Fenil and Bollywood

Posts Tagged ‘uttar pradesh

Abhishek Bachchan to play kingpin Mohan Singh in Neeraj Pandey’s Special Chabbis, based on the 1987 TBZ jewellery heist

By Subhash K Jha (MUMBAI MIRROR; November 09, 2009)

A Wednesday director Neeraj Pandey who is making Special Chabbis based on the notorious 1987 heist at Tribhovandas Bhimji Zaveri jewellery store at Opera House, has signed Abhishek Bachchan to play the lead role. Abhishek will play the man who booked a room in a posh Mumbai hotel as Mohan Singh and proceeded to commit the most daring daylight robbery in the city.

Singh recruited 26 conmen, who posed as income tax officers, and raided the Opera House branch of TBZ and walked away with jewellery worth lakhs.

According to sources, Neeraj finalised Abhishek for the role because he is from Uttar Pradesh. Although no one knows if Mohan Singh was the main conman’s real name, he apparently hailed from UP and was in his mid-30s. Abhishek was an obvious choice as he too has a UP lineage and belongs to the same age group. Abhishek loved Neeraj’s A Wednesday and was happy to be part of Special Chabbis.

Since the role is based on a real life character, Abhishek needs to prepare for his role in terms of speech and body language.

(L): Abhishek Bachchan (R): Neeraj Pandey

Neeraj confirmed the news and said, “I can’t deny that Abhishek is on board but I want to get some other key members of the cast in place before I make a formal announcement. The film requires 26 actors and I want to make sure all of them are just right for their part. I will start the project in mid-2010. Before that I am producing a film titled 3 Large 1 Small under my banner Friday Filmworks. It’s the story of a somewhat young man who looks back on his life. I’m currently hunting for a director and a main lead.”

Meanwhile, there’s bad news for those waiting for Neeraj to start the prequel to A Wednesday. After the Tamil remake of A Wednesday (Unnaipol Oruvan), Neeraj has decided to shelve the earlier planned prequel.

“I’ve to admit the remake (Unnaipol Oruvan) makes my plans to make a prequel to A Wednesday redundant now. I think we need to move on from A Wednesday. That’s what Special Chabbis gives me a chance to do,” said Neeraj.

Pratik Babbar took time off to campaign in Uttar Pradesh for his father Raj Babbar, putting to rest the rumours of a rift between the two

By Subhash K Jha (MUMBAI MIRROR; November 03, 2009)

 

Raj Babbar Pratik

Shaking off rumours of a rift with his father Raj Babbar and his decision to drop his surname, Babbar, Pratik Babbar took this week off to campaign for his father for the by-elections on November 7. He is campaigning in the Firozabad district of Uttar Pradesh.

While Pratik is campaigning in Uttar Pradesh, his aunt Manya Patil confirmed Pratik’s bid to stand by his father publicly for the first time. “This wasn’t done to prove a point to anyone, and certainly not to contradict rumours of a rift with his father,” says Manya. “Pratik couldn’t care less what people think. I was surprised when he told me, ‘I want to do this for my dad. He needs me by his side and I have to do it.”

Manya was a bit apprehensive when Pratik informed her about his decision. She says, “The boy is not fluent in Hindi yet, though he is learning fast. So I told him to join his hands and just say a few words at every rally and meeting.”

Watching Pratik stand next to his politician-dad is déjà vu for Manya. She says, “It reminds me of my sister and Pratik’s mom, Smita Patil, when she would campaign for Murli Deora and Sunil Duttsaab. She used to be a prominent part of our father Shivajirao Patil’s political rallies also.”

Speaking about the rumours that Pratik wanted to change his surname from Babbar to Patil, his aunt says, “These rumours probably started because Pratik wanted to call himself Mickey after our beloved family dog who passed away. Then for a while Pratik also told his friends he wants to be known as Patrick. He goes through these phases.”

At the end of the day, Pratik is a proud Babbar. And that is why he has come together with his father for the first time on a public platform.

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Parinda, Satya, Vaastav, Company and Gangster-these are handful of Hindi films which were based on the mafia/gangster menace and also very well executed. Now Baabarr should be added to this list of ‘finest gangster films of Bollywood’! The film is violent, gory and raw but at the same time, it’s thoroughly engrossing packed with award-winning performances and amazing execution! It was a must-watch but unfortunately, was missed by many!

The story of the movie: The film is based in Amarganj, the Uttar Pradesh town where criminal incidents occur daily and has become a part and parcel of the residents. In one of its dingy lanes, Baabarr (Sohum Shah) emerges as a ruthless gangster. Working with his 5 brothers, Baabarr runs an extortion racket and doesn’t think twice before killing. The govt entrusts the task of eliminating Baabarr and his gang and all their activities to S P Dwivedi (Mithun Chakraborthy). How Dwivedi, along with corrupted Daroga (Om Puri) go about doing their duty is what follows next in the film.

Director Ashuu Trikha may not accept, but the truth is that Baabaar, undoubtedly, is based on dreaded UP gangster, Rafiq Qureshi’s life. The director and the screenwriter (Ikram Akhtar) wonderfully trace Baabarr’s journey from his first murder at 12 years to his death at just 22 or 23 years. The film keeps you on the edge of your seat right from the beginning and has several high-voltage shocking scenes which give goosebumps.

One of the four factors that make Baabaarr stand out is that it takes us to a world which we are ignorant about. The film throws light on Amarganj where murders take place casually, where people have more guns in their houses than chairs, where people are never ever given lessons on good manners and where people are addressed as ‘Oye Pehelwan’ instead of ‘Hey Dude’! However, the setting doesn’t look unrealistic at all (it isn’t actually) and the viewer absorbs everything that is projected in the film. Secondly, every character in the film is added with a purpose and each of them is damn interesting. My 5 favourites were Baabarr, Daroga, Maamu (Tinnu Anand), Sarfaraaz (Shakti Kapoor) and the sexiest one in the film, Tabrez (Sushant Singh)!
Thirdly, everything that happens in the film has a purpose. Meaning, none of the scenes were unnecessarily added-it was all connected to the main plot. For instance, one may feel that grown-up Baabarr’s intro scene where he kills a businessman named Jilani was just added to project Baabarr’s ruthless and merciless nature. But the scene is well connected to the next one and also to the storyline. And lastly, the climax of this film is shocking! There is an excellent twist that takes place which catches you unawares! It doesn’t spoil the film at all and also looks justified. In short, a great work by the writer-director duo!

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Some scenes of the film are memorable. Baabarr’s first murder at 12 and Baabarr killing Jilani in his own factory set the mood. Tabrez finishing Akram in a cow slaughter house is gruesome scene but clapworthy. The intermission point was easily the best scene of the film!

The only glitch in the entire film is that it gets a bit slow in the 2nd half.

Every actor in the film has pitched in a fabulous performance-in fact, much much better than their other films in recent times. Newcomer Sohum Shah rocks with his finest performance. Since it his debut, he doesn’t come with the baggage of any past significant performance and thus, one connects to his character instantly. Also, the actor wonderfully exhibits the ruthlessness that his character needed. Even his dialogue delivery rocked. This year, except Raj Singh Chaudhary of Gulaal, none of debutants have managed to impress and hence, Sohum has high chance of bagging the Best Debut award next year!

However, the question arises that based on his appearance and the kind of character he played in Baabarr, will he be offered other types of roles in future? I hope he gets as he’s a truly a gem! Best of luck! (P.S.: Is Sohum Shah Mukesh Shah’s son who is the co-producer of the film?!)

Mithun Chakraborty does his job with élan. His meeting with Sohum is an explosive scene! Om Puri rocks and this was certainly one of the finest performances of his life. The way he changed his mannerisms, walking style and accent for this role and did a great job is definitely praiseworthy. Same goes for Sushant Singh who delivers phaadu performance! I have loved this talented actor since 16 December and am impressed to see him in such an interesting role. Here is an actor who deserves to be a superstar!

Urvashi Sharma was fine but one may argue that her character was unnecessary. Mukesh Tiwari was brilliant, esp in the pre-climax scene inside the prison. Ditto for Tinnu Anand, who shows his extremely talented side in the pre-climax. Shakti Kapoor is surprisingly, extremely likeable! Govind Namdeo was as usual. Kashish Khan as Baabarr’s wife gives a nice ‘Kaminey’s Charlie-type’ performance! Abbas Ali Moghul, the action director of the film, is there for a scene and plays the role of Akram Qasai. He’s a great actor! Pratima Kazmi plays Lilavati, a character based on Mayawati. Shockingly, a beep tone is inserted whenever her name is mentioned in the film! Others also do a great job.

Anand Raj Anand’s music was alright. The title song is impressive. Suhass Gujarathi’s cinematography is brilliant and the dingy by-lanes of Uttar Pradesh towns are well captured. Abbas Ali Moghul charms as the actor and also as the action director! Although some scenes had too much bloodshed, it was needed. Sunil Singh’s background score was in sync with the film’s mood.
Vikram Misra and Ikram Akhtar’s dialogues were one of the best things about the film. The best dialogue of the film (and one of the best in recent times) is: “Gas khatam ho gayi hai…tujhe jalakar chai banayenge tujh pe!” Absolutely rocking!

Ikram Akhtar has also written the story and script of the movie and he excels thoroughly! The film keeps you on the edge of the seat and doesn’t bore even for a moment! Great job by Akhtar, who has scripted some contrastingly light films like Nayee Padosan, Joru Ka Ghulam, Chal Mere Bhai etc!

Finally, Ashuu Trikha is a revelation! The director has always done a fine job in his past films (Deewanapan, Sheesha, Alag) but was let down by faulty scripts. In Baabarr, however, he is armed with a flawless script and he does a brilliant job. He succeeds in exposing the gangster-police-politicians nexus that is rampant in the interiors of the country and where lawlessness prevails. Hats off to Ashuu and hoping to see him with such nice films in future!

Some of the best scenes of the film:
1.   Baabarr’s childhood
2.   Baabarr finishing Jilani
3.   Tabrez’s entry
4.   Baabarr and Tabrez’ confrontation during the tender meeting
5.   The intermission point
6.   Baabarr shot
7.   Dwivedi teaches Daroga a lesson
8.   The last 25 minutes

On the whole, Baabarr is surely one of the best gangster films that has come out from Bollywood. Although it has excessive violence, it manages to impress with his intriguing execution and performances. The film wasn’t publicized well when it released in September this year. But now, all movie buffs, do catch it on DVD! Don’t Miss It!

My rating-**** out of 5!

This review first appeared on MouthShut.com: http://www.mouthshut.com/review/Baabarr-178084-1.html

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By Taran Adarsh, September 11, 2009 – 10:43 IST

Gangster movies – this genre has been done to death. Films like PARINDA [Vidhu Vinod Chopra] and SATYA [Ramgopal Varma] stand tall on this list. But, of late, the genre has taken a backseat since people aren’t too keen on watching bloodshed and the same old saga of an innocent taking to the world of crime.

BAABARR belongs to the same genre, yet is an exception. It shows how people, even kids, live by the gun and die by the gun. It tells you that crime never ends, it only changes faces. It tells of the wicked nexus between cops-politicians-gangsters and the deterioration of the law and order machinery. Also, this one’s not Mumbai-centric, but is set in Uttar Pradesh.

BY BOLLYWOOD HUNGAMA.COM

BAABARR isn’t just bloodshed, but at the same time, isn’t for the faint-hearted either. There’s violence galore, in fact several sequences are brutal, and chances are a section of the movie-going audience [read families/ladies] might shy away from this experience.

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Yet, what makes BAABARR a must-watch experience is its story, the strong script [Ikram Akhtar] and the deftness with which director Ashuu Trikha has narrated the story. Without a shred of doubt, BAABARR is one of the most powerful films to come out of Bollywood in 2009.

A 12-year-old boy picks up a country made gun and shoots a man in cold blood. His eyes are devoid of any emotion. His heart exhibits no remorse. After shooting the person in broad daylight, he walks the streets of Aman Ganj with a gun in one hand. Everyone present in the market watches this young lad walk with no fear.

The boy, who started from the streets of Aman Ganj, had trespassed every barrier of crime. For the 10 years that followed, he traumatized one and all. His reign of fear terrorized everyone in the state, right from the common man to the Government. He was Baabarr [Sohum Shah].

When this reign of fear knew no bounds, the Government summoned a man to put an end to all of this: Encounter specialist S.P. Dwivedi [Mithun Chakraborty]. The order was simple, arrest him or kill him.

What’s the star cast like, that’s one question people generally pose when you ask them out for a movie. BAABARR has a new face – Sohum – but that exactly is its USP. Fortunately, he doesn’t carry the baggage of an image and that makes the character even more believable.

But there’s a flipside too. BAABARR is dark and gruesome and a few sequences can actually put you off, which, indirectly, also speaks of how impactful the film is.

Writer Ikram Akhtar’s script is power-packed and has several twists and turns in those 2 hours. In fact, even the final sequence of the film catches you unaware and that’s what makes BAABARR stand out from the crowd. The dialogues deserve special mention.

BAABARR is Ashuu Trikha’s best work so far. His handling of the dramatic sequences is commendable. Action scenes [Abbas Ali Moghul] are true to life. Cinematography [Suhass Gujarathi] deserves full marks. In fact, a film like BAABARR is difficult to shoot and it must’ve been a challenge for the DoP to give the right texture to the film.

Sohum lives the character of Baabarr and delivers a performance that you carry home after the show has concluded. The film would’ve fallen flat had it been entrusted to a lesser actor. Mithun Chakraborty is very good. In fact, this is amongst his better works. Om Puri stands out. This film should easily stride into ‘Best of Om Puri’ catalogue. Tinnu Anand is a revelation. Where was Tinnu all this while? Watch his death sequence in the film and it’s sure to give you gooseflesh. Shakti Kapoor is top notch. Again, he seems to be in form after a long, long time.

Sushant Singh is perfect for his part. Urvashi Sharma enacts her part with complete understanding. Govind Namdeo is competent. Mukesh Tiwari is, as always, good. Vivek Shauq, Vishwajeet Pradhan and Pratima Kazmi make an impact in brief roles.

On the whole, BAABARR is a captivating and powerful tale. Sure, there’s excessive violence, but there’s a reason behind it and that works in its favour. At the box-office, it has best chances in the Northern belt and also at single screens mainly.