Paathshaala Movie Review

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.

Karthik Calling Karthik Movie Review

Have you ever received a call from yourself? Is it possible in the first place? There are several theories doing the rounds about the two Karthiks in this movie. So what is it? Is Karthik hallucinating? Does he have a double role? Or a split personality? For most parts of the film, you actually buy the explanation that Karthik does receive calls from, well, Karthik.

Let's accept the fact that a concept like this instinctively generates curiosity in the film. But the real test is to make the story work in those 2 hours. Also - this is vital - the identity of the caller should come as a jolt when the film concludes.

KARTHIK CALLING KARTHIK works in parts, but during the penultimate part, when the story shifts from Mumbai to Kerala, the sand castle, so beautifully built by debutante director Vijay Lalwani, gets washed away.

One doesn't want to challenge the behavioural patterns of a person with a certain disorder, but when it comes to the big screen, when you are narrating a story on celluloid, you need to do a lot of spoon-feeding and make it look convincing. In this case, unfortunately, the finale is just not convincing and therefore, acts as a spoilsport.

Meet Karthik [Farhan Akhtar], an introvert by nature and shy by choice. Karthik suffers with huge confidence issues and is miserable at his average job that yields less than average results. His boss [Ram Kapoor] treats him like dirt. Shonali [Deepika Padukone], his colleague, who he secretly loves, doesn't even know that he exists. Karthik is a loser. He knows it. He accepts it.

Suddenly, one night, the phone rings. And Karthik speaks to someone he never thought he would. He speaks to a man who also claims to be Karthik. The man on the phone says he's here to change Karthik's life. Karthik accepts the phone in his life and soon it becomes his guide, his mentor, his friend, his guardian.

KARTHIK CALLING KARTHIK is a love story as also a suspense fare that teases your mind. Any love story works if the chemistry and also the moments between the on-screen lovers looks real and the chemistry between Farhan and Deepika works well.

Correspondingly, a suspense film works if the viewer keeps guessing what the culmination to the story would be. The mystery only deepens when not only Karthik, but also his girlfriend and psychiatrist are engulfed in this storm. All hell breaks loose when Karthik's life goes upside down and Karthik is back to square one. But from this point onwards, the graph of the film only goes downwards.

Debutante director Vijay Lalwani knows his job well, but he's letdown by his own writing. The second hour not only looks stretched [two songs flow one after the other, with the story coming to a grinding halt], but the pace also gets excruciatingly slow at this juncture. The climax, as mentioned earlier, is a complete downer.

Shankar-Ehsaan-Loy's musical score is an asset. The film has some lilting tunes. Cinematography [Sanu John Varughese] is perfect. Dialogues are simple mostly and at times, very witty.

This is Farhan Akhtar's third film as an actor and it must be said that he takes giant strides when it comes to acting. The story throws several challenges at him and fortunately, he emerges trumps in the most difficult moments. This is, by far, his best work.

Deepika Padukone looks bewitching and acts natural throughout. Ram Kapoor is fantastic. Why don't we see him so frequently on the big screen? Shifaali Shah is excellent. Vivan Bhatena is good. Tarana, Vipin Sharma and Yatin Karyekar are serviceable.

On the whole, KARTHIK CALLING KARTHIK is a decent product with an unconvincing conclusion. Watch it for the wonderful performances of Farhan and Deepika, if you have to. Caters to the youth in metros mainly.

Veer Movie Review

VEER drives home a few hard facts...

* No amount of gloss can substitute for an engaging story.

* Not all directors are capable of pulling off a period film.

* No star - howsoever strong his rankings are - can infuse life in a comatose script.


Everyone's awaiting VEER with bated breath. The film industry will get another breather if VEER goes the 3 IDIOTS way at the box-office. The junta will have one more fascinating genre to look forward to, if VEER appeals to them. But your hopes go crashing as reel after reel of VEER unfurl.

Salman Khan [who has been credited as the story writer of VEER] takes TARAS BULBA, adds GLADIATOR, CONAN THE BARBARIAN, TROY, TITANIC and even KRANTI [the end is a straight lift of Manoj Kumar's Dilip Kumar starrer] and comes up with this khichdi which gets unpalatable after a point.

VEER is about a warrior and at the same time, it's a love story too. Sadly, neither does it evoke any patriotism, nor does the love story make your heart go dhak-dhak.

The writing [screenplay: Shaktimaan Talwar, Shailesh Verma] is so fragile that one is mentally exhausted by the time this marathon movie finally reaches its finale. Of course, Salman's star power tries hard to salvage the situation, but window dressing doesn't help if the store has nothing to offer.

Final word? You have to be a veer to sit through VEER. Colossal disappointment!

As the British enslave India with their devious Divide and Rule policy, kings and nawabs fall to their guile and cunning schemes and entrust their precious kingdom to the foreigners. Except for the brave Pindaris, who prefer death to dishonour and will fight to their last breath to save their land.

The bravest, the toughest, the strongest of the Pindaris is Veer [Salman Khan]. As Veer takes on the might of the British Empire, he also has to fight the conniving King of Madavgarh [Jackie Shroff] as well his own jealous tribesmen. At stake is his love for princess Yashodhara [Zarine Khan], daughter of his sworn enemy. At stake is his thirst to avenge his father's dishonour.

VEER has it all - great stars, opulent and majestic sets, adrenaline pumping action scenes, but no soul [read script]. The movie begins with a bang, but the moment the story shifts to London, it crashes!

Frankly, it's a screenplay of convenience. Salman meets the woman of his dreams within minutes of reaching London and that looks so unreal. You try to digest it and move on to the next scene and lo! The damsel studies in the same college that our hero has enrolled in. Now that looks fake!

The sequence at the interval is interesting, although it remains a mystery how Puru Raaj Kumar gets to know of Salman's identity. At this point, Salman becomes a killing machine, slaughters more than a dozen people in the hostel campus [including a few gora soldiers] and conveniently escapes from London with a badly injured brother [played by Sohail]. Now that is taking it too far.

The second hour goes on and on and on, emphasising on unfulfilled promises, seething anger and revenge, love and freedom and frankly, you are least bothered by now. In fact, you lose interest in the proceedings. Period. The climax is so long drawn and more of an anti-climax, while the ending is bizarre and unintentionally funny.

Director Anil Sharma fails to deliver. That's the bitter truth. The project had everything going in its favour, but alas, Sharma and his writers make a complete mess of the story. Sajid-Wajid's music is melodious, but why repeat one song ['Surili Ankhiyon Wali'] again and again? The background score [Monty] is top notch. Gopal Shah's cinematography is splendid. Tinu Verma's action scenes are dynamic and in fact, the saving grace of VEER. The production design [art: Sanjay Dhabade] give an authentic feel of the bygone era.

VEER rides on Salman's star power, but even his hardcore fans will be disappointed by this movie. Zarine Khan resembles Katrina Kaif, but wears one expression all through. Mithun is okay, while Jackie does his bit well. Sohail Khan irritates. Puru Raaj Kumar and Aryan Vaid get no scope. Neena Gupta is as usual. The English actors are stereotype.

On the whole, VEER proves the age-old adage true: All that glitters is not gold. The film may open very well at single screens thanks to Salman's popularity and the hype surrounding the film and may also enjoy a healthy extended weekend [Tuesday, 26th January is a holiday], but given its exorbitant costs and poor merits, VEER will face an uphill task to recover its costs. This one's a monumental disappointment!

Dulha Mil gaya movie review

The recipe is simple and uncomplicated...
Take MY FAIR LADY.
Add DULHAN WAHI JO PIYA MAN BHAAYE.
Spray NASEEB APNA APNA.
Sprinkle DILWALE DULHANIA LE JAYENGE and RAB NE BANA DI JODI.
Hey presto, DULHA MIL GAYA is ready to serve.

In fact, MY FAIR LADY has been a hot favourite of Bollywood. Recall MAN PASAND [Dev Anand, Tina Munim] or HUM TERE AASHIQ HAIN [Jeetendra, Hema Malini]. Similarly, a number of storytellers have rehashed Rajshri's all-time hit DULHAN WAHI JO PIYA MAN BHAAYE [Prem Krishen, Rameshwari] in various avtaars, over the years.


DULHA MIL GAYA is a mix of the above-named films. Like they say in filmi lingo, it's old wine in new bottle. So what? How different can a love story be, since this genre has been done to death in Bollywood? Point noted, but the narrative ought to be engaging if it has to strike a chord and that's where DULHA MIL GAYA falters.


Click Me for Full Review

Rocket Singh salesman of the year movie review

Some films absorb you instantly, from the very outset. But it takes time to get into the world of a salesman who thinks from his heart.

Come to think of it, ROCKET SINGH - SALESMAN OF THE YEAR is about a simpleton, but the story of his struggle and accomplishment isn't the kind that would charge you or make you charter a similar path in life. Also, the story of an underdog who comes up the hard way should make you feel euphoric in the end, right? But ROCKET SINGH - SALESMAN OF THE YEAR doesn't.

Frankly, ROCKET SINGH - SALESMAN OF THE YEAR is more of a documentary on the life of a salesman. It's a decent film, no two opinions on that, but the question is, [a] Is the story powerful enough to excite you and [b] Does it grab your attention in entirety? Sadly, the answer to both the questions is in the negative.

There's another problem and this is strictly from the point of those seeking entertainment. A Yash Raj film with Ranbir Kapoor [after AJAB PREM KI GHAZAB KAHANI] essaying the title role, coupled with fun-filled promos ['Pocket Mein Rocket Hain'] might make you assume that it would offer loads of entertainment, but this has barely a song or two, as good as no romance and hardly any comic moments - the recipe for most Hindi movies.

In a nutshell, ROCKET SINGH - SALESMAN OF THE YEAR is a dull and dry experience.

Harpreet Singh Bedi [Ranbir Kapoor] has just graduated and his marks are, well, let's say a little embarrassing. But marks never stopped him from dreaming of an exciting and adventurous career, and they never will.

He takes a deep, positive breath and dives into the world of sales, rumoured to be an ultra cool career. It's everything he dreamt of, with its smooth dressing, smoother talking men and women who can sell ice to an Eskimo, dreams to an insomniac and a lifetime mobile connection to a dying man. But soon, his idea of success begins clashing with the strange ways of these 'professionals' and 'bosses' he looked up to.

ROCKET SINGH - SALESMAN OF THE YEAR may be based on a simpleton's life, but the viewer gets a hang of things only towards the second hour. The entire first hour is devoted to establishing the characters and also getting used to the way sales persons go about their business.

There's not much excitement in the first hour, barring a few attention-grabbing scenes that pop up intermittently. The story just flows, with the viewer not reacting much to the proceedings. But things change for better towards the post-interval portions when the protagonist and his colleagues' lives get complicated.

At least two sequences deserve a mention here. The first, when Ranbir and his boss have a lengthy telephonic conversation. The second, when the boss realises his folly and apologises to Ranbir. But, unfortunately, the culmination to the story doesn't give the feeling of euphoria or victory. Ideally speaking, it should have. That's one of the reasons why the impact is missing.

Shimit Amin is an efficient storyteller and he has been most faithful to the plot, but if the plot itself has its limitations, there's not much he can do to boost the proceedings. Jaideep Sahni has had the courage to narrate a new story, but the story is one-dimensional. Also, there screenplay is devoid of songs, romance and entertainment, which will go against the film completely.

Salim-Sulaiman's background score is effectual. Vikash Nowlakha's cinematography is alright.

Ranbir Kapoor is an exceptional actor and ROCKET SINGH - SALESMAN OF THE YEAR mirrors this fact. The actor underplays his part beautifully, which only goes to prove that he's equally at ease essaying straight-out-of-life roles. Prem Chopra is exceptional. A number of new faces enact pivotal roles here, but the ones who stand out are Ranbir's boss Puri and colleague Nitin. Both are fantastic.

D. Santosh is first-rate. Gauhar Khan leaves a strong impression. Shazahn Padamsee doesn't get any scope.

On the whole, ROCKET SINGH - SALESMAN OF THE YEAR is more of a documentary on the life of a salesman. Lack of music, romance and entertainment, coupled with zilch hype, will go against the film. A colossal disappointment!

Radio Movie Review by taran adrsh

"MUST WATCH RADIO DONT MISS IT"

When Himesh Reshammiya stars in a film, it's got to be a musical. Musical it is, but RADIO also attempts to explore the man-woman relationship in a metropolis.

RADIO rests on a thin storyline. Superficially, it's about a couple that goes separate ways, then man meets another woman, later ex-wife develops a soft corner, much later man is torn between the two women. Haven't we witnessed similar themes in the past? Oh yes, aplenty!


Only thing, director Ishan Trivedi places the story in a radio station and that gives the film a different texture. Also, the film is divided in various chapters - some interesting, some mundane, some yawn-inducing and boring.

The USP of RADIO is, without doubt, Himesh's musical score. The film has some melodious tracks, but how one wishes the super music was complimented by an equally superior script.

Vivan [Himesh Reshammiya] is a successful RJ with a popular radio channel. His wife Pooja [Sonal Sehgal] seeks divorce and the reason cited is lack of compatibility between the two.

Enter Shanaya [Shenaz Treasurywala], who is like a ray of sunshine in Vivan's insipid life. He discusses Shanaya with Pooja, but being a woman, she can see his love for Shanaya. In the end, however, Vivan realises that he may have a soft spot for Pooja, but he wants to spend his life with Shanaya.

RADIO rests on a fragile plot, with the writing holding your interest at places, but blowing away the hard work in its immediate chapter. That's how erratic RADIO is.

Confusion kya hain? The ex-wife can't decide if she wants her man back or not. It was she who wanted a divorce, not the man, but she can't let go off her man for some inexplicable reason. Even the other woman, all of a sudden, wants the man she loves so dearly to go back to his ex-wife. That just doesn't work!

Besides, the narrative is laced with too many songs. Whether or not the situation warrants them, you have one track ready to unspool every 10 odd minutes.

On the brighter side, RADIO has some tender moments too. Note the sequence towards the end, when Himesh pours his heart out to Shenaz. It's a beautiful sequence and the writer in particular needs to be complimented for taking a mature look at relationships.

Directorially, Ishan Trivedi cannot do much given the fact that he's handicapped by a sketchy screenplay, which, ironically, is also penned by him. Resultantly, the film grips in bits and spurts. Himesh's music is top notch. 'Mann Ka Radio' is already a craze and its picturisation needs to be lauded. The other tracks - 'Teri Meri Dosti', 'Zindagi Jaise Ek Radio' and 'Rafa Dafa' - are lilting compositions as well. Attar Singh Saini's cinematography is perfect.

Himesh has grown as an actor and that reflects in certain difficult moments of the film. Shenaz is natural. In fact, she gets it right this time. Sonal acts well, but her character is not well defined. Paresh Rawal's track looks forced. Zakir Hussain is strictly okay. Rajesh Khattar is good.

Love Ajkal review by Taran Adrsh

LOVE AAJ KAL is a director's show entirely. The relationships here are complex because the couple in love lives in complete denial. It is to Imtiaz Ali's credit that he has penned an offbeat story, developed a complex but comprehensive screenplay and extracted sensitive performances from the principal cast. At the same time, the writing isn't the type that would appeal to all sections of movie-going audience. Besides, the execution of the subject and also the pacing in the first hour are deterrents.

Final word? LOVE AAJ KAL makes you fall in love with love all over again. Makes you value your loved ones all the more. This film is special!

Love Aaj
London, San Francisco, Delhi - 2009.
Jai [Saif Ali Khan] and Meera [Deepika Padukone] is a modern-day couple in London. They are very happy together, but do not believe in tying each other down. So when life pulls them in different directions, they decide to call off their relationship, since long-distance relationships, in their opinion, don't work.

Love Kal
Delhi, Calcutta - 1965.
Veer Singh [Rishi Kapoor] is struck by a thunderbolt when he sees Harleen for the first time. He travels a thousand kilometers by train to stand under her balcony, only to have a glimpse of her face. And yet not speak a word with her.

Love Aaj Kal
Veer does not understand how Jai can treat matters of the heart without passion. Jai does not understand how Veer Singh could have been so naive and silly about Harleen in his youth. But as both stories unfold, we realize that the process of relationship might be different in different eras, but the experience of being in love remains the same.

LOVE AAJ KAL travels multiple continents and different eras. The subject matter is novel, never attempted before, but the material, the characters [Saif and Deepika especially] as also its execution is targeted at the youth in big cities mainly. As they say in filmi lingo, this one's a hardcore multiplex movie.

Another area where Imtiaz Ali experiments is by depicting Saif as the young Rishi Kapoor. It's a novel concept, no two opinions on that, but the question is, will it cut ice universally? Will people tend to get confused when the sequences turn sepia?

The film captivates in bits and spurts in the initial portions. Partly because the writing is so different. But the writing breaks new grounds in the second hour. It's in this hour that the film grips you completely, when the fragmented pieces are put together and a mesmeric picture emerges.

The second hour is the soul of the film. Right from the time Deepika decides to marry, till the last reunion, the film touches an emotional high. The sequence of events that lead to the culmination is incredible. Saif's interaction with Deepika at the marriage, or the gradual change in Saif's behaviour in the U.S. in the course of a song, or the realisation that marriage was a big mistake... moments like these take LOVE AAJ KAL to dizzy heights.

Imtiaz Ali is a genius. The film bears the stamp of an accomplished storyteller. This is a forward-thinking film that handles the new-age relationships with complete understanding. The songs compliment the goings-on beautifully. This is amongst Pritam's accomplished works. 'Twist' [already a rage], 'Aahun Aahun' [foot-taping], 'Chor Bazaari' [melodious] and 'Dooriyaan' [melancholic], each song is a gem. N. Natarajan Subramaniam's cinematography is fantastic. Editing [Aarti Bajaj] is wonderful.

Both Saif and Deepika come up with their career-best performances in LOVE AAJ KAL. Saif carries the most difficult parts with remarkable ease. Sure, we've seen him as the cool, urban guy in several films, but this one's the most demanding role and only a seasoned actor could've delivered it with such precision.

Deepika looks ethereal. Most importantly, in LOVE AAJ KAL, she acts very, very well. Matching up to Saif is no mean achievement and she does it in several scenes. This should be the turning point in her career. Rishi Kapoor is top notch. The actress enacting the role of Harleen is pretty. Rahul Khanna does well in a small, but significant role. Watching Neetu Kapoor in the end sequence is truly astonishing. She's so graceful.

On the whole, LOVE AAJ KAL is for the young and romantic at heart. Sure, it's not perfect, but the terrific performances, melodious music and stirring emotional moments [last 35 odd minutes] more than compensate for the hiccups. At the box-office, the film should start with a bang for four factors -- its novel cast, super music, great promotion and yes, Imtiaz Ali, a name that commands respect amongst moviegoers. Released extensively [approx. 1800 screens worldwide], LOVE AAJ KAL will have one of the biggest first weeks in India and also in the international markets. In India, the business will be superb across multiplexes, while single screens might not behave as energetically. But the business at multiplexes will ensure a fantastic recovery of the investment. Internationally, it has the potential to emerge one of the biggest grossers in recent times.

Jashn movie review by Taran Adarsh

The Bhatts have often told stories that seem straight out of everyday life. Their new outing Jashnn also mirrors the thoughts of zillions of hopefuls. It's about a nobody who wants to achieve success in life, wants to live his dreams, wants to become a somebody some day. In that respect, Jashnn, with director duo Raksha Mistry and Hasnain Hyderabadwala in the driving seat, drives home the point convincingly.

You can't deny the fact that Jashnn brings back memories of the immensely likable Rock On!!, for Jashnn is also about a boy band, about dreams, about defeat and about success. Like Rock On!!, Jashnn also looks at relationships, but the relationships here are poles apart.

In this case, the protagonist (Adhyayan Suman) is living off his sister (Shahana Goswami), who is reduced to being the mistress of a wealthy entrepreneur (Humayun Saeed) who loathes the protagonist. In fact, the relationship between the siblings and also the volatile relationship between Adhyayan and Humayun are the mainstay of the film. Sequences between them expose the stark reality of life.

But Jashnn is not without its share of hiccups. The romantic track could've been as intense as the volatile ones. Also, it gets long drawn towards the second hour and robs the film of its sheen to an extent. But the climax more than compensates for the blemishes. Thankfully!

All said and done, Jashnn is yet another compelling tale from the house of Bhatts. Super music coupled with bravura performances from its principal cast makes Jashnn an interesting watch.

Akash (Adhyayan Suman) thirsts to become a singing icon. But though he has dreams in his heart, he is unable to find that distinctive voice that he can call his own, that will propel him to the top. Only when he confronts a bitter truth - that he is freeloading off his elder sister Nisha (Shahana Goswami), who, in order to offer him a decent lifestyle, has become the mistress of a rich businessman Aman Bajaj (Humayun Saeed) - is he is able to touch his inner core.

Call it irony or a twist of fate, but the person who sees him through this dark night and mentors him when he's down and out is none other than the sister of the person who he hates most in the world - Aman Bajaj. It is Sara (Anjana Sukhani), Aman's sister, who makes him realize that he is an extremely talented man and is simply going through a bad phase.

In the end, he not only touches his inexhaustible potential and becomes an overnight star, but also humbles his biggest detractor Aman Bajaj and in the process, lives up to the faith that his sister and Sara had in him all along.

Director duo Raksha and Hasnain step into a different domain after attempting thrillers. And the relationships here are too complex. For instance, watch out for the tiff between Adhyayan and Humayun, when the latter abuses Shahana. The subsequent sequence, when Adhyayan apologises to Humayun at his office, is heart-breaking. Then there's the one where Adhyayan and Shahana enter Anjana's party and the confrontation that ensues with Humayun. Another master stroke!

In the post-interval portions, Adhyayan's demo is rejected by the music company baron and his outburst at this point breaks your heart! The same night, he takes refuge in drinks and even robs money from another guest at the hotel. What happens thereafter is astonishing.

In the climax, Adhyayan calls his sister on stage and makes her accept the trophy from Humayun. Clapworthy and deeply emotional!

But, as mentioned earlier, Jashnn loses its grip during the romantic sequences. The film dips in the second hour, which is long drawn and half as convincing at times. The low phase that Adhyayan goes through could've been more effective and shorter.

Jashnn Director duo Raksha and Hasnain show sparks of brilliance in the above-mentioned scenes and they get solid help from writer Shagufta Rafique, whose screenplay is watertight, barring certain portions mentioned earlier. You expect every Bhatt movie to be embellished with melodious and soulful music and the songs in Jashnn are seeped in melody, especially the final track. Dialogues are powerful and dipped in acid at times. Camerawork is up to the mark.

All four actors shine in their respective roles. Adhyayan Suman takes giant strides. Note the helplessness, the sorrow, the dejection and the eventual exhilaration. This is Adhyayan's showreel. Humayun Saeed, from across the border, is brilliant. This film makes you wake up to this talent, which gives the film a rich texture. Here's an actor to watch. Shahana Goswami is already going from strength to strength and Jashnn only proves that she's matchless. She handles her part with amazing understanding. Anjana Sukhani is a revelation. Again, this film should act as a showreel for her. She's excellent.

On the whole, Jashnn is a moving tale with three USPs - its music, the emotional quotient and the performances by its four actors. Despite some loose ends, it should slowly and steadily win over cinegoers based on these three factors.

You won’t regret watching Jashnn but then again don’t expect anything great. Jashnn promises celebration moments as much as an old wine in new bottle.

New York Reviews and Ratings

Myth: NEW YORK is about 9/11.
Fact: It's not. But it reflects the mood that's prevalent across the globe, post 9/11. The world is divided today. No two opinions on that!

Myth: NEW YORK bears a striking similarity to KHUDA KAY LIYE.
Fact: Nope. KHUDA KAY LIYE and NEW YORK may belong to the same family, of an innocent person being picked up for questioning after the WTC catastrophe, but the similarities end there. In fact, KHUDA KAY LIYE and NEW YORK are as diverse as chalk and cheese.

NEW YORK, helmed by Kabir Khan, attempts to be as real as possible. A tale of friendship, with terrorism as the wallpaper, NEW YORK hits you like a ton of bricks at several points in the narrative. In fact, there was a possibility that NEW YORK may turn out to be a dry experience, a documentary perhaps, but the drama is so well structured and so gripping that you get sucked into the world of Sam, Omar and Maya from its inception.

NEW YORK is a triumph for Kabir Khan, who deserves distinction marks for handling the subject with remarkable maturity. Also, this film should be a turning point for John, Katrina and Neil. More on that later...

The verdict? NEW YORK is, without doubt, one of the finest films produced by this premier production house, Yash Raj. Grab a ticket today!

Omar [Neil Nitin Mukesh] has gone abroad for the first time in his life and soon enough, he begins to see and love America through the eyes of his American friends, Sam [John Abraham] and Maya [Katrina Kaif]. But an incident changes the world round them.

At this point enters Agent Roshan [Irrfan], an FBI agent, who sets the ball rolling for a series of tumultuous events that turn the lives of these friends upside down.

NEW YORK affects you like no other Hindi film has done so far [on 9/11]. In fact, there are portions that give you goose bumps, especially towards the second half of the film, when John recounts his past.

One of the reasons why NEW YORK works is because not once does Kabir Khan borrow from the past or tilt towards predictable stuff. You just can't guess what and where the story is headed and what the culmination would be. The director and his team of writers establish the plot and characters beautifully, but the real action is reserved for the second half. The nightmarish experience that John undergoes is disturbing, but lifts the film several notches up.

But NEW YORK has its share of loose ends. The film dips in the second hour. It tends to gets lengthy before it reaches a powerful, brilliantly executed climax. Also, a few sequences only add to the length of the film, which could've been curtailed in the writing stage itself.

Director Kabir Khan picks up a real incident -- innocent civilians being suspected as terrorists, soon after 9/11 -- and weaves a brilliant tale around it. The screenplay is its biggest star, without a doubt. Given the fact that NEW YORK isn't one of those routine masala fares, Kabir has injected songs only when required. Cinematography is striking.

Now here's another surprise. John, Katrina and Neil, all actors, deliver their career-best performance. If the first half belongs to Neil, John takes over the second hour completely. John is superb when he recalls the past. You can feel his pain, that effective is his performance. Also, note his expressions towards the end. This is a different John, for sure. Just one word for his performance -- fabulous!

Neil was remarkable in JOHNNY GADDAAR, but disappointed in AA DEKHEN ZARA. Fortunately, he's in top form this time around. Katrina gives you the biggest surprise. Known for her glamour roles, Katrina proves that she can deliver if the director and writer offer her a role of substance. She's outstanding. In fact, people will see a new, different Katrina this time. Irrfan is, as always, first-rate.

On the whole, NEW YORK is amongst the finest films produced by Yash Raj. At the box office, there's no stopping this one. Go for it now!

Source : bollywoodHungama