Reliance Big Pictures.|
Writer-Director: Vinay Shukla.
Konkona Sen Sharma, Raima Sen, Boman Irani, Shreyas Talpade, Arunoday Singh, Shahana
Goswami, Rajpal Yadav, Sushant Singh, Ila Arun, Pitobash and Prem Chopra.
The title Mirch suggests nothing about the films content.
film incorporates four stories, all of similar themes: that of women caught cheating
on their husbands. Not only that, but also of how they wriggle out of the situation
making their men bear the burden of guilt.
Singh, an aspiring film writer, has written a script. Through his friend, Shahana
Goswami, he narrates the script to producer Sushant Singh, who likes it but feels
it is too short for a full length film.
cooks up three more such stories, two set in the olden era while the others are
contemporary. While in the first tale, Raima Sen the wife of Rajpal Yadav, a wage
earner in a small village, cheats on him out of need for sex, in the second, Konkona
Sen Sharma, the young bride of an aged king, Prem Chopra, also does the same because
the old man, in his sixties, has no inclination towards conjugal pleasures.
the third story, Raima Sen retaliates with an affair because her husband, Shreyash
Talpade, keeps doubting and testing her virtue by donning new getups. In the last
story, Konkona Sen Sharma cheats on her husband Boman Irani because she neither
gets money nor sex from him. She gets both by indulging in prostitution.
stories are inspired by Panchatantra and The Decameron, a collection of novellas
by Giovanni Boccaccio whose own inspiration often came from Panchtantras and Hitpodesha.
While the themes are common about a woman cheating on her spouse, the scripting
is crafty yet simple.
story has its share of wit, tittilation and a nice twist in the end. An old hand
at writing, director Vinay Shukla has executed his thoughts with perfection. The
photography is apt with locations exploited to the maximum. The music blends with
the atmosphere while dialogues are peppy.
Performance wise, while Arunoday
Singh gets in to the skin of all five characters with ease, Boman Irani, playing
the Sindhi businessman, is convincing. Raima Sen, Konkona Sen Sharma, Rajpal Yadav
and Prem Chopra are good. Ila Arun is natural. Shahana Goswami and Sushant Singh
give good support.
a watchable film, aimed at the gentry and multiplex audience, lacks
due promotion; it has prospects to have a lasting value on video and satellite
Sangeeth Sivan Productions P Ltd.|
Writer-Director: Mahesh Pandey.
Ali Asgar, Chetan Pandit, Vijay Mishra, Sharbani Mukherjee
Sangeeth Sivan's 332 Mumbai To India is an issue-based film.
a leaf out of an incident of a Bihari boy hijacking a public transport bus in
Mumbai,the film goes into those few months of discomforting equations between
local Maharashtrians and people from UP and Bihar coming to Mumbai for a livelihood.
than weaving a story around the incident (a la A Wednesday!), the film
is a recreation of it. How it affects a few other peoples lives forms the
crux of the film.
air is already thick as workers from Bihar and UP are attacked by local Marathi
speaking people when a provoked youth from Bihar hijacks a BEST bus in a Mumbai
the driver and others from the lower deck desert the bus, those in the upper deck
are held captive at gun point. Among other passengers travelling in the bus, there
is also a couple -- Bihari boy and a Marathi girl -- on their way to seek her
parents approval to marry.
incident also affects a father in Bihar who is glued to the TV set watching news,
hoping it is not his son who did it. A hostel toughie targets a Marathi speaking
student in Benaras to avenge the incident happening back in Mumbai and a Muslim
rickshaw driver has his rickshaw smashed and gets severely beaten up.
With a thin storyline and nothing much to build on, the scenes become repetitive
as they shift from character to character caught in the milieu. After all, how
many times can you see a gun totting youth with no solid agenda scaring a few
people in a bus or a tense father staring at a TV set to identify the boy or a
Marathi student in UP being glared at?
neutral is the script that it finally ends up conveying nothing. The performances
film based on news headlines does not work with our audience and the precedents
are aplenty. 332 Mumbai To India only adds to the tally.
Kaalo: A horrible horror film
Yash Patnaik, Mamta Patnaik.|
Writer- Director: Wilson Louis.
Swini Khara, Adtya Srivastav, Paintal
Kaalo is said to be world's first daylight horror film.
as a creature based horror film and shot around Jaisalmer, it is about a witch
who resurfaced two centuries after she was killed and buried.
quest is for the young and nubile girls who, when sacrificed, would give it immortality.
village Kulbhata, which the witch Kaalo haunts, has been deserted and no one dares
pass along the village road.
a passenger bus with some travellers is compelled to take the route when the main
road is closed. Also travelling on the bus is the 12-year-old Swini Khara who
becomes Kaalos target. Kaalo attacks the bus and kills its travellers till
only Swini and Aditya Srivastav survive.
initial scenes of Kaalo slithering through sands and taking people off
guard have an impact. But as Kaalo kills its victims one after the other, things
become monotonous. Visually, Kaalo looks like a giant sized bat which except carrying
off people, does not scare enough.
Wilson Louis shows his passion for the horror genre and has effectively used special
effects. This makes the film interesting. The background score is effective and
the cinematography is good. Of the cast, Swini Khara impresses while the rest
are just about passable.
said, Kaalo is an experiment on Indian film buffs who have yet to cultivate
the taste for the horror genre.