Fenil and Bollywood

Posts Tagged ‘intermission

By Taran Adarsh, January 1, 2010 – 12:30 IST

What do you do when you, accidentally, bang into someone on the road? Flee from the spot? Call for help? Dial the cops? Rush the victim to the hospital?

Pick up a newspaper and chances are you might glance upon a hit-and-run case only too often. ACCIDENT ON HILL ROAD, a remake of STUCK [Mena Suvari, Stephen Rea], raises a few questions in its own way. Perhaps, the intentions were right, but what eventually unfolds on screen isn’t.

The problem with ACCIDENT ON HILL ROAD is that it loses focus after a point and that takes away the seriousness from the issue.

BY BOLLYWOOD HUNGAMA.COM

Sonam [Celina Jaitly] is a nurse who accidentally steers her car into the harmless Prakash [Farooque Shaikh], sending him flying through the windshield. Not wanting to jeopardize her future, Sonam, along with her drug-peddling boyfriend Sid [Abhimanyu Singh], chooses not to get him medical help, leaving him clinging to life in her garage.

But soon her psyche begins to unravel as the captor and captive are pitted against each other in a battle for survival.

ACCIDENT ON HILL ROAD had the potential to be a thought-provoking film that pricks your conscience, but what comes across is a half-baked attempt that runs out of steam soon after the intermission. In fact, the film begins quite well and a few moments as well as the twists and turns in the first half do keep you on the edge.

But the writing [screenplay adapted by Mahesh Nair and Siddharth Parmar] is shoddy in the second part and does not yield the desired outcome. The sequences prior to the climax are a complete downer, while the climax is the worst part of the film. The drama fails to become the nail-biting one that it ought to be.

Also, the assorted people that flit in and out of the story [the kid and his mom, the cabbie and the nosey neighbour with a dog] are half-baked characters as well. Pray, why were they included in the first place?

Mahesh Nair’s direction is a shade better than the poor and sketchy script. Also, he is unable to involve the audience in the drama. Ravi Walia’s cinematography is ordinary. The film has just one song [music: Raju Singh] – ‘Nasha Nasha’ – which is quite erotic.

Farooque Shaikh doesn’t get any scope, frankly. One definitely expected more, since the veteran returns to the big screen after a hiatus. Abhimanyu Singh enacts his part well. But it is Celina Jaitly who pitches in a commendable act and catches you by complete surprise.

On the whole, ACCIDENT ON HILL ROAD will fail to make any headway.

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By Taran Adarsh, October 2, 2009 – 11:02 IST

Recall those years when partying hard was the only agenda on your list. Recall those years when staying awake at nights, chatting away with friends became a habit. Recall those years when bunking college and sneaking into movie halls was more exciting than books. Recall those years when you were completely clueless and aimless about the vocation you wanted to pursue once you graduated… That indecisive phase when you were hesitant to take that first big step in life can never be erased from your memory.

WAKE UP SID, directed by debutante Ayan Mukerji, is like revisiting those years that lay at some remote corner of your mind, after you moved on in life.

Actually, WAKE UP SID is a slice of life film. It’s not merely real in concept, but has also been told most realistically, so much so that you can’t help but draw parallels with your life or with someone you know. But what really makes WAKE UP SID most believable is Ranbir Kapoor, who’s mastered the craft at such a young age.

BY BOLLYWOOD HUNGAMA.COM

Verdict? WAKE UP SID mirrors those years with flourish. This one’s a simple story that strikes a chord instantly. Strongly recommended!

WAKE UP SID tells the story of Siddharth aka Sid [Ranbir Kapoor], a lazy, unmotivated slacker from Mumbai whose life undergoes a series of changes after taking his final year college exams. Sid’s world is breezy, carefree and without any true responsibilities.

Sid thrives around his two best friends, Rishi [Namit Das] and Laxmi [Shikha Talsania], very rarely communicates with his mother Sarita [Supriya Pathak] and takes his father Ram Mehra [Anupam Kher] and all his hard-earned wealth for granted. Despite all these traits, Sid is an honest boy; sweet, funny and above all, a good friend.

Aisha Bannerjee [Konkona Sen Sharma], an aspiring writer from Kolkata, learns this soon enough when her path crosses with Sid’s on her first day in Mumbai. Ambitious, well-read and driven, Aisha has come to Mumbai to realize her dreams as a writer. Despite their contrasting personalities, Sid becomes Aisha’s first friend in the city.

As Aisha sets up her life in Mumbai, with the help of Sid and his gang, Sid allows for time to fly by over long drives, parties that stretch well into dawn, and endless hours doing absolutely nothing. But a series of circumstances and events compel him to take stock of his life and take a hard look at himself.

Let’s not compare WAKE UP SID with anything you’ve watched before. Not DIL CHAHTA HAI. Not LAKSHYA either. Debutante director Ayan Mukerji narrates a story that you can relate to instantly and treats it with utmost care. A few moments linger in your memory and evoke bitter-sweet memories.

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The first hour, right till the intermission, sweeps you off your feet. You get drawn into Sid’s world instantaneously; you react to everything he does. But the post-interval portions slackens, courtesy the writing. The Rahul Khanna track, for instance, looks half-baked. Also, the story stagnates after a point and hence, the pacing gets very slow. It’s only towards the finale that things perk up. Ideally, the film could’ve done with some trimming in this hour.

Ayan Mukerji packs in a solid punch in most parts of the film. The emotional moments especially gets you all moist-eyed. The humour too is well integrated in the sequences. Even the confrontation between the father and son is superb. Prior to that Konkona’s birthday sequence is amongst the finest sequences of the film. Music [Shankar-Ehsaan-Loy] is melodious. Anil Mehta’s cinematography is top notch. Niranjan Iyengar’s dialogues are just right.

There’s no denying that Ranbir Kapoor is a supremely talented actor, but in WAKE UP SID, he proves that he’s amongst the best in the business today. No one could’ve portrayed Sid as effectively as Ranbir has enacted, that’s for sure. This is an award-worthy performance.

Konkona is natural to the core and the best part is, she’s so effortless. Here’s another winning performance from this incredible performer. Anupam Kher is wonderful. Ditto for Supriya Pathak. Both shine in their respective parts. Namit Das and Shikha Talsania are perfect. Rahul Khanna doesn’t get any scope.

On the whole, WAKE UP SID is a well-made film that should strike a chord with the youth mainly. A metro-centric film, the film should attract its target audience and should also prove to be the first choice of the elite/urban audience this Friday. Its distributors [UTV] have very rightly released the film at plexes of metros and mini-metros [instead of flooding the market with physical and digital prints], which in turn should only make this small film talked-about in days to come. Thumbs Up!



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