Department ( in my heart ) for Big B

I wouldn’t be  half that excited about Department (where, I am sure, blood will flow abundantly) if it wasn’t for seeing Amitabh Bachchan again on screen, very much alive and hopping. After his health scare I am grateful for every movie we  get with him. He is still the heart and soul of Bollywood. He is living what he is preaching in his movies. He is a role model and I love him.


As it often is the case with living legends like Amitabh, his true worth and what he means to the industry and India at large will only be fully understood and recognized when the day nears, godforbid, that he will leave the stage. so I make it a point for myself to fully appreciate him now!

The film stars besides Amitabh Bachchan, Sanjay Dutt and Rana Daggubati in lead roles. Directed by Ram Gopal Varma

London Paris New York generating already buzz on social media



From first time director Anu Menon.  Starring: Ali Zafar and Aditi Rao Hydari




London Paris New York   creates already excitement and it was just released TODAY.  This is what you want a movie to do.  Get all twitter tingly in the first two hours after release.  I can’t wait until it hits the theaters here on Friday! 

I wiggled my way out of Tere Naal Love Ho Gaya after watching Jodi Breakers, or if you allow me this analogy, ball breakers.  (Rompipalle as they say in Italy.  google it if you want to know what it means. :-)  one down of two.  Maybe I’ll wait for the DVD to watch TNLHG..  from what I read it doesn’t strike me as worth a whole afternoon. I could be wrong, of course.

Right now I need a good Bollywood movie . And this one comes right in time to fight my blues.








And Here is Taran Adarsh’s review on


London Paris New York
By  Taran Adarsh, 28 Feb 2012, 14:41 hrs IST
Rom-coms appear to be the most preferential genre, notwithstanding the fact that you can foretell where the narrative is headed a few minutes into the film. But what sets most rom-coms apart is the implementation of the theme. It all hinges on how persuasively the narrator recounts and executes the plot, how compelling the central characters are, how mesmeric is their chemistry on screen and most importantly, does the cinematic account have soul? The Hindi film industry is famed for churning out rom-coms by the dozens year after year, but just a handful of films dare to defy the stereotype. LONDON PARIS NEW YORK, directed by first-timer Anu Menon, is, in all honesty, one of those flicks that dares to be diverse. LONDON PARIS NEW YORK is a chic rom-com that’s filmed — no prizes for guessing — in three hot-n-happening cities of the world. But unlike the rom-coms churned out in the past, this one’s more for spectators with urban receptiveness and a refined taste for cinema, on the lines of say an EK MAIN AUR EKK TU or a WAKE UP SID. What also sets this film apart is the fact that the story unfurls in eight years in three of the world’s most thrilling cities, with the viewer getting a foretaste of everything that’s allied with a rom-com in this globe-hopping voyage.

LONDON PARIS NEW YORK mirrors the torment and ordeals of the twenties, the most vivid segment of one’s life — when you are taking a call on what course your life ought to take, you have your first momentous relationship and most significantly, structure your personality in this world. This is the story of Lalitha [Aditi Rao Hydari], a middle class South Indian girl from Chembur [a suburb in Mumbai], who is on her way to New York to study politics, and Nikhil [Ali Zafar], a rich Punjabi kid from Bandra [a posh western suburb of Mumbai], who’s going to study film making in London. They decide to hang out together one evening in London and find that they are completely drawn to each other even as their future lies on separate continents.

The film follows their special voyage and their love story as they meet in London, Paris and New York over eight years. The film is in three subdivisions and each chapter is shot in a manner that mirrors the psychological state of Nikhil and Lalitha.

Armed with an inventive and ingenious plot, LONDON PARIS NEW YORK owes its allegiance, to an extent, to the Hollywood movie [500] DAYS OF SUMMER than to the atypical Bollywood rom-com. The director makes an endeavor to be as bona fide and natural as possible, illustrating sentiments that adolescents go through when they fall in love and also all that comes with it, including pain, angst and torment when heartbreak occurs. That’s what makes LONDON PARIS NEW YORK an unblemished and credible take on relationships, with authentic and identifiable circumstances, germane and relevant dialogue [Ritu Bhatia and Anu Menon] and no overstated styling of the actors’ attire or hair/tresses.

Besides, like I indicated at the outset, Anu Menon chucks away the time-honored prescription of exaggerated drama that we are so acclimatized to watching in Hindi movies. Instead, she makes the narrative spirited and vivacious by depicting characters that you witness in factual life. In a way, the film emulates what one is so used to watching in our everyday life and that’s where the exquisiteness of the film lies. A contemporary romance that’s so credible, so realistic, so coherent.

However, LONDON PARIS NEW YORK is not devoid of its share of hiccups. The languid tempo in the first hour, with the narrative getting a little too verbose and talk-heavy, is a deterrent. Above and beyond, there’s not much of advancement in the story after the two central characters are introduced. It’s only a few minutes preceding the interlude that the wheels start undulating. What transpires in the second hour shoots the graph of the movie northwards. The exhilaration builds up magnificently, leading to an explosive culmination. In fact, the concluding moments — I’d like to single out Ali Zafar’s flare-up — are worthy of additional brownie points. The sequence is so brilliant that it reverberates even after the movie has concluded.

Filmed in three most dazzling cities of the world, the movie boasts of some enchanting visuals. The director and also the DoP [Sameer Arya] have the aptitude for fitting camera placement, bestowing the film with a certain added charm.

Ali Zafar shoulders multiple responsibilities in this movie, which comprises of composing the songs as well as writing the lyrics. The actor/composer sticks to the theme of the film and comes up with tunes that uphold the synergy with the plot and setting of the movie. ‘Woh Dekhne Mein’ is, of course, the cream of the crop. The title track is racy and ear-pleasing.

In TERE BIN LADEN, Ali Zafar made the spectator break into guffaws and in his subsequent outing MERE BROTHER KI DULHAN, he made you grin and beam. Perceptibly, one would imagine Ali Zafar to get into the jocular and frivolous zone yet again in LONDON PARIS NEW YORK. Ali gets to depict a character that’s a far cry from the hackneyed characters one is so used to watching and I must add, he glows luminously all through the film, particularly towards the concluding installment in New York. This motion picture will motivate even his staunch critics to structure an elevated estimation of him as a performer and revere him as an artiste of immense caliber.

Aditi Rao Hydari looks stunning, but more significantly, she appears to capture every moment, every scene most radiantly in this coming-of-age love story. She has an unadulterated take on how to construe a scene. What you get to witness is much ahead of the customary expressions and rejoinders. She appears so unflustered and unperturbed even in the most intricate moments, which only goes to prove her remarkable credentials as an actor. Besides, the intimate moments between Ali and Aditi are aesthetically filmed, not looking forced or an aberration in the scheme of things. Dalip Tahil and Mantra appear in a cameo.

On the whole, LONDON PARIS NEW YORK is akin to a lungful of fresh air amidst the hackneyed and passe rom-coms. It’s a quirky, witty, coming-of-age movie that takes a conventional premise and twirls it into something delightfully unconventional, designed to charm and magnetize the urban youth. The movie speaks their lingo, mirrors their objectives and depicts the anguish and elation of falling in love. If you are young or young at heart, celebrate your weekend by leaping on to this feel-good earth hopping romance.




Agneepath is awesome, a desi Tarantino!



it felt like seeing one of those  Indian classics ON SPEED. I am not surprised Sanjay Dutt got scared when he watched himself!  He is a grandiose, GLORIOUS villain. Hollywood could only wish to have villains of that caliber! I also enjoyed Rishi Kapoor as supporting villain…

The movie is handsomely gory,  and for that reason probably a one time watch.  Hrithik is magnifique to watch! actually, you want to watch him in slow motion….over and over and over.  Karan must have had fun. I loved the picturization of Shah Ka Rupta,  couldn’t find a clip for it. but it will be available soon, I hope.  I love those all men dance sequences, a pleasant change.



And, btw,  I want to thank  Karan Johar or Malhotra for not using white background dancers for this movie. They always stick out like sour thumbs in an all-Indian cast.

Priyanka is stunning as always.  She is almost too pretty to be real.  Just the right amount of everything.  I loved her in this movie, she had the fresh scent of spring flowers, lighting up the screen with her beauty.



The scenes are  epic, colorful, energetic.You get drawn into the drama even though you might not always  follow motivations and intent.



This movie is a banquet laden to the rim with rich foods that will take three days to digest.  In the category of  Lady Gaga wearing her meaty dress…actually that’s exactly how I felt when the credits started rolling and I got out of my seat, come to think of it…  even though we went for Bengali sweets afterwards.



One thing I really didn’t understand.. please someone explain it to me. how can you carry Sanjay Dutt on your shoulders after you have been stabbed with a 12 inch  butcher knife  from the front, the back, sideways… into the liver, smashed to a pulp, hanged upside down. I mean Vijay must have been clinically dead by the time he gets hold of Kanchu to lift him up and hang him.  Second point, no one there from the village to give the man a hand? :-)

Stunning cinematography.  Highly recommendable.   But leave your kids at home.




want to get out of your engagement elegantly? call the Jodi Breakers

Jodi  means couple or partner. I guess somebody discovered a niche in this movie for a company of sorts that breaks up engagements?  So that sounds like a fun premise for a  Bollywood rom com.  And I am not going to miss this:



It helps to see a radiant Bipasha Basu lighting up the screen with her million dollar smile.  And personally, I love Madhavan. He’s the kind of guy you want around if an asteroid hits next door, or your basement floods. If you get stranded on a Pacific island and begin to panic, Madhavan will be the guy to calm you down. He’s so personable and also the last Bollywood hero with love handles. He’s not rushing to the gym to work on some six packs so he can become an action hero.  I LIKE THAT ABOUT HIM.  He’s real. He’s down to earth. He’s the kind of guy your mom wants you to marry.  The pink glasses in the trailer, let me tell ya, is the kinkiest thing he’s  done in film. And I bet it wasn’t his idea.

Here is his mini bio at a glance and you’ll know what i mean…..     bio


I loved him in two movies and they are both excellent so you should check them out:

When Tanu Weds Manu.   it was a huge hit and I am not surprised they’re working on a sequel…



and the amazing film  A Peck on the Cheek / Kannathil Muthamittal


Bipasha Basu, luckily for us,  fainted dissecting a rat when she went for a science degree and after a few detours ended up in Bollywood. Since then she has been gracing many BW movies.  I loved her in  Madhur Bhandarkar’s  film Corporate.  She is a hottie, but she can play anything from hot to cold.



what’s in the oven

I was just reading in Box Office India about Saif’s next venture:

by Box Office India (January 23, 2012)

There were rumours that Saif Ali Khan would not feature in his next home production Go Goa Gone being directed by Raj Nidimoru and Krishna D K. But here comes news that Khan will shoot for the film in mid-February. The film features Kunal Khemu in the lead.

Mumbai distributor Ajay Bagbai is all set to turn producer. There will soon be an announcement that he’s signed cinematographer Natarajan Subramanian to direct his maiden venture. The cast is yet to be finalised.

(I still don’t know how to work these links…. need to study wordpress A-Z)  anyhow, it got me interested. I like Kunal Khemu since I saw him in Traffic Signal. Subsequent roles weren’t as complex. Kunal and Saif are a little bit alike. Fast moving, edgy,  clever.  I could see these two work beautifully together with the right script.