I Me Aur Main (English for I Me & Myself) is a traditional
theme of a love triangle made to look contemporary. A man is always
known to be selfish and full of him and this film just names him
so while going on to amplify his traits.
Shrishti Behl Arya, Goldie Behl.
Director: Kapil Sharma.
Cast: John Abraham, Prachi Desai, Chitrangada Singh,
Raima Sen, Mini Mathur, Sameer Soni, Sheena Shahabadi, Errol
Peter Marks, Sameer Soni.
Abraham is a totally one way street who is brought up to believe
that he is the best, the world is his slave and that every woman
would crave for him. Abraham has been bedding Chitrangada Singh
for three years but is not ready to accept the relationship on a
permanent basis. He dodges all her attempts to talk about marriage
or for her to meet his parents. His selfishness reflects in the
fact that since he consumes no milk and even has his coffee black,
he refuses to pay the milkman when Singh's hands are full with other
has been a bully since childhood and his mother, Zarina Wahab, has
only made it worse. He likes to shadow box in front of the mirror
with his self-boosting chant, 'I am the best, I am the best'. His
girlfriend of three years, Singh, has been docile and too much in
love with him to pose any kind of challenge until one fine day he
reneges on his promise to take her to Pune to meet his parents.
She throws him out bag and baggage.
ego hurt, shifts into a rented apartment unaware that he has left
Singh pregnant. His next door neighbour is Prachi Desai, an independent
and lively girl who is least impressed by this 'I am the best' neighbour
of hers. She soon starts cutting him down to size. To add to his
discomfort, he has a new boss, Raima Sen, hired by his music company
with more pay which only indicates Abraham has been found lacking
in his work. She makes him look smaller at every opportunity she
gets so that he knows who the boss is around there. Abraham soon
takes a fancy to Desai. He is not alone in that. His mother, Wahab,
who has come to stay with him, has also grown fond of her. Abraham
has a sister who sees through her brother's vanity. Being a friend
of Singh and being responsible for introducing both, she tries in
vain to tell Abraham about Singh's pregnancy with his child.
this time, Abraham begins to realise things don't always work his
way. Desai rebuffs his advances to get physical. At office, his
boss sacks him because he wants to launch a new girl singer she
does not think worth the effort. Abraham decides to launch her on
his own at the goading of Desai and even before the launch event
can start he is told about Singh's labour pains. And, in a stroke
of scriptwriter's pen, he realises in one scene what he did not
during previous 100 minutes of the film: that he needs to own up
to fatherhood and to be by Singh's side.
a contemporary love triangle, Singh has outgrown Abraham and her
love for him no longer exists. She is an independent woman with
a good career and decides to play single mother. Abraham can now
continue romancing Desai.
script is half-baked and the direction gets little chance to shine.
Considering the subject, music is not up to mark and even Naa jaane
kahan se aayeehai, a remixed version of the Laxmikant-Pyarelal hit
number from Chaalbaaz (1989) has been mucked up. John Abraham is
okay. Singh is good while Desai shines. Mini Mathur, Raima Sen,
Sameer Soni and Zarina Wahab support well.
Aur Mein lacks appeal for youth, its target audience.
Attacks Of 26/11: RGV's take on the Mumbai Attacks fails to
Director: Ram Gopal Varma.
Cast: Nana Patekar, Sanjeev Jaiswal, Farzad Jehani,
is a dearth of ideas because there is no lure for good writers
in the film industry. While some opt to remake foreign film, others
remake South Indian films, and many have decided to remake old
hits and even flops which they think they can better. Ram Gopal
Varma decided to base a film on the 26 November 2008, attacks
on Mumbai by Pakistani terrorists who killed innocent people with
a hail of bullets and grenades. This is either an adventurous
or a foolhardy idea, no in-between. Varma covers the initial shootings
at the Taj, the Leopold Café and the CST Station.
film is based on the book, Kasab: The Face Of 26/11 by Rommel
Rodrigues. The very idea of making this film defies logic since
there is nothing that the film can show that TV news channels
did not show live over a period of three days while the attacks
chain of events in the film starts from the cross-terrorists taking
over the fishing craft Kuber, slaying its crewmembers and entering
Mumbai through Colaba koliwada. It hurriedly documents the attacks
on The Leopold Café, Taj, Cama Hospital and CST station
(replaced here by Mumbai Central main line hall, probably, due
to denial of permissions to shoot at CST). For some reason, it
completely skips the attack on the The Trident and Nariman House.
Thereafter, it proceeds to show the attempt to escape by Kasab
and a partner and the capture of Kasab by the police.
done, the film then resorts to showing what transpired between
Kasab and the then joint commissioner of police, played by Nana
Patekar; the sermons on Islam meted out by Patekar to Kasab who
takes to sobbing. This is not the image of Kasab people have in
mind. He is shown to be a wayward youth misguided by his handlers
in the name of religion and jihad.
account could well be hearsay as none of it is on public domain
and of no solace to the viewers who saw the three day ordeal of
Mumbaites during the attacks or to the families of victims.
story is not worth making into a film and Varma only makes it
worse with his shoddy handling. He even includes a scene or two
from Jalianwala Baug massacre from the film Gandhi and adds an
instrumental version of Gandhiji's favourite bhajan, Raghupati
Raghav Raja Ram
at the end! The photography is poor. Nana
Patekar's inquest by a committee is boring with none of the members
showing a sign of expression. Sanjeev Jaiswal as Kasab is bad.
making of The Attacks Of 26/11is not an adventure, it is pure