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Naam Bade aur Darshan Chote

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    By: Praveen Lance Fernandes, IndiaFM

    Wednesday, May 24, 2006

    Rajiv Rai redefines Bollywood geometry in Pyaar Ishq aur Mohabbat

    What do you do when you want a girl to fall in love with you? You find her a lover and make him break her heart and then you be there by her side to console her. That was the story line of Rajiv Rai's Pyaar Ishq Aur Mohabbat; a disaster at the box-office. Rajiv Rai redefined the geometrical laws of Hindi cinema by adding one more angle to the age old triangular love story formula, introducing the concept of quadrangular love story. What he couldn't realize was the fact that the audience bored to death with triangles is not going to fall for squares.

    Rai tries hard to justify three love stories, but the outcome gets tedious and confusing. After making amazing action thrillers like Tridev, Gupt and Mohra, this film was a let down by Rajiv Rai who followed this film up with another dud Asambav.

    Picture This!
    There is an exchange offer at the end of the movie where Aftab Shivdasani replaces his bride Keerti Reddy with Arjun Rampal's girlfriend, Monica Bedi. Suniel Shetty gets a consolation prize in the form of Isha Koppikar to go with the happy ending cliche which in Hindi film means that all actors get paired.

    No Family planning for Rajkumar Santoshi

    Raj Kumar Santoshi's films off late like China Gate (1998), Pukar (2000), Lajja (2001), The Legend of Bhagat Singh (2002), Khakee (2004) had not really been box-office success stories but somewhere his direction and the theme that he selected was applauded. After the semi-success of Khakee, Santoshi teamed up with producer Keshu Ramsay once again to make Family - Ties of Blood (2006). Starring Amitabh Bachchan and Ramsay's son Aryeman along with Akshay Kumar in a brief role, the movie had nothing novel to offer and was quite predictable. For someone like Santoshi who was a trend setter with Ghayal (1990), Damini (1993) and Ghatak (1996), this film seemed like a half-hearted effort from the master director in terms of script and execution. A bad opening throughout India speaks about the sorry spate of the film.

    Picture This!
    Amitabh is the biggest don in the city but somehow Aryeman - a nobody, still manages to kidnap his entire family as easily as he got this film.

    Ram Gopal Varma shows his two left feet with Naach

    RGV made Rangeela (1995) and Mast (1999) and both these movies had the film industry as the background. Along came Naach (2004) on the same setting, a film where Abhishek Bachchan shows his dancing prowess and Antara Mali shows a lot more. Naach was offbeat and abstract. In plain words it was unusual. But Naach is one of those films that are genuinely different but the difference doesn't entertain or engross.

    RGV tried a lot to make a good movie but the biggest drawback was its screenplay which moved at a very lethargic pace. RGV always confessed that Naach is one film that he made for himself and he happened to be the only one who loved it.

    Madhur Bhandarkar lowers his Aan with this one

    He came into the limelight with his second film Chandni Bar (2001) which churned in the National Award. It was followed by the critically acclaimed Satta (2003) which again got him rave reviews. Post Satta and pre Page 3 came in Aan - Men At Work (2004) starring a hoard of actors ranging from Akshay Kumar to Suniel Shetty to Shatrughan Sinha to Paresh Rawal.

    This was Bhandarkar's most expensive film to date and unlike his previous ventures this film did not really have a stroke of realism despite being a cop drama. Unnecessary songs, overdone action, forced item numbers and bad dialogues proved to be a hindrance in this formula flick.

    The sun sets for Sooraj Barjatya with Main Prem Ki Diwani Hoon

    Sooraj Barjatya - this man needs no introduction whatsoever. The man behind some of the most successful films like Maine Pyar Kiya (1989) and Hum Aapke Hain Kaun (1994) and an average grosser Hum Saath Saath Hain (1999) was ready with his next release Main Prem Ki Diwani Hoon (2003) having youth icons Hrithik Roshan, Kareena Kapoor and Abhishek Bachchan in the lead. With an energetic star cast and Sooraj Barjatya at the driver's seat, the expectations were bound to be colossal. But all that came crashing down once the film hit the screens.

    The same old plot - Two boys love one girl and girl has to decide. Add family values and six songs and voila you have MPKDH. Unlike his previous ventures, this film has nothing novel to offer. A hamming Hrithik, an over energetic Kareena and an underused Abhishek Bachchan - all disappointed. Sooraj Barjatya claimed that he took two years to write this film. And what did he give at the end of those two years. A plot line as old as Indian cinema and one of his worst films ever!

    Vidhu Vinod Chopra doesn't come close to romance in Kareeb

    Not many might be aware that Vidhu Vinod Chopra started his career with a bang with his documentary An Encounter with Faces (1978) which was nominated for the Oscars. His other entertaining films include Khamosh (1985), Parinda (1989) and 1942 - A Love Story (1994). He then ventured into a different genre altogether - Romance.

    Kareeb (1998) starred Bobby Deol and introduced Neha - a couple in love but obviously there has to be some problem between them otherwise the movie would have ended in 10 minutes. The problem with Kareeb was that it did not have much entertainment value and moved at a snail's pace. Unlike Chopra's previous movies (which were mostly thrillers), there was not much of a punch in the proceedings. Clearly, the resonance was missing in this one. 

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