Hindi Film Reviews 2011

Brief reviews of current Bollywood films as they appeared in the Independent Weekly.

Also, a brief archive of older Hindi films

Bbuddah…Hoga Tera Baap. (Your Father is an Old Man–Not Me) Seventy year old Amitabh Bachchan, Hindi film’s towering 1970s superstar, strides onscreen in an homage and update of his classic action hero avatar; the Angry Young Man turned Angry Old Man. The whisper of a plot follows Vijju, a former hitman, as he returns to Mumbai for one last job. The current gangsters may mistakenly think they own the swagger, but anybody calling him Bbuddah (old man) is asking to get their ass kicked. Two former heroines (Hema Malini and Raveena Tandon) sigh and shed tears, and intense Sonu Sood, who usually plays villains, is excellent in his tailored police khakis. But, it’s an Amitabh show all the way as he polishes his legend with superb élan wearing two wristwatches, a wardrobe of kooky shades and patterned open neck shirts with coiled scarves. He’s still a star, and he relishes it in–so far–2011’s most entertaining Bollywood film.

Delhi Belly Does every comedy movie want to be The Hangover these days? Well, this one certainly does. Three slackers, Imran Khan, Vir Das and Kunaal Roy Kapoor, live in a filthy Delhi apartment, where the water runs only for two hours a day, and vermin frolic on their discarded take away. Imran is engaged to a ditsy girl who agrees to a delivery for, unbeknownst to her, a gangster (Vijay Raaz, the soulful wedding planner of Monsoon Wedding). Kunaal (who even looks like Zack Galifianakis) eats poisonous street vendor chicken, and is plagued by the worst ever case of Delhi Belly. When his stool sample, intended for the doctor, is confused with the loot, well, what can go wrong, will go wrong. What doesn’t go awry is the quick pace (a little over 90 minutes) the English dialogue, comic timing and even the diarrhea- related humor. It’s fun and Imran’s adorable as the smart guy loathe to live up to anyone’s expectations.

Desi Boyz. Nick, a sacked London investment banker (John Abraham) and Jerry, his lazy best friend (Akshay Kumar) need cash fast, and find success as male escorts. Because it’s a Bollywood movie, not only is there no sex involved, but no kissing, either, and their motives are noble. Jerry is about to lose custody of his impish nephew, and Nick’s wedding is off unless he placates his posh girlfriend (Deepika Padukone). There is no equivalent in Hollywood films for the way the camera drools over the ripped torsos of the two heroes, as they dance shirtless, caressed by chorus dancers. They make their clients happy, and likely plenty in the audience, as well. Akshay and John have crack comic chemistry, and the film is all about loving them, as movie stars. There are laughs, Pritam’s lively songs, and Sanjay Dutt in a special appearance. So: “paisa vasool” worth the money.

Dhobi Ghat (Washerman’s Row) Four people, Arun, a painter (Aamir Khan), Munna, a washerman (Prateik), Shai, on sabbatical from her US banking job (Monica Dogra) and Yasmin, an unhappy wife (Kriti Malhotra) cross paths over class lines in modern Mumbai. “Bombay, my muse, my whore, my beloved,” Arun toasts at his gallery opening (everyone calls the city Bombay). Shai begins a friendship with her dhobi (hotly disapproved from all sides of the social divide) even as she yearns for Arun, who’s obsessed (like Amélie) with a box he’s found locked in a wardrobe, containing Yasmin’s abandoned video diary. Dhobi Ghat is a strong debut written and directed by Kiran Rao, Aamir Khan’s wife. Styled like a Western art house film (almost a retort to Slumdog Millionaire with its handsome lower class hero dreaming of a better life) Kiran seems to delight in having her superstar husband, smoke, swear and pick up a girl, something he is not allowed to do in mainstream Bollywood.

Don 2. Underworld kingpin Don (Shah Rukh Khan) has conquered Asia, and now shifts his crimes to Berlin, where he concocts an elaborate plan with the help of a new friend (Kunal Kapoor) and an old enemy (Boman Irani) to heist the printing plates for the Euro. Roma ( Priyanka Chopra) an international cop, is in hot pursuit. Don 2 is a Hollywood style action thriller, sleek and fiery, heavy on the car chase and the catch phrase. But, may Bollywood never evolve beyond the villain’s triumphant arrival at the disco. Farhan Akhtar’s Don was the rare remake (the 70s version is a Hindi film classic) that was both a tribute, and a saavy updating, capped with a shocking twist. The sequel may lack a certain urgency, but kills with its “international” polish, amusing cameo, and SRK’s swagger.

Double Dhamaal (Twice the Uproar) Four Stooges run afoul of an old enemy, Kabir (Sanjay Dutt). They seem to need him like the turkey needs the axe, to paraphrase Preston Sturges, who would have nothing to do with such an exhaustingly frantic comedy. Few jokes would be out of place in a silent slapstick comedy, save for the mockery of current Hindi films. Notably, one stolen Harold Lloyd joke still gets big laughs. There is racist humor (especially against the Chinese) mocking of the mentally handicapped, long segments in blackface and drag and not one but two men in gorilla suits. The raucous songs come as a relief amidst all the hysterical jumping up and down and shrieking. The audience enjoyed, although fans of more sophisticated comedy are left bewildered.

Dum Maaro Dum (Take Another Hit) Tropical Goa, land of foreigners in bikinis and free flowing illegal substances, also hosts international drug mafias, manipulated by mysterious kingpin Michael Barbarossa. Kamath (Abhishek Bachchan) once a corrupt cop, becomes a crusader after the death of his family in a drug fueled auto crash. This stylish but too gory thriller by Rohan Sippy (Bluffmaster) has too many characters and too many endings. The best thread belongs to Lorry (Pratiek) a college student who agrees to a one time carry through airport security in return for a year’s tuition. Pratiek effectively conveys his middle class character’s panic at breaking the law, getting caught and paying the price. Abhishek’s epic swagger in pursuit of Barbarossa, “Tell me where he is,” he threatens one small timer, “for everything else, there’s Google” carries the film. DMD is distributed by Fox. So, why aren’t the songs, especially Kamath’s rap about his gun, “Thayn Thayn” subtitled?

Game. Agatha Christie—Bollywood style—as four strangers, Istanbul drug lord Neil Menon (Abhishek Bachchan) a hot headed politician (Boman Irani) a spoiled movie star (Jimmy Shergill) and an alcoholic crime reporter (Shahana) arrive at a private Greek Island at the behest of a reclusive billionaire (Anupam Kher). Murder is an uninvited guest and International Vigilance Squad investigator Sia (Kangana Ragnut) is on the case. The premise is laboriously outlined in the first half, punctuated with the occasional incoherent action scene. But, after the interval, the film finds its rhythm in the cat and mouse game between Sia and Neil, and by the time “Kaun Hai Ajnabi” plays over the end credits one wishes the whole film had been better. Not Golden Era Abhishek (roughly 2004-2007) but it will do until Dhoom 3 appears.

Mere Brother Ki Dulhan (My Brother’s Bride) Kush (Imran Khan) is tasked with finding the perfect Indian bride for his brother, a London investment banker. Told to choose a girl he himself likes, he falls head over heels for the fiery Dimple (Katrina Kaif). Mismatched fiancés and runaway brides are romcom staples. But, the magic is in the details, and writer director Ali Abbas Zafar gets it all right. Avoiding tiresome clichés, there is no pointless self-sacrificing, no interrupted wedding, no rush to the airport. Kush and Dimple decide they want to be together, and scheme to avoid the family-shaming elopement. Charming Imran is a comic delight, and Katrina, introduced as a bindass (carefree), but still chaste, rock chick gives her best ever performance. The plot moves with alacrity, aided by plenty of peppy music, including a number where the extended family gets trashed on bhang, a drink brewed with cannabis. Escapist Bollywood romance at its best.

Patiala House. Bauji (Rishi Kapoor) is fed up with British racism. Maintaining an extended Sikh family in a Southall, London, cul de sac, he demands younger family members kowtow to his wishes. Years ago, Gattu (Akshay Kumar) the eldest, had his teenaged cricketing hopes dashed by his father’s massive guilt trip. When the national team needs a great fast bowler, Gattu is encouraged by the cowed younger relatives to try out, finally following his dreams. Director Nikhil Advani made the fab Kal Ho Na Ho, one of my all time favorites, and PH’s flatness, holey plot and lack of originality is disappointing. Akshay mopes nearly the entire film to denote his downtrodden state. Bubbly Anouska Sharma and the excellent Dimple Kapadia are wasted, the one bright spot is the acting debut of UK rapper Hard Kaur. The greatest cinematic fantasy isn’t bursting into song, or that a 34 year old (sic) amateur cricketer might save the day, but that an oppressive patriarch would ever learn.

Ra.One Shekar (Shah Rukh Khan) is a nerdy video game designer with a stunning wife (Kareena Kapoor) and irritatingly bratty son, Prateek (Armaan Verma). Prateek eggs on his dad to design a virtual game villain who cannot be defeated. Ra.One (pronounced like Raavan, the fearsome demon of the Ramayana) mysteriously leaps off the computer screen, endangering Shekar’s family. Bollywood’s most expensive film (rumored $30 million, a Hollywood pittance) is also SRK’s pet project. Special effects are slick, especially a runaway train, but the film lacks Hindi cinema’s beating heart. Perhaps, there were too many writers juggling CGI set pieces, but the noisy film lacks vital investment in character. Arjun Rampal enjoys himself—but not too much—as Ra.One, and the score has one certified hit, “Chammak Challo” sung by Akon. Undeserving of the scorn heaped upon it, the film still pales before the reigning Bollywood superhero, Hrithik Roshan’s Krrish.

Rockstar. Jordan (Ranbir Kapoor) an aspiring rocker, seeks the angst and swagger that will mold him into the image of his idol, The Doors’ Jim Morrison. He pursues Heer, the college hottie (Nargis Fakhri) although her marriage is already arranged. Ranbir resembles the world’s sexiest engineering student, and he rips into his character with gusto, aided by Aki Narula’s cool costumes, leather jacket, layered shirts and billowing harem pants. Nargis plays saucy well enough, but is bereft of the skill for the emotional heavy lifting later on. A special feature is the final on-screen appearance of Ranbir’s great uncle, the peerless Shammi Kapoor. Ranbir even performs a brief tribute to one of his famous roles in Kashmir Ki Kali. Written and directed by Imtiaz Ali (Jab We Met) Rockstar entertains most of the way along, but like all these rags to riches show biz stories, the last quarter is a drag. If you left after “Sadda Haq” the rebellious Morrison-like roar written by A R Rahman, and sung passionately by Mohit Chauhan, you’d be ahead of the game.

Zindagi Na Milegi Dobara (No Second Chances in Life) Three old friends have an awkward reunion before embarking on a bachelor trip to Spain. Kabir (Abhay Deol) is getting married, he’s a nice guy, anxious to please. Imran (Farhan Akhtar) an ad copywriter, is the prankster full of bad ideas. Arjun (Hrithik Roshan) is a workaholic financier, relationship poison even though he’s gorgeous. They seek adventure in picturesque Spanish cities, with the requisite drinking, sex and jail detour. They meet Laila, a free spirit (Katrina Kaif) and slowly they relax, they enjoy, they ponder. At the Galaxy Cinema in Cary, NC, ZNMD is the year’s biggest Bollywood hit, selling out on Harry Potter weekend. Enjoyably acted and excellently written and directed by Zoya Akhtar, these 30-ish travellers are not looking to prolong their childhood, as in so many American films, but to embrace maturity. You might be inspired to reflect on your own life choices. Oh, and Hrithik dances. That definitely gives life meaning.

c.Moviediva2011