The 'success' of a film pretty much ensures that a sequel will be released as soon as the filmmakers can collect enough elements from the previous film to roll cameras.
I suppose Phoonk [ Images ] by Ram Gopal Varma [ Images ] made enough money to justify the production of a sequel. The first one was about black magic, so I suppose this new one is about more black magic and a little revenge.
This time around RGV has handed the directorial reigns to Milind Gadagkar, the man who wrote the first instalment. And the film picks up not too far away from where the previous one left off.
Madhu (Ashwini Kalsekar, in appropriately grotesque makeup) has returned from the dead to torment Rajiv (Sudeep) and his family. They may have moved to a new home with a pool and access to a beach but it appears that the demonic presence has travelled with them.
Before long voices are heard all over the house, reflections disappear from mirrors and his young son Rohan (Rishabh Jain) is scared stiff by the doll his daughter Raksha (Ahsas Channa) brings home one day. Things come to a head for Rajiv when his wife Arati (Amruta Khanvilkar) is possessed by the spirit of Madhu who promises to do very bad things to his family before she exacts her revenge.
This movie does 'creeping dread' pretty effectively. The first twenty minutes of the movie focus singularly on setting up the family's move to their new home.
The floating camera work by Lenhert Pereira (under Director of Photography Charles Meher), the accompanying creepy background score (Dharam and Sandeep) and the effective sound design (Jayesh Dhakan) contribute to a sense of impending doom on several occasions.
That said however, too many sequences in this film promise a terrifying spectacle and then deliver a predictable 'been there, seen that' outcome, which gets quite frustrating after a point.
The editing is pretty lax and it often feels like several scary moments would have been more effective if they had turned up a beat or two quicker than they do on most occasions. Horror, like comedy, is all about timing and too often the editor gets the timing wrong on this movie.
Apart from that, there are also sequences where people don't seem to be arriving from point A to Point B in a logical manner. Like there is no logical explanation for how the kids ended up exploring the beach one moment and then wandering through the jungle behind their home in the very next shot.
I suppose it is too much to ask of movie children to not pick up random dolls that they find abandoned in a jungle. And I suppose it is also pointless to draw attention to the truly atrocious dialogue. Rohan seems to speak only in superlatives and cliches. Everybody overacts. The presence of Rajiv's sister Arushi (Neeru Bajwa) and her husband Ronnie (Amit Sadh) seems to be justifiable only as an injection of sex appeal since the lady prances around in tank tops and short shorts for most of her time on screen.
If one were to break this movie down into its component parts this is how it would play -- people walk around the house, its grounds, or the beach spouting inane dialogue; the camera floats away, the music builds to a crescendo and (occasionally) something 'scary' is revealed. Many of the previous movie's greatest hits are back -- the scary face at the window, the disturbingly behaving reflections in the mirrors, the crow... it is all filmmaking by the numbers. And it all adds up to a big fat zero.
The happenings in this movie are not as scary as the notion that producers are repeatedly funding movies like this. I suppose we get the entertainment we deserve but one can't help feeling that the man (Varma) who helped rejuvenate the horror genre in India [ Images ] might also be instrumental in hastening its demise.
By Taran Adarsh, April 16, 2010 – 11:00 IST
Pick up a newspaper or surf news channels and I’m sure, atrocities being committed on students by teachers/principals wouldn’t escape your attention. Also do a Google and so many results on this topic would open up in a fraction of seconds.
Educational institutions – not all, but a few definitely – are in a crazy rush to create a brand for themselves and even parents [not all, again] are keen that their kids become scholars and whiz kids overnight. Resultantly, the child is not just burdened with a bulky school bag on his back, but also carries the burden of ambitions, aspirations and unfulfilled dreams on his tiny, frail shoulders.
BY BOLLYWOOD HUNGAMA.COM
PAATHSHAALA merely touches the tip of the iceberg. It attempts to answer questions related to the sanctity of today’s education system. It sheds light on the shortcomings in today’s schools and how morals and ethics associated with the teaching profession seem to have taken a complete backseat. Let’s not compare it with TAARE ZAMEEN PAR or 3 IDIOTS, although a few sequences, in these two trend-setting films, threw light on the pressures on students.
On the brighter side, the acting is distinguished. Nana underplays beautifully, Ayesha adds to the sunshine moments, but it’s Shahid who pitches in a commendable and convincing act.
PAATHSHAALA, penned by Ahmed Khan and directed by Milind Ukey, is well-intentioned. It has a lot to say, but the predicament is, what translates on celluloid is not razor-sharp. Of course, there are few defining moments in the movie, which do make you ponder on the plight of the educational system. But there are also portions – when the media steps in to boost the brand of the school – that are mumbo-jumbo.
Final word? PAATHSHAALA, made with noble intentions, could’ve been a splendid wake up call, but it runs out of steam midway!
The story begins with a new English teacher, Rahul Prakash Udyavar [Shahid Kapoor], joining Saraswati Vidya Mandir School. Though he strikes an instant rapport with students and teachers alike, he realizes that there is something amiss in the school.
Slowly, his doubts prove true as School Manager Sharma [Saurabh Shukla] makes many monetary obligations compulsory on the parents in the name of extra-curricular activities. He goes to the extent of punishing the students inhumanly when the new, unjustified demands of the school are not fulfilled by the parents.
When Rahul unifies the teachers [Ayesha Takia, Sushant Singh] against the atrocities of school management, Principal Aditya Sahay [Nana Patekar] defends the management decision. This comes as a shocker to the teachers as Sahay is known for his dedication as an educationist for last 32 years, which has built the school’s high reputation.
The situation turns grave as the school management becomes over-ambitious with its growth and involves media planners in the extra-curricular activities. This demands the involvement of students in TV reality shows and many other media activities used for building up the school image in public, which starts reflecting on the students’ stress levels. The pressure on young minds increases incredibly, leading to unexpected consequences.
One of my childhood memories is of a few students being called to the principal’s office and being reprimanded for not paying their school fees on time. In another instance, I vividly recall a student being made to stand in scorching heat, under the blazing sun, since he was up to some mischief all the while. The barbaric attitude was a way of teaching the student a lesson.
PAATHSHAALA brings back those dark memories because the film encapsulates these two incidents on celluloid. The problem with the film is, it gets very real at times, but gets farcical as well. The participation of kids in media activities doesn’t have a hammer-strong impact. The chilly portion and the director capturing it on camera, or the press photographer munching samosa as the kids get ready with a pyramid, looks unreal, despite being identifiable incidents. Even the climax is confusing. What is Nana saying in the concluding reels lacks precision.
Director Milind Ukey has filmed some scenes expertly, but, as mentioned above, the film lacks the power to make you do a serious introspection. Hanif Shaikh’s music is strictly okay.
Nana is very much in sync with his character. Shahid displays the vulnerability and helplessness remarkably. Ayesha is a complete natural, as always. Amongst the plethora of teachers and students, Sushant Singh does well, Sushmita Mukherjee is serviceable and Saurabh Shukla is so effective, you start hating him for his repulsive attitude.
On the whole, PAATHSHAALA is a well-intentioned film, but lacks clarity thanks to an uninspiring screenplay.
Atithi Tum Kab Jaoge is a bollywood Hindi comedy film released today on mar 5, 2010 directed by Ashwni Dhir, Starring Ajay Devgn, Konkona Sen Sharma, Paresh Rawal. Adithi TumKabJaoge Movie is produced by Warner Bros.
Atithi Tum Kab Jaoge promises to provide the family audience a neat, subtle and funny experience. Atithi Tum Kab Jayenge – Ajay Devgan and also. Atithi Tum Kab Jaoge movie story revolves around Puneet (Ajay) and Munmun (Konkona). Their lives turn upside down when Paresh Rawal enters in to their home. Athiti Tum Kab Jaoge movie is kind of movie, which based on a guest who visits and makes placement for himself for long time even after saying Aap Kab Jaoge. This kind of scenario we witness many times at home, even though any loved one comes and stays for a long time. When the Mehman takes his/ her luggage leaving the inviters and then many still don’t like to ask but still say Atithi Tum kKab Aaoge.
Click Here For Full Cast and Crew Details and Full Movie Review.
Before Posting my another post First of all I want to thanks my all the Readers becoz due to you I had completed my 100 Posts in the Blog. Special Thanks to My All Friends. Keep visting this blog. Thanks to everyone
Nitin Jaiswal
Finally Farah Khan has got into the lingo of ‘Lights, Camera and Action’ for her most-hyped film ‘Tees Maar Khan’. Of late the shooting of the Akshay Kumar starrer kick started in the locales of the Film City.
In fact the filmmaker wanted to start the shoot on the day of Holi with the actor. However as Akki was keen to celebrate the festival, Farah had got on with the shooting of a sequence where junior artists were required to feature. Now that Holi is over, Akshay said to have joined the team.
Currently they are shooting Akshay’s introductory scene, which involves masaledar stunts and comedy. It was for this very scene the production had erected a huge jumbo jet, designed by Sabu Cyril.
The scene involves Akshay being taken captive in the plane and in the course of the sequence he outsmarts everyone and escapes.
‘Tees Maar Khan’ features Akki totally in a new avatar, playing a hot conman. For this, he is being styled by designer Aki Narula and international make-up stylists.
The next two months will see small and medium budget releases and there may be a few box office surprises but all eyes will be on Housefull which is expected to get summer season going at the ticket counters.
The promo which premiered with Karthik Calling Karthik on Friday has seen a good response from the trade and public and the film looks like the first big commercial entertainer of 2010. This year has seen Veer succeed in interiors and My Name Is Khan in big cities but Housefull could work in both interiors and big cities.
The last time Akshay Kumar, Sajid Nadiadwala and Sajid Khan came together it resulted in a big hit in the form of Heyy Babyy and it looks like the house full boards may well go up again on 30th April when Housefull opens.
