Khoya Khoya Chand - 2007 DVD

Khoya Khoya Chand - 2007 DVD

Movie Name : Khoya Khoya Chand

Year of Release : 2007
Release Date : 7 December 2007
Genre : Drama, Period

Banner : Holi Cow Pictures Pvt Ltd
Producer : Prakash Jha


Director : Sudhir Mishra
Cast : Shiney Ahuja, Soha Ali Khan, Sonya Jehan, Rajat Kapoor, Vinay Pathak, Sushmita Mukherjee, Dipannita Sharma
Music Director : Shantanu Moitra
Lyricist : Swanand Kirkire
Cinematographer : Sachin Krishna Kumar
Editor : Archit Rastogi, Ruchi Narain
Art Director : Gautam Sen
Costume Designer : Ashima Belapurkar, Niharika Khan
Sound Designer : Subhash Sahu
Playback Singer : Swanand Kirkire, Ajay Jhingran, Sonu Nigam, Antara Choudhary, Shreya Ghosal, Pranab Biswas

Synopsis :
Khoya Khoya Chand is a film about two young peopleafloat in the film industry of the wild 1950s.. It is the tumultuous love story of an actress, Nikhat (Soha Ali Khan), and a writer-director, Zafar (Shiney Ahuja) based in the wild and exhilarating era of the 1950s-60s, the Golden Age of the Hindi film industry. This film is a tribute to those wonderous times and people as well as an accolade to their inspirational lives. A magical world, people with huge talents, oversized egos, beautiful and ugly individuals and the tantalizing lure of stardom. A world of glittering dreams and harsh realities… golden yet cruel... This world comes to life with an excellent ensemble of actors who in their varied roles create a colourful backdrop of the film industry… from awe-inspiring superstars and feisty studio-owners to fashionable divas with scandalous stories… this film has them all, and more. Set against the compelling magnetism of this addictive world is the story of Nikhat, the young girl who goes from being a fledging extra, to a starlet to a great heroine, and Zafar, through whom we see the triumphs and travails of a writer-director of the 1950’s… The story of a volatile love that they can neither live with, nor without… And the story of the difficult and often heartbreaking choices they have to make... Even as the backdrop of this film is period, the film modern in its narrative, characterization and treatment.




Rapidshare links:-

http://rapidshare.com/files/76216321/Khoya.Khoya.Chand.1CD.DVDRIP.700MB.Maddy.part1.rar
http://rapidshare.com/files/76216348/Khoya.Khoya.Chand.1CD.DVDRIP.700MB.Maddy.part2.rar
http://rapidshare.com/files/76216284/Khoya.Khoya.Chand.1CD.DVDRIP.700MB.Maddy.part3.rar
http://rapidshare.com/files/76216363/Khoya.Khoya.Chand.1CD.DVDRIP.700MB.Maddy.part4.rar
http://rapidshare.com/files/76216303/Khoya.Khoya.Chand.1CD.DVDRIP.700MB.Maddy.part5.rar
http://rapidshare.com/files/76216273/Khoya.Khoya.Chand.1CD.DVDRIP.700MB.Maddy.part6.rar
http://rapidshare.com/files/76216285/Khoya.Khoya.Chand.1CD.DVDRIP.700MB.Maddy.part7.rar
http://rapidshare.com/files/76216225/Khoya.Khoya.Chand.1CD.DVDRIP.700MB.Maddy.part8.rar

Direct Download Mirror Resume Support


http://qshare.com/dir/1149/Khoya_Khoya_Chand_1CD_PD/

Dus Kahaniyaan - 2007 (DVD rip)

Dus Kahaniyaan - 2007 (DVD rip)

Movie Name : Dus Kahaniyaan
Tagline : Seven Visionary Directors. Ten Spectacular Stories. One Cinematic Journey
Year of Release : 2007
Release Date : 7 December 2007
Genre : Action, Drama, Romance

Banner : White Feather Films
Presenter : Sanjay Dutt, Sanjay Gupta
Producer : White Feather Films
Associate Producer : Dharam Oberoi, Hanif Chunawala
Executive Producer : Gary Van Shipley, Dipti Jindal, Parth Arora


Director : Sanjay Gupta, Apoorva Lakhia, Hansal Mehta, Jasmeet Dhodi, Meghna Gulzar, Rohit Roy
Cast : Sanjay Dutt, Suniel Shetty, Aftab Shivdasani, Naseeruddin Shah, Shabana Azmi, Neha Uberoi, Jeetendra, Nana Patekar, Anita, Rohit Roy, Arbaaz Khan, Mandira Bedi, Sudhanshu Pandey, Jimmy Shergill, Masumeh, Manoj Bajpai, Diya Mirza, Minissha Lamba, Amrita Singh, Parmeet Sethi, Mahesh Manjrekar, Neha Dhupia, Dino Morea, Tareena Patel
Music Director : Strings, Anu Malik, Anand Raj Anand, Bappi Lahiri, Shibani Kashyap, Shafqat Ali Khan
Cinematographer : Amit Roy, Hemant Chaturvedi, Sanjay F. Gupta, Vikas Nowlakha, Anshuman Mahalay, Mahesh Aney, Sachin Krishna Kumar, Chirantan Das
Story Writer : Gulzar, Javed Akhtar, Kamlesh Pandey, Vishal Bharadwaj
Editor : Bunty Nagi
Production Designer : Meghna Gandhi, Sunil Nigvekar, Chokas Bharadwaj, Bijon Das Gupta, Aparna Sood
Sound Designer : Resul Pookutty, Rishi Oberoi
Playback Singer : Aanchal Malhotra, Kay Kay, Sunidhi Chauhan, Shweta, Sudhanshu Pandey, Mika Singh, Kshitij, Shafqat Ali Khan, Anand Raj Anand
Publicity Designer : Epigram, P9 Integrated
PRO : ImageSmiths

Synopsis :
The visions of seven directors merge in Dus Kahaniyaan. Epic in scale yet meticulously observed, Dus Kahaniyaan boasts of an extraordinary ensemble cast. A highway symbolized two friends’ companionship, their tacit love, but its unpredictable and volatile turns would radically change their lives. A writer is driven to madness after he makes a startling discovery about the woman he loves. Five friends start spinning stories in a story that will spin them around. Through an internal conflict between an underworld Don and his best friend, we weave through a stylish game of friendship and betrayal… Dus Kahaniyaan takes you on a tour of expansive highways and modern romance, of kindly strangers, of lives lived in the realms of power and lives freed from the gloom of oppression. Fortunes are made and squandered, honour betrayed and redeemed, and love lost and rediscovered. Dus Kahaniyaan’s themes run the gamut from loss and betrayal to uprootedness and alienation, and that makes for irresistibly absorbing entertainment. The tales discover poignant moments of connection in one of White Feather Films’ most inimitable and ambitious creations.

Rip Info:
Part1:
Video : 300 MB, 793 Kbps, 23.976 fps, 640*272 (Unknown), XVID = XVID Mpeg-4, Supported
Audio : 48 MB, 128 Kbps, 48000 Hz, 2 channels, 0x55 = MPEG Layer-3, CBR, , Supported
Part2:
Video : 293 MB, 671 Kbps, 23.976 fps, 640*272 (Unknown), XVID = XVID Mpeg-4, Supported
Audio : 55 MB, 128 Kbps, 48000 Hz, 2 channels, 0x55 = MPEG Layer-3, CBR, , Supported

Rapidshare links:-

http://rapidshare.com/files/76210099/Dus.Kahaniyaan.2007.XviD.700MB.Subs.Deejam.part1.rar
http://rapidshare.com/files/76210162/Dus.Kahaniyaan.2007.XviD.700MB.Subs.Deejam.part2.rar
http://rapidshare.com/files/76210107/Dus.Kahaniyaan.2007.XviD.700MB.Subs.Deejam.part3.rar
http://rapidshare.com/files/76210132/Dus.Kahaniyaan.2007.XviD.700MB.Subs.Deejam.part4.rar
http://rapidshare.com/files/76210184/Dus.Kahaniyaan.2007.XviD.700MB.Subs.Deejam.part5.rar
http://rapidshare.com/files/76210147/Dus.Kahaniyaan.2007.XviD.700MB.Subs.Deejam.part6.rar
http://rapidshare.com/files/76210191/Dus.Kahaniyaan.2007.XviD.700MB.Subs.Deejam.part7.rar
http://rapidshare.com/files/76210054/Dus.Kahaniyaan.2007.XviD.700MB.Subs.Deejam.part8.rar

Direct link:-

http://qshare.com/dir/1148/Dus_Kahaniyaan_1CD_PDVD/

Aaja Nachle (2007) 1 CD Pre-DVDRIP

Aaja Nachle (2007) 1 CD Pre-DVDRIP

Movie Name : Aaja Nachle
Tagline : come dance with her
Year of Release : 2007
Release Date : 30 November 2007
Genre : Romance, Musical

Banner : Yash Raj Films
Presenter : Yash Chopra
Producer : Aditya Chopra
Executive Producer : Aashish Singh


Director : Anil Mehta
Cast : Madhuri Dixit, Konkona Sen Sharma, Kunal Kapoor, Akshaye Khanna, Ranvir Shorey, Irfan Khan, Divya Dutta, Yashpal Sharma, Akhilendra Mishra, Jugal Hansraj, Sushmita Mukherjee, Nowaz, Uttara Baokar, Vinod Nagpal, Asha Sachdev
Music Director : Salim Merchant, Sulaiman Merchant
Lyricist : Jaideep Sahni
Cinematographer : K.U. Mohanan
Story Writer : Aditya Chopra
Dialogue Writer : Jaideep Sahni
Screenplay Writer : Jaideep Sahni
Editor : Ritesh Soni
Art Director : Sukant Panigrahy
Costume Designer : Mandira Shukla
Sound Designer : Inderjit Neogi
Line Producer : Yogendra Mogre
Choreographer : Vaibhavi Merchant
Publicity Designer : Fayyaz Badruddin, Yash Raj Films - Design Cell

Synopsis :
After nearly a decade, an unexpected phone call shakes Dia (Madhuri Dixit) out of her dance rehearsal in New York. Makarand (Darshan Zariwala), her teacher, her guru, is dying and she must return to Shamli town. The town where she grew up, the town where she learnt to live and to dance. Also the town she left on an impulse, severing ties with her parents and her people. It is a poignant and troubled return; not only has her guru passed away but the institution that he so lovingly nurtured is in decay and under threat of demolition. Ajanta theatre, the once vibrant hub of the community, the place where Dia’s fondest memories are embedded must now be brought down because the local political authorities feel it a waste of prime real estate. With the help of Doctor (Raghubir Yadav), the caretaker of Ajanta, Dia sets out on a mission to prevent the destruction and resurrect the spirit of Ajanta. In an atmosphere of mistrust, ridicule and active hostility, Dia picks up the gauntlet and agrees to achieve the near impossible task of putting together a theatrical production. She must also ensure that every member of the production is from Shamli town. She has only two months to prove her point or the bulldozers will be waiting. In this context begins her tumultuous journey of dealing with small town prejudices, encountering the resentment of the powerful contractor, the cynicism of the local political powers, resolve the delicate tensions of inter personal relationships and rally her motley team of non starters - a low level muscle Imran (Kunal Kapoor), the local tomboy Anokhi (Konkona Sen), local ex-MLA Chaudhary Om Singh (Akhilendra Mishra), a vulnerable tea stall owner Mohan Sharma (Ranvir Shorey), a responsible government official Mr. Chojar (Vinay Pathak), a struggling insurance agent Sanjeev Mehta (Jugal Hansraj), the town vagabond Dhankuber (Nowaz) and a host of others. She must create in this chaos in order to save Ajanta... in order to preserve what her guru so lovingly nurtured. She must create art in order to preserve what she believes is the soul of society. The stage is finally set... Will it work? Won’t it?






Rapidshare links:-

http://rapidshare.com/files/74128752/Aaja_Nachle.avi.001
http://rapidshare.com/files/74104125/Aaja_Nachle.avi.002
http://rapidshare.com/files/74109113/Aaja_Nachle.avi.003
http://rapidshare.com/files/74114072/Aaja_Nachle.avi.004
http://rapidshare.com/files/74118150/Aaja_Nachle.avi.005
http://rapidshare.com/files/74121891/Aaja_Nachle.avi.006
http://rapidshare.com/files/74125327/Aaja_Nachle.avi.007
http://rapidshare.com/files/74117184/Aaja_Nachle.avi.008
http://rapidshare.com/files/74120998/Aaja_Nachle.avi.009
http://rapidshare.com/files/74124581/Aaja_Nachle.avi.010
http://rapidshare.com/files/74127978/Aaja_Nachle.avi.011
http://rapidshare.com/files/74111921/Aaja_Nachle.avi.012
http://rapidshare.com/files/74106987/Aaja_Nachle.avi.013
http://rapidshare.com/files/74101483/Aaja_Nachle.avi.014
http://rapidshare.com/files/74093755/Aaja_Nachle.avi.015

mirror

http://rapidshare.com/files/74174377/222.www.TechArena.uni.cc.avi.001
http://rapidshare.com/files/74174417/222.www.TechArena.uni.cc.avi.002
http://rapidshare.com/files/74174502/222.www.TechArena.uni.cc.avi.003
http://rapidshare.com/files/74174369/222.www.TechArena.uni.cc.avi.004
http://rapidshare.com/files/74174453/222.www.TechArena.uni.cc.avi.005
http://rapidshare.com/files/74174397/222.www.TechArena.uni.cc.avi.006
http://rapidshare.com/files/74174337/222.www.TechArena.uni.cc.avi.007
http://rapidshare.com/files/74174411/222.www.TechArena.uni.cc.avi.008
http://rapidshare.com/files/74174465/222.www.TechArena.uni.cc.avi.009
http://rapidshare.com/files/74174456/222.www.TechArena.uni.cc.avi.010
http://rapidshare.com/files/74174454/222.www.TechArena.uni.cc.avi.011
http://rapidshare.com/files/74174477/222.www.TechArena.uni.cc.avi.012
http://rapidshare.com/files/74174354/222.www.TechArena.uni.cc.avi.013
http://rapidshare.com/files/74174332/222.www.TechArena.uni.cc.avi.014
http://rapidshare.com/files/74173840/222.www.TechArena.uni.cc.avi.015

Strangers (2007) - DVDRip

Strangers (2007) - DVDRip

RAPIDSHARE Links

http://rapidshare.com/files/78080252/Strangers_BY_BONDSMS.avi.008.001
http://rapidshare.com/files/78080244/Strangers_BY_BONDSMS.avi.008.002
http://rapidshare.com/files/78080269/Strangers_BY_BONDSMS.avi.008.003
http://rapidshare.com/files/78080231/Strangers_BY_BONDSMS.avi.008.004
http://rapidshare.com/files/78080233/Strangers_BY_BONDSMS.avi.008.005
http://rapidshare.com/files/78080272/Strangers_BY_BONDSMS.avi.008.006
http://rapidshare.com/files/78080275/Strangers_BY_BONDSMS.avi.008.007
http://rapidshare.com/files/78079531/Strangers_BY_BONDSMS.avi.008.008
http://rapidshare.com/files/78079512/Strangers_BY_BONDSMS.avi.008.crc

Megashares

http://d01.megashares.com/?d01=c0744d1

Om Shanti Om - Movie Review

Cut the crap, cut the gyan-baazi, cut the will-it-won't-it work naatak. Shah Rukh Khan and Farah Khan's OM SHANTI OM is a true-blue masala entertainer. If MAIN HOON NA was a chauka, this one hits a sixer!

Wait, a word of advice to all netizens/readers across the globe. Don't, for God's sake don't, raise exclamations like kab?, kyun? kahan? as OM SHANTI OM begins to unravel. This is atypical Manmohan Desai film presented in a novel avtaar by Farah Khan. It's definitely not for pseudos or advocates of arthouse cinema.

Now let's clear some myths surrounding OM SHANTI OM. Is it the 2007 adaptation of Subhash Ghai's immensely likable reincarnation film KARZ? Does it have traces of KUDRAT? Or MADHUMATI? Or MILAN? Or KARAN ARJUN? Hold on, there's a dash of KARZ, a bit of KARAN ARJUN, a sprinkling of KUDRAT, but beyond that it's a film that makes you nostalgic about 1970s Bollywood.

To sum up, OM SHANTI OM is paisa vasool entertainment. We haven't seen SRK in a hardcore masala film since quite some time. He had drifted to other genres, which proved his range as an actor of repute and cemented his status further. With OM SHANTI OM, he gives back to the audience what he himself grew up on -- a thorough entertainer that will have the audience thirsting for more.

This Diwali, have a blast!

OM SHANTI OM tells the story of Om [Shah Rukh Khan] and Shanti [Deepika Padukone]. Om is a junior artist in the 70s. Shanti is the reigning superstar. He is her biggest fan. He is in love with her. Om dreams of being a superstar, but an incident changes his life forever.

Om dies in a mishap, but is reborn into the present day. He attempts to discover the mystery of his demise…

The general feeling is, Farah Khan has remade Ghai's KARZ from Frame A to Z. False! There're similarities, but it's not a rehashed version of Ghai's film. For, OM SHANTI OM takes you by complete surprise at several points.

The first twist in the tale [Arjun - Deepika's heated confrontation, with SRK listening to this important conversation] comes as a bolt from the blue. The second jhatka comes slightly before the intermission, when Arjun takes Deepika to the set of his film 'Om Shanti Om' and the entire episode that follows, right till the intermission, is spellbinding. That's a brilliant stroke from the writing [screenplay: Mushtaq Shaikh and Farah Khan] as also the execution point of view. When the opulent set is set to flames, it leaves you wide-eyed and awe-struck. Such is the impact!

The post-interval portions only get better and better! If the initial portions are laced with humour [the premiere of 'Dreamy Girl', the Manoj Kumar episode, Ghai directing Rishi on 'Om Shanti Om' song, et al], the second half moves into a new zone completely.

It's punar-janam now, but thankfully, there're no lightening, no fireworks, no zooming of the camera on the idols of Gods. The drama builds up gradually. The voices that SRK keeps hearing, the 'fire' soon after the 'Dard-E-Disco' track, the mother [Kirron Kher], an old lady now, chasing Om's car [reminds you of Raakhee of KARAN ARJUN], the flashes of SRK's earlier birth while receiving the Filmfare Award -- the incidents that make him realize that his life was cut short in his earlier janam have been well structured.

When Deepika re-emerges as well, the viewer is confused, but the mystery is resolved towards the end, which, again, takes you by complete surprise.

Given the fact that OM SHANTI OM is a Manmohan Desai kind of a film set in the present-day, it would be foolhardy to ask questions, raise eyebrows and look for logic. But the second half could've been crisper [length: 18 reels/2.46 hours], although Shirish Kunder's editing is perfect.

Farah knows what her priorities are and most importantly, knows exactly what her target audience is. The execution of a number of sequences clearly shows Farah's growth as a storyteller. Mushtaq and Farah's writing works because the writers pull out several surprises in those 2.46 hours.

V. Manikanandan's cinematography captures the gloss and grandeur to the minutest. The opulent sets [Sabu Cyril] deserve distinction marks. Dialogues [Mayur Puri] are witty and do raise a chuckle at several points. Background score [Sandeep Chowta] is effective.

Vishal-Shekhar's music is first-rate. The score is in sync with the content of the film and what accentuate the goings-on are the choreography and execution. Although every song is visually enticing, the 21-star track as also 'Dard-E-Disco' will have the masses going into a frenzy.

Now to the performances! SRK proves his supremacy yet again. If you thought that playing to the gallery came easy to certain actors only, watch SRK spin magic in OM SHANTI OM. He's magnificent, the star attraction, the soul of this film, the true baadshah.

Om Shanti Om - Movie Review

Deepika has all it takes to be a top star -- the personality, the looks and yes, she's supremely talented too. Standing in the same frame as SRK and getting it right is no small achievement. She comes as a whiff of fresh air!

Arjun Rampal is a complete revelation. Cast in a negative role this time, he enacts his part with panache and style. Shreyas Talpade is another surprise. A complete natural, he stands on his feet all through, not getting swayed while sharing the screen space with the topmost star.

Kirron Kher is superb as the over the top mom. Javed Sheikh is alright. Bindu adds to the funny moments.

On the whole, OM SHANTI OM is Bollywood masala in its truest form and also, at its best. At the box-office, the film will set new records in days to come and has the power to emerge one of the biggest hits of SRK's career. Blockbuster hit!

Dhan Dhana Dhan Goal - Movie Reeview

Dhan Dhana Dhan Goal - Movie Reeview

Think of sports-based films made in India and visuals of LAGAAN and CHAK DE INDIA flash across your mind. Will DHAN DHANA DHAN GOAL fall in the same league as these immensely popular flicks, is one vital question that crosses your mind as the reels of UTV's new sport-based film [their second this year, after HATTRICK] DHAN DHANA DHAN GOAL are about to unfold.

GOAL is a simple story that packs not just the sport, but also dabbles with issues like racism and fanaticism associated with this sport. Issues that Westerners can relate to more than Indians, especially racial discrimination.

As a film, GOAL has its share of highs and lows. If the first hour is strictly okay, the pendulum swings in its favour in the second hour -- in the last 20 minutes, to be precise. The sport succeeds in arousing patriotic feelings, besides involving the viewer in the fight-to-finish finale.

Conversely, there are times when you feel that the film falls back on the predictable, tried-n-tested mundane stuff. And packs in something ['Billo', the song] that's just not in sync with the mood of the film.

To sum up, GOAL is a simple story, well told. Notwithstanding the hiccups, this film hits a goal, courtesy its brilliantly executed finale.

Southall United Football Club is facing its deepest crisis ever. Bankrupt, with no stars, no coach, no sponsors, no takers, no spectators and most importantly, no owner. After the City Council sends an eviction notice, it's the last chance to save the ground, the club and their honour. Shaan [Arshad Warsi] takes up the challenge to save the club from extinction. After a disesteemed ex-player, Tony Singh [Boman Irani], joins them as the coach, Shaan and he begin work to gather the worn out team.

Sunny's [John Abraham] dreams to play for England crashes after his club does not select him. The reason is apparently not his game, but the colour of his skin. Sunny and Shaan never see eye to eye. Adding to their personal chaos is Shaan's cousin sister Rumana [Bipasha Basu], who is in love with Sunny.

Tony manages to convince Sunny to play for Southall United. It takes a while before Shaan and the team warms up to Sunny. With Sunny joining Southall United, the team gradually starts climbing the points tally. The City Council is worried. Johny Bakshi [Dalip Tahil], a commentator and a frontman of the Council, plans to lure Sunny away from Southall United.

Director Vivek Agnihotri combines style and substance in his second outing GOAL. Take the sequence at the very start, when an English woman and her frontman [Dalip Tahil] reveal their plans of coming up with a shopping complex on the ground. The director opens the cards at the very outset. But the narrative dips, rises, hits a low and ascends unfailingly till the first hour ends. The sequence prior to the intermission -- at the Manchester United Stadium -- leaves you awe-struck and makes you look forward to a powerful second hour.

Fortunately, the drama only gets exciting in the post-interval hour. The cold vibes that Arshad and John share as also John's volte-face, when he decides to abandon his club for the riches, give the film that extra dimension, camouflaging the defects that raised their head not too long back. The film dips at times in this hour too, but the journey to the finale is well structured. Yes, John's change of heart is slightly filmy and clichéd, but the climax is astounding. The penultimate 20 minutes in the stadium are awe-inspiring and that's what you carry back home.

Vivek Agnihotri knows what he's talking and though you know that he got swayed by technique in his very first film CHOCOLATE, in GOAL, he never lets technique overpower content. The story is simple, but absorbing and presented stylishly. He's truly evolved into a fine storyteller.

There're just two songs in the narrative -- the anthem 'Dhan Dhana Dhan Goal'/excellent and 'Billo'/well-tuned, but the mujra doesn't go well with the mood of the film. Attar Singh Saini's cinematography is striking. The camera movements -- so difficult in a film like this -- are exemplary.

Both John and Arshad are the 'Men of the Match'. John is a revelation. Wrongly dubbed as a clotheshorse in his earlier films, he hits a goal in GOAL. John lends the right texture to his character. He not only looks right for the part, but also plays the sport like a pro. GOAL should occupy the top slot in his body of work!

Arshad Warsi is superb. An incredibly talented actor whose versatility speaks volumes. Cast in a sober, serious role this time, Arshad enacts the part with as much ease as he portrayed Circuit. Bipasha Basu may not have a lengthy role, but she adds zing to the goings-on as and when she appears. Her love story with John is really cute.

Boman Irani is top notch. Note his roar at the intermission point or the uneasiness he displays whenever his team locks horns with the rivals on field. It's a flawless performance. Raj Zutshi is first-rate. Dalip Tahil carries the venomous part well. The actor enacting the role of Arshad's wife does a commendable job.

On the whole, DHAN DHANA DHAN GOAL has an ordinary first hour, but the post-interval portions, especially the exhilarating climax, makes up for everything. At the box-office, the producers [UTV] have already recovered the cost of production from various sales and in-film advertising. The theatrical business will only add to the booty, considering the film has the merits to work with moviegoers. Another factor that goes in its favour -- and it's an important one -- is the fact that the moviegoers haven’t seen a new release post-Diwali. That should reap dhan for DHAN DHANA DHAN GOAL.

Khoya Khoya Chand - Movie Review

Khoya Khoya Chand - Movie Review

To recreate the bygone era is not only strenuous, but a challenging task as well. It's equally arduous to capture the essence of Bollywood of 1950s and 1960s with precision on celluloid. In that respect, Sudhir Mishra's KHOYA KHOYA CHAND succeeds in transporting the viewer to the golden era.

Although the story doesn't focus on any person in particular or highlight any incident or event, the director drops enough hints to draw parallels with real life characters. So far, so good!

Wait, you can't turn a blind eye to the deficiencies… KHOYA KHOYA CHAND looks like an assemblage of smartly executed sequences. You remember KHOYA KHOYA CHAND not because of its stirring and gripping storyline and the impact it creates in totality, but the recall value is thanks to the individualistic scenes.

Also, the pace dips at several points and what also goes against it is its length. The film goes on and on, testing the viewer's patience towards the second hour. Ideally, Mishra should've shortened the narrative by 20 minutes at least. Besides, the execution of the subject restricts its appeal to those who tilt towards offbeat cinema.

To sum up, KHOYA KHOYA CHAND does not hold universal appeal. It's for a niche audience with an appetite for unconventional movies, catering more to the festival circuit and a tiny section of moviegoers.

Set against the Hindi film industry in 1950s and 1960s, KHOYA KHOYA CHAND is the tumultuous story of Nikhat [Soha Ali Khan] and Zafar [Shiney Ahuja]. Nikhat, a fledgling actress, becomes a big star with the help of superstar Prem Kumar [Rajat Kapoor]. But in return of favours.

Zafar helps Nikhat get free from the iron grip of Prem Kumar. But the relationship is short-lived.

Sudhir Mishra captures the behavioural pattern of stars, budding actors and film-makers to perfection. Note the tantrum-throwing heroine or the finicky producer who's more of a 'Yes Man' to the superstar or the heroine's mother and her companion who live off the heroine's money -- only an insider who knows Bollywood inside out or has watched them from close quarters would get it right.

Mishra's execution of a number of scenes is exemplary. But the grip to keep you hooked non-stop, from start to end, is missing. The film dips at regular intervals in both the first and second hour. Also, the culmination to the story is abrupt.

Shantanu Moitra's music is in sync with the old-world charm. The title track is lilting, while 'Ye Nigahen' is equally exuberant. Sachin Krishn's cinematography is striking. The production design [Gautam Sen] is first-rate. Ditto for the costumes [Ashima Belapurkar and Niharika Khan].

It would be erroneous to give the credit to just one actor, when the fact is that all three -- Shiney, Soha and Rajat Kapoor -- deliver sterling performances. Shiney is a complete natural, expressing the anguish through his eyes. Soha is a revelation. This film exhibits her potential to the optimum. Rajat Kapoor is only getting better with every film. Sonya Jehan is effective. Saurabh Shukla is in terrific form. Sushmita Mukherjee deserved more footage. Vinay Pathak is excellent. Dipannita Sharma is okay.

On the whole, KHOYA KHOYA CHAND has some interesting moments, but the impact it ought to create as also its slow pacing and excessive length dilute the effect. At the box-office, the film caters to a tiny section of moviegoers, but that's not enough!

Gauri - The Unborn

Gauri - The Unborn

The two aspects you look forward to in a horror film are [i] The thrills-n-chills should scare the living daylights out of you and [ii] The story should’ve something new to offer. Sure, GAURI – THE UNBORN has a new story to tell, but the chills-n-thrills don’t give you the jitters and jhatkas, barring a scene or two.

On the contrary, what you carry home is a socially relevant message: Say ‘No’ to foeticide.

Sudeep [Atul Kulkarni], an architect, lives with his wife Roshni [Rituparna Sengupta] and their daughter Shivani [Baby Rushita Pandya]. The family decides to go for a holiday to Mauritius, but the daughter insists on going to their ancestral home.

The parents agree half-heartedly, but decide to visit the ancestral home nonetheless to keep their daughter happy. But an incident from the past comes back to haunt them. And the unseen force threatens to take their daughter away from them.

GAURI – THE UNBORN had the potential to work big time, but the screenplay has its limitations. The moment the aatma of the unborn kid swears revenge, you expect the sequence of events that are to follow to give you gooseflesh. But what unfolds is hardly spine chilling. Besides, the pacing slackens in the second hour, which is a deterrent.

However, the concluding 20 minutes are the best part of the enterprise. The climax is indeed novel and the end drives home the message effectively. Another aspect that catches the eye is the visual effects, which are skilfully executed and smartly integrated in the narrative.

Director Aku Akbar makes a promising debut. He’s a proficient technician, but he should’ve emphasized on a far more convincing script. There’s just one song in the narrative [a lullaby], which is strictly okay. Cinematography is up to the mark. Background score enhances the impact at places.

Atul Kulkarni is plain mediocre. Rituparna Sengupta has her moments. However, their intimate scenes seem forced in the screenplay. Baby Rushita Pandya is the real scene stealer. To see a kid carry off a tricky role is wonderful. Anupam Kher is passable.

On the whole, GAURI – THE UNBORN is an okay fare that may find its share of advocates in those who tilt towards the horror genre.

Dus Kahaniyaan - Movie Review

Dus Kahaniyaan - Movie Review

It would be unfair to club DUS KAHANIYAAN in the same category as DARNA MANA HAI, DARNA ZAROORI HAI and SALAAM-E-ISHQ. Not only because the genres are as diverse as chalk and cheese, but because each 10-minute story in DUS KAHANIYAAN has something to say. At times, the message is loud and clear. At times, feeble. But there's no denying that DUS KAHANIYAAN is refreshingly different from the episodic films we've witnessed in the past.

At the end of the day, it's all about narrating interesting stories effectively. Sanjay Gupta and his team of directors have chosen 10 different stories that are not linked with each another and also don't have a sutradhaar to bind them in one thread. Nor is the finale of each story the same. So let's minutely look at each story and the impact they create.

'Rice Plate'
Cast: Shabana Azmi and Naseeruddin Shah.
A Hindu woman and a Muslim man's journey over a rice plate. It is about the challenge that the woman faces when a man claims her plate of rice. Will she place her hunger before her beliefs? Maturely handled by debutante director Rohit Roy. Plus, watching Shabana and Naseer after a hiatus is a treat. Shabana is outstanding!

'Sex On The Beach'
Cast: Dino Morea and Tareena Patel.
Dino picks a worn out book on the beach and its character comes alive into a breathtaking woman. They have a great time together, but suddenly everything changes. The mystery woman has some surprises in store for Dino. Director Apoorva Lakhia succeeds in giving you some chills down your spine. The culmination to the story is eerie. Dino is alright, while Tareena flaunts her assets without inhibitions.

'Love Dale'
Cast: Anupam Kher, Anooradha Singh, Aftab Shivdasani and Neha Uberoi.
Neha meets a woman in the train who is wearing only one earring. She finds that strange and that chance meeting strikes the change in her life. A story about fate, destiny at play and the notion that one moment can change your entire life. Very identifiable, very true to life. Beautifully handled by debutante director Jasmeet Dhodi. Aftab and Neha are natural.

'Matrimony'
Cast: Mandira Bedi, Arbaaz Khan and Sudhanshu Pandey.
Mr. & Mrs. Sarin is a happily married couple. The devoted wife meets her ailing aunt every Thursday. But is she really meeting her aunt? A story of betrayal and faith. The twist in the tale, towards the end, comes as a bolt from the blue. Mandira is efficient, Arbaaz is able, Sudhanshu is perfect. Sanjay Gupta shows his expertise as a storyteller.

'Gubbare'
Cast: Nana Patekar, Anita and Rohit Roy.
After an argument with her husband in the bus, Anita sits next to an intriguing man holding 11 red balloons. This story unfolds a journey within a journey into this man's past, uncovering the key to one of the most important lessons in life. Fantastic performance by Nana. Anita is effective. Sanjay Gupta is in form yet again!

'Pooranmashi'
Cast: Amrita Singh, Minisha Lamba, Parmeet Sethi and Vishwajeet Pradhan.
It's about the mother-daughter bond. A mother's only daughter is about to get married and she would do anything to make her daughter happy. But an incident changes their lives forever. A brilliant story beautifully handled by Meghna Gulzar. Amrita is topnotch, Minisha is okay. The end moves you!

'Strangers In The Night'
Cast: Neha Dhupia and Mahesh Manjrekar.
Every anniversary, they narrate the other a secret; this year it's the wife's turn. She begins narrating an interesting encounter with a stranger at the railway station waiting room. What you perceive and what you eventually witness is a sharp contrast. Again, an outstanding story. Neha is first-rate, Mahesh okay. But what you carry home is the culmination. Sanjay Gupta handles the story with élan!

'High On The Highway'
Cast: Jimmy Sheirgill and Masumeh.
The highway symbolised their companionship and their unspoken love. Its unpredictable and volatile turns define this story of two people, who discover the boundaries of freedom and the recklessness of life. Though interestingly handled by director Hansal Mehta, the story lacks meat. Jimmy and Masumeh are competent. Too dark, content-wise as also visually. Overall, mazaa nahin aaya.

'Zahir'
Cast: Manoj Bajpai and Dia Mirza.
After discovering something startling about his neighbour, a writer is driven to madness. The one step he takes gives this story its required twist. Hits you like a ton of bricks. Manoj is superb, Dia is excellent. Sanjay Gupta shows that he can handle emotional moments with remarkable ease.

'Rise & Fall'
Cast: Sanjay Dutt and Suniel Shetty.
Two parallel stories run together to meet one end. It is a story about two gangsters, their friendship and subsequent betrayal. Very confusing, looks very theatrical and the action and the subsequent scene only add to the chaos. Gupta and Hansal concentrate more on technique instead of simplifying things. Both Sanju and Suniel are strictly okay.

On the whole, the number of interesting kahaniyaan in DUS KAHANIYAAN outnumber the not-too-interesting ones and that's what goes in its favor. At the box-office, the film may not set the box-office afire, but would definitely keep its investors safe given the fact that the film has been sold for more than reasonable prices and also due to the fact that it has the merits to keep you hooked. A novel experience!

Strangers -Movie Review

Strangers -Movie Review

Unconventional stories are being told on the Indian screen, thus breaking away from the monotony. STRANGERS, directed by Aanand Rai, is one such film. It charters a hitherto unchartered path altogether!

Substitute the Indian faces with non-Indian actors -- French/Italian/German -- and STRANGERS would easily pass off as a foreign film since the concept is very unlike what we’ve seen on the Hindi screen so far.

One may draw parallels with STRANGERS ON A TRAIN, but as layer after layer is peeled off, you realize that STRANGERS travels on a different track. But the problem is, STRANGERS caters to a very, very tiny section of moviegoers -- intelligentsia. And that’s its biggest problem!

Two men, complete strangers to each other and diagonally opposite personalities, are travelling in a first class compartment in England. The claustrophobia of a closed space and the coincidence that they are both Indians, binds them to each other.

Mr. Rai [Kay Kay Menon], the management giant and Rahul [Jimmy Sheirgill], a writer with a flop career, in their efforts to entertain each other throughout the journey, drop clues and fill in the missing pieces into stories that are never told unless, between complete strangers. Four lives are put at stake and everything is about to change…

Director Aanand Rai narrates a fascinating story and although the writing isn’t foolproof, the execution of the material catches your eye instantly. The written material has some gaping flaws, like why doesn’t Nandana walk out of her marriage when her marriage to Jimmy has already started rotting? The end too looks abrupt, with Jimmy accomplishing the task so very easily. Some situations are left unexplained!

The director gets major help from two major departments -- cinematography [splendid] and background score [electrifying].

Both Jimmy and Kay Kay are highly competent. STRANGERS should occupy the top slot in Jimmy’s body of work. Kay Kay delivers an accomplished performance yet again. Nandana Sen handles a complex role with panache. Sonali Kulkarni [sp. app.] is perfect.

On the whole, STRANGERS is a well-made, intelligent thriller, but it caters to a miniscule audience only. At the box-office, the non-awareness of the film as also the non-happening promotion will hit the film hard.

No Smoking - Music Review

No Smoking - Music Review

Anurag Kashyap's love for making dark films with varied subjects continues. After Black Friday and an unreleased Paanch, he returns with No Smoking which perhaps has been his quickest film to travel from conceptualization to hitting the screens. Touchwood! Produced by Kumar Mangat and Vishal Bhardwaj who had also collaborated in last year's release Omkara, No Smoking has John Abraham and Ayesha Takia in the lead. With music by Vishal Bhardwaj and lyrics by Gulzar saab, one expects an unconventional soundtrack in the offering.

Well, unconventional it is and in at least a couple of places, exciting too!

This has to be one of the most original tracks ever written! 'Jab Bhi Cigarette' is the opening song of the album and may well be termed as the title song of the album. First to arrive is the 'jazz' version of the song which obviously creates a jazz mood with all the right instruments in place as required in a tune belonging to this musical style.

There is a trademark Vishal Bhardwaj and Gulzar stamp to this song about the mental and physical state of this individual who is completely dependent on smoking in spite of knowing well about its effects on his health and mind! A difficult song to write and compose, it is made to look easy due to the way Adnan Sami goes about rendering the track while making it absolutely kicking and jazzy. Well, literally. Now this is what qualifies as an OST, as witnessed in Hollywood flicks!

At the very end of the album, Sunidhi Chauhan comes behind the mike to sing the female version of 'Jab Bhi Cigarette' which has a different mood and outlook. While the first track was all jazz, this one is set in a club mode and has a more hep and cool feel to it. One would have never expected a song based on cigarette to be played in a discotheque. Well, 'Jab Bhi Cigarette' may be the first ever track of it's kind to find a place in discs, clubs and pubs!

Rekha Bhardwaj, who has sung a sensual-n-rustic 'Namak Issak Ka' in Omkara returns with 'Phoonk De' which is so catchy in the very first listening that you can't help but continue to hum it on hours after you have heard it just once. The beats (reminding of Bhardwaj's 'Chappa Chappa' - Maachis) are all over the 'club mix' version of this song which yet another comes with a rustic feel to it and can easily be counted as a commercial hit waiting to happen for Rekha Bhardwaj.

She sings in a leisurely style which borders on being casual and this is where the beauty of the song lies. Later Sukhwinder Singh gets his own style working into another version of this song that comes a little later. The lyrics are different here and especially haunting is the voiceover by a female which comes in the middle of the track. The voice does make mention about the ill effects of smoking and how it could lead one to his/her death!

Though the song is pacy and has Western arrangements to pep up its five and a half minutes duration, it would surely haunt if given a closer hearing as it plays on along with the narrative of No Smoking. While the music and rendition hold center stage in this song choreographed on Bipasha Basu and John Abraham, it is hard not to notice some deep rooted lyrics by Gulzar saab!

With the album making an impressive beginning with 'Jab Bhi Cigarette' and 'Phoonk De', 'Kash Laga' which comes next stabilizes the proceedings while being third straight song in succession with it's theme centered on the subject of the film. There are 'sufi' influences in 'Kash Laga' which is one of the rare instances of a song having better 'antaras' than a 'mukhda'. Well, at least musically.

Sung by the trio of Sukhwinder Singh, Daler Mehndi and Vishal Bhardwaj, 'Kash Laga' isn't quite as zany as the songs preceding it but is a fine track to be included in the album if one strictly keeps in mind it's situational appeal.

'Ash Tray' is the last track in the album which sees a newcomer Deva Sen Gupta coming behind the mike. With a pensive feel to the proceedings, it is a song for a mood when one is feeling blue. Everything from music to lyrics and the rendition contributes to creating a haunting mood when 'Ash Tray' plays. A song about the days and nights being lost as the protagonist fills his 'ash tray' with the remains of his cigarettes; it goes well with the film's subject and the genre that the soundtrack has adopted.

Anurag Kashyap deserves a pat on his back on two counts. First and foremost he has ventured into making a film entirely based on smoking. Secondly, he has even dared to have an entire soundtrack being created, courtesy Vishal Bhardwaj and Gulzar saab, when even a full length film seemed like a challenge in itself.

Laaga Chunari Mein Daag - Movie Review

Laaga Chunari Mein Daag - Movie Review

It's like traveling back home. You know the route, you know the signal, you know the lane, you know the speed breaker and you know the destination.

That's applicable for LAAGA CHUNARI MEIN DAAG too. 10 minutes into the film and you know what the story is, you can even guess the twists and turns the story may take and you can [successfully] read what the climax would be. Predictability -- that bogs LAAGA CHUNARI MEIN DAAG down.

Sure, it isn't blasphemous if a new product bears a striking similarity to themes that have been translated on celluloid several times in the past. But the grip -- so vital in a film that has a story to tell -- is clearly missing here.

LAAGA CHUNARI MEIN DAAG appeals in bits and spurts. It's well shot and is backed by striking performances, but the graph of the film lacks uniformity. It holds your attention, then it doesn't.


To sum up, LAAGA CHUNARI MEIN DAAG fails because of its writing. It has an oft-repeated theme and coupled with inept writing, the chances are very dim!

Badki [Rani Mukerji] and Chutki [Konkona Sen Sharma] live a fun-filled life in Banaras, playing pranks, sneaking off to see a forbidden mujra [Hema Malini, in a special appearance] and soaking up all the excitement that goes on the ghats of the Ganga. Badki is aware that the family is in dire straits, but she and her mother [Jaya Bachchan] protect Chutki at all costs.

When things get worse, Badki decides to go to Mumbai and seek a living for the family. Alone and unsupported in the midst of the urban jungle of Mumbai, Badki battles with dark forces, keeping her focus on her purpose to support her family and continue Chutki's education. She deliberately morphs into someone else, leading a secret life full of murky compromises.

When Chutki comes to Mumbai to work, things take a dramatic turn. Badki's life turns into a minefield, as she has to hide her secrets from Chutki. Chutki finds success at work and love that delights her heart. Badki finds the magic of love, but lets it slip away before it can blossom, as she believes it's not in her destiny. She battles menace and blackmail alone, not letting these dark shadows fall on Chutki or her family.

But her dual life is revealed and the two sisters are face to face, in a confrontation neither had expected. And when love beckons Badki again, the whole family is thrown in a tumultuous storm. Everything threatens to explode in their faces, destroying all of them.

LAAGA CHUNARI MEIN DAAG has a promising start. Portions depicting the financial difficulties plauging a family are convincingly depicted. Everything's in control till Rani decides to become an escort. The question here is, when Suchitra Pillai is giving Rani a makeover, why does she encourage her to become a high class hooker? Why not a model? Or why doesn't she goad her to hone her skills [learn English, computers et al, since those are the reasons why Rani is refused job after job]? Why encourage her to be someone when the pure soul is just not convinced about? Why? Doesn't it send out wrong signals to people who face roadblocks in life? Is that [prostitution] the only alternate profession you can take to in crisis?

The film dips further when Rani, now a polished, angrezi-speaking mem, meets Abhishek in an aircraft and the [one-sided] prem kahani begins. And then the treacherous cousin [Sushant Singh] arrives in Mumbai, blackmailing her. Hello, how did he, sitting in Benaras, know Rani's 'rate for a night' and her 'profession'. No explanations are offered!

The second hour is interesting in parts. The sequence when Konkona catches Rani red-handed is excellent. Also noteworthy are the portions when the two sisters return to Benaras. Things start looking up, but, suddenly, Abhishek re-emerges on the scene and the Abhishek - Rani prem katha re-ignites. Nahin, maza nahin aaya. Also, the treacherous jodi of Tinnu Anand and Sushant Singh comes back, but this track looks forced. The duo is used as mere props.

Pradeep Sarkar knows how to make the frames look beautiful, but how one wishes he would've opted for an absorbing story and most importantly, stuck to the principal characters, instead of adding sub-plots [romance, songs, relatives]. Cinematography is splendid. Dialogues deserve special mention. Shantanu Moitra's music is a mixed bag. 'Hum To Aise Hain Bhaiya' is the best of the lot.

Rani excels yet again. It's a pleasure watching her in an author-backed role yet again. Konkona is fantastic. In fact, she lends a lot of freshness to her character. Jaya Bachchan is superb. Her work is truly admirable. Abhishek Bachchan's extended special appearance makes no impact. Kunal Kapoor is likable. Anupam Kher is alright. Tinnu Anand and Sushant Singh suffer due to ill-defined roles. Kamini Kaushal, Murli Sharma, Harsh Chhaya, Tarana, Suchitra Pillai and Ninad Kamat enact their parts well.

On the whole, LAAGA CHUNARI MEIN DAAG stands on a shaky script and has all chances of slipping, not consolidating its position. At the box-office, given the inconsistent content on one hand and the poor opening on the other, the film will prove a major setback.

Bhool Bhulaiyaa - Movie Review

Bhool Bhulaiyaa - Movie Review

Hold on! The moment someone mentions BHOOL BHULAIYAA, images of a comic caper conjure up in front of your eyes. After all, accomplished storyteller Priyadarshan has successfully delivered laughathons in the past that made the viewer go ha-ha-hee-hee-ho-ho.

But BHOOL BHULAIYAA, a remake of the Malayalam hit MANICHITRATHAZHU, is a complete departure from Priyan's films. How, did you ask? Here's why… There's comedy, but in minimal doses. There're songs, but only when the situations warrant. In BHOOL BHULAIYAA, it's all about suspense and spirits. It's eerie and [certain] portions of the film are not for the faint hearted.

A good looking film with superior performances and a stunning suspense, BHOOL BHULAIYAA is not the usual run-of-the-mill fare. It would be interesting to see how the viewer reacts to the film.

But there's a flip side too! Those expecting a laughathon from the Priyan - Akki combo would be caught unaware. Two factors that can't be ignored are its length [it tends to get taxing in the second hour] and the placement of the chartbusting track 'Hare Krishna Hare Ram' [in the end credits].

From America to his hometown in the interiors of India, it was a long journey indeed for Siddharth [Shiney Ahuja]. But nothing could match the mind-boggling journey that now lay in front of him. For, it was a journey into an astounding maze in which each step meant mystery, discovery, surprise, shock and revelation.

With open arms, his large extended family welcomes the U.S.-based Siddharth and his newly-wed wife Avni [Vidya Balan], when they come home. But what the family resists is Siddharth's insistence on staying in his royal ancestral mansion during his stay. His uncle Badrinarayan Chaturvedi [Manoj Joshi] particularly has no qualms about voicing his displeasure. For, it was that very mansion that held in its realm a deadly secret that had repeatedly destroyed the family for generations.

The scientifically inclined Siddharth pays no heed and starts staying at the palatial mansion with Avni, who is equally modern in her thinking... But, soon enough, the couple is forced to rethink their decision. Unforeseen happenings, mysterious elements, horrific indications and life-threatening incidents swarm their path. Suddenly, it becomes a situation that urgently had to be dealt with before it got too late.

Siddharth instinctively finds the solution in his dynamic Doctor-friend Aditya [Akshay Kumar]. When Dr. Aditya finds his way into the mansion, he is a man on a mission. He just had to find the cause of all the upheaval before the effects caused more harm than could be imagined. Where did the answer lie?

You can't overlook the fact that BHOOL BHULAIYAA is an extremely well-shot film. Right from the production design to the styling of the film to its overall look, BHOOL BHULAIYAA is a visually attractive film.

Priyan spells out the genre at the very start itself, when Paresh Rawal visits the haunted ancestral home and an eerie calm welcomes him. The mystery only deepens in the first hour and with the introduction of Akshay's character in the narrative [a bit late entry, though!], things only get better. Expectedly, you look forward to an exhilarating second hour.

Although the screenplay isn't too convincing in the latter half, you have to admit that the suspense does come as a jolt. The flashback that follows is equally interesting. But what ensues thereafter isn't as convincing. Actually, the length is also to blame in this hour. One strongly feels that the story should've concluded when Akshay solves the mystery.

You also await, with bated breath, the chartbusting song that's taken the nation by storm to make an entry. And when it eventually does arrive [in the end credits], it doesn't make the impact that it should've.

BHOOL BHULAIYAA is glossy, stylish and well executed, technically speaking. But Priyan treads a difficult path. As mentioned at the outset, BHOOL BHULAIYAA is not the atypical fare with laughs and more laughs. Here, Priyan opts for horror, not humor and that may have its share of advocates and adversaries.

Music composer Pritam is in top form this time around. 'Hare Krishna Hare Ram' is splendid, while 'Zindagi Ka Safar' comes easy on the lips. The flashback song is excellent in terms of choreography. Cinematography [Thiru] is excellent. Production design [Sabu Cyril] is topnotch.

Akshay enacts his part with effortless ease. A role with comic shades comes easy to him and he's on familiar ground in BHOOL BHULAIYAA. Vidya is splendid, especially in the second hour. Shiney gets scope initially, but is sidelined the moment Akshay arrives. Amisha Patel is efficient in a substantial role.

Paresh Rawal and Rasika Joshi are first-rate. Rajpal Yadav manages a few laughs in a brief role. Manoj Joshi is very much with the character. He performs well. Vikram Gokhale doesn't work because his role comes across as an unwanted track. Asrani is fair. Vineeth and Tareena Patel are average.

On the whole, BHOOL BHULAIYAA has two solid factors going in its favor -- the Priyadarshan - Akshay combo and the chartbusting 'Hare Krishna Hare Ram' track -- which have resulted in tremendous hype. Although the reactions to the film will vary, the Idd period coupled with the two factors will ensure a terrific start for the film, in turn making it a profitable venture for its investors.