Jai Veeru (2009) [MP3]

Jai Veeru is a film by Puneet Sira starring Fardeen Khan, Kunal Khemu, Dia Mirza, Anjana Sukhani and Arbaaz Khan in major roles. The film was released on March 13. It tells the story of two Jai (Fardeen) and Veeru (Kunal) who were once were once very close friends but are now on the opposite sides of the law. When the gangster Tejpal (Arbaaz) wants to kill them both, they have forced to work together, if they can manage not to kill each other.

Music of JV is composed by Bappa Lahiri (Bappi Lahiri’s son) and the lyricists are Sameer and Omer Inayat. I hope you like the songs.

(Direct MP3 Links - Right click and choose ‘Save Target As’)

1. Agre Ka Ghagra / Mauli Dave, Javed Ali, Raja Hasan
2. Aisa Lashkara / Hard Kaur, Rema Lahiri
3. Dhun Lagi / Mika Singh, Raja Hasan
4. Dhun Lagi - Electro Mix / Mika Singh, Raja Hasan
5. Dhun Lagi - Remix / Mika Singh, Raja Hasan, Dj Akhil Talreja, Dj N. Y. K.
6. Sufi / Tulsi Kumar, Saim
7. Sufi - 1 / Saim
8. Sufi - Rock / Tulsi Kumar, Saim
9. Tennu Le / Omer Inayat
10. Tennu Le - Remix / Omer Inayat, Dj Akhil Talreja

Ek Se Bure Do - Bollywood Movie Review

Cast: Arshad Warsi, Rajpal Yadav, Natassha, Tusha
Director: Tarique Khan
Rating: *

Time and again one comes across a statement that “this film has been made for single screen audiences in smaller towns and cities”. Well, no audience should be subjected to a movie like this.

Simply put, “Ek Se Bure Do” is a terrible movie. Arshad Warsi and Rajpal Yadav are the two ‘bure log’ (bad people) in the film and honestly, it must have been embarrassing for them to be a part of a movie which doesn’t make any sense whatsoever from the first to the last frame.

The film is said to be a comedy but there is not even a single scene that makes you laugh.

Problems with “Ek Se Bure Do” are aplenty with the biggest being that there is no storyline whatsoever. The director would struggle if asked to give a two line synopsis of the film.

The film has a treasure hunt as the central theme but not once in the film does one see anyone going after the treasure.

Arshad Warsi and Rajpal Yadav are visibly uncomfortable with the terrible state that they must have been in while working in the film - something which reflects in practically each of their scenes.

The film tries to be an amalgamation of quite a few films and in the end the mishmash that is served is so tasteless that you begin wondering who approved the script in the first place.

Arshad-Rajpal antics are straight out of “Jodi No. 1″ while the Govind Namdeo double role act reminds one of “Andaz Apna Apna” where Paresh Rawal was seen in a similar role. Then there is this quintessential “Jaane Bhi Do Yaaron” climax, this time with “Mughal-e-Azam” being underway on stage. If Kundan Shah sees these five minutes of the film, he may just get a heart attack.

The film was in the making for five years, something that reflects in each and every frame. Not only does it look dated with extremely poor cinematography adding insult to injury, it also seems clearly disjointed.

Also, you can sense that the director didn’t have any control over the proceedings and shot scenes randomly depending upon availability of any actor, whether lead or supporting. No wonder, “Ek Se Bure Do” turns out to be an extremely poor film.

Coffee House - Bollywood Movie Review

Cast: Ashutosh Rana, Sakshi Talwar, Aman Dhaliwal, Neha Mishra, Vrajesh Hirjee, Vinod Nagpal, Javed Khan, Paintal
Director: Gurbir Singh Grewal
Rating: *

This is actually turning out to be too bad to be true! Week after week, audiences are being subjected to some terrible movies. Now add “Coffee House” to the list.

I have some questions for the filmmakers: Did you really feel that you would be able to find an audience for a movie like this, which not only has a dry subject but a boring narrative? And what is the relevance of a title like “Coffee House”?

Typically, a film takes some time to establish its characters, begin a story and generally ends with some conclusion. In case of “Coffee House”, you don’t get to see any highs or lows.

It is one flat narrative that stays the same way from start to finish. You see multiple stories running parallel, something which started with “Yuva” and ever since then has been seen in films like “Life In A Metro”, “Salaam-e-Ishq”, “Hat Trick” and most recently “Firaaq”.

In the case of “Coffee House”, you get to see the story of Ashutosh Rana who is an idealist and wants to change the socio-economic situation of the country through his newspaper and street plays.

Then, there is a small team led by Vrajesh Hirjee that aims at being desi Robin Hoods by robbing the rich of their wealth. A quartet of senior citizens have their own problems to solve while a couple, which is in a live-in relationship, sees this crumbling right in front of their eyes.

With so many stories running parallel, there had to be some portion of the film that could have been entertaining. However, nothing of that sort happens and you keep wondering where exactly the film is heading.

If this wasn’t enough, there is a communal angle that comes in towards the interval, something that diverts the proceedings. Suddenly, Ashutosh Rana gets all charged up, starts delivering fiery speeches, begins a revolution and in no time you find a nationwide protest taking place. Now where did this one come from?

This is hardly a coffee worth sipping even in your house. Just ignore it completely, it isn’t worth your time.

Delhi-6 (2009) [MP3]

I found got around to post Delhi-6, which so many of you kept requested. Sorry to keep you waiting. Delhi-6 is a film Rakeysh Omprakash Mehra who also directed Rang De Basanti. It stars Abhishek Bachchan, Sonam Kapoor, Atul Kulkarni, Divya Dutta, Om Puri, Rishi Kapoor and Waheeda Rehman. Roshan (Abhishek) who is born and raised in America, brings his grandmother (Waheeda Rehman) as she wants to live the last years of her life in her homeland. Unfamiliar with Delhi and everything there, Roshan comes to learn a lot and in the process falls in love with Bittu (Sonam Kapoor).

Music of Delhi-6 is composed by A.R. Rehman (no wonder why it was requested so much). I hope you enjoy listening to them.

(Direct MP3 Links - Right click and choose ‘Save Target As’)

1. Aarti (Tumre Bhavan Mein) / Rekha Bhardwaj, Kishori Gowariker, Shraddha Pandit, Sujata Majumdar
2. Arziyan / Javed Ali, Kailash Kher
3. Bhor Bhaye / Shreya Ghosal, Ustad Bade Ghulam Ali Khan, Gujri Todi
4. Delhi 6 / Blaaze, Benny Dayal, Vivinenne Pocha, Tanvi, Claire
5. Dil Gira Dafatan / Ash King, Backing Chinmayee
6. Genda Phool / Rekha Bhardwaj, Shraddha Pandit, Sujata Majumdar
7. Hey Kaala Bandar / Karthik, Naresh, Srinivas, Bony Chakravarthy
8. Masakali / Mohit Chouhan
9. Noor / Amitabh Bachchan
10. Rehna Tu / A R Rahman, Benny Dayal, Tanvi

8x10 Tasveer - Bollywood Movie Review

Cast: Akshay Kumar, Ayesha Takia, Sharmila Tagore, Javed Jaffrey, Girish Karnad, Anant Mahadevan
Director: Nagesh Kuknoor
Rating: ***

No wonder the director sent off an e-mail before the film’s release requesting that the suspense not be revealed in the reviews.

The plot of “8X10 Tasveer” unravels with such elegant dexterity that you are tempted to spill the beans. However, doing so would be a crime worse than the multiple murders attempted and achieved in this understated, gently violent and subtly tongue-in-cheek movie.

Normally Indian whodunits are so hysterical in tone you rue the day Dolby sound was invented. But Nagesh Kukunoor’s narrative uses sound to create a delectable and subtle distinction between crime and lyricism.

The characters move through a labyrinth of heightened luxury. Canada’s sun-kissed lakes and valleys open up a vista of narrative possibilities, some realised, many unexplored. Either way, the plot obtains its bridled energy from the director’s clear and present understanding of the danger that could underline the most beautiful and desirable surfaces. All you have to do is scratch.

Kukunoor definitely knows the finest suspense creators of celluloid - from Alfred Hithcock to Brian de Palma to Manoj Night Shyamalan. In these masters, Kukunoor discovers his magic and metier. He converts the history of the whodunit into a crackling currency of characters and plot-twists that make you in the audience touch the goings-on without really embracing them.

A perfunctory attitude underlines the storytelling, creating within the high level of aesthetics a murky interior where knives are used to cut the human body rather than succinct meat on the baroque dining table.

The supernatural element is used with a delicious and devilish delicacy. Believe what you will, says the director. But you have to admit that there are times when logic simply takes a backseat.

Providentially, Kukunoor keeps the supernatural element on a believable scale. Having Akshay Kumar to go into intermittent premonitory bouts helps. Akshay doesn’t fight the tides of improbability. He goes with the flow, riding the waves with a twinkle-eyed, ever-grin, sometimes grim graciousness that allows him to get real without forfeiting his heroic image.

When Akshay is not busy being self-righteous or cocky he is very likeable in this film. Without revealing the climax, it would be appropriate to say here, more than anywhere else, the gripping elements of noire cinema kiss the masala conventions of Hindi cinema in “8X10 Tasveer”. It’s a heady brew cooked at an even temperature that reaches the boiling point without bubbling over.

Kukunoor is unarguably an adept storyteller. His triumph with the whodunit is manifested in delicate details that draw inspiration from the masters of the murder mystery and yet re-define the culture of filmed crime in a language that is derived from the director’s own sensibilities.

The film could have made its end-game a little less wedded to Hindi cinema’s formulistic conventions. But the concession to commercialism doesn’t compromise the suspenseful equilibrium of a canvas where a family photograph speaks a thousand words.

The film’s quiet, restrained rhythm of expression is palpable.

You can’t miss the artery of understatement even when that gloved hand with the knife gleams on the polished exterior. That is when we begin to see what the film wants to do. It takes the whodunit into a land of murderous silences.

Greed underlines the crime. But the director is not greedy. He refrains from reaching out for all the armoury of the suspense genre. For telling us that less can be more even in a whodunit Kukunoor and his leading man must be applauded.