VICTORIA No. 203

Victoria No. 203 is a story about a diamond heist and how the lives of so many different people get intertwined in the search for lost diamonds.

The movie takes off with a display of diamonds worth 300 crores. Bobby Bombata (Javed Jaffery) who is a rich industrialist and his moll Devyani (Preeti Jhangiani) are smitten by the diamonds. Bobby is willing to do anything to acquire them. When the diamond owner denies his offer to buy the diamonds, his ego is hurt. He hires the services of a cat burglar, Tora (Tora Khasgir) to steal the diamonds.

Tora performs a daredevil heist and escapes with the diamonds. She has an agenda of her own though and plans a double cross with her brother Karan (Rajesh Khera). Just as she is about to escape, she bumps into the infamous Ranjit (Kamal Sadanah) who stabs her. She escapes though, and falls next to Victoria No. 203 in which she hides the diamonds. The Victoria driver Raman offers to take her to the hospital and in the process gets caught by the police who suspect him for attempted murder.

Raman's daughter Sara (Sonia Vinod Mehra) is forced at this stage to ride the Victoria in order to earn money for her father's trial. She is unaware that she is riding around Bombay with diamonds worth 300 crores in her Victoria. Jimmy (Jimmy Joseph) an expert on diamonds, takes a ride on the Victoria and instantly falls in love with Sara.

The story also entails Raja (Anupam Kher) & Rana (Om Puri) - two small time crooks who are recently released from jail. They hear about the diamond heist and are extremely impressed, hoping one day they will be able to do something of the sort.

All the characters meet in an unbelievably hilarious climax and none of them know where the diamonds actually are.

Will they ever be found, or will they just disappear in the fog?

RAM GOPAL VARMA KI AAG

A director who doesn’t care a hoot for convention, Ramu has already garnered ample criticism for venturing to remake Ramesh Sippy’s cult classic Sholay . But ‘Ram Gopal Varma Ki Aag’ is far from being a copy of the original. The movie’s setting is contemporary and urbane. Even some character sketches are different.

Character Sketches:
Amitabh Bachchan as Babban Singh (originally Gabbar)
In the dark underbelly of Mumbai City a nihilistic new leader has risen to rule the fetid underworld. His name is Babban Singh. Cruel beyond imagination, psychotically violent and far more devious than any gangster the city has ever known. He perceives other human beings as objects to amuse or occupy him with. And he likes to play with his victims. He does not engage in conversation with anyone. When he speaks, he does so to voice his own thoughts. When Babban is angry, his eyes take on a glazed look. He seems to be looking at you as you speak, but the focus of his gaze rests in the middle distance. It's as if he's looking right through you. He loves people who challenge him, as then he can enjoy killing them more.

Ajay Devgan as Heero, and Prashant Raj as Raj (originally Veeru and Jai)
Hirendra Chavan alias Heero (Ajay Devgan) and Raj Ranade (Prashant Raj) are two young men from Latur, who arrive in the megapolis of Mumbai with big-sized dreams of buying out the city. It's another matter that Heero and Raj are jobless and don't have enough money even to buy a decent meal. Childhood friends, their loyalty is absolute, with the younger Raj looking up to the elder Heero.

Mohanlal as Narsimha (originally Thakur)
Narsimha's eyes retain composure at all times. Dark circles collected over sleepless nights betray the fact he is a man tormented by his own past. Nobody has ever seen Babban Singh and if they did, they didn't survive to tell the tale. But one man believed in his existence. And that is inspector Narsimha, an encounter specialist. His thoughts have single point of focus: Babban.

Sushmita Sen as Durga Devi (originally Radha)
Durga is a trained nurse. Her life blossomed when love happened. But then, tragedy struck. Stoic, dignified, silent, her demeanor hid an inner strength that at times raised itself beyond what one would expect from a woman.

Nisha Kothari as Ghungroo (originally Basanti)
Ghungroo drives a 'rickshaw' named 'Laila'. Laila is her best friend and confidante. Ghungroo is Mumbai city's only woman rickshaw driver. She knows all the shortcuts in Mumbai city. She talks switching between Marathi, Hindi and English. She'd like you to believe she's a man. But deep inside, she is all woman.

As the movie’s story goes, Heero and Raj arrive in Mumbai and find work with Shambhul Seth, a criminal with heavy underworld connections and also high on the police scanner. In his pursuit of Shambhul, Inspector Narsimha comes into contact with Heero and Raj. On meeting them, he realizes that these were no hardened criminals. Small time hoodlums, perhaps, but deep inside their values were still intact.In a deadly encounter with Shambhul Seth, Heero and Raj display their bravery and fearlessness to Narsimha. But the two are also arrested and sent to jail for a while. Much later, when Inspector Narsimha needs help in his hunt for Babban Singh, his brief impression of Heero and Raj returns to him. He decides to enlist the help of Heeru and Raj.
How Heeru and Raj nab Babban Singh forms the crux of the story.

BUDDHA MAR GAYA

Be prepared for a bagful of adult jokes that's sure to leave you gaping in shock. At the cost of repeating oneself, let's also add that you need to lock your brains at home when you enter the cineplex to watch BUDDHA MAR GAYA.Rahul Rawail goes all out this time. His new endeavor touches almost every topic under the sun -- from extra-marital affairs to gay relationships to incest to 'corpse selling'... Most importantly, it mirrors a sad reality: Money is the be-all and end-all.BUDDHA MAR GAYA is aimed at the masses, those who swear by nonsensical entertainers. It's not for the faint-hearted. You ought to have a strong stomach to absorb a film like BUDDHA MAR GAYA since it shocks you at regular intervals. It's not for those with an appetite for meaningful cinema or for critics, who run down masala/mass appealing films since it's fashionable to do so.Write your own movie review of Buddha Mar GayaBe forewarned, if you're ready for shocks, BUDDHA MAR GAYA is just for you!Laxmikant Kabadiya aka LK [Anupam Kher] is one of India's richest industrialists, a self-made man. His conglomerate is on the verge of a 5000 crore IPO that should make them one of the largest companies in the country. LK's family comprising of his spinster twin sister [Mahabanoo Mody Kotwal], his two sons Ranjeet [Bobby Parvez] and Sameer [Mukesh Tiwari], their wives Shruti [Mannat Kaur] and Anju [Mona Ambegaonkar], respectively, Ranjeet's daughters Sanjana [Heenaa Biswas] and Namrata [Madhvi Singh] and Sameer's son Pawan [Jay Soni] can't stop salivating at the thought of all that money.

Unfortunately for all of them, fate displays a wicked sense of humor. On the night before the IPO opens, LK dies while copulating with a starlet [Raakhi Sawant], who's aspiring to become the heroine of a film that LK plans to produce. The family is distraught and horrified. Not because a loved one has died, but because now no one will buy their shares. So, on the advice of their family guru Vidyut Baba [Om Puri], the family decides to hide the death of LK for a period of two days till the shares are all sold out.Hiding the death of a man as famous as LK is a Herculean task. To make matters worse, every time they're ready to announce LK's death, fate intervenes, forcing them to keep his death hidden for another couple of days. Which results in them having to announce the death of a fictitious friend or relative of LK's. And stage fake funerals. Which, of course, means generating dead bodies and worse, getting the dead LK to make appearances at these funerals.Complicating matters further are an inquisitive and greedy servant [Paresh Rawal], the Minister's fixer [Murli Sharma], a procurer of dead bodies [Ranveer Shorey], the paparazzi and for good measure a couple of cops. And of course internal jealousies, greed, rivalries within the family only add spice to the goings on.The tagline of BUDDHA MAR GAYA is, 'You will die laughing', and the film remains faithful to this statement at most times. Of course, you don't break into laughter in every scene, but the fact is that you cannot control your laughter on several occasions. Sure, you may find the brand of humor juvenile and a few jokes obscene, especially the Raakhi Sawant track, but the masses will simply love these portions. In fact, BUDDHA MAR GAYA is hot, steamy and spicy with tremendous shock-value.

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VICTORIA No. 203

RAM GOPAL VARMA KI AAG

BUDDHA MAR GAYA

HEYY BABYY

KAAFILA

CHAK DE INDIA

GANDHI MY FATHER

CASH

PARTNER

DHARM

APNE

HEYY BABYY

Heyy Babyy is about 3 womanisers Arush (Akshay Kumar), Tanmay (Ritesh Deshmukh) and Ali (Fardeen Khan). Arush loves sleeping with babes and then ditching them. Tanmay is a party entertainer who enjoys playing with babies and babes too! Ali is a gambler cum womaniser. The 3 cool dudes are having a ball in Sydney. The formula is simple Flirt - Sleep - Ditch. But a sweet little baby girl changes their lives.. Forever! The cool dudes turn into loving and caring fathers. Just then their lives take yet another twist with the entry of Esha (Vidya Balan)..

Heyy Babyy has just the right ingredients for a perfect entertainer, comedy combined with emotions. The movie begins with a bang with brilliantly executed comic scenes that has the viewers in splits. The subsequent portions with the emotional bonding between Arush, Tanmay, Al and the Baby does tend to drag a bit. At the half way mark you start wondering just what could happen next, as the story requires a twist to carry it forward. But what works for the movie is the brilliant second half. The credit should go to Sajid Khan who handles every scene with brilliance. Most definitely a director to watch out in the future. The music is average. Mast Kalandhar is the song that stands out. The cinematography (Himman Dhamija) is stylish, Sydney and Brisbane has been shot well.

Akshay Kumar rocks in comedy but way below average in the emotional scenes. He is in full form in the portions between him and Vidya Balan in the second half. Ritesh Deshmukh isnt at his best which is disappointing. Fardeen Khan is surprisingly good. Vidya Balan has no scope for histrionics. She needs to work on her look. In western clothes she looks plumb but absolutely gorgeous in the traditional Indian saree! Boman Irani is brilliant. Anupam Kher and Shahrukh Khan have a brief special appearance.

A few things that worked
- Akshay Kumar wooing Vidya Balan in the second half. Hilarious!
- Chemistry between Akshay - Ritesh - Fardeen.
- The baby leaves a smile on your face.
- The crowd reaction when Shahrukh Khan appears on screen has to be experienced to be believed.
- The one liners.

A few things that didnt work
- The slow paced first half. 10 mins can easily be chopped off for better impact.
- The Music.

Also, some interaction between Anupam Kher and Shahrukh Khan would have been interesting as SRK plays Raj (from DDLJ).

KAAFILA

Kaafila is the story of a group of people who are traveling illegally to UK. As it always happens they fall prey to an unscrupulous agent who creates circumstances that send them into hiding, somewhere in Eastern Europe for nearly six months. Left to fend for themselves , they discover each other and themselves.

After much hardships their journey resumes but this time at every step, death stares them in their face. Be it through the jagged jungles near Russia or the ship that hundreds like them are huddled into, the close knit group finds itself shrinking after each tragedy. Be it in the sinister snow or the sinking ship. Now only 12 men out of this group have survived. They are from different communities and different countries. But the trauma of tragedies has created a strong bond between them. In their effort to forge ahead closer to their dream, the innocent dozen finds itself trapped sometimes by the Russian mafia involved in the plutonium smuggling racket and sometimes by the militancy on the Afghan borders. Here they meet an Afghani girl who introduces them to the mysterious man of the mountains Sameer, enacted by the hero SUNNY DEOL. Sameer saves them from all attacks from friends and foes. The Kaafila now believes that only he can be their deliverer. But as the story unfolds, taking the contingent which started off from India, through Tajakistan, Russia and soon back to Afghanistan and Pakistan, doubts about the daring Sameer are raised. Can they trust him any further ? As the Kaafila is the story of a group of people who are traveling illegally to UK.

CHAK DE INDIA

The movie is about getting back passion for a particular game and winning for your country; it’s about believing in yourselves when others give up. Of course, there could be comparisons to sports-oriented films such as Lagaan, Iqbal, or even Bend It Like Beckham, however, it’s wrong to do so because by the end of the movie, you see it’s original in its own way.

Chak De India revolves around an ex-Indian Hockey Captain, named Kabir Khan (Shah Rukh Khan), who mentors a field hockey team of young and feisty girls who lack team spirit. Their determination, ambition and skills are put to test in an ultimate contest with the world's top teams. For the girls, it is a chance to make their nation proud. For their coach, it is a chance to reclaim his lost honor after being deemed a traitor seven years ago.

The movie has the right intentions from the get-go. Kabir Khan is obsessed with getting these arrogant girls to the World Cup and have them understand the importance of not just being women (who are meant to get married to cook and clean) but to have their own identities and stand the same as men, especially in sports. In a nation that is crazy over cricket, the team encounters groups of people who do not believe the importance of their efforts or the game.

You will have to watch this movie to see how far Kabir Khan and the girls make it. Moreover, forget all thoughts of a predictable ending because the movie has its moments of nail-biting suspense and the finale will have you at the edge of your seat.

Technically, the film is visually captivating, especially the cinematography in Australia. Jaideep Saini has created an interesting story, however his screenplay could have been tighter (especially for the over-the-top reasoning of Kabir being a traitor). To his credit, he wrote many interesting sequences such as the introduction of all the girls, the McDonald’s scene, and the Men vs. Women’s game. Salim-Sulaiman’s music is adequate as a backdrop for the film but nothing to write home about. The editing is not up to par to other Yash Raj Films, especially during the sports action scenes.

GANDHI MY FATHER

Gandhi has always been compelling complex and strangely contemporary. Sir Richard Attenborough introduced "Mahatma" the great soul to the west and the world remains grateful to him. Somewhere in the shadows of this great man lived his son, roaming the streets of India like a beggar. Converting to Islam as a rebellion, reconverting to Hinduism as a penance and finally drinking himself to death. Harilal Gandhi, Mahatma Gandhi's eldest son carried his Gandhi identity as a curse around his neck. Mahatma Gandhi could transform the soul of a nation but could not save the soul of his own son. Gandhi became a greater human being as he struggled personally, socially and politically, but always put his principles and quest for human dignity above everything else.

CAST & CREW
Akshaye Khanna, Darshan Jariwala, Bhumika Chawla and Shefali Chhaya

Director: Feroz Abbas Khan

Producer: Anil Kapoor

Screenwriter: Feroz Abbas Khan

APNE

Apne is the tale of the Papa, the Puttar and the Chip. That about sums it up. There’s Papa Deol (Dharmendra) as Baldev; ex-boxing champ and there are two ‘puttarjis’; Sunny ‘paaji’ as devoted son Angad, and rocker-musician son Karan (Bobby Deol). And then there’s the chip (it’s not the eating kinds) and it’s the size of Mount Govardhan (don’t know about Mount Govardhan, and attempting to see a film as nauseatingly pious as this?) and perched neatly on Papa’s shoulder. Papa has the chip because, once when he was a boxer and was wrongly accused of doping charges, he swore to avenge his honor by making his son the champ.

However in the interests of family and common-sense, Angad - the son in question, chooses to quit boxing beyond a point and takes up business, thus saving his family from penury. Evidently, Papaji got angry and hasn’t been on good terms with him ever since.

So now the poor Angad, affection starved and all, is doing well, loves his family but longs for his father’s approval. When an opportunity to restore some boxing prestige arises, Baldev chooses Karan to turn boxer (musician to boxer – yeah right?). When Karan suffers a setback, it’s up to Angad again to step up, and wins this prestige.

DHARM

The movie is about a Hindu priest Pandit Chaturvedi (Pankaj Kapur) who is one of the most highly respected priests in the entire city of Varanasi. A man who lives for his religion, soaked in years of ancient traditions, values and morals. He is a strict, yet lovable man. As any real priest would, Chaturvedi believes he is a disciple of God on this earth to spread God’s message and love as he goes about his rigidly ritualistic world of pooja’s and teachings. One day his daughter brings home an infant (Krish Parekh) and the mother of the infant has disappeared and cannot be found nowhere. Pandit Chaturvedi is hesitant to have the child around the house at first, and when it’s confirmed that the child has been abandoned, he then makes the decision that the child will be raised in the local orphanage. However the Pandit’s wife Parvati (Supriya Pathak Kapur) has by now developed a soft spot for the young child and requests her husband if they can keep and raise the child if as their own. Hesitant at first, the priest reluctantly agrees as his wife lies to him that the baby is the son of a Brahmin. Slowly, the child wins over everyone hearts in the house including Pandit Chaturvedi who finds a son, a disciple and a best friend in the child.

The story takes a turn when the baby’s mother returns to claim him back, and much to the shock of Pandit Chaturvedi, the lady is a Muslim. The child who they’d fondly named Karthik is in fact Mustafa. Pandit Chaturvedi is in a state of shock and utter despair as he feels he has done the biggest sin of his life and feel as if he has betrayed his religion and more-so God. In a state of recluse and regret, Pandit Chaturvedi decides to take a series of different vows and “vraths” to clear his conscience. However whilst his mind is telling him he has done a grave sin, his heart sorely misses his little son, and the words “babuji” echo in every corridor of the house.

In a series of events, riots break out in the city of Varanasi, Mustafa’s mum begs and pleads the Pandit and his family to take back the little boy as he is much safer with them. However the doors of the house are closed for the little boy. What follows next can only be only described as a journey as Pandit Chaturvedi defies what he has believed his entire life if “religion” and listens to his inner conscience in the rousing finale.

PARTNER

The story by David Dhawan and Yunus Sejawal has been inspired by Andy Tennant’s Will Smith-Kevin James starrer HITCH. The entire premise of the movie remains the same with Smith being replaced by Prem aka Salman Khan, a date doctor who has helped hundreds of men woo the girls of their dreams and find true love. The ultimate bachelor playboy Prem finally meets his match and finds the women of his dreams, Naina (Lara Dutta, a feisty newspaper journalist.

Prem comes across Bhaskar Diwakar Chaudhury (Govinda) who is in love with Priya (Katrina Kaif) the rich daughter of a millionaire business tycoon Raichand (Dalip Tahill). Though reluctant at first, how Bhaskar wins over Prem’s heart so that Prem can help him win over Priya’s heart forms the rest of the crux. Yes there are some misunderstandings which are resolved rather quick, as well as an unfinished and unneeded track of an underworld don called Chhota Don (Rajpal Yadav) who seems inspired by both Shahrukh Khan and Amitabh Bachchan. Though the basic premise of the movie is the same as well as a number of sequences which have been lifted directly, Sanjay Chhel’s screenplay does give the it’s own look and feel which in turn makes PARTNER it’s own unique movie. Where in PARTNER Smith clearly had the leading role, and James was supporting, in PARTNER it’s an equal show for both Salman and Govinda to showcase their mettle and Chhel has carefully crafted the script to take this in to account. If one wanted to sit here and pick faults they could easily fill up more than an hour, however the “mantra” for the “DD+” formula has always been “leave your brains at home” and PARTNER is no difference. However one does wish that the rather annoying angle of Chhota Don gets deleted as it’s sticks out like a sore thumb, and despite best attempts to inject humour including some old-school toilet humour, the angle fails to gel. On the other hand this can be over-looked as the focus here is primarily on Salman Khan and Govinda.

CASH

Let’s dive right into this one. Frankly, I’m tired of hearing everyone say that Vishal-Shekhar do what they do best in Cash – Techno beats with a little Hip Hop thrown in. Because it’s just not true. Anyone who has thrown an attentive ear at their music in the past should find it quite obvious that the couple push their potential when they come up with soft rock tunes and light, romantic ballads. Alright, so some of their more “popular” tracks are from the techno genre, that doesn’t necessarily mean that’s what they do best. Anyways, if V-S persist on coming up with a completely techno-heavy album, as they do in CASH, then they better live up to their past creations. 2004’s Musafir was a run away success for V-S and deservingly so, it was touted as India’s first progressive techno album. Recently they fiddled with the genre while composing the track ‘Sajanaji Vari Vari’ from the film Honeymoon Travels Pvt. Ltd. and gave us a wonderful performance. So if you want to continue with this style, then you must use your prior works as a base upon which to build a stronger, more progressive, sound. But I’m afraid Vishal and Shekhar have not been successful in accomplishing this. Without further adieu, let’s jump into this very loud group of songs.

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