khan, Deepika Padukone, Rishi Kapoor

Released: 2009

My rating: destroy every copy ? horrible ? bad ? whatever ? flawed but enjoyable - good ? great ? amazing

The story may not be great and performances of varied quality, but there is something lyrical about Imtiaz Ali films, which makes them an enjoyable watch, even if only once. Love Aaj Kal is the least emotional of his movies, least complicated, not reaching the amazing entertainment offered by Jab We Met or even emotional wreckage of Rockstar. But it has its share of charming moments and overal is a pretty, pretty picture, using flashbacks very well, without confusing the viewer, and heightening curiosity as the story goes on.

We are given a glimpse of ?modern? and ?cool? relationship between architect Jai and art student Meera, who have great time hanging out together, all on the backdrop of London. Jai, who is really the one carrying the narrative and the story unfolds from his point of view, considers romantic love an old-fashion concept, and when Meera is offered work in India, he very sportingly supports her to leave him, breaking up with her on friendliest terms possible. How very modern and cool indeed. However as the time passes by, he notices his sloppy attempts to move on are all destined to fail. And being constantly nagged by an elderly restaurant owner, who paints in front of Jai his own story of love he had once lived, Mr. Architect is quite shocked when he realizes Love has probably happened to him. Unfortunately it seems Meera actually did move on...

Deepika Padukone does not have much to contribute to the movie, aside from her utterly gorgeous face and drool-worthy wardrobe. After getting used to her very much exciting self from the last two years, I was actually surprised to revisit the somehow awkward, extremely camera-conscious Deepika with pitiful dialogue delivery (which has so evolved since then!). She doesn?t ruin the scenes she?s in, but the director very wisely let Saif Ali Khan do most of the acting instead, giving him most of the dialogues, and so our dear nawab goes on like a chatterbox, rarely stopping an endless flow of words whenever he is nervous or emotional. Sometimes his monologues actually get so long you wonder if Meera?s turn to talk would ever come (and sometimes it really does not).

The most charming bits of the movie, however, are introduced to the viewer by Rishi Kapoor and his narration of the old-school love story several decades ago, in India. The warm, brown colouring of all the scenes in the ?past? gives them a unique mood, very different from the rest of the film. In fact, it felt so nice, I caught myself wishing it would have been the main bit of the film, or a film of its own! Even more so since I felt it was left rather unsolved, even though Neetu Singh?s brief appearance in the very end of the movie gave away the final result.

Love Aaj Kal concludes a very simple fact: Love is Love, no matter if one searches for it or not, no matter where, no matter how it happens, and no matter how modern and cool you consider yourself. You can never bee too cool for Love. It?s just about how thick you are in the head to realize it happened. Very good production values, very likeable actors and very charming story telling make Love Aaj Kal a nice film, if you are in the right mood.

Chandni

Directed by: Yash Chopra

Starring: Rishi Kapoor, Sridevi, Vinod Khanna, Waheeda Rehman, Anupam Kher

Released: 1989

My rating: destroy every copy ? horrible ? bad ? whatever ? flawed but enjoyable - good ? great ? amazing

Chandni is iconic. No doubt about that. Even if only for introducing the myth of Yash Chopra?s ?eternal woman in white?. Myth, because after Chandni, she hardly appears in any other of his films. Yet so deep is the image of Sridevi dancing an enticing tandav engrained in all our minds, that we accept her as something definite. Yash Chopra?s ?woman in white? has always been adn always will be Sridevi in Chandni, and no one else. However much like another film that set certain standards - Dilwale Dulhania Le Jayenge - Chandni too is a movie that has its own problems, and though iconic, it ain?t untouchable. So let?s touch it today, with some delicacy and some less delicacy as well.

Rishi Kapoor plays an obnoxious rich dude who employs all the annoying, forceful ways of getting closer to a girl he likes, and pretty much gives her no choice in matter of loving him back. When life turns tables on him and does not go the way he planned it to, he falls into depression, gives up completely, and slips into a hardcore self-pity mode. In short he is a douche. Sridevi plays beautiful, annoying in her childish mode, touching in her serious mode, Chandni, who likes to dance in the rain and is... well... beautiful. That truly seems the most prominent feature that Yash Chopra chose to endorse in his heroine that time. Sridevi with her thick mane of hair, long limbs, shy smiles and of course those huge eyes looked like a fairy-tale come true. The first half is cruel to her character though, as she is merely dragged along by Rishi and his family. But Chandni also manages to pick up the pieces of her shattered heart and make a new life for herself, complete with a successful career job and a new man who falls in love with her.

Enter grief-stricken Vinod Khanna, whose mother Waheeda Rehman is probably closer to him in age than his first pyaar Juhi Chawla, who appears in a small but sweet cameo. He is all that Rishi Kapoor (in this film) is not. Thorough gentleman, principled, going after his desires but not forcing himself where he is not wanted. So naturally he does not get the girl in the end, because Rishi suddenly decides he wants Chandni back ? and much like in the beginning he blackmails her into a renewed relationship. Sigh. I was ready for Hum Dil De Chuke Sanam after this, to heal my aching soul. The score of the film did its share of healing too, for if there is something worth going back to, it?s the music ? yes, including the out-of-tune Sridevi parts of ?Oh meri Chandni?. The already mentioned wild tandav in nature is stunning and ?Tere Mere Hoton Pe? remains possibly my favourite track ever picturized on Sridevi. Chandni is also, quite possibly, the last film in which I was ready to accept Rishi Kapoor as a romantic hero. No matter what problems the characters displayed, all the actors did a good job with their roles, even if Anupam Kher going around and mouthing tutotial on life and love was boring. Again, I much prefered his meddling in Lamhe than here.

Did I mention these two get their own Switzerland song?

Chandni is one of the best known Yash Chopra films, and was one of his most successful ventures, however compared to let?s say Lamhe it lags behind, as a nice, but all in all average film. It is a notch better than Kabhi Kabhie though, being more tight in screenplay and not bothering about too many characters. Furthermore in spite of the obnoxious boyfriend (hell he even tricks the girl into getting drunk in pursuit of bodily pleasures), Chandni must have been a revelation at the time when action masalla had its boom. It aimed for simplicity and lots, lots of romance, on which it delivered (though there is still the question of the douche who initiates it all. And the whole Switzerland bit was unneccessary.). I have given up on Yash Chopra films being great in terms of script, rather it is best to simply let go and try and enjoy the atmosphere he managed to create. With this film he succeeded in conjuring up a charming little thing, even if only with help of Sridevi?s beauty and lovely music.

Nagina

Directed by: Harmesh Malhotra

Starring: Rishi Kapoor, Sridevi, Amrish Puri, Prem Chopra

Released: 1986

Verdict: destroy every copy ? horrible ? bad ? whatever ? flawed but enjoyable - good ? great ? amazing

I HATE snakes. And this movie reminded me why. They are quick, noiseless and the way they move freaks me out. Usually I cannot even stand the sight of them. But I?m willing to watch this film again and again! Yes, it is good, one of the actual classics among the 80s pile of average crap. And let?s not play games: it is so because of Sridevi and Amrish Puri. While the movies would still be good with Jayapradha, the original choice for the film, Sridevi gave it something special and to be honest I think this is my favourite performance of hers. But more on that later.

Sweater-wala Rajeev (Rishi) returns home from abroad after 15 years, to his loving mother (who probably had him when she was 11) in India ready to take over family business, till now managed by an unusually friendly Prem Chopra, who is hoping that in return for a good service Rajeev would marry his beloved daughter. It may all have just gone according to plan, but ?Raju? falls in love with a mysterious young woman he encounters in the misty-veiled ruins of an ancient mahal. Rajni (Sridevi) introduces herself as a poor orphan, and Raju is happy enough to accept that and prance around the trees with her. But breaking manager daughter?s heart may just yet prove costly....

Nagina starts as a typical romance against all odds movie, but as it progresses it turns more to an action and family drama (with saas-bahu conflict) with distinct horror features. Those are rather subtle ? for Bollywood at least - which makes them all the more effective. It is a great reminder that you don?t need super computer effects to create an illusion of supernatural and mysterious being real. From the haunting hide-and-seek song in the ruins of an old building to ever-present snakes following the protagonists everywhere, it gives hints but is never ?in your face?. It is not predictable ? another considerable plus.

Rishi Kapoor was already beginning to look very much out of shape at the time. There can be no questioning his acting abilities, but as a jawaan chokra for whom the girls are vying for after one glance he was not suitable anymore. Though yes, the charm he excludes makes his pairing with Sridevi quite nice (something which cannot be said for any actress younger than her, whom he romanced in the decade that followed). His character is not too endearing either. Raju comes off as somebody who cannot deal with anything himself and is constantly in need of help and guidance, be it from the manager, his mother of Rajni. He is actually just a pawn moving from one stronger persona to the next.

The film belongs to Sridevi, as I have already mentioned. Though dubbed by someone else in several scenes, she did just absolutely wonderful in the role. The highlight has to be her interaction with Amrish Puri. The fierceness she projects while threatening him can only be matched by his own thundering dialogues of the dark and the supernatural. Indeed, it is these two performers who steal the show and others just do not match. The legendary Main Teri Dushman dance number is a crowning jewel of Sridevi?s performance ? and film. A song that actually sounds rather unpleasant was made into a fabulous spectacle by the dancer and choreographer (it is, to my knowledge, the song that put Saroj Khan on the map.)

One thing I could have done without was the (un)neccesary comic track. Apart from the usual loud people who talk but don?t think it was full of fat people and nasty wives jokes, that everyone in the film seemed to find hilarious, while I kept rolling my eyes and cringe. Ironically the funniest moment has to be the very end: ?they lived happily ever after? title plastered over an image of Raju sobbing over his mother?s corpse was just too unexpected and too much of a temptation for the cynic in me.

Besharam

Directed by: Abhinav Kashyp

Starring: Ranbir Kapoor, Pallavi Sharda, Rishi Kapoor, Neetu Singh

Released: 2013

Verdict: destroy every copy ? horrible ? bad ? whatever ? flawed but enjoyable - good ? great ? amazing

After drowning us with tears in emotional Rockstar, warming our hearts with delightful Barfi and entertaining us with romantic YJHD Ranbir Kapoor has apparently decided it was time to screw his reputation with Besharam. He is without a doubt my most favourite actor from the new generation (yes, even after this film), but truth to be told that only made the whole matter worse. I admit - I was not as appalled and horrified as I probably should have been, because appalled and horrified reviews kept coming from all sides and my expectations hit rock bottom. When I found some himmat to watch, I was ready for the WORST. The first half is decent - if we forget the disgusting morning erection scene and the most repulsive scene EVER (starring living legend Rishi Kapoor and a toilet) which was not needed and pretty much an INSULT to all his fans. Ranbir is acting well (even though his character is a disgusting creep for most part) and the new girl can dance. And Rishi Kapoor is the one who gives you a few chuckles (when he is not doing potty).

The story is extremely weak, and even though one is not supposed to look for logic in these kind of movies, the stupidity of actions these people go to is just too much. There was no need to steal the car again, at least not once the girl knew the truth. And did they really think they couldn?t be tracked down? Did they really think nobody would look for the money? The bones of this plot are rusty, and the tofu you are trying to plaster on them ain?t no meat. So what that Babli is an orphan. How does that justify him being a thief? And that he gives everything to the orphanage makes even less sense - he could be doing any honest job and do the same. In other words Babli is a thief - because he likes it. There is no majboori involved, no matter how much they are trying to shovel that into your throat.

I will do something I usually hate when others do it and say that Pallavi Sharda is just not beautiful enough. Not for this movie. She IS pretty and she is not a bad actress at all, however this role called for a STUNNING lady that would just catch your eye immediately. And Pallavi does not have this quality. She completely lacks star quality and is very bland. She shares no chemistry with Ranbir (obsessed with his crotch be it in the songs or otherwise) whatsoever, and their love story is very much awkward and superficial. It doesn?t feel natural at all, has no progress.

The girl is treated just bad in the whole movie. She is pursued by the hero because of no other reason than her looks. He is stalking her even though she several times rejects him and makes it clear she has no interest in him whatsoever. Later in the film she is deceived and lied to. And when she gets upset - SHE is the one who gets lectured on being spoilt, heartless and cold. WTF?! Sexist much director saab?

Neetu Singh.... the pyaari Neetu.... got the worst character in the film and is pretty much stripped of all her grace and ellegance. She was obnoxious and annoying and unfortunately only PARTLY because her character sucked. One of the main attractions of the film was the fact the three Kapoors were starring together in it - for the first time ever - but in the end it makes everything even more sad.

In the end I can only say that not even super low expectations save anything - except perhaps it doesn?t make you that mad. It also doesn?t guarantee you will not want to barf at the toilet scene. Besharam Abhinav Kashyap took us for a ride and drove so recklessly we all can only feel sick.

D-Day

Directed by: Nikhil Advani

Starring: Irrfan Khan, Arjun Rampal, Rishi Kapoor, Huma Qureshi, Shruti Hassan

Released: 2013

Verdict: destroy every copy ? horrible ? bad ? whatever ? flawed but enjoyable - good ? great ? amazing

Being neither Pakistani nor Hindustani I cannot really judge if the film was hurtful in sentiment, but truth to be told I did not feel like either side was made heroes or villains. In fact both sides are shown as showing no mercy or thinking twice about sacrificing lives of common folk while going after their goal ? which is what they believe will secure their country. I don?t think anyone should imagine their country is not doing these things.

Inspired by the foul deeds of Dawood Ibrahim, D Day is about an attempt of four RAW agents trying to capture a man behind terrorist attacks from Pakistan, where he is hiding with the approval of local authorities, and to escort him back to India. Carefully planned and almost successful operation ?Goldman? takes place during Dawood?s son?s wedding. Unfortunately things go wrong and the four agents find themselves trapped in the streets of Karachi, pursued by both Dawood and their own Hindustani agency, who has quickly decided to give up on them and terminate them as unwanted evidence. How to lure them out though? Maybe some of them have weaknesses. Maybe some of them have families.

D Day is a skillfully crafted picture and possibly the best action thriller coming out of Bollywood last year. I was positively shocked to find out Nikhil Advani, the man behind the whiny glycerine-fest Kal Ho Na Ho, was the director. The pace was really good, even if it slowed down a bit in the second half, the work with numerous flashbacks seamless and effective. There are quite many characters and all are given at least some backstory - Irrfan?s is the best explored since it moves the plot. I was hoping to see more of Huma and Arjun?s past and relathionships, but that never happened, possibly because it would slow the film down too much. I think the weakness of the story was the fact that way too many things happen seemingly without reason. For example - why kill off the prostitute? And why does one of our protagonists suddenly decide to blow everything up, even though there is really no need for such drastic measures? And when did Irrfan and Arjun made that last bit of a plan up??? After a little stale bit we spent with our protagonists in hiding, the renewed tempo of the climax is refreshing, superb and again the whole scene very well edited, switching between thrills and emotions.

Actors do a solid job, with Irrfan being (not surprisingly) the best among them. Arjun Rampal as a silent, expressionless soldier without past fits the role and so does well, Huma Qureshi screams a bit too much from time to time but you believe her at any given moment. Shruti Hassan has a small role, is lovely to look at and in beautiful song Alvida her eyes steal the show by telling a story on their own. Her dialogue delivery sucks - something 90% of young actresses these days struggle with. Rishi Kapoor is brilliant. There is really nothing you can complain about when it comes to him. His mannerism and command over voice are remarkable.

I truly enjoyed the movie. It had just the right mix of mystery, thrilling stuff and emotions, it didn?t feel too stretched out of reality at any point, it was very "human" without any emotional blackmail involved. It was dark and rough, but not graphic. Definitely one of the better films of 2013. I repeat, I cannot say if it was politically correct or not. But strictly as a film, it was well made.

Love Aaj Kal

Directed by: Imtiaz Ali

Starring: Saif Ali Khan, Deepika Padukone, Rishi Kapoor

Released: 2009

My rating: destroy every copy ? horrible ? bad ? whatever ? flawed but enjoyable - good ? great ? amazing

The story may not be great and performances of varied quality, but there is something lyrical about Imtiaz Ali films, which makes them an enjoyable watch, even if only once. Love Aaj Kal is the least emotional of his movies, least complicated, not reaching the amazing entertainment offered by Jab We Met or even emotional wreckage of Rockstar. But it has its share of charming moments and overal is a pretty, pretty picture, using flashbacks very well, without confusing the viewer, and heightening curiosity as the story goes on.

We are given a glimpse of ?modern? and ?cool? relationship between architect Jai and art student Meera, who have great time hanging out together, all on the backdrop of London. Jai, who is really the one carrying the narrative and the story unfolds from his point of view, considers romantic love an old-fashion concept, and when Meera is offered work in India, he very sportingly supports her to leave him, breaking up with her on friendliest terms possible. How very modern and cool indeed. However as the time passes by, he notices his sloppy attempts to move on are all destined to fail. And being constantly nagged by an elderly restaurant owner, who paints in front of Jai his own story of love he had once lived, Mr. Architect is quite shocked when he realizes Love has probably happened to him. Unfortunately it seems Meera actually did move on...

Deepika Padukone does not have much to contribute to the movie, aside from her utterly gorgeous face and drool-worthy wardrobe. After getting used to her very much exciting self from the last two years, I was actually surprised to revisit the somehow awkward, extremely camera-conscious Deepika with pitiful dialogue delivery (which has so evolved since then!). She doesn?t ruin the scenes she?s in, but the director very wisely let Saif Ali Khan do most of the acting instead, giving him most of the dialogues, and so our dear nawab goes on like a chatterbox, rarely stopping an endless flow of words whenever he is nervous or emotional. Sometimes his monologues actually get so long you wonder if Meera?s turn to talk would ever come (and sometimes it really does not).

The most charming bits of the movie, however, are introduced to the viewer by Rishi Kapoor and his narration of the old-school love story several decades ago, in India. The warm, brown colouring of all the scenes in the ?past? gives them a unique mood, very different from the rest of the film. In fact, it felt so nice, I caught myself wishing it would have been the main bit of the film, or a film of its own! Even more so since I felt it was left rather unsolved, even though Neetu Singh?s brief appearance in the very end of the movie gave away the final result.

Love Aaj Kal concludes a very simple fact: Love is Love, no matter if one searches for it or not, no matter where, no matter how it happens, and no matter how modern and cool you consider yourself. You can never bee too cool for Love. It?s just about how thick you are in the head to realize it happened. Very good production values, very likeable actors and very charming story telling make Love Aaj Kal a nice film, if you are in the right mood.

Chandni

Directed by: Yash Chopra

Starring: Rishi Kapoor, Sridevi, Vinod Khanna, Waheeda Rehman, Anupam Kher

Released: 1989

My rating: destroy every copy ? horrible ? bad ? whatever ? flawed but enjoyable - good ? great ? amazing

Chandni is iconic. No doubt about that. Even if only for introducing the myth of Yash Chopra?s ?eternal woman in white?. Myth, because after Chandni, she hardly appears in any other of his films. Yet so deep is the image of Sridevi dancing an enticing tandav engrained in all our minds, that we accept her as something definite. Yash Chopra?s ?woman in white? has always been adn always will be Sridevi in Chandni, and no one else. However much like another film that set certain standards - Dilwale Dulhania Le Jayenge - Chandni too is a movie that has its own problems, and though iconic, it ain?t untouchable. So let?s touch it today, with some delicacy and some less delicacy as well.

Rishi Kapoor plays an obnoxious rich dude who employs all the annoying, forceful ways of getting closer to a girl he likes, and pretty much gives her no choice in matter of loving him back. When life turns tables on him and does not go the way he planned it to, he falls into depression, gives up completely, and slips into a hardcore self-pity mode. In short he is a douche. Sridevi plays beautiful, annoying in her childish mode, touching in her serious mode, Chandni, who likes to dance in the rain and is... well... beautiful. That truly seems the most prominent feature that Yash Chopra chose to endorse in his heroine that time. Sridevi with her thick mane of hair, long limbs, shy smiles and of course those huge eyes looked like a fairy-tale come true. The first half is cruel to her character though, as she is merely dragged along by Rishi and his family. But Chandni also manages to pick up the pieces of her shattered heart and make a new life for herself, complete with a successful career job and a new man who falls in love with her.

Enter grief-stricken Vinod Khanna, whose mother Waheeda Rehman is probably closer to him in age than his first pyaar Juhi Chawla, who appears in a small but sweet cameo. He is all that Rishi Kapoor (in this film) is not. Thorough gentleman, principled, going after his desires but not forcing himself where he is not wanted. So naturally he does not get the girl in the end, because Rishi suddenly decides he wants Chandni back ? and much like in the beginning he blackmails her into a renewed relationship. Sigh. I was ready for Hum Dil De Chuke Sanam after this, to heal my aching soul. The score of the film did its share of healing too, for if there is something worth going back to, it?s the music ? yes, including the out-of-tune Sridevi parts of ?Oh meri Chandni?. The already mentioned wild tandav in nature is stunning and ?Tere Mere Hoton Pe? remains possibly my favourite track ever picturized on Sridevi. Chandni is also, quite possibly, the last film in which I was ready to accept Rishi Kapoor as a romantic hero. No matter what problems the characters displayed, all the actors did a good job with their roles, even if Anupam Kher going around and mouthing tutotial on life and love was boring. Again, I much prefered his meddling in Lamhe than here.

Did I mention these two get their own Switzerland song?

Chandni is one of the best known Yash Chopra films, and was one of his most successful ventures, however compared to let?s say Lamhe it lags behind, as a nice, but all in all average film. It is a notch better than Kabhi Kabhie though, being more tight in screenplay and not bothering about too many characters. Furthermore in spite of the obnoxious boyfriend (hell he even tricks the girl into getting drunk in pursuit of bodily pleasures), Chandni must have been a revelation at the time when action masalla had its boom. It aimed for simplicity and lots, lots of romance, on which it delivered (though there is still the question of the douche who initiates it all. And the whole Switzerland bit was unneccessary.). I have given up on Yash Chopra films being great in terms of script, rather it is best to simply let go and try and enjoy the atmosphere he managed to create. With this film he succeeded in conjuring up a charming little thing, even if only with help of Sridevi?s beauty and lovely music.