PaRtNeR-ReViEw

PARTNER 1.


Some do's and don'ts you need to follow while watching PARTNER…
Lock your brains in the almirah, before you head for the nearby movieplex to catch this zany entertainer.

Don't look for logic. Don't ask questions. Don't raise eyebrows. .

Don't argue with what the master chef David Dhawan serves on your plate. .

Do carry some earplugs/earwax if you're allergic to noise. The cineplex will reverberate with high decibels of laughter, which could tax your ear-drums if you're overtly sensitive. .Write your own movie review of Partner

Welcome to PARTNER, David Dhawan's new comic caper. It's stylish, it's crazier, it's a bigger entertainer than David's last two laughathons, MUJHSE SHAADI KAROGI and MAINE PYAAR KYUN KIYA. Making people laugh is an art and David has mastered this art over the years. Like wine, he has only matured with time.

Let's come straight to the point. PARTNER is for those seeking non-stop entertainment. It's targeted at those who swear by masala films. Those who want to get transported to a world of make-believe in those 2 hours. It's definitely not for those who actually know what to expect, but pretend to rubbish escapist cinema. Also, it's not for certain critics [looking for art cinema in a masala entertainer] whose star ratings are a much bigger joke than the one David Dhawan pulls off with élan. The film works, and works big time.

In a nutshell, if you're into escapist cinema, if you're looking for laughter unlimited, if you're curious to watch the bonding between Govinda and Salman Khan, if you're a big fan of David Dhawan movies, if you believe in shelling out Rs. 150 for a ticket and expecting entertainment worth Rs. 200, PARTNER is just for you!

Prem [Salman Khan] is a 'date doctor' who, for a fee, has helped hundreds of men woo the women of their dreams. In his childhood, he understood a woman's likes and dislikes in food, clothes or men. His aim is to help those men who like or love women, not to take them to bed.

The ultimate professional bachelor, Prem discovers that his tried and tested tricks are no match for Naina [Lara Dutta], the one woman he truly loves, who works for a newspaper as a journalist.

He comes across Bhaskar [Govinda], who is in love with Priya [Katrina Kaif], the rich and famous daughter of a tycoon [Dilip Tahil]. Prem helps Govinda find his lady love and eventually also finds a soulmate in Naina.

Inspired by director Andy Tennant's likable Hollywood hit HITCH [2005; Will Smith, Eva Mendes, Kevin James, Amber Valletta], PARTNER is a true-blue David Dhawan film. It's glossy, has some stunning visuals, boasts of very catchy and hummable music and of course, hardly has any tense moment in those 16 reels.

What works is the casting of the two characters, who're as dissimilar as chalk and cheese. Although the romantic portions have the right chemistry between Salman and Lara and Govinda and Katrina, the USP is undoubtedly the terrific bonding between Salman and Govinda, whose on-screen escapades take the film to dizzier heights. Besides, the witty one-liners [Sanjay Chhel] are another ace that has the viewer in splits. The dialogues are truly funny and actually accentuate the impact of every sequence.

Any 'hitch'es? Yes, there's one! The track that leads to the misunderstandings in the climax looks unwarranted. Writer sahib [screenplay: Yunus Sajawal, David Dhawan], this track [Rajat Bedi, Aarti Chhabria] compels you to break into a yawn. Also, it adds to the length of the enterprise. But the subsequent portion [Govinda's honeymoon travails] is rip-roaringly funny.

David Dhawan gets it right yet again. He's on familiar ground and like a seasoned cricketer knows the game inside out. He hits a boundary yet again. Sanjay Chhel's dialogues are superb. Sajid-Wajid make a terrific comeback, with every song having the stamp of a chartbuster embossed on it. Even their picturizations [choreography: Bosco-Caesar] are excellent. Cinematography [Johny Lal] is first-rate. The film bears an opulent look all through. Costumes of Salman and Govinda [Alvira Khan Agnihotri] are stylish.

The question is, who steals the show? Actually both! Salman performs like never before. Sure, he looks dapper [one compliment he's heard umpteen times], but he packs in a solid punch whenever he's on screen. His fans will only multiply with this film. Govinda sets the screen blazing with an incredible performance. Although the actor has featured in a few films after a hiatus [BHAGAM BHAG, SALAAM-E-ISHQ], PARTNER is his comeback film. He has the viewer eating out of his hands actually. Those who felt that he's a spent force will have to eat back their words.

Lara Dutta looks gorgeous and pairs off very well with Salman. Katrina Kaif looks gorgeous and pitches in a natural performance. Rajpal Yadav is really funny. Puneet Issar is alright. Dilip Tahil is okay. Suresh Menon is excellent. Child artiste Ali Haji is wonderful. His confidence level is astonishing!

On the whole, PARTNER is a winner all the way. This one's a laugh-riot that will have the viewers laughing in the aisles and its distributors, laughing all the way to the bank. A sure-shot 'Hit'.

SalAaM e IsHq-ReViEw

SALAAM E ISHQ 2

Think Shankar Ehsaan Loy and the name Javed Akhtar comes to mind immediately. After all the four of them have scripted some of the best music together in their association over the years. But the credit details of 'Salaam-E-Ishq' catch you by surprise since Sameer has been roped in as a lyricist to pen the words for SEL to compose their tunes. Another surprise (a good one again) comes from the fact that in an age where each and every album comes with a remix version of 2-3-4 songs, SEL has 7 tunes with none of them being repeated as a remix.

Together, director Nikhil Advani and Shankar Ehsaan Loy had a chartbuster score in the form of 'Kal Ho Na Ho'. With a mammoth starcast in hand and the trio of Shankar, Ehsaan and Loy enjoying the best phase of their career, it is pretty much given thought that 'Salaam-E-Ishq' too would be a winner in the making. It truly is the case as album succeeds in sticking to the genre of the film i.e. 'a tribute to love' and actually conveys the emotions through the 7 songs.
Write your own musicreview of Salaam-E-Ishq: A Tribute To Love

Is it country music that you are hearing? Or are there Caribbean elements to it? 'Dil Kya Kare' is a combination of both (an amazing one at that) and a lot more as it marks the return of Adnan Sami to the big stage yet again as he goes extremely mellow in this smooth-n-silky love song. Sameer's poetry goes quite well for the song of this genre that mainly has a guitar playing throughout with very minimal dose of other instruments in the background. As one hears on the song for long, the classy touch of SEL start becoming quite apparent. A few seconds later, you are truly moved to a different world altogether as Caribbean/African flavor in the song becomes much more visible. A beautiful song that has a brief element of full blown title song 'Salaam-E-Ishq' which comes later in the album.

After a Western/Caribbean flavor, the album takes a twist with a 'qawalli' that begins with a prelude followed by new entrant Shilpa taking over the proceedings. With Sameer around, there is always a high probability of 'saiyaan', 'choodi', 'kangana' and 'jhumka' around and he delivers as expected with the song 'Saiyaan Re'. What takes the cake is the fact that there is a western fusion element to the qawalli that makes it stand out in the crowd. A 'jugalbandi' of sorts with Shankar Mahadevan pairing up with Shilpa and Loy Mendonca doing the supporting act; it is a guaranteed winner in the making due to its beautiful rhythm that hooks you on in the first listening itself. With Govinda in the film, 'Saiyaan Re' seems to be tailor-made for him and if that indeed is the case then it is good news for his fans!

After two (well done) experimental numbers, listener gets to hear a kind of composition that has Shankar-Ehsaan-Loy stamp all over it. Titled 'Mera Dil', it is a sugar coated love song with fantasy ingredients to it which makes it a feel-good number to croon around. Sung by Shaan, the song is also special for Nihira, Sa Re Ga Ma Pa finalist, who had earlier played a supporting role to Sunidhi Chauhan in 'Dhadak Dhadak' [Bunty Aur Babli]. With 'Mera Dil' she makes a confident entry to the big arena and gives a good account of herself as someone who can croon for a girl in her teens or someone just out if it. Is this melodious track the one which has been composed for Ayesha Takia and Akshaye Khanna?

SEL's stint with experimentation continues as they follow up the sound of Bagpiper with Indian 'dholaki' beats. Now that's being innovative! A song that would have made a Yash Chopra or a Karan Johar proud, title song 'Salaam-E-Ishq' is an instant winner due to its overtly catchy and easy to croon appeal! Shot on a grand scale coming across as an ensemble piece with singers like Sonu Nigam, Shreya Ghoshal, Kunal Ganjawala, Sadhana Sargam and Shankar Mahadevan behind the mike, it brings together the majority of starcast together in the song which is truly a celebration of love! Fourth successive winning number in a row!

If one thought that 'Dil Kya Kare� was the first and last song where SEL experimented with Caribbean sound then you need to hear 'Tenu Leke'. It is quite interesting to hear the sound of 'dhol along with 'band baaja' that actually is played on a Caribbean theme. Hear it to believe it. A marriage song about a guy coming to the girl's place with a 'baraat' and promising to take her away with him, 'Tenu Leke' is a song with an unconventional 'mukhda' which sets the pace for the rest of the song to follow. A dance number that is bound to look good on screen!

Nihira is the only female singer in the entire album who gets to sing two songs as she croons the re-arranged [not remixed] version of the classic 'Babuji Dheere Chalna' [Aar Paar] originally sung by Geeta Dutt. She does a good job in crooning this track which in all probability seems to be one designed for Priyanka Chopra who is shown as an item girl in the film. Good part about the song is that it's soft feel is kept intact without making it as yet another 'beat one-beat two' number and the slight techno arrangements given to create a true 'retro'-spective number makes it an eminently enjoyable number all over again.

With Kailash Kher's name on the credits, one expects a full throated number that is high on spirits. What instead comes a surprise (yet again) is to actually hear him sing on a medium pitch as he goes about rendering 'Ya Rabba', a thoughtful number about 'a problem called love'! A sad song that moves at a slow pace while creating the much required impact, it doesn't drag for a single moment and should be quite engrossing when appearing (expectedly) at different points in the film.

Each of the songs of 'Salaam-E-Ishq' boasts of high quality music. There are some new sounds interspersed with the kind of music that goes well with the Bollywood scheme of things and the final result is something that is going to stay with you for many more months to come. Music of 'Salaam-E-Ishq' is yet another winner before an eminently successful 2006 comes to a close. Also SEL can assure themselves a hat-trick after two back to back successes in the form of 'vKabhi Alvida Na Kehna' and 'Don'.

No EnTrY-ReViEw

NO ENTRY 3

Let's clear the misconception at the very outset!

NO ENTRY is not even remotely similar to last year's MASTI or the Hollywood flick THE SEVEN YEAR ITCH, as being widely speculated. The only similarity is that both MASTI and NO ENTRY talk about men wanting to have their share of fun outside marriage. And since the issue of extra-marital affairs is treated humorously in the two films, there's a possibility that people might draw parallels.

Having cleared the misconception, let's get into the analyzing mode�

When the writer of several successful laughathons decides to direct a laughathon himself, expect nothing but the best. Director Anees Bazmee, who has tackled romance [PYAAR TO HONA HI THA] and thriller [DEEWANGEE] with flourish, besides writing a number of David Dhawan flicks, now attempts a comic caper that drives you nuts.

In spirit, NO ENTRY is akin to David Dhawan movies. The mantra is very clear: Garnish light moments with spice [sex], gloss [fabulous locales] and hip-swinging music. Concentrate on gags and punches. Throw logic to the winds. Pack a number of stars in the enterprise. Presto! The recipe for a paisa vasool entertainer is ready.

So does Bazmee get it right? Does NO ENTRY emerge as a paisa vasool entertainer? The answer to both the questions is a big 'Yes'. NO ENTRY is a joyride that's sure to send the moviegoers into raptures. NO ENTRY also works because it does not pretend to be something that it's not. The sole idea is to entertain and NO ENTRY delivers what it promises.

Having said that, let's add that when you saunter into a movieplex screening MUJHSE SHAADI KAROGI, HULCHUL, MAINE PYAAR KYUN KIYA and now NO ENTRY, leave your brains behind, don't wear your thinking caps and forget what the term 'logic' means. If you follow the rules, you'd relish NO ENTRY from start to end.

In a nutshell, MUNNABHAI M.B.B.S., MUJHSE SHAADI KAROGI, HULCHUL, KYAA KOOL HAI HUM and MAINE PYAAR KYUN KIYA regaled viewers and also struck gold at the box-office. Now add NO ENTRY to this illustrious list!

NO ENTRY is the story of three men:
Kishen [Anil Kapoor] -- the married man.
Sunny [Fardeen Khan] -- the bachelor.
Prem [Salman Khan] -- the 'married bachelor'.

While the faithful Kishen has a suspicious Kaajal [Lara Dutta] as his wife, playboy Prem has a trusting wife Pooja [Esha Deol]. And then there is Sunny's to-be wife Sanjana [Celina Jaitley], who is a bit of both.

Trouble brews when Prem decides to make Kishen taste the 'forbidden fruit' that he loves so much. This 'forbidden fruit' is the sultry siren Bobby [Bipasha Basu], who walks into the lives of them all, leading to chaos, craziness, commotion and crisis.

Who is Bobby, who manages to turn their lives topsy-turvy? Astonishingly, each one has a different answer to this question. Kishen dupes Kaajal into believing that Bobby is Sunny's wife. Sunny tricks Sanjana into believing that Bobby is Kishen's wife. That's when the trouble begins!

Comedy is serious business. To make people laugh requires not just the right lines and situations, but the right kind of actors as well. Their comic timing has to be immaculate, or else the jokes would simply fall flat. NO ENTRY has it all and as a result, it works well!

Although the film defies logic, Anees Bazmee must be credited for coming up with a compelling script. Everything is well explained right at the outset and the reasons that prompt Anil Kapoor to cheat on his wife is convincingly told.

A number of sequences stand out in the first hour:
Lara's suspicious nature, first involving her maid and then at the shopping mall, when she spots Anil's car.

The sequence with the astrologer [Razzaq Khan], involving the two couples -- Anil-Lara and Salman-Esha.
Fardeen's 'suicide point' [cliff] sequence.
But it's the post-interval portions that bring the house down:
The entire marriage sequence [Fardeen-Celina].

The sequence at the Mauritius resort. A lengthy sequence, but the most hysterical part of the enterprise.

The climax at the 'suicide point' [cliff] again.
But, from the writing point of view, there are some loose ends as well. The Boman Irani track looks completely forced in the narrative. Even the sequence in the second half, when he bumps into Salman in a hotel, was just not required.

Besides, the film could've done with a much better musical score. Not that the songs are mediocre, but how you wish you'd carry the songs on your lips like the comic sequences in your mind, after the screening has concluded. The film can also do with some trimming in both the halves. Ideally, a 10-15 minute scissoring would only spruce up the proceedings.

Directorially, Bazmee exhibits his versatility with NO ENTRY. This is the first time he has handled comedy [as a director] and not once does it look that he has stepped into a new territory. The execution of comic portions is the mainstay of the enterprise without doubt.

Cinematography [Ashok Mehta] is splendid. Every frame is of the picture postcard quality, reaffirming the fact that Mehta is the best in the business. Anu Malik's music is alright. From the filming point of view, the title track [choreographer: Raju Sundaram] and 'Just Love Me' [choreographer: Vaibhavi Merchant] stand out due to the picturizations. Dialogues are witty and in sync with the mood of the film.

NO ENTRY boasts of a galaxy of stars, but the ones who stand out are Salman Khan, Anil Kapoor, Bipasha Basu and Lara Dutta -- in that order. Salman is excellent throughout, but it's his work in the climax that takes the graph of the film to an all-time high. However, he is missing for a substantial part in the post-interval portions.

If you saw Anil Kapoor in a serious role last week, watch him in one of the craziest roles ever in NO ENTRY. But despite an excellent performance, watching Anil in almost every frame of the film may not appeal to everyone. Bipasha Basu has never looked so hot, so inviting. But it's not about the looks, but talent and Bipasha scores on that front as well. Lara Dutta springs a surprise, essaying the role of a suspicious woman to perfection. Truly, this is one of her most uninhibited works!

Fardeen Khan comes into form in the post-interval portions, when the story focuses on Anil and Fardeen mainly. And the actor leaves a strong impression in the resort sequence. Ditto for Celina Jaitley, whom you start liking only towards the second half. Her skin show in 'Ishq Mein' will send the guys drooling. Esha Deol is relegated to the backseat. She gets a chance only in the final scene [when Salman apologizes to her] and she makes full use of it.

Boman Irani is wasted. Pratima Kazmi suits the ferocious part well. Paresh Ganatra, the guy enacting the role of Bipasha's lover, is fantastic. Sameera Reddy makes a surprise appearance towards the end and looks alluring.

On the whole, NO ENTRY is a joyride that is bound to click with the masses in a big way. At the box-office, NO ENTRY has all it takes to prove a success story on account of its massive star cast and excellent comedy it has to offer. Go have fun!

MaInE pYaR kYuN kIyA-ReViEw

MAINE PYAR KYUN KIYA 5
Riding high on the success of MUJHSE SHAADI KAROGI, DD now attempts yet another light entertainer that is targeted at the common man, with tremendous appeal not just for the youth but also for the family audiences. Like all DD films, MAINE PYAAR KYUN KIYA throws logic to the winds. So, when you saunter into a movieplex screening MAINE PYAAR KYUN KIYA, make sure you leave your thinking caps back at home.

Love triangles have always fascinated DD and MAINE PYAAR KYUN KIYA is no exception. This one also revolves around two women falling in love with one man, but it borrows heavily from a hit Broadway play, which director Gene Saks adapted brilliantly on the big screen and called it CACTUS FLOWER [1969; starring Walter Matthau, Goldie Hawn, Ingrid Bergman].

MAINE PYAAR KYUN KIYA is high on substance and more importantly, very high on entertainment. You expect to watch a breezy entertainer in those 2.15 hours, a film that doesn't test your intelligence and sure, the film lives up to the expectations.

Comedy is serious business. The moviegoer has to laugh at the right places and situations and DD has mastered the art over and over again. In a nutshell, MAINE PYAAR KYUN KIYA is a chill pill, a film that puts a smile on your face and yes, paisa vasool entertainment at its best!

There's no doctor like Samir [Salman Khan]. He mends broken bones, but there's no remedy for the hearts he breaks. That's because this orthopaedic surgeon just can't resist women. Neither can women stay away from this charming casanova.

But there's one exception: His work-obsessed, dutiful nurse Naina [Sushmita Sen].

She has no life except the doctor's clinic and she's always busy making sure that the doctor keeps his appointments with his many patients and his as many girlfriends.

To make sure none of his affairs become serious, Dr. Samir has one instant cure. He tells all his besotted girlfriends that he is already married. Most of them swallow this bitter dose and leave him alone.

But there's one exception: His latest love Sonia [Katrina Kaif]. She is beautiful, bright and sensitive. Samir is finally in love and tells her he wants to marry her. But she has one condition: She will marry him only after she has met his wife!

Now Samir is stuck. Because he has no wife!

To make his lie true, Samir has to tell one more lie. Then another. And yet another� Helping Samir cover the truth with his lies is the reluctant but loyal Naina. Helping Sonia discover the truth behind the lies is her besotted neighbor Pyaare [Sohail Khan].

Into this jamboree drops Samir's mom [Bina Kak], who slaps before speaking and Samir's best friend Vicky [Arshad Warsi] and his fake patient Thapa [Rajpal Yadav], who have their own lies to protect.

DD has always chosen actors who've a flair for comedy, their timing is bang-on and MAINE PYAAR KYUN KIYA gets it right in that department. The Salman-DD magic, starting with JUDWAA, right till MUJHSE SHAADI KAROGI, is on display in MAINE PYAAR KYUN KIYA as well. Sushmita, Sohail, Katrina, Arshad, Bina Kak� everyone lets their hair down and combine their energies for this joyride.

A love triangle is a much-used-and-abused genre in Bollywood, but DD and screenplay writer Rumi Jafry rise to the occasion to assure you laughter unlimited. A few sequences involving Salman, Katrina and Sohail as well as those involving Salman, Sush and Arshad are truly hilarious.

But that doesn't mean that the film is devoid of loose ends. The post-interval portions are very lengthy and the promise evident in the first half gets diluted in the next one hour. Also, the pace slackens in the post-interval portions. The editor could've used the scissors far more judiciously and trimming the film would've only helped. Even the writing in the second half could've been better!

David Dhawan keeps the interests of the masses in mind and that's pretty evident this time as well. For any light entertainer to strike a chord, it ought to be laced with gags and punches and most importantly, actors who can carry off the characters with ?n. MAINE PYAAR KYUN KIYA has enough rib-tickling moments that can really drive you nuts and the pacing is so fast generally, it doesn't leave room for the moviegoer to blink an eyelid.

Himesh Reshammiya's music is in keeping with the mood of the film. 'Just Chill', 'Laga Prem Rog' and 'Dil Di Nazar' are peppy numbers that have been promoted extensively and also look good on screen. The choreography of 'Just Chill' and 'Laga Prem Rog' in particular is very energetic. The film bears a striking look throughout, courtesy Vikas Shivraman's cinematography. A film of this genre relies heavily on wit and humor and the repartees/witty retorts [dialogues: Sanjay Chhel] are superb.

MAINE PYAAR KYUN KIYA is a Salman Khan film all the way. The good looking actor has specialized at aimed-at-gallery roles and his performance plus charisma is what makes the goings-on so pleasurable. Besides, the terrific rapport that DD and Salman share translates beautifully on the big screen.

Sohail Khan is back and how! MAINE PYAAR KYUN KIYA showcases the youngest Khan's talent to the optimum and as the nosey Pyaare, he is truly pyaara. He tends to go over the top at places, but that's what the film demands! Sushmita Sen is so perfect, so natural and yes, eye-candy for those looking for the glamour quotient. Katrina Kaif is a complete revelation. The pretty lass, who showed improvement in SARKAR two weeks ago, finally gets the right role to showcase her talent.

Arshad Warsi is a major force to reckon with when it comes to comic roles and under DD's direction, the actor explodes big time. He is simply superb! Isha Koppikar gets no scope. Rajpal Yadav isn't in form this time. Bina Kak, as Salman's brash mother, is another actor to watch. She excels! Arbaaz Khan is there for just one scene in the penultimate reel.

On the whole, MAINE PYAAR KYUN KIYA is a breezy entertainer that will keep the viewers smiling, which in turn will make its distributors laugh all the way to the bank!

LuCkY-ReViEw

LUCKY 6

You tend to expect the moon when a keenly-anticipated film hits the marquee. And if the film is produced by an actor's production outfit, with the leading music company as partners, the expectations are enormous, gargantuan, gigantic.

LUCKY, directed by debutante Radhika Rao and Vinay Sapru, is amongst those films that is expected to bail the film industry out of its crisis. With millions invested in the enterprise, a lot is at stake for sure.

LUCKY has its share of plusses and minuses�

You do encounter roadblocks as you embark on the journey called LUCKY, but despite the obstacles [in the first half specifically], the final outcome is fulfilling enough.

Mercifully, LUCKY works primarily because of four factors -
Breath-taking locales of Russia. The film makes a tremendous visual impact.

Adnan Sami's music. The mellifluous tunes linger in your thoughts even after the show has concluded.

Fresh pairing. The on-screen chemistry between Salman Khan and Sneha Ullal is endearing.

Vibrant action [Mahendra Verma, Sergei, Oleg]. You really don't mind the gun-shots and blasts, for a change!
Most importantly, LUCKY heralds the arrival of two talented names - Radhika Rao and Vinay Sapru. Yes, the duo falter in the writing department [the screenplay could've been taut and the dialogues classier], but the impact they create in the post-interval portions deserves praise.

Set against the romantic and majestic backdrop of St. Petersburg, LUCKY is a tale of love that brings together two people who probably wouldn't have met if not destined.

Lucky [Sneha Ullal] is the quintessential dreamer - soft, beautiful and gentle. Her one big belief is that if you search from the bottom of your heart, you will find not just the rainbow, but also the crock of gold at the end of the rainbow.

One fine morning Lucky is riding to school, praying that she clears her test, scheduled on that date. But her journey to school becomes her desperate journey of survival.

Caught unawares by an unexpected wave of insurgency in St. Petersburg, Lucky tries to reach for safety. As dread and fear overtake, she meets a stranger, a fellow countryman Aditya [Salman Khan], who's smart, wicked, charming.

They have nothing in common. She's excessively na? and he blas?They are bound together by just one common goal - to reach home safely.

And now begins an unforgettable journey, from burning highways and moldy cemeteries to abandoned theaters and icy snowdrift. A journey where violence and tragedy stalk them constantly�

As they march through savage ambushes and the icy wilderness of a foreign land, they discover the limit of their endurance. Amidst all commotion, an Intelligence guy, Colonel Pindidas Kapoor [Mithun Chakraborty], helps them reach home.

It's common knowledge that a love story works if and only if it's high on emotional quotient. And the moments linger in your memory. LUCKY walks into your heart gradually!

The film starts off well, but the story comes to a screeching halt the moment Salman and Sneha find themselves stranded in a cemetery. The conversations between Salman and Sneha at this juncture are dull and boring, which is a glaring flaw from the writing point of view. The grip is clearly missing!

But the pace picks up gradually in the post-interval portions. And it gets all the more engrossing the moment Salman and Sneha are held captives by the terrorists. From thereon, right till the finale, LUCKY goes higher and higher on the graph.

If Radhika and Vinay score as technicians - the film wears a Hollywoodish look all through - they don't deserve as many marks as writers. From the writing point of view, Mithun looks more like a buffoon than an intelligence officer. Also, you often wonder how Mithun reaches the right place at the right time - there're no explanations offered!

Besides, what is the idea behind making the characters talk in Russian to a large extent? Fine, it has to look authentic, but sub-titles for such sequences are a must. How do the makers expect the Hindi-speaking audiences to fathom what's being discussed time and again?

Even the dialogues [Milap Zaveri] are pedestrian at times and oft-repeated at places. The dialogue writer is at a loss while penning some mushy, romantic, sensitive one-liners.

Despite the hiccups, Radhika and Vinay have handled most parts of this 'offbeat' love story well. Every frame looks well worked upon and the two principal performances are worth noting.

Adnan Sami's music is soul-stirring. 'Jaan Meri Ja Rahi Sanam', 'Sun Zara', 'Lucky Lips', 'Chori Chori' and 'Shayad Yehi To Pyaar Hai' are tunes that you'd want to hum again and again. The impact of the music is elevated thanks to the lavish picturizations. Cinematography [Sudeep Chatterjee] is award-worthy. The locales of Russia enhance the impact to a major extent. Background music [Monty] makes a valuable contribution as well.

Salman Khan goes over-the-top in the first few reels, but he delivers a knockout performance in the second half. Looking dapper [as always!], the actor handles the emotional part with amazing maturity. Sneha Ullal is photogenic, acts confidently and most importantly, looks the character - a school girl. Her sequences with Salman, in the post-interval portions especially, are cute.

Mithun Chakraborty does not deliver. His portions seem forced in the screenplay. Kader Khan is wasted. Vikram Gokhale, Navni Parihar and Ravi Baswani are adequate.

On the whole, LUCKY works for the aforesaid four reasons [fresh pairing, soul-stirring music, vibrant action and breath-taking locales]. And with terrific promotion undertaken by T-Series, besides no major opposition for the next two weeks as well as commencement of summer vacations, LUCKY should keep its investors in the plus, from the business point of view.

MuJhSe ShAaDi KaRoGe-ReViEw

MUJHSE SHAADI KAROGE 7

David Dhawan - the name brings back memories of blockbusters such as AANKHEN, BADE MIYAN CHOTE MIYAN, BIWI NO. 1, BOL RADHA BOL, COOLIE NO. 1, HASEENA MAAN JAAYEGI, HERO NO. 1, JUDWAA, JODI NO. 1, RAJA BABU, SWARG, SHOLA AUR SHABNAM and SAAJAN CHALE SASURAL.

Naturally, with such titles to your credit, you expect the ultimate in entertainment from the badshaah of non-stop entertainment. And with a dream cast like Salman Khan, Akshay Kumar and Priyanka Chopra, the expectations from MUJHSE SHAADI KAROGI, produced by Sajid Nadiadwala, multiply manifold.

A few questions cross your mind as you amble into the theatre to watch the most awaited marriage of the season -

Will MUJHSE SHAADI KAROGI meet the gargantuan expectations?


Will the chemistry between Salman and Akshay - who have been teamed for the very first time - be electrifying? If yes, who'd steal the show?
Let's take the questions one by one -

MUJHSE SHAADI KAROGI falls in the same league as David Dhawan's earlier films. The focus is to entertain, not enlighten or educate. Where logic takes a backseat and all that matters is two-and-a-half hours of pure, unadulterated entertainment. In that respect, MUJHSE SHAADI KAROGI scores. Leave behind your thinking caps at home before watching this movie and you'll enjoy this joy ride all the more!


The on-screen chemistry between Sanjay Dutt and Govinda in David Dhawan's earlier films was exceptional and this time, in MUJHSE SHAADI KAROGI, the camaraderie is simply amazing. In fact, the film would've fallen flat on its face had the two actors not been able to compliment each other in this story of one-upmanship.
As for who's better of the two, read that in a few paras below.

When Samir [Salman Khan] falls head over heels in love with lovely Rani [Priyanka Chopra], little does he know that his happiness will soon be sabotaged.

And the culprit is none other than Sunny [Akshay Kumar], with whom Samir shares his room and who has fallen for Rani's charms as well.

The two Romeos try desperate measures to win their lady love. As luck would have it, whatever right Samir tries to attempt goes spectacularly wrong, while Sunny emerges trumps!

Adding to the mayhem are Rani's disciplinarian army officer father [Amrish Puri] and Samir's astrologer friend [Rajpal Yadav].

MUJHSE SHAADI KAROGI falls in the same genre as David Dhawan's Anil - Govinda starrer DEEWANA MASTANA. The game of one-upmanship, which was the premise of that film, is precisely the essence of MUJHSE SHAADI KAROGI as well.

MUJHSE SHAADI KAROGI has its share of sprightly moments. The stage is set at the very start of the film, when Salman bumps into an astrologer [Rajpal Yadav] as he arrives in Goa to start life afresh.

But the film actually takes off when Akshay lands up at the house and starts sharing the room with Salman. In fact, Akshay's introduction in the story only elevates things and the cat and mouse game that the two actors indulge in subsequently is simply howlarious!

The two Romeos' interaction with Amrish Puri specifically is amongst the high points of the enterprise. And the strategies Akshay adopts to outsmart Salman may seem asinine, but are amusing nonetheless.

The post-interval portions move at an equally brisk pace, not giving the viewer time to blink an eyelid. The climax - when Salman expresses his love for Priyanka on a cricket pitch - is truly different. And the presence of cricketers will only catch the viewers unaware, with Navjot Singh Sidhu's expert comments in English bringing the house down.

As to who gets the girl in the end, it wouldn't be fair to reveal it here!

David Dhawan is known for his kind of movies and the masala that MUJHSE SHAADI KAROGI offers is enough to satiate the appetite of those looking for masala entertainment. Stylishly shot at some panoramic locales of Mauritius, with no double entendres, the film proves yet again that only David can pull off such stories without the cinegoer feeling cheated by an obscure plot. The film has a very youth-oriented feel, starting with the BAYWATCH-like portions [prime bodies on beaches] in the initial reels, which is what appeals in today's times.

Anees Bazmee's script is a prime example of make-believe, escapist cinema. Though the film has its share of interesting moments, the pace slackens slightly towards the post-interval portions because the game of one-upmanship starts stagnating after a point. But the climax elevates the film yet again. Slight trimming in the second half will only help.

Sanjay F. Gupta's cinematography is outstanding. Though a number of films have been shot in Mauritius, Gupta's lens captures the place so magnificently that it looks like a fresh locale completely.

Rumi Jaffrey's dialogues are in keeping with the mood of the film. A film like this relies on wit and humour and Rumi's one-liners are thoroughly enjoyable. Action scenes [Mahendra Verma] are first-rate.

Sajid-Wajid's musical score is rich enough. 'Rab Kare', 'Jeene Ke Hain Chaar Din', 'Laal Dupatta' and the title track are gems and the choreography of each track [Farah Khan] deserves distinction marks.

Of the cast, it's indeed difficult to say who'd walk away with ceetees and taalis at the conclusion of the show. Salman Khan, playing a goodie-goodie guy, enacts his part with gusto. Not only does the actor look dashing [a compliment he has learnt to live with!], the ease with which he handles the comic portions is incredible. In moments when Akshay actually downplays his deeds in the movie, your heart goes out to Salman and that's only because of the effective portrayal.

Akshay Kumar is a revelation. He has attempted comedy twice in the past - MR. AND MRS. KHILADI and KHAKEE - and he got his share of acclaim in both. With MUJHSE SHAADI KAROGI, he surpasses his previous work. His timing is fantastic and the conviction with which he carries off the evil streak in his personality is bound to be talked-about in days to come.

Priyanka Chopra gives an equally good account of herself. Though the role doesn't really demand histrionics, the pretty lass carries off her part effortlessly. Also, she pairs off very well with both Salman and Akshay.

Amrish Puri is excellent. His sequences with Salman - right from the time when Salman slaps him at the start of the film, to the finale on the cricket pitch - are sure to keep you in splits. Rajpal Yadav [in a double role] is excellent as the astrologer, though he doesn't get much scope in the other role [member of the Eagle gang]. Kader Khan's character will be liked by the masses. Shashikala is alright. Satish Shah and Vindu are adequate.

Amrita Arora [sp. app.] is noticeable. Shefali Jariwala ['Kaanta Laga'] is appealing in a small role.

On the whole, MUJHSE SHAADI KAROGI is an apt example of escapist cinema that transports you to a world of make-believe. Rich in face-value with light moments aplenty, the film has all it takes to woo the masses. At the box-office, the film will take a historic start, setting new box-office records in days to come.

GaRv-ReViEw

GARV 8


By sheer coincidence, men in uniform seem to have caught the fancy of Bollywood directors and writers. From the commencement of this year, there has been a deluge of films that either talk of cops and the cop-politician-underworld nexus or about Indian armed forces and their fight with the Pakistanis.

There has been KHAKEE [cops], MAQBOOL [cops-underworld], AB TAK 56 [cops], AAN [cops], DEV [cops], LAKSHYA [army] and DEEWAAR [army]. In between, BARDAASHT and MAIN HOON NA also had the protagonist as army officers.

And now there's GARV - on cops again!

The question is, does GARV have something different to say? Or is it the same old story packaged in a new avtaar? Let's put it this way: GARV is old wine, packaged in a new bottle!

GARV revolves around the life and times of officers in the Mumbai Police Force, spearheaded by Samar Singh [Amrish Puri], Arjun Ranawat [Salman Khan] and Hyder Ali [Arbaaz Khan].

In a city where corruption has become the order of the day and ethics a thing of the past, Arjun and Hyder, under the spirited guidance of Samar Singh, take up cudgels against the underworld [Mukesh Rishi], thus eliminating several 'Wanted' criminals.

The powerful people connected with the underworld don [Govind Namdeo, Anant Jog, Shivaji Satam] panic and plan out strategies to counter Samar Singh, Arjun and Hyder.

Samar Singh gets his transfer papers, Hyder is eliminated and subsequently, the underworld-politician nexus targets Arjun's mother [Farida Jalal] and sister Rakhi [Akanksha]. Arjun is compelled to take law in his hands�

GARV has a waferthin story that has been witnessed since time immemorial. Strangely, a number of Hindi films have borrowed heavily from the masala films of the 1980s and 1990s and GARV is no exception. Fortunately for GARV, the speed with which the sequence of events unfold in the first half specifically camouflage the defects largely.

The first half is extremely interesting, never mind the oft-repeated plot. The drama in the first half builds up gradually and thankfully, for a change, the cops in this film are an honest lot. In fact, Puneet Issar gets an extra point for uplifting the image of the cops in his big screen directorial debut.

Besides, the sequence of events unfolds at a brisk pace. There's so much happening in the first hour - the film begins on an exciting note [Salman's introduction is well executed], the corrupt politicians and their shrewd games are exposed, the underworld don and his evil plans come to fore, the encounters take place� It gives the viewer no time to feel restless. Thanks to the drama at the intermission - when Arjun challenges the don - the viewer awaits the second half with bated breath.

But the post-interval portions suffer from the scripting point of view. The forced romantic track and the reasons that compel Arjun to go on a rampage in the end glaringly stand out like a sore thumb.

To start with, there's no scope for romance in a script like this. So, when the battle lines are drawn at the interval point, you expect the two forces [the law makers and law breakers] to collide, resulting in a deadly duel. But, soon after the intermission, what you get to watch is the hero romancing the heroine first in Rajasthan and then in Mauritius [both dream songs]. Hello, why this sudden focus on romance?

The pre-climax and climax is another downer. Arjun decides to conceal the reason that prompted him to go on a rampage and commit mass murders. Even Samar Singh, who decides to fight his case, says that he cannot reveal the reasons that propelled Arjun to take law in his hands and that Samar should be punished. The drama builds up�

But no sooner is the reason [that compelled Arjun to commit mass murders] is revealed, the impact reduces by half. Why? Primarily because the reason is definitely valid, but such reasons have been witnessed so many times in the past that the viewer can actually guess everything even before it is revealed in the end.

Director Puneet Issar makes an impressive debut as a storyteller. He knows the technicalities right, has drawn competent performances from the cast and has handled the dramatic sequences with flourish. Arjun's clash with the politicians when the opposition demands an explanation for encounters and also when the corrupt Chief Minister [Govind Namdeo] asks for a detailed report of the underworld activities, are brilliantly executed and will be loved by the masses.

But Puneet Issar's choice of the subject is what dilutes the impact. There was scope for knitting a better screenplay in the second half.

GARV is aimed at the masses and Puneet Issar makes no pretensions about it. The film has several clap-trap moments and the director gets a major boost from two sectors - dialogues [Anirudh Dhodapkar] and background music [Aadesh Shrivastava]. The dialogues are the high point of the film and elevate even an ordinary sequence to above-ordinary heights. Ditto for the effective background score. The usage of Sanskrit shlokas as part of the background score adds punch.

Action sequences [Mahendra Verma] are appropriate, but the impact of the extremely violent portions may not be appreciated by the tender-hearted. Cinematography [Steven Fernandes, Kishore Kapadia] is of standard. Though the film doesn't have ample scope for visuals, the cinematographers do sufficient justice.

Music is a mixed bag. The two songs that stand out are 'Saiyaan' [Sajid-Wajid] and 'Marhaba' [Anu Malik]. The picturization of 'Marhaba' [on Reshma Bombaywala] should be lapped up by the hoi polloi. 'Dum Mast Mast' [Sajid-Wajid] is imaginatively filmed and tuned, but its placement is improper. In fact, the two songs ['Dum Mast Mast' and 'Hum Tumko Nigahone Mein'] in the second half, although well tuned, should be deleted rightaway since they come as a major hindrance in the narrative.

GARV belongs to Salman Khan, who carries the film on his broad shoulders. The actor takes to his part like a fish takes to water and emerges trumps. This performance will only multiply Salman's fan following by leaps and bounds!

Shilpa Shetty gets no scope at all. Blink an eyelid and she's gone! However, she sizzles in the dance numbers. Arbaaz Khan does leave a mark, more so towards the second half. Akanksha also gets scope in the post-interval portions and she does it well. Amrish Puri and Anupam Kher are proficient, like always. Mukesh Rishi is first-rate. Govind Namdeo is superb. Anant Jog, Mohan Joshi and Shivaji Satam are adequate. Inder Sudan [opposite Akanksha] gets no scope absolutely.

On the whole, GARV will meet with diverse reactions. While the hardcore masses will love it, the gentry/family/critics may not really take to it. At the box-office, the film should fare better at single screens, not at multiplexes. Its business will be good in Maharashtra, U.P.-Bihar belt and parts of South [Hyderabad-Secunderabad] in particular and smaller centres in general. The terrific start will only ensure a fast recovery for its distributors and lack of a major opposition for the next two weeks should help.

BagHbAn-ReViEw

BAGHBAN 9

The bonding between the parent and child to the sad turn of events at the sunset of the parent's life, have been depicted in various films in the past.

B.R. Chopra's BAGHBAN, directed by Ravi Chopra, takes a look at the delicate relationship between parent and child. In terms of story, it comes very close to three films � ZINDAGI [Sanjeev Kumar, Mala Sinha], AVTAAR [Rajesh Khanna, Shabana Azmi] and SWARG [Rajesh Khanna].

Despite similarities, BAGHBAN works, mainly because of the rich emotional appeal it has to offer.

BAGHBAN is the story of Raj Malhotra [Amitabh Bachchan], his wife Pooja [Hema Malini] and their four sons [Aman Verma, Samir Soni, Sahil Chadda, Nasir].

Just like a gardener ['baghban'] who plants a sapling and nurses it till it blossoms into a tree, in the hope that he would be able to bask in its shade when he grows old, Raj and Pooja have raised their sons, all well settled in their lives, with utmost care.

But equations change when Raj retires from his bank job. None of the four sons are ready to take their parents' responsibility.

The sons work out a strategy: The father would live with the eldest [Aman], the mother with the second son [Samir]. And after six months elapse, they would shift to the third and fourth sons [Sahil, Nasir].

Raj and Pooja, who love each other dearly, are separated in their old age�

If the separation of the parents bears a striking resemblance to ZINDAGI [Sanjeev Kumar and Mala Sinha underwent a similar situation in this 1977 film], the pre-climax [adopted son Salman Khan, an orphan, entering the scene] and the climax [in a turn of events, the parents become rich and the greedy sons re-emerge on the scene] is very similar to AVTAAR.

Yet, despite the comparisons and the feeling of d? vu, BAGHBAN rises to the occasion. The emotional quotient in the film is enough to overcome all shortcomings.

Director Ravi Chopra, who has attempted various genres in the past [ZAMEER, THE BURNING TRAIN, MAZDOOR, AAJ KI AWAZ], is most comfortable attempting this genre. Not that the film is without its share of flaws �

From the script point of view, the reason that compels the parents to live separately looks baseless. For, barely 5 minutes ago, at the farewell party hosted in his honour, Raj Malhotra [Bachchan] had publicly announced that he'd want to spend the remaining life with his wife, not working in an 8.30 a.m. to 5.30 p.m. job. Why, he even refuses a two-year extension by the bank manager on these grounds.

Moreover, there is no solid reason for the parents to accept this kind of an arrangement. They have a beautiful house [bungalow] to live, a kind-hearted landlord [Sharat Saxena], good friends [Avtar Gill, Asrani] and most important, the love for each other to walk into the sunset of their lives, holding each other's hands.

A few more flaws �

The in-film advertising/surrogate publicity of ICICI Bank and Tata Tea in the first few reels should've been done more classily. Showing close-ups of Tata Tea pouch over and over again looks odd.

While the first half is short and sweet, things go out of hand in the second part. Ideally, this 20-reel-film should've been shorter in length. A lot could've been conveyed in a concise format definitely.

There was no need for the Holi song, Valentine Day song and the telephone track ['Main Yahan Tu Wahan'] � these tracks could've easily been avoided. If deleted, it would only prove beneficial to the film.

Salman Khan's characterisation is straight out of a fairy tale. In a film that tries to depict reality, the character that Salman portrays should've been more realistic and identifiable.

Fortunately, the film is rich in emotions and a couple of sequences linger in your memory even after the show has concluded �

* The meeting between the four sons and the strategy they adopt to keep their parents separate, is straight out of life.

* The interaction between Amitabh and Samir Soni on various occasions � when Amitabh accidentally breaks his glasses and the typewriter sequence � are well penned and well enacted.

* The 'karwa chowth' sequence holds tremendous appeal for ladies.

* Hema visiting Aman's office to wish him on his birthday and the argument that ensues subsequently is another sensitive sequence.

* Lilette Dubey reading Hema's letter to Amitabh, since the latter has broken his glasses accidentally, is rich in emotions.

* The climax � when Amitabh talks about the parent-child relationship � is simply outstanding. It's bound to draw applause.

Achala Nagar's script draws inspiration from life and besides some well-penned sequences, the dialogue compliment the narrative beautifully. Amitabh's oration in the climax is brilliant.

Aadesh Shrivastava's music gels well with the mood of the film. 'Meri Makhna Meri Soniye' and 'Pehle Kabhi Na Mera Haal Aisa Hua' [Salman, Mahima] are melodious. Cinematography [Barun Mukherji] is striking.

Amitabh Bachchan delivers a wonderful performance. Although the veteran had enacted the role of the family head in the recent past [EK RISHTAA, K3G], this one towers above the rest. It's yet another memorable performance in his illustrious career.

Hema Malini looks elegant and conveys the pathos convincingly. The actress hasn't lost her sheen at all. Paresh Rawal and Lilette Dubey are lovable.

Amongst the 'sons', Aman Verma stands out. Samir Soni is alright, while Saahil and Nasir get no scope. As for the 'daughters-in-law', Divya Dutta scores full marks. Suman Ranganathan is passable.

Yash Pathak is cute and confident. Rimi Sen [leading lady of HUNGAMA] doesn't get any scope. Also, casting her as Aman Verma and Suman Ranganathan's daughter looks ridiculous. Nakul, Avtar Gill, Asrani and Sharat Saxena perform their parts ably.

Salman Khan has a song and sequence in the first half and comes on the screen only towards the pre-climax. He does an okay job. Mahima Chaudhary doesn't get any scope.

On the whole, BAGHBAN has strong emotions as its trump card, which will appeal to the family audience more than the youth. At the box-office, if the word of mouth catches on, this 'gardener' [BAGHBAN] will be rewarded with fruits, like its predecessors.

TeRe NaAm-ReViEw

TERE NAAM 10

To remake a blockbuster is indeed an arduous task. And if the same subject has been attempted thrice in the past and has found appreciation all the three times, getting it right the fourth time is nothing short of a challenge.

Besides living up to the mammoth expectations and maintaining the essence of the original[s], the director also carries the responsibility of seeing to it that his interpretation matches that of the predecessors in terms of presentation and most importantly, the box-office outcome.

Satish Kaushik's TERE NAAM lives up to the hype and expectations, besides doing full justice to the three originals -- SETHU [Tamil], SESHU [Telugu] and HUCCHA [Kannada].

Radhe Mohan [Salman Khan] is a loafer, but a gem at heart. He meets Nirjara [Bhoomika Chawla], the daughter of a priest, who has just joined the city college. Radhe falls for her simplicity and innocence and dreams of marrying her.

Radhe declares his feelings to her, but Nirjara refuses him outright. Unknowingly, Radhe saves Nirjara's elder sister from an adversity. Rameshwar [Ravi Kissen], Nirjara's fianc?informs her of this incident.

But before Nirjara can express her love to Radhe, something drastic happens...

Though Bollywood has churned out love stories since time immemorial, the story of TERE NAAM is genuinely 'hatke' since it doesn't follow the standard rules of a romantic film.

There is no parental opposition, nor is there a rich versus poor angle, nor does it look at two different religions or caste differences, also there is no third lover popping up from somewhere.

TERE NAAM primarily revolves around two simple characters. Two believable characters. The reasons that bring them together are realistic and the conflict that ensues is equally convincing. This factor is its USP.

Yet, TERE NAAM is a complex love story...

Director Satish Kaushik opens the cards at the very outset: The hero is a vagabond, the girl is a simpleton. But opposites don't attract in this case!

The clash between the hero and heroine builds up convincingly and the change of events at the interval point catches you unaware.

But the pace slackens in the post-interval portions. The second half starts off brilliantly, the confrontation between the hero and heroine is amongst the best sequences of the enterprise and the pace is maintained right till the hero lands up in the hospital.

But the moment the focus shifts to the traditional shelter for the mentally imbalanced, the pace slackens. Fortunately, the last half-an-hour gathers momentum yet again and the sequence of events, right till the finale, are heart-rending.

A small section of the audience may not take to the ending whole-heartedly, mainly because it's not a conventionally joyous culmination. But tragic ends have gone down very well with cinegoers, in turn translating into grand box-office victories. Instances: MUGHAL-E-AZAM, EK DUUJE KE LIYE and QAYAMAT SE QAYAMAT TAK.

Director Satish Kaushik is in complete form this time around. To accept the directorial reins of a love story that defies the stereotype, is indeed a challenge. But the way Satish has treated the subject speaks volumes of his aptitude.

He is most comfortable in dramatic sequences, in fact that has always been his forte. In this film too, he executes the dramatic portions with panache, besides extracting a stupendous performance from Salman Khan. Even the climax is so effective that your heart goes out to the lovers!

Himesh Reshammiya's music may not boast of chartbusting hits, but gels well with the mood of the film. The 'Odhni' number is the pick of the lot. However, the placement of a few songs in the first half could've been better thought of.

Cinematography [S. Sriram] is excellent. Dialogues [Jainendra Jain] are natural to the core. Action sequences [Mahendra Verma] are raw and appealing.

And now to the performances! Salman Khan is exceptional in a role that fits him to the T. He breathes fire in sequences that demand uneasiness. But beneath the tough exterior lies a vulnerable person and this facet in particular comes to the fore in the latter reels. His emotional outbursts are splendid, and making him break down on several occasions is another human aspect that director Satish Kaushik explores -- tough men also cry!

Bhoomika Chawla reminds you of Bhagyashree. Her simple, humble, traditionally Indian character should go down very well with the viewers. Her performance is first-rate.

Ravi Kissen is excellent. The sequence with Bhoomika prior to the interval is well handled by the actor. Sarfaraz Khan is another actor who catches your attention with a flawless performance. Sachin Khedekar [brother], Savita Prabhune [sister-in-law] and Anang Desai [doctor] lend decent support. Mahima Chaudhary's dance number is quite good.

On the whole, TERE NAAM is rich in emotions -- a fact that would go in its favour completely. The hype surrounding the film has resulted in a strong opening and coupled with its merits, it should prove an earner for its investors. Business in the Hindi belt should prove to be the best, considering the backdrop of the film [North India].

For lovers of Hindi cinema, says 'yes' to TERE NAAM.

HaR dIl Jo PyAr KArEgA-ReViEw

HAR DIL JO PYAR KAREGA 11

Impressive star cast. Competent technical team. A much-awaited project� So, does HAR DIL JO PYAR KAREGA live up to the big expectations? Yes! All the way!

Nadiadwala Grandson Entertainment's HAR DIL JO PYAR KAREGA is a love triangle. Raj (Salman Khan) arrives in Mumbai from Goa to fulfil his dream of becoming a top singer. After a long struggle, he realises that his long-awaited dream has nothing but a dark end.

His life takes a new turn when he saves Pooja (Rani Mukherji) from a deadly accident. Pooja goes into a coma, but her rich and loving family mistakes Raj to be her husband, Romi.

And then Raj falls in love with Jhanvi (Preity Zinta), who happens to be Pooja's best friend. He is in a dilemma and is forced to make a choice between the two women in his life!

Loosely based on the South film CHANDRALEKHA, HAR DIL JO PYAR KAREGA is a winner from the word 'go'. The introduction of Salman Khan in the 'Ek Garam Chai Ki Pyali Ho' number, interspersed with the titles, makes the mood upbeat and is an indicator of things to follow.

HAR DIL JO PYAR KAREGA has a very basic plot, but the way the screenplay has been developed and handled, is where the film scores. HAR DIL JO PYAR KAREGA has zing, gloss and of course, tremendous youth appeal, which is the mainstay of this enterprise.

HAR DIL JO PYAR KAREGA is a triumph for director Raj Kanwar and writer Rumi Jafry. The writer-director team have used stars as characters and interwoven them in the story in such a way that the outcome is thoroughly enjoyable. The film has comedy that clicks instantly with the masses (Shakti Kapoor), tender moments between the three principal characters and romance in plenty.

Add to it a hit musical score (Anu Malik), brilliant choreography (Farah Khan) and stylish camerawork (W.B. Rao) and the outcome is paisa-vasool. But where the film actually scores are the dramatic moments � the relationships between the characters. The relationship Rani and Preity share, plus the friendship between Salman and Neeraj Vora and Paresh Rawal's relationship with his boss and his family members, have been handled with extreme care.

The unmistakable stamp of director Raj Kanwar is visible throughout. The interval point when Shah Rukh Khan enters the hospital, claiming to be Rani's husband, shocks the viewer completely. The handling of this scene and prior to it, the sindoor sequence, keeps the viewer on tenterhooks.

Post-interval too, a number of scenes have a lingering effect on the viewer even after the show has ended, notable among them being:

* Salman setting foot in the house, holding Rani in his arms and Preity by his side;
* Salman and Preity praying for Rani's recovery in a temple and Rani moving her limbs simultaneously;
* Preity Zinta breaking down in her father's (Paresh Rawal) arms, informing him of Rani's obsession for Salman; � The climax, wherein a heart-broken Preity is all set to take the pheras with someone else, thus clearing the path for the wedding for Salman and Rani.


The film does have its share of weaknesses too, but not that affect in changing the opinion of the viewer. The sole drawback, if one can call it, is that the film is slightly lengthy towards the second half and can do with trimming for a better impact.

Anu Malik's music is top class. The music composer is in command and belts out some winning compositions, which include the title track, 'Aisa Pehli Baar Hua Hain' and 'Ek Garam Chai Ki Pyali Ho', which is undoubtedly one of the best numbers of this year! Sameer's lyrics are wonderful and prove his versatility in the title track.

Anu's compositions get a boost with Farah Khan's expert choreography and W.B. Rao's first-rate cinematography. The film has a rich look and the colour combinations (art director: Sharmistha Roy) make the film a rich visual experience. The titles (Binny Paddha) are amongst the best witnessed so far.

Performance-wise, HAR DIL JO PYAR KAREGA clearly belongs to Salman Khan. He takes a giant leap in emotional moments, handling the most difficult scenes with aplomb. In the light moments as well as the romantic ones, he is in total command, not going overboard one bit. There is no denying the fact that Salman will win adulation in this film, more for his performance than his star appeal. His overall look and performance deserves the highest marks.

It is truly difficult to pinpoint who amongst the two heroines is better in the acting department. Both Rani and Preity get equal footage, are at their glamorous best and get great scenes to perform. And it goes without saying that both pass with flying colours!

Paresh Rawal is superb yet again. Shakti Kapoor's comedy sends you in peels of laughter. He plays to the gallery and emerges triumphant. Kamini Kaushal is adorable as Rani's grand-ma. Rajiv Varma is adequate. Neeraj Vora is very likeable. Razzak Khan is nice as well.

On the whole, HAR DIL JO PYAR KAREGA has all it takes to emerge a winner � great stars, great entertainment and great making. Combined together, the film is sure to prove a hit, making the distributors laugh all the way to the bank.

ChOrI cHoRi ChUpKe ChUpKe -ReViEw

CHORI CHORI CHUPKE CHUPKE 12

The most controversial film has eventually released! Does it meet the high adrenaline expectations? Does it satiate the appetite of the cinegoer? Will it infuse life in the veins of this drought-stricken industry?

The answer to all the above questions is, Yes!

Emaar Films International's CHORI CHORI CHUPKE CHUPKE, directed by Abbas-Mustan, is a love triangle. A look at the character sketches of the principal players:-

� Raj Malhotra (Salman Khan) is the scion of a rich industrialist family, who is adored by all his near and dear ones.

� Priya (Rani Mukherji) comes from an extremely rich family; she is sweet natured and adjusting. For Priya, her family comes first and their happiness means everything.

� Madhoo (Preity Zinta) is the third angle of this triangle.

� Kailashnath Malhotra (Amrish Puri) is Raj's grandfather. He adores his grandson, while Raj simply worships the old man.

� Ranjit Malhotra (Dalip Tahil) is Raj's father, but behaves more like his friend. Totally involved in his business, for him work is worship.

� Asha Malhotra (Farida Jalal) is Raj's loving mother.

� Dr. Balraj Chopra (Prem Chopra), the most trusted friend and adviser of the Malhotra clan, also happens to be their family doctor.

� Pappu Bhai (Johny Lever) is brought up like a son of the family. He has friends in high places and is great at making things work with just one phone call.

The initial portions of CHORI CHORI CHUPKE CHUPKE is a good mix of DOOSRI DULHAN (Victor Banerjee, Sharmila Tagore, Shabana Azmi) and PRETTY WOMAN (Richard Gere, Julia Roberts). And the portions with the family remind you of HUM AAPKE HAIN KOUN.

But first the negative points!

To start with, the first half of the film is plain mediocre. The love story is hunky-dory till Rani has a miscarriage and the doctor tells Salman, Rani's husband, that she would never be able to conceive again.

With Preity's arrival, things start looking up. However, Preity's initial scenes with Salman aren't in sync with the mood of this family entertainer. A bar girl resorting to cheap stuff, using filthy language, is implausible in an enterprise like this.

But the interval point brings the story on the right path. It is sequences in the second half that make all the difference. Sequences that stand out are:

� Rani and Preity meeting each other, for the first time, at the airport;

� The intimate scene between Salman and Preity in the night, while Rani excuses herself and stays at the church;

� Salman bashing up Adi Irani, who lands up at midnight to molest Preity;

� The 'goad-bharai' sequence just before the climax;

� The end of the film that is sensitively handled.

In a country where the concept of a surrogate mother is unimaginable, directors Abbas-Mustan have tackled the theme with care by padding the narrative with loads of emotions and family values.

The post-interval portions of the film change the graph of the story altogether. Preity falling in love with Salman gradually and in the end, doing a somersault by refusing to give the child to Salman-Rani make the proceedings immensely watchable. The drama is convincing and does not hurt the sensibilities of an average Indian viewer.

Anu Malik's music is another asset. The songs are well woven in the script and have been picturised beautifully. The pick of the lot are the title track, 'Dekhne Walon Ne', 'Diwana Hai Ye Man', 'Punjabi' and 'Mehandi'. The introductory song of Preity, however, is run of the mill.

Thomas Xavier's cinematography is eye-catching and the Swiss locales are a visual treat. Javed Siddiqui's dialogues are excellent. Shyam Goel's screenplay maintains the grip right till the end.

This is one performance fans of Salman Khan will love him in. He is controlled, classy and mature, unlike the oft-repeated roles that exhibit his physique more than talent. This role has substance and the actor handles it with utmost sensitivity.

Between Rani and Preity, it is difficult to choose who's the better performer. Both have been given equal footage (length-wise) and importance. Both are incredibly competent in the respective roles, although Preity does go overboard in the initial portions. Amrish Puri plays the lovable grandpa to the hilt. Prem Chopra is nice. Johny Lever's comedy will appeal to the hoipolloi.

� On the whole, CHORI CHORI CHUPKE CHUPKE has generated a lot of heat before its release. But the film lives up to the towering expectations thanks to the solid drama. Coupled with a hit musical score and an excellent opening, CHORI CHORI CHUPKE CHUPKE should emerge the first hit of 2001 and pump oxygen in the lungs of the film industry. Class 'A

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