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Priyadarshan has always come up with zany comedies but De Dana Dan takes away the cake. In your entire life, you would have not seen such complicated and bizarre film ever, nor would you see it in future! There are some 25 characters; the entire action takes place inside a luxurious hotel and misunderstandings galore in the film. In fact, the flick thrives on misunderstandings and mistaken identities! However, like many other pathetic comedy flicks attempted this year, this doesn’t disappoint all thanks to Priyadarshan’s excellent handling and execution!

The story of the movie: Nitin Bankar (Akshay Kumar) works for Archana (Archana Puran Singh), a rich lady in Singapore and who loves her pet dog named Moolchandji the most! Nitin’s only friend is Ram (Suniel Shetty). While Nitin is in love with Anjali (Katrina Kaif), Ram loves Manpreet (Sameera Reddy). However, both Anjali and Manpreet are born and brought up in rich families and their families would not like their daughters to marry financially unstable men. So Nitin and Ram come up with plan to get quick money-they decide to kidnap Moolchandji in exchange of a huge ransom from Archana! Without realizing that the kidnapping has gone awry, both hide in the luxurious Pan Pacific Hotel waiting for the ransom. Unfortunately, there are more colourful, anti-social, gadbad-types people in the hotel at that time! And then starts the mother of all misunderstandings, mistaken identities and unlimited, uninterrupted laughter for the viewers!

There is absolutely no logic whatsoever in De Dana Dan. There are some big big loopholes in the story too! But if you are lover of masala Hindi comedies, then you won’t mind at all as there is so much fun happening in the film every second! Except during the songs, you won’t get a chance to yawn or check out the time in your watch or look anywhere else than the screen!

The first half is where the characters are introduced and established which is perfectly done. The asli mazaa begins when Nitin and Ram hatch the kidnap plan. The actual kidnapping and the events that follow was brilliant! Also, there are lots of tracks going on in the film, each one which is well written and worked upon. There is Harbans Chadda (Paresh Rawal) who is deep in debt and who wants to marry off his son Nonny (Chunky Pandey) to the best amir khandaan ki ladki; there is Brij Mohan Oberoi (Manoj Joshi) who is happy to marry off her manglik daughter Manpreet to Nonny; then there is smart theif cum club dancer (Neha Dhupia), Harban’s unfaithful wife Pammi (Aditi Govitrikar), a killer on a mission Peshawarwala (Johny Lever), an oversmart waiter Duggu (Rajpal Yadav), an Indian ambassador Paramjeet Lamba (Vikram Gokhale) and her wife (Supriya Karnik), Anjali’s dad Kakkad (Tinu Anand), Anti-corruption cop (Sharat Saxena) and a letch (Shakti Kapoor) (I hope I haven’t left anyone). Whew! With so many characters with interesting characteristics, Priyadarshan and the writing team excellently links up unrelated characters creating multiple mistaken identities, all which provide laughter unlimited!

The first half is laced with 4 songs but still the flick didn’t turn boring. However, it was the 2nd half where at a point, everything gets too monotonous and you want the flick to end. In fact, the film is close to 2 hrs 45 minutes. However, the climax again takes the film up and it was the most weird and bizarre climax I have ever witnessed! Once again, I state that don’t watch the flick if you can’t stand any nonsense in films. Or else you’ll surely faint watching the nonsense climax! But for those who love comedies, the climax will surely entertain!

With so many characters, it becomes difficult to decide who the best was. In fact all put their best foot forward and contribute well. Akshay Kumar was like everytime rocking! His films may not entertain everytime but he always impresses. In fact, it was so great to see a fantastic Akshay Kumar film after so long (the last such film was Welcome, 2 years back). Keep rocking Akki! Suniel Shetty gives an amazing performance and it was great to see him after a long time! Watch out for him in his next, Red Alert!

From the rest, the ones who impress and provide maximum laughs are Paresh Rawal, Archana Puran Singh, Johny Lever and Vikram Gokhale. Vikram Gokhale particularly entertains a lot! The rest-Asrani, Chunky Pandey (he had no role at all!), Manoj Joshi, Rajpal Yadav, Supriya Karnik, Tinu Anand and Sharat Saxena also did a nice job but it got overshadowed in presence of so many actors. Producer Ratan Jain is also there in the film!

As for the heroines, Katrina Kaif has the meatiest role and sizzles full on in the song Gale Lag Ja. Neha Dhupia gives a bindass performance. Sameera Reddy looks charming but hardly has any dialogues. Aditi Govitrikar’s performance was flawless.

Music was fine. Baamulaiza, Gale Lag Ja and Rishte Naate are the best songs of the lot. K Ahambaram’s cinematography was too shaky in some scenes which didn’t work. Salim-Suliaman’s background score, as usual, was flawless. Sabu Cyril’s production design deserves special appreciation especially for the climax where the entire hotel gets flooded. Some parts of the hotel were recreated in Mumbai, it was flooded and shot and it was so accurately done that it’s impossible to distinguish the actual hotel in Singapore from the set! Great work! But at the same time, disappointed to see enormous quantity of water wasted under the guise of entertainment!

Finally, we come to the writers and director. Suresh Krisshnan’s story was unusual. Jay Master’s dialogues were amazing and also contribute to the entertainment quotient in the film! And this is undoubtedly Priyadarshan’s one of the finest works! It requires guts and courage to screenwrite a film with so many complicated and tangled scenes and then directing it and also giving it a proper conclusion. Any other director would have either failed miserably or would have run away midway! So hats off to Priyan….keep giving us such films!

This time, there would be no section of Best Scenes….there are some 3 to 4 dozen memorable scenes, half of which I can’t even recollect now but enjoyed while watching! So please excuse this time!

On the whole, De Dana Dan is one of the most complicated comedies of all time. Those who love Priyadarshan and his slapstick comedies should not even think of missing it!

My rating-**** out of 5!

This review first appeared on Mouthshut.com: http://www.mouthshut.com/review/De_Dana_Dan-181702-1.html

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By Taran Adarsh, November 27, 2009 – 10:52 IST

Be forewarned. DE DANA DAN is the most bizarre film from the maharaja of laughathons, Priyadarshan. Not even in your wildest dream you’d think that Priyadarshan would place almost an entire film in a hotel and have its entire cast, comprising of 26 [or is it 27?] characters, most of them weirdos, interacting with each other. Brings back memories of BLAME IT ON THE BELLBOY? May be!

But Priyadarshan needs to be credited for pulling it off. There are times when you laugh hysterically at the most outlandish jokes and situations. There are times when a raised eyebrow or a wide-open jaw makes you break into a guffaw.

BY BOLLYWOOD HUNGAMA.COM

Be cautioned. DE DANA DAN is a loud film, with each and every character screaming on top of his/her voice, with the characters shouting, running, even floating and swimming in the end.

But what do you expect in a Priyadarshan film that has a title like DE DANA DAN? The promos never promised path-breaking or thought-provoking cinema that would give birth to debates and discussions. So why look for logic in this one?

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DE DANA DAN makes no qualms of narrating a story you haven’t heard before. Here, the story is non-existent and it’s left on Priyadarshan to mix-n-match those two dozen characters and keep the momentum alive for the next 2.45 hours.

DE DANA DAN promises laughter and entertainment and sticks to its promise. This one’s not for the hard-nosed types, but for those who worship escapist cinema. Who want to chuckle, giggle and chortle at those mindless jokes. In short, DE DANA DAN is a pure dhamaal entertainer!

Nitin [Akshay Kumar] is a butler, cook, driver, watchman, gardener to a wealthy female industrialist [Archana Puran Singh] in Singapore. Like any young man, Nitin too dreams of a better life. He desperately wants to become rich and marry the love of his life, Anjali [Katrina Kaif], who supports him financially.

Ram [Suniel Shetty], Nitin’s best friend, also came to Singapore with the dream of striking it rich, but ended up a courier delivery man. He falls for Manpreet [Sameera Reddy], but her high society parents will never approve of marriage, not unless Ram has lots and lots of money.

In the midst of all this is Harbans [Paresh Rawal], a shrewd businessman, who’s looking for ways to multiply his income and avoid his debtors. He decides the best way would be to marry his son [Chunky Pandey] off to a girl whose parents can give him a large dowry. He is introduced to Manpreet’s parents at a function and is impressed by their social status. He introduces himself as a well-established businessman, impresses them and they decide to get Manpreet and Harbans’ son married.

With several factors working against them, Nitin and Ram soon reach a dead end in their relationships. When both receive ultimatums from their girlfriends, they realize that only a life of vice can help them out of their misery. They come up with an audacious plan to kidnap someone important and demand a ransom.

The kidnapping goes awry and both hide at a local hotel while waiting for the ransom money. But misfortune is never far and the kidnapping spirals out of control.

Meanwhile, Manpreet’s wedding reception is being held at the same hotel that Nitin and Ram are hiding in. Soon, they are joined by a motley set of characters including a Chinese Don [Asrani], a hired assassin [Johny Lever], a ACB police inspector [Sharat Saxena], a club dancer [Neha Dhupia], an ambassador [Vikram Gokhale], a young frustrated double crossing wife [Aditi Govitrikar], a letch [Shakti Kapoor], a drunken waiter [Rajpal Yadav] and a dead body nobody wants to check into the hotel.

DE DANA DAN is atypical Priyadarshan film that has the unmistakable stamp all over it. But, at the same time, DE DANA DAN is erratic and uneven – energetic at times, lethargic at places. Also, the culmination to the film is very similar to the director’s earlier works, with the entire cast running helter-skelter.

On the flip side, you miss Akshay’s presence in the second hour. He disappears [gets locked in a cupboard] for at least 20 minutes and the focus, hence, shifts to the other characters. His fans will miss his presence, for sure. Besides, the film tends to get very lengthy towards the second half and overtly verbose too.

Director Priyadarshan is synonymous with comedies and the ace storyteller promises laughter in abundance. Handling so many characters, plus making a film on mistaken identities could be very tough, but the director gets it right. Pritam’s music is alright, while the RDB track, ‘Paisa’, is the pick of the lot. Salim-Sulaiman’s background score is energetic. K. Ahambaram’s cinematography is alright.

The review would be incomplete if one ignored the dialogue writer’s [Jay Master] contribution to the film. The lines are laced with wit and soaked in humour and bring the house down on several occasions.

DE DANA DAN has so many characters that it gets difficult to pinpoint or single out any one actor. Akshay is at his best in a Priyadarshan film and DE DANA DAN proves it. Suniel is natural to the core. Paresh is incredible; he pitches in a superb act. Katrina and Sameera don’t have much to do. Amongst the plethora of actors, Johny Lever, Neha Dhupia, Manoj Joshi, Asrani, Vikram Gokhale and Archana Puransingh deserve special mention.

On the whole, DE DANA DAN is targeted at the masses and it delivers laughter in abundance. Leave your brains behind to enjoy this madcap entertainer!

By Taran Adarsh, September 11, 2009 – 14:00 IST

Samir Karnik completes his trilogy. NANHE JAISALMER was about dreams, HEROES was about pride and VAADA RAHA is about hope. The commonality in all three films, besides Bobby Deol and child star Dwij Yadav, is the emotional quotient.

VAADA RAHA, inspired by a Russian fable, is about the bond between two patients – a grown up man and a kid, respectively. An interesting thought, nonetheless. But there’s a hitch. The writing isn’t too convincing and what actually dilutes the effort is that it tends to stagnate at places. More on that later!

BY BOLLYWOOD HUNGAMA.COM

What does stand tall in VAADA RAHA is Bobby Deol’s super performance. This is his most accomplished work to date!

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Duke’s [Bobby Deol] life can be called gratifying. Professionally, he is a successful doctor, personally an ardent lover and parent to a doting dog. Duke loves Nalini [Kangna Ranaut] and they plan to marry soon.

A sudden turn of fate ends Duke’s perfect world. He is paralyzed neck down, after an accident. Nalini leaves him. He becomes bitter and angry at himself. Duke hates his conditions so much that he wishes he had died instead of living in a condition which is worse. He loses hope.

Roshan [Dwij Yadav], a young boy, enters his life. Duke hates Roshan in the first few meetings, but Roshan wins over his heart. Roshan boosts his morale and motivates him. In time, Duke gains sensation first in his hands and then in his legs. One fine day, the doctor tries to make him walk with the help of crutches. But a shock awaits him.

Samir Karnik’s forte has been emotions and VAADA RAHA displays his prowess yet again, but the writing bogs him down. For instance, Kangna walks out of Bobby – in fact deserts him – soon after he meets with an accident. Forget standing by him, she decides against visiting him in the hospital, which appears very, very strange. That seems hard to believe!

Another weird aspect is the culmination to the story, when Bobby is back on his toes and he’s shown married to Kangna. Ideally, Bobby should’ve dumped Kangna for discarding him when he needed her the most.

Also, Dwij gives hope to Bobby all through, but the lines/dialogues he’s asked to deliver look weird when a kid mouths them. For, Dwij talks like a wise old man who has seen the world.

Despite the faulty script, Samir Karnik’s handling of a few sequences is commendable. Binod Pradhan’s cinematography is top notch. Music is a letdown.

VAADA RAHA belongs to Bobby Deol. He’s excellent. Kangna Ranaut is wasted. Dwij does very well. Mohnish Bahl is alright. Sharat Saxena and Vivek Shauq are wasted. Prateeksha Lonkar acts well.

On the whole, VAADA RAHA stands on a faulty script. Besides, the lack of hype will make the effort go unnoticed.

Two surprises…

  • One, KISAAN is the present-day interpretation of Manoj Kumar’s classic UPKAR. With changes, of course.
  • Two, going by the promos, the general feeling is that KISAAN is a shining example of regressive cinema. It isn’t!

With multiplexes spreading far and wide in the country, movies that ruled the roost in the 1970s – especially those depicting rural India – have disappeared from the face of Hindi movies. One of the prime reasons why UPKAR worked was because the conflict between two brothers was not so explored then, but post UPKAR, there have been dozens of movies that highlighted the conflict. Hence, KISAAN gives you the feeling of déjà vu at several points in the story.

Write your own movie review of Kisaan

But despite the similarities, KISAAN works in most parts because it’s engaging. The drama, even though predictable, is well handled and keeps you engrossed at several points.

Final word? Try out this desi stuff.

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Dayal Singh [Jackie Shroff], a widower, raises two very different sons; Aman [Arbaaz Khan] is formally schooled to become a city-based lawyer, while Jigar [Sohail Khan], through lack of funds and inclination towards anything other than farming, is kept by his father’s side.

When Sohan Seth [Dalip Tahil], a shrewd businessman, convinces many beleaguered farmers to sell their land for his commercial interests, it shatters the harmony of the village and Dayal’s family is jeopardized. Aman and Jigar are pitted against each other. The ground at their feet, is it motherland or simply property?

Surprisingly, KISAAN catches your attention from the word ‘Go’. The sequence at the panchayat [Sohail Khan’s intro] only enhances your interest in the film, but the film actually takes off when Arbaaz starts drifting away.

At the same time, KISAAN has its share of loose ends. Times have changed and the writers could’ve updated the content to suit the current times. Also, Arbaaz’s change of heart towards the end looks like a complete compromise, from the writing point of view.

Puneet Sira has handled many a dramatic scene well. This is his finest work thus far. Daboo Malik’s music is of a mixed variety. A couple of tunes are nice – ‘Humko Kehna Hai’ and ‘Neechhe Saari Duniya Hain’. However, the visuals in the remix version of ‘Mere Desh Ki Dharti’ look out of sync. The makers should’ve maintained the desi look. Neelabh Kaul’s cinematography is nice. Action scenes [Mahendra Verma] are rustic, which gel well with the mood of the film.

Jackie is in form after a long, long time. Arbaaz doesn’t make much of an impact, but Sohail does. In fact, Sohail is only getting better with every film. Dia enacts her part well, while Nauheed is alright. Dalip Tahil is as usual. Sharat Saxena and Vishwajeet Pradhan don’t get much scope. Romeo is passable.

On the whole, KISAAN springs a pleasant surprise. At the box-office, the film is targeted at the Hindi belt and the single screens specifically. Also, this one deserves to be tax-exempted!

By Taran Adarsh, August 28, 2009 – 11:30 IST

Not all English films can be adapted for the Indian screen. Also, the remake may not necessarily be as interesting as the original. That’s what you realize when you watch the Hindi version of DEATH AT A FUNERAL called DADDY COOL. Sadly, DADDY COOL is just not cool. Plenty of reasons why…

  • One, this supposedly laugh riot fails to tickle your funny bone, barring in a scene or two.
  • Two, the concept is more suited for a play. Setting an entire film on one location, with the story taking place in a span of a few hours, is not too exciting.

BY BOLLYWOOD HUNGAMA.COM

Even otherwise DADDY COOL tries so hard to make you laugh, but falls flat on its face. The unfortunate part is, comedy in Hindi movies is now relegated to making faces on camera and that’s what most actors in DADDY COOL do.

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Another factor that goes against the film is its humour. It’s crass and crude. In this film, men roam around either in shirts, showing off their underpants [Chunky Pandey] or stand on a roof with just underclothes [Aftab Shivdasani] or tell people to remove their underclothes so that they can relieve themselves in a toilet [Prem Chopra asks Jaaved Jaffery to do so].

Really, what kind of humour is this?

Chaos erupts during the funeral of Douglas [Sharat Saxena] when the grieved mourners are struck by drugs, romance, jealousy and a scandalous secret, all of which befall the family and friends.

Director K Murali Mohan Rao has helmed several interesting films in the past, but what’s this? Sure, DADDY COOL has a few entertaining moments, like the one when Rajpal Yadav reveals the secret [that Sharat Saxena was gay and Rajpal and he were lovers], but the remaining sub-plots fail to cut ice. Adding multiple sub-plots is fine as long as each sub-plot has something fascinating to say, but that’s missing here. Even the end is so bizarre, with members of this detached family suddenly professing love for one another.

There’s just one song [Raghav Sachar] at the start [a tuneful number] and one towards the end. Dialogues are strictly okay.

With a weak screenplay on hand, there’s not much the actors can do. The ones who try hard and manage are Suniel Shetty, Jaaved Jaffery, Sophie Choudry, Chunky Pandey and Prem Chopra.

On the whole, DADDY COOL fails to deliver what it promises – laughter and entertainment.


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