All friends visiting this blog are invited to read my expressions and thoughts on movies, music and life.
Music and Movies are like Ears and Eyes to me and if you also feel the same, then you are going to enjoy every moment spent on my works here. Your comments and suggestions on my articles are eagerly awaited.
This is a rare and rather unknown classic from the well known actor director Amol Palekar. A film which talks about an extremely important and interesting topic of Jyotish, Astrology and future gazing, in a simple yet highly effective style. Amol truly deserves all the praises for raising such a relevant issue in his movie, which can really make or break anyone’s life so easily.
Astrology, Palmistry or Jyotish are no doubt part of a deep study and the research does have many valid favourable points to prove its truthful applicability in real life. But here veteran Amol Palekar, very intelligently asks a question that what will happen to the confidence of a common man if he is straight away told something negative about his future which cannot be averted. And moreover what is the use of telling him all about it when it has to happen and we cannot avoid it in any condition.
The opening sequence of the movie itself raises this debatable question in a well written sequence of a hospital. Vinod Mehra is a doctor who is going to do a delivery operation of a lady. But just before he is going to operate, Dr. Shri Ram Lagoo who plays a well known astrologer in the movie, tells him that the lady is not going to survive as written in her Kundali. Ignoring his prediction, the doctor performs his duty skillfully but unfortunately the lady dies. And then comes a short but impactful confrontation scene between Vinod Mehra & Dr. Lagoo which can easily disturb any person’s views about the topic, putting him in a dilemma.
In real life, whenever we are facing a tough time, we all tend to bow down in search of some alternative solutions to our problems provided by Astrology, Gemology or Numerology. But “Ankahee” comes up with a simple question that if everything is written in our destiny to happen as planned without any exception, then firstly what’s the use of trying to know it and further what’s the use of even trying to avert it or change it.
Supported by Deepti Naval with her superb performance the film is a must watch for all who are interested in watching Hindi films made on some new and unexplored subjects. It’s a well directed film based on a brilliant script revolving around an untouched issue. And as an added merit it also has some soulful classical songs rendered by Pt. Bhimsen Joshi. So if you want to experience something completely out of the box and yet relevant, then just search for its DVD at the earliest and serve your thinking minds with this worth watching film from Amol Palekar.
Directed By Amol Palekar
Starring : Amol Palekar, Deepti Naval, Dr. Shree Ram Lagoo and more.
Music : Jaidev Verma (featuring Pt. Bhimsen Joshi)
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Ankahee (1985), Directed By Amol Palekar, Deepti Naval, Movies to See Before You Die, Must See Movies List By Bobby Sing, Not Be Missed Flicks at bobbytalkscinema.com, Not Be Missed Movies at bobbytalkscinema.com
A fellow reader visiting the site informed me about an amazing fact about the fame, impact and magic of Hindi Film Music spread all over the globe.
The fact relates to a Manmohan Desai Hit film released in 1973 with the title “Aa Gale Lag Ja” which had Shashi Kapoor, Sharmila Tagore, Shatrughan Sinha and Om Prakash in the lead roles. The movie is reportedly very famous in the region of Algeria since 1975 and shown on Algerian TV more than once in a year. And out of their pure love for the film the people of Algeria have also renamed it as “DJanitou”.
Just search at Youtube with this name or watch the following video to know the truth where a person is singing the song from the movie in his own regional style,
“Tera Mujhse Hai Pehle Ka Naata Koi, Yun Hi Nahin Dil Lubhaata Koi, Jaane Tu Ya Jaane Na”
The video rightly proves the Power of Bollywood Music hugely famous all over the globe.
And thanks Fatiha for sharing this valuable info with us.
Tags :
Experience the Power of Bollywood Music in the World, DJanitou, Aa Gale Lag JA, Hindi Movies in Algeria, Manmohan Desai, Articles on Cinema, Articles on Music, Poetry and Life at www.bobbytalkscinema.com
Priyadarshan returns with his old bunch of buddies and same old tricks which by now should be registered under the name of the director as his unique trademark. Putting together few good comedy sequences and then relating them to the corrupt administrative and political system without any basic storyline is a gist of this latest flick offered to us by the veteran. Remaking his own 1988 Malayalam movie, “Vellanakalude Naadu”, it seems that the director and his writing team think that they are purely invincible and can go on delivering mediocre products like these to the Hindi Film viewers at frequent intervals.
So, once again we are made to witness a directionless film which is supposed to be a comic satire featuring the famous icon Akshay Kumar. And in all possibilities Akshay will be the only person who will have to face the unfavourable consequences of this weak flick placed on his broad shoulders in this crucial time of his career.
Interestingly the initial half an hour of the movie is pretty good which introduces every character in a fine way and you start liking the new background of government contractors and builders. Akshay completely transforms himself into the role of ‘A Munshi’ type of character holding his money bag, files and umbrella together. Along with him, both Asrani and Rajpal Yadav come up with few enjoyable sequences in the first half which are able to generate some laughter in the theater.
But after this, what happens can easily be described as a dish whose smell was delicious but the taste was bad. Post its first hour, the movie starts revolving in a circle with confrontation scenes and dialogues repeating themselves and several unwanted plots being added into the narration carrying no entertainment value. In its later part the film actually falls flat due to three main weak points which are both written and directed very casually.
Firstly it’s the lifeless love-hate relationship angle between Akshay (the unsuccessful contractor) and Trisha (the Municipal Officer). There is neither any chemistry nor any feel in their story of the past or the present. Moreover the dress designer of Trisha remains pretty confused between her Office get up and the glamorous one. Hence the movie completely fails in its romance part.
Secondly, Priyadarshan’s handling of Akshay’s sister’s character is simply below standards and insensitive. The whole plot of her getting married to the most corrupt politician and then sexually exploited and even killed by her husband is treated in a very hasty manner without any emotional touch. The writers simply move on after her death to the other sub-plots of the script as they were to catch some train in order to reach their homes in time.
And lastly it’s the concluding part of the movie in which everything falls in place just like that and Akshay emerges as the good son of the family as expected. In fact Priyadarshan ends the movie like he was forced to do it by the producers in a given length and time.
Besides these, there are songs jumping in from no-where, having nothing to do with the script as usual and actor of the caliber of Johny Lever called in only for one particular scene to add some face value. Pritam’s music doesn’t rise above the routine and both Cinematography & Art-Direction remind you of many previous movies of the director.
On the performance scale, Akshay is good but its time he should look at his projects half way down the lane to know how they are shaping up. Now he cannot go on relying on the directors alone and will have to put in his own creative inputs to save his huge image. Trisha is just there and not at all impressive in her confusing get ups and acting. The film also wastes a lot of talent in minor roles like Aruna Irani, Makrand Deshpande, Tinnu Anand, Neeraj Vora, Milling Gunaji and Johny Lever. Manoj Joshi keeps shouting as seen many times before in all Priyadarshan comedies and Kulbhushan Kharbanda emotes well. Urvashi in the role of Akshay’s sister is ok but the actor playing her corrupt husband shows talent.
In all the film keeps hanging between two different genres of comedy and drama. And there are only three people in it, who give you something to enjoy along with Akshay Kumar namely, Rajpal Yadav, Johny Lever and the one & only Asrani. So you can easily wait for its Home Video release and then simply fast forward the rest of the movie to see all the funny sequences featuring these three actors in “Khatta Meetha”. That’s all the movie has to offer to the fans of Akshay and his comedy genre.
In the end, I would sincerely like to request Mr. Priyadarshan to please take a break for some time and try to give us another VIRAASAT or HERA PHERI soon.
Rating : 1.5 / 5
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There are certain subjects which rarely get selected for a full length feature in our Indian Cinema. Adolescence is one of those rare subjects and we haven’t witnessed many movies made on the theme of those crucial teen years in the early life of a young boy. Therefore UDAAN comes as a pleasant surprise from a debutant director Vikramaditya Motwane, who boldly makes his first movie on an important subject and delivers a fine polished product proving his unique thought process with a style.
First of all the film is not preachy as it may seem to be from its look and promos. And neither it is interested in giving any sort of a message to the society in a boring way. It’s a simple story of a young boy and his relationship with his rigid father and helpless younger step brother told in the most simplistic way. But as it is said, ‘The beauty lies in its simplicity’, UDAAN becomes worth watching because it’s truthfully simple without any added flavors or colors and talks about a debatable aspect of our society.
The movie starts superbly with its first 20 minutes depicting the mischievous days of 4 young friends living in a boarding school. The sequence of their running from the school to watch an adult movie in the night show sets the mood in for the viewers. But this particular section of the film indisputably belongs to Manjot Singh alone (the young Lucky from ‘Oye Lucky Lucky Oye”), as he clearly outshines everyone on the screen with his famous realistic dialogue delivery style and comic persona. Though he vanishes off the screen after these initial enjoyable moments, but even then he makes you feel his presence through all those well written phone conversation scenes at regular intervals.
After its funny half an hour, UDAAN takes a serious turn and then moves into a completely different shell talking about the difficulties faced by a young boy while interacting with his ruler kind of a father. At this stage the narration becomes serious and the pace slows down drastically. But the director sticks to his main subject and characters in a convincing way and very soon you find yourself involved in this little family of three men (of different age groups) living in the same house as strangers.
In every family, a young male child always has his own contradictions with his father. There is difference of opinion, difference of vision and most probably the fight is over the issue of the stream or line in which the child desires to make a career in. UDAAN rightly focuses on this relevant issue and therefore every young boy watching the movie would easily relate to the script and the characters in a big way.
The movie may not find a thumbs up from every section of the viewers as its basically meant for the fans of realistic cinema who are used to a slower pace and can appreciate the social subject of the script without any songs or relief moments. It also has some minor flaws in its charactersiation like, how can a child steal money and car from his father who has a reign of fear in the family and yet cannot revolt right away or what was the cause of the father’s strong stubbornness towards his both sons. But even after these minor glitches, it still remains a well crafted film standing out of all those usual projects offered to us in 2010.
In real terms there are few visible and one invisible aspect of “UDAAN”, which makes it a worth watching project.
The visible aspects mainly include the outstanding confrontation sequences between the father and the son about their different styles of living and choice of professions. Both Rajat Barmecha as the young boy and Ronit Roy as the father truly excel in their scenes together. Then just watch out for the young kid Aayan Boradia, playing the silent step son, who mutely keeps suffering the merciless beatings of his father and doesn’t utter a word. He is simply adorable and loving with his innocent smile and dialogues. And then there are two sparkling performances by Ram Kapoor and Manjot Singh. Especially the silent conversation scenes between Ram and Rajat are a treat to watch. Finally the most impactful visible aspect of the movie remains its climax where Rajat along with his writer Anurag Kashyap and director Motwane defines the meaning of their title “UDAAN” in an exceptional way. In fact the concluding scene of the movie is capable of lifting up every viewer from his seat in sheer joy.
Coming to the invisible but in my opinion the most important aspect of “UDAAN”, which puts it in a completely different league, is the way it expresses the need of A MOTHER in every child’s life.
The film makes you feel the incomparable role of a female or a mother in a family who cannot be replaced by any amount of love, compassion or care provided by the other members. A mother, who can finish off all the differences in a family with her kind presence, love and calmness. A mother, who in disguise is just GOD living in our homes for taking care of us in the needy times. And a Mother whose debt we cannot repay in any form in our whole life on this planet.
Both the director and the writer need to be congratulated on this hidden aspect of the movie which may not strike all the viewers at first. But if you can think for a moment, then all the sufferings in the movie are only there due to the missing factor in the family called “MOTHER”.
So, in a way “UDAAN” also makes you realize this Biggest Gift of God to the mankind by very softly portraying the fact that a family becomes completely dry and stiff in absence of a motherly abode. I hope the film encourages every son & daughter to remember that they are blessed to have their mothers around them in this tender age and they would certainly take care and love her to the best of their abilities forever.
Summing up, its a recommended flick since it has an important message for all fathers and families having their kids in the adolescence age. And indeed a must watch for its invisible merit, indicating the role of a Mother in a happy family.
Ratings : 4 / 5
(The movie right away finds its place in my “Movies To See Before You Die” list cause it makes you realize the most precious gift of God to us and that’s our Mother.)
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Firstly it’s the lifeless love-hate relationship angle between Akshay (the unsuccessful contractor) and Trisha (the Municipal Officer). There is neither any chemistry nor any feel in their story of the past or the present. Moreover the dress designer of Trisha remains pretty confused between her Office get up and the glamorous one. Hence the movie completely fails in its romance part.
In real terms there are few visible and one invisible aspect of “UDAAN”, which makes it a worth watching project.