Kick trailers have started to kick the tickle bone.  Though the first trailer was released less than 45 days of the release, it garnered positive vibes, thanks to catchy tracks and blowing lines by Rajat Arora.  The presence of Huda and Nawazuddin are another attraction in addition to the attitude of Salman. Having seen the Telugu version, I must admit this Hindi outing is a notch ahead in terms of action n drama. The Telugu (2009) hit revived the career of Ravi Teja and made Ileana a lucky mascot for Tollywood. She never looked back since then in Tollywood and even went up to charging a Crore remuneration before coming to Bollywood.

Coming back to Salman’s Kick, the promos are promising with lot of fun n thrill. Jacqueline is looking salty with Salman. Let’s see how Sajid has utilized the dose of salt to make this recipe (chemistry with Salman) sumptuous.  The plot has everything you want to have on a weekend with Salman Movie. In typical modern Bollywood style, this move would earn a place in top grossers.

Finally, Friday will decide whether the movie is capable enough of pulling crowds the same way as Salman skirt pulling act on Zumme ki raat.….

 Venky....

A plot filled with vengeance by the victim against the mighty. This movie gives a feeling that the makers are not even interested to fill the old wine in a new bottle at least. Nothing we have never seen or heard. The trailers are all about the movie and left nothing to be explored in the theater.

The start cast is up to the expectations of the script, which unfortunately is none. First few reels talk about why the heroine is buried live and next few filled with revenge. The tracks are ok except the one remix. A cameo by Sunny (not Deol) is without legitimate permission of the script. I believe Bhatt camp has dumped the thought of good cinema as the hero was dumped in to the lane in this movie. Siddharth Kher is a fresh wave in an inspector role as Sushant Singh in negative shade.  The only positive thing is the level of vulgarity is lesser than the first version.  I watched this movie to kill time and to reach Nizamuddin Rly station in the wee hours (4AM) to receive someone. If you have similar kind of compulsions go for it or else sit back at home and watch any 1990 era Bollywood movie.

Why to watch and Hate….?

Bollywood Moolah

Is Good cinema is defined by collections. If no, then why we have so many platforms (Facebook, blogs, twitter) shouting with the numbers and experts giving minute to minute details of how movies are faring around the world, collection wise. Regional movies are no exception to this. Surprisingly elite crowd is highly depending up on these reports of numbers as they are habituated by the dash boards and flash reports at work. Even, our opinions on the movies are highly influenced by these numbers most of the times. The hurdle/apprehension might be that, how can a movie be categorized as bad one if it raked 70 Crores at Indian box office.

This practice has started with 100 Cr club movies then 200 Cr and with Dhoom 3 & Krrish 3 it went to 500 Cr club. Unfortunately none of these are celluloid delights.  Indian cinema has stopped producing intelligent cinema long back except for few experimental movies by Vikramaditya Motwane, Ritesh Batra, Sujoy Ghosh and few more. Sad part is most of these productions could not grab attention of masses because they have not crossed the mark of collection clubs to be declared as a hit. We forgot the definition of a good cinema rather started praising the hit cinema.

The collection of recent movies gives the pathetic state of Bollywood viewers. Heropanti (50 Cr), Humshakals (55 Cr) and hit movie Ek Villain (88 Cr) were unpleasant outings but still able to attract crowd. The media and production houses are successful in titillating our minds with the projection of numbers, big interviews of star cast and TV shows and we are falling prey to it. So far only producers were worried about the collections but now whole world is curious behind the collections. A thought on below :

Did we forget the taste of good cinema?

Why Bhansali has to cross the limits of sensuality and explore vulgar world in RamLeela?

Why Bollywood is heavily depend upon south remakes?

Why major productions are released on Eid and Diwali?

Answers are obvious but we don’t want to give an ear to them.

…is it because we do not have a face and stand point on good cinema?

…or our viewing preferences are influenced by lot of Non-cinematic elements?

Venky...

Sense and sensibilities of Drishyam…..

 

A 4^th Std pass common man and his 10^th Fail wife with two children and their confrontation with police department is weaved in to fine layers of cinematic experience. The hero is a movie buff and he learning world is movies and society. He always gets into sweet fights with his wife on Sense and sensibilities to learn from nature, society and the vacuum around.

Mohanlal has portrayed his role at par excellence in emoting the sensibilities of a loving family man engulfed with unprecedented events of life. The rest of the cast including kids were at their best balance. The pace of the movie is slow in the beginning but the grip tightens as you proceed through the GOD’s own country with Mohanlal on a bicycle. Subconsciously the back ground score creates layers of excitement in our minds as protagonist creates unreal Drishyams in witnesses mind.  There was moments of joy, struggle and shades of life, which are neither right nor wrong, which the climax justifies. We are right in our own perception which might be wrong in other’s perception. The question here is judgment of perceptions.  This movie touches up on few positive attitudes of life i.e, patience, attitude to confront an adverse situation and confidence even when stuck up in the lanes of wrong doing.

Let’s see how multiple layers of this Malayali paratha hits taste buds of Andhra Pesarattu lovers….

Venky...