MUMBAI: Ever since films like Hum Aapke Hain Kaun
and Monsoon Wedding succeeded at the box office,
the Indian wedding has been a genre in Hindi films.
You don't need a story. You can collect a motley crowd
and use all the colour and light you want when you make
a wedding film.
However, there has to be some excuse for a story. Here
goes: Akash Chopra proposes to his childhood sweetheart,
Tahira Kochhar. The wedding, following an engagement ceremony,
is fixed. The guests and relatives start gathering and
a festive atmosphere prevails all round. But Chopra is
most thrilled when his elder brother and idol, Arshad
Warsi, arrives. Warsi is Chopra's mentor. Soon Warsi learns
that Chopra has been a one-woman man and not only has
he not indulged in chasing other women, he is still a
Director: Amrit Sagar Chopra.
Cast: Akash Chopra, Arshad Warsi, Paresh
Rawal, Raj Babbar, Shakti Kapoor, RiyaSen, Tahira
Himani Shivpuri, Anuradha Patel,
Tinu Anand, Navni Parihar.
Warsi has a theory that such a marriage can't last
and not cheating on one's wife leads to a failed marriage.
He decides to do something about the problem in three
steps. He is determined not to send his brother to the
altar a virgin man. He also plants on the wedding scene
a girl who was interested in Chopra earlier to seduce
him. Warsi keeps creating situations where Chopra would
bump into her. This charade goes on while on the side
the other characters' traits are etched out in an effort
to create funny situations.
Raj Babbar is the eldest of the family and comes across
as a 'khadus tau' until he confesses to almost going
wayward. Tinnu Anand was a muscular hulk once upon a
time but has reduced to looking like a walking stick
because he is always scared of his wife, Himani Shivpuri.
He will learn about something wrong he did years back.
Paresh Rawal plays mind games with his wife, Sushmita
Mukherjee, and keeps her hooked to drugs while he keeps
flirting with young girls. Shakti Kapoor likes to chase
girls too as his wife, Supriya Karnik, keeps nagging
him about smoking. Then there is the pair of Rakesh
Bedi and his wife, Navni Parihar, who married out of
love but are seen bickering and fighting all the time.
These are fillers to entertain you while Warsi tries
his devices to rid Chopra of his virgin status.
Finally, as expected, Warsi's ploy backfires. Chopra's
marriage is called off as Kochhar catches him with the
other girl. Warsi is foolhardy and bravely tells his
wife how he was cheating on her all the time. There
is no logic in Warsi's confession to his wife except
to create a little drama at the end. His wife walks
out and so does Kochhar.
Chopra does well while Kochhar is okay. Warsi is his
usual self. Rest fill the bill. Musically, Bari Barsi
And Muh meetha
have some lively moments. Direction
Rabba Mai Kya Karoon may find some takers in the North.
Its beginning has not been very encouraging.
Chor Super Chor: May just manage to steal a few smiles
Tehelka magazine introduced India to sting operations
and like all fads, soon filmmakers caught up with the
idea too. They found ways to add sting operations to their
scripts without always understanding the essence of a
sting. Chor Chor Super Chor is a sort of Oliver
Twist revisited, however, with an interesting concept.
Ved Kataria, Renu Kataria.
Director: K Rajesh.
Cast: Deepak Dobriyal, Anshul Kataria,
Priya Bathija, Alok Chaturvedi, Bramha Mishra,
Paru Uma, Chandrahas Tiwari, Jagat Rawat, Anurag
Arora, Nitin Goel, Avtar Sahani, MeghVarn Pant,
ShrikantVerma, Tina, Kafil Ahemad.
In a side alley of old Delhi, Shuklaji runs a photo
studio. But that is just a façade for he actually
controls a gang of young pickpockets and petty thieves.
The boys have grown up under his care and are very loyal
to him. One of the boys, Deepak Dobriyal, does not want
to be part of such a way of life anymore and wants out.
He tries to land jobs and finally gets one: to stand
dressed as a Punjabi 'samosa' outside a savoury shop
at one of the Delhi metro stations. In his earlier attempt
to find a job, he has come across a girl, Priya Bathija,
with whom he has fallen in love.
As luck would have it, Bathija arrives at the same
metro station everyday at a fixed time to go to her
job. One day, Dobriyal sees her handbag being picked.
She is stopped by the station security and asked to
show her ticket or else pay a fine, both things she
can not do since her ticket as well as money was lost
with the bag. Dobriyal uses his clout with the security
man and gets her out of this tricky situation. Dobriyal
knows one of his own people took it. He retrieves her
bag and returns it to her the next day. The ice is broken
and Dobriyal now becomes her friend. She wants to know
how he got her bag back and he owns up to knowing them.
She convinces him to show her the gang in operation
and the smitten Dobriyal duly obliges.
Dobriyal starts dreaming of finding a house as he expects
her to propose to him any moment. Instead what he gets
is a solid shock. The TV is running a promo of a sting
operation of a chain of pickpockets and how they operate
in unison on one target. Dobriyal is the one on TV in
a tell all session! Bathija was a TV reporter. She had
fooled and used him. His pickpocket friends are also
angry with him for giving them away. Dobriyal asks for
seven days and the gang's help to turn the tables on
Dobriyal plans a TV reality show of his own and first
prank he plays is on the very owner of Bathija's channel.
He and his 'team' also involve their earlier victims
who were caught on Bathija's sting. Their show is ready.
It is taken to Bathija's boss. The result is, not only
is the show approved it also leads to Bathija losing
her job. The film carries a side track of the kidnap
of a miser diamond merchant by one of the gang members
who wanted to do something big instead of petty crimes
his gang did every day. That track helps the film end
on an action climax.
The film ambles along initially but it starts getting
interesting as it progresses and when the counter sting
is happening. Direction is good. The performances are
generally on the better side. With resources being limited,
rest of the aspects are okay.
Chor Chor Super Chor is fairly entertaining
but has had a poor opening due to lack of face value
Pass: May just not pass at the box-office
The title of this film suggests nothing about its content.
In fact, it is irrelevant. In the quest to make shoestring
budget movies, one of the genres independent makers opting
for is sex. Last week we had Nasha about juvenile infatuation
with a buxom teacher. This week we have BA Pass, a film
about a nymphomaniac and her eye for a variety of lovers.
It is based on a short story, The Railway Aunty by Mohan
Director: Ajay Bahl.
Cast: Shilpa Shukla, Shadab Kamal, Rajesh
Sharma, Dibyendu Bhattacharya, Geeta Aggarwal.
Shadab Kamal's is a cursed family. When his parents
die, his grandfather hands him over to his daughter
(the boy's bua), Geeta Aggarwal, to take care of him
in Delhi, where she lives, so that he can finish his
Bachelor of Arts degree. (It is a different matter that
a BA does not mean much these days.) The reason to send
a boy away from a house left with two girls and an old
man makes no sense; the rest of the film does not either.
Geeta, with her husband and a son, lives in the Railway
Settlement and Kamal tries to fit in there.
With only four hours to spend in college, Kamal has
a lot of spare time on hand. Some of this he spends
with an undertaker, Dibyendu Bhattacharya, and rest
Geeta makes him spend running errands or doing household
chores. It is during one kitty party that Shilpa Shukla,
his aunt's friend, notices the boy. She asks Geeta to
send the boy over to her house to help with some errands.
There is no way Geeta can say no since Shilpa's husband
is her husband's boss.
Right from his first visit, Shilpa initiates Kamal
into sex and various ways to enjoy it. Her hunger for
sex is insatiable. She helps him look more presentable
and soon also introduces him to her other 'needy' friends.
The boy has now turned into a regular gigolo and started
making a lot of money. The arrangement works fine for
all concerned. But, Shilpa's wayward ways are whispered
in ladies circles and have also filtered down to her
husband, Rajesh Sharma, who decides to give her a surprise
one day and drops in at home at an odd hour. Kamal had
only come to give his life's savings to Shilpa for safekeeping
but she could not resist using his visit for one more
act when Sharma enters.
Kamal's world turns upside down. Sharma makes sure
he is thrown out of his bua's house. His plans to rent
a house and bring his sisters back from hostel are in
limbo since all his earnings are with Shilpa. He takes
shelter with Bhattacharya and also asks him to go get
his money from Shilpa, which he fails to do. Kamal vows
to get his money back and breaks into her house and
ransacks it but the money is nowhere to be found. Shilpa
enters, he brandishes his knife, but still there is
no money. The scene gets tricky as Sharma is at the
door threatening to break it down. Shilpa's attempt
to trick Kamal and frame him only results in his stabbing
and killing her.
Kamal can't escape from the police for long and that
is the tragic end to his life.
One may call this film a bold one but what is its purpose?
The film has neither a message nor any entertainment.
Why is the boy so star-crossed that nothing ever goes
right for him? Some people may enjoy the film till the
sex scenes are enacted sans nudity; might as well because
neither Shilpa nor Kamal has a body worth the full monty.
Made economically, the film has neither pleasant moments
nor pleasant visuals to offer, having been shot in down
market parts of the capital. Dialogue is good, especially
those penned for Shilpa.
BA Pass has its chances at single screens in the North.
Its content grossly limits its audience.