Alavandhan BGM by Mahesh. SEL never does BGM for his movie.
Lakshaya songs were good. As well the movie Arman *ing sr bachan and preity zinta had some good number`s by SEL
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Alavandhan BGM by Mahesh. SEL never does BGM for his movie.
Lakshaya songs were good. As well the movie Arman *ing sr bachan and preity zinta had some good number`s by SEL
Adhu dhaan fraablem bala. I remember being mildly pleased by dch, aalavandhaan but quote pannlaamna oru paattum gnaabagam varala
http://www.thehindu.com/arts/cinema/article2744512.ece :lol:
Imagine this. You're in prison. You haven't eaten all day. And someone tells you: You have 15 minutes to come up with a script for the Don sequel. And you can walk free.
No time to think. You start with the punchlines first. Obviously, you begin with the epic one that the 1978 film made popular. “Don Ko Pakadna Mushkil Hi Nahin, Na Mumkin Hai”. You come up with a couple of good ones. But since you're running out of time, you just fill in Punchline Nos. 13, 26 and 49 with the same “Don Ko Pakadna” line.
Too much pressure. But you are in prison and need to get out. Fine, put that in the first act. Don is in prison. But wait, he can't get caught according to the best punchline you have. Ok, so he got himself in.
But why? You don't know. Ok, so you write “Don smiles mysteriously.” Ten minutes left.
You continue scribbling… Don is in prison. But Don has many a dushman (arch-enemy in Don-speak) there. Ok, let's say Don has come to break one of his enemies out of prison. Say Vardhan (Boman Irani). Why? You don't know. So you write “Don smiles mysteriously.” You can think of the why later.
Now you are really stuck.
All you can think of is prison and prison food. Stale fish served last week had inmates down with food poisoning. Brainwave. Engineer food-poisoning and break jail.
All that thought of food is getting you hungry. What you would not give for a plate of leftovers. A brainwave again. Don wants to steal plates. Plates? Five minutes left.
Focus. YOU want a plate of food. Don probably just wants to steal plates used to make money. How? Write “Don smiles mysteriously.”
Think harder. Don's a chase film. You can't just change genre and make it a heist film. That would be blasphemy. But you need to get out before prison gives you nightmares straight out of snuff porn films.
Fourteen minutes are up. Don steals the plates. How? Action scenes. Let action director figure that out. Also add, “Don smiles mysteriously.” Lame big shocking twist. Obvious one but time up. The End.
So you smile mysteriously and hand over your script. You're free.
It turns out that Farhan Akhtar who has ambitions of making a slick-looking film like Ocean's Eleven with stunts from Mission Impossible has already started shoot before he's read your script.
Since it's the sequel, the actors already know what they are doing. Shah Rukh Khan walks in suits, reels of slow motion shots are canned and bottles of hair gel are sacrificed, take after take.
Lara Dutta shakes it to the tune of the title track of the previous film since she's been told the song will be just like the old one.
Priyanka knows she has to say all her lines exactly the same way when she speaks to Don. With the emotion dripping out of a certain Beatles song that goes: “I want you. I want you so bad.”
SRK loves the punchlines. They glorify him. Wait till Sallu hears them.
“Let me do it again,” says Shah Rukh after every line. “A punchline needs to be delivered in style.” But Mr. Khan, there are some 50 punchlines in here, says the assistant director. “It's ok. They love me,” he opens his arms wide, smirks and delivers it like Punchline No. 51 looking at us.
They are at the scene where Don can just trigger off an explosion and escape but that would mean SRK doesn't get a chance to say a good line. “Well, we have to shoot Roma then,” says the action director. Bang. Roma is shot. And timing presents itself. “Little does Don's Dushman know that before he can make a move, Don has already made his next,” says Don. Boom.
The editor wishes his studio exploded and didn't have to put this together. But he's getting a fat cheque. He does his job to the best of his ability and is almost done when he hears that line “Don Ko Pakadna Mushkil hi nahin...”
Screw it, says the editor, stops it right before SRK could finish the line and walks out.
End credits slapped together with a song recorded even before the script was written. The film releases. And a critic scratches his head wondering if he should take this cheesy action entertainer seriously enough to dissect or analyse it.
“Ok, whatever I can type in 15 minutes,” he says.
Don 2
Genre: Action
Director: Farhan Akhtar
Cast: Shah Rukh Khan, Priyanka Chopra, Lara Dutta, Boman Irani, Kunal Kapoor
Storyline: Don is a smartass. Don is a smartass. Don is a smartass. Repeat statement scene after scene.
Bottomline: Ra.One was the smarter SRK film this year.
Been seeing the same view shared by many in the hub and tuitter etc.. but padam was soora mokka for me, vayasaayiducho?! :roll:Quote:
Originally Posted by Sid_316
:lol: you are not alone. film started off well, beyond a point it was boring.Quote:
Originally Posted by directhit
Thenali's BGM was done by Sabesh-Murali.Quote:
Originally Posted by kid-glove
:exactly: Vikraman/Sedhan Bhagat would have been proud, in spite of the guy worship here...Quote:
Originally Posted by directhit
PR,
I remember reading something about the director/writer of this film being anointed as our Woody Allen. Edhavadhu seinga please, if you haven't already
Equa, Compli reNdu pERum padaththai fayangaramA thittunaanga, adhunaala naan paarkkalai.
I think he himself mentioned it in a intree.Quote:
Originally Posted by B(K)
And iLaval equa's reaction on twitter was: "Woody Allen pERai eduththennA mudhal dead body nee dhaan dA"
nah, i remember it was this Sudhish Kamath who put word in his mouths...Quote:
Originally Posted by P_R
DH
Found Sudhish Comet's review:
Quote:
When she says she's leaving him, our hero falls in her lap and cries helplessly, like a child that does not want his mother to leave on the first day of school. He has no words, just helpless resignation and shameless tears. She's broken him down. She knows exactly what buttons to hit to reduce the most self-respecting man to a submissive child stripped of all ego.
It's very rare to see an Indian film show this side of the modern woman and more importantly, this aspect of the modern man. The image of the macho hero is broken and shattered to bits, thanks to Luv Ranjan's heart-warming bittersweet tale of buddies, bonding and girl trouble.
Be warned, this is not a date movie. Far from it. In fact, taking your girlfriend to this film guarantees a fight unless she can deal with what goes on in a guy's mind. Pyaar Ka Punchnama is a film that's straight from a heart that you never knew existed in men and it's likely to be celebrated as a cult film for its depiction of man as the weaker sex, struggling to understand the complex creatures that women are and failing to cope with the pangs of living with them.
The Hollywood celebration of this vulnerability has resulted in some truly memorable films of all time. From Billy Wilder's The Apartment in the Sixties to Woody Allen's Annie Hall in the Seventies to Cameron Crowe's Say Anything of the Eighties to Nick Hornby's High Fidelity in the Nineties, all the way to the recent 500 Days of Summer, the hopeless romantic is a timeless type.
What's refreshing in Pyaar Ka Punchnama is that director Luv Ranjan decides to tell us the story of not just one but three seemingly different men in three different kinds of relationships with a purposeful sense of capturing the larger truth about women and relationships. Rajat (Kartik), Choudhary (Raayo) and Liquid (Divyendu) are best buddies who fall in love with three girls with varying attitudes towards commitment. Rajat's girlfriend is committed; Choudhary's fling does not understand commitment, while Liquid's “just-friend” does not even acknowledge let alone accept their bond.
Never has so much relationship gyaan been pumped into one film and this is clearly ‘When Harry Met Sally' of our modern cinema. Sample the six-minute long single shot monologue where Rajat lets out all the pent-up angst after a fight with his girlfriend. Understandably, the audience in the hall was in splits for the entire duration of that rant because someone there on screen said out loud what not many men wouldn't find words to articulate. A fantastic thesis on the behavioural patterns of the woman during an argument.
It's interesting that the girls go beyond stereotype. They aren't just evil, plain cunning or opportunists as films in this genre often turn out to be. They are real people who want love too and know to get it from exactly who they want and when they want. They can bring you extreme happiness, joy and shower you with love but are totally capable of hitting the demolish button at their will and fancy.
If the highly selfish, larger-than-life, rich kids from Dil Chahta Hai set the mood and tone for the youth over the last decade, the more relatable guys next door from Pyaar Ka Punchnama manage to do the same for this generation without commanding any of the star appeal that the Khans brought to the Farhan Akhtar film. And that is testimony to the quality of writing and acting of this ensemble.
It would be unfair to call this a coming-of-age comedy. It's an utterly romantic bromance that takes a candid look at relationships and that wretched thing called love. Luv Ranjan, clearly the debut filmmaker of the year, has an uncompromising vision and confidence to switch from laugh-out-loud comedy to indulgent drama to angst-ridden rock and even paces it as unevenly as life itself, something that may not go down well with those looking for just laughs.
But, Guys, if you will watch only one movie this year, this is it. Girls, if you have ever wondered what goes on in the mind of every guy, this is it.
Sometimes, the baby. Sometimes, the substitute and sometimes, the dog. Such is the life of man.