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Dum Laga Ke Haisha Movie Review

It's very interesting to see how comfortably the very talented Sanjay Mishra and Seema Pahwa who played the lead in Rajat Kapoor's highly-lauded "Ankhon Dekhi" last year, fit into the peripheral parts of the hero's father and heroine's mother in "Dum Laga Ke Haisha (DLKH)".

Come to think of it, 20 years ago, Mishra and Pahwa could have comfortably played the lead of an uncomfortably married couple here. Ayushmanna Khurrana is the under-educated Kumar Sanu fan from Haridwar who doesn't seem to have much ambition in life except to marry a pretty girl.

Newcomer "with a commodious qammara" Bhumi Pedneker is the educated aggressive girl who doesn't believe in taking it lying down from her newly married husband. Uncannily, Ayushmann with his slouched obduracy reminded me of Rakesh Pandey in Basu Bhatterjee's "Sara Akaash", the newly-married chap who won't talk to his wife because, well, she doesn't quite fit. And we don't mean into the narrow doors and gallis of Haridwar where she moves with the counter-clumsy certainty and dignity of a woman who knows her weight is not going to let her become anyone's dream woman, not even her dear beloved husband who after a drink or two describes as a "moti bhains" in front of his friends.

"I am the bride. But it's he who blushes like one," Sandhya (Bhumi) tells her curious friend who calls on the landline (this is 1995) to know what happened on the suhaag raat.

Well, nothing did. If you must know.

A majority of the first half is taken up in showing how Sandhya builds a bridge of confidence with her reluctant bridegroom, only to discover he is not worth it. Fiery and obstinate Sandhya leaves her 'sasural' and returns home. One of the film's many warmly meditative moments occur when Sandhya's mother tries to hurriedly lecture her about how much a woman must endure to keep a marriage together. That moment is treated like a dismissive joke. So is the activist-lawyer who seems to enjoy separating Sandhya from her husband. The film mocks feminist ideology without resorting to crass strokes of aggression.

Later there's smartly humorously written courtroom sequence where during a divorce proceeding, Prem's mother (Alka Amin) brings up the issue of a woman's compromises to keep domesticity intact.

"Why don't you two also go in for a divorce right now?" Prem suggests with saddening sarcasm.

The writing is so fluent robust and rooted to the milieu that we never feel the weight of nostalgia in the words. Though set in the pre-cellphone, VHS, audio cassette era, "DLKH" carries the weight of its periodicity very lightly, almost jauntily.

In that sense this film differs widely from Ayushmann's previous release "Hawaizaada" where the period flavour was pronounced and pungent. Here the aroma of the 1990s pervades the screen in intangible wafts. We feel the atmosphere in every character's existence. These are people who don't really care about how much they weigh as long as they can forge some meaning out of their meager existence.

Brilliantly shot in musty rusted shades of renewable decadence, DLKH brings back the quaint endearing romance of Basu Chatterjee's cinema. The slender story of a newly married couple struggling to find a common ground in a crowded stifling low middle class family is reminiscent of Basuda's "Piya Ka Ghar" and of course "Sara Akaash".

The rather self-conscious finale is sadly a cinematic necessity that happily, doesn't take away from the film's utterly unselfconscious weightless debate on marriages being made in heaven or hell.

What works forcefully in the film's favour is its disarming simplicity. Debutant director Sharat Katariya is a diligent steadfast storyteller. His eye for visual detail(inherited from his guru Rajat Kapoor) goes a long way in making the character's appear larger than their strife.

Ayushmann totally transforms into Haridwar's Sanu fame thumb-controlled by a father who slips condoms into Sunny-Boy's hands on his suhaag raat reminding him that they can't afford to expand their family at the moment. Debutant Bhumi plays the overweight bride with a breezy confidence that gives 'wazan' to her performance. She is a prized find.

There are many heroes in this economically-told unfaltering tale of a marriage of incompatibles: the debutant director, so unerring in his detailing of the drama, the serene city of Haridwar caught in a bright but believable light by Manu Anand's camera, Ayushmann bringing back fond memories of Raj Kapoor and Amol Palekar's working-class anxieties.

Every character, from the heroine's bratty kid-brother to the hero's Muslim friend, is so sharply sketched they only needed to be fleshed out by able actors, like Sanjay Mishra and Sheeba Chadha, the latter playing the former's sharp-tongued spouse-deserted sister seeking entertainment in domestic strife.

Sounds familiar, right?

A word about Yash Raj Films, the banner that seemed to be floundering lately, gathers together its wits with this homage to the North Indian middleclass marriage which the late and much-missed Yash Chopra would have liked.

From DDLJ to DLKH, way to go, Yash Raj. DLKH is a heartwarming charmer suffused with that lived-in feeling which seemed to have vanished in the run to that glitzy shallowness where a dhoom or a bang-bang were seen as viewer-friendly explosions. Here is a big-hearted shout for a bygone era and arranged marriage where love happens later crammed with episodes and moments that add up to an invaluable and cherishable experience.

By the time Ayushmann's Prem makes that run with Sandhya on his back, you are already rooting for the underdog and his under-affluent world of little pleasures.

Come, share the experience.

AM Rathnam Revealed Ajith Secret

கௌதம் மேனன் இயக்கத்தில் அஜித் இரட்டை வேடங்களில் நடித்து வரும் திரைப்படம் ‘தல 55′. படத்திற்கு தலைப்பு வைக்கப்படாத நிலையில் அனைவரும் தல 55 என்றே அழைக்கத் தொடங்கியுள்ளனர்.

இப்படத்தில் வில்லனாக அருண் விஜய் நடிக்கிறார். மேலும் த்ரிஷாவுடன் வரும் காட்சியில் ஸ்டைலிஷாக யூத் லுக்கில் வர இருக்கிறார் அஜித்.

இதற்காக படு ஸ்டைலாக கௌதம் மேனன் அந்த கதாபாத்திரத்தை உருவாக்கியிருப்பதாக படத்தின் தயாரிப்பாளர் ஏ.எம்.ரத்னம் தெரிவித்துள்ளார்.

படப்பிடிப்பிற்கு தற்போது ஒரு வார இடைவெளி அளிக்கப்பட்டுள்ளது. மீண்டும் சில நாட்களில் துவங்க உள்ள இப்படப்பிடிப்பில் அஜித், அருண் விஜய் மற்றும் த்ரிஷா நடிக்கும் காட்சிகள் படமாக்கப்பட உள்ளன.யூத் அஜித்தை தயார் செய்வதற்காகவே இந்த ஒரு வார இடைவெளி எனவும் தெரிவித்துள்ளார் ரத்னம்.

source:kollywoodtoday.com

Drushyam Movie Review- Emotional Thriller

Drushyam has been one of the most awaited films in the recent past. Remake of a Malayalam super hit with the same name, this film has Venkatesh and Meena in lead roles. We have been to a special screening and are bringing you the detailed review much in advance.

Story:-

Ram Babu(Venkatesh) is a honest cable operator in the small village of Rajavaram. He lives with his wife(Meena) and two teenage daughters and leads a happy life with his small but happy family.

One fine day, an uncanny incident featuring his elder daughter strikes his family, and puts them in deep trouble with the cops. Rest of the story is as to how Ram Babu manages to come out of his problems, and saves his family.

Plus Points:-

Firstly, I would like to commend Venkatesh for a doing a mature role like this. Time and again, he has proved that no one can beat him when it comes to family and sentiment films. He plays the character of Ram Babu exceptionally, and justifies it with heartwarming emotions. Venkatesh is especially good in the confrontation scenes with the police, and carries the whole film on his shoulders.

Meena is apt as Venkatesh’s wife, and supports him ably. Major highlight of the film is the way family emotions and the bond showcased between the family members connects with the audience. The girls who did the role of Venkatesh’s daughters were exceptional.

Yet another major plus point of this film is the suspense and thrill that is showcased throughout the film. Right after first fifteen minutes, till the very end, Drushyam holds you on to your seats completely. Once again Nadia does an superb job in the role of a police officer. She has a tailor made role and is ably supported by Naresh.

Minus Points:-

First fifteen minutes of the film looks pretty ordinary, and takes some time for the story to kick off. The so called romance that is showcased between Meena and Venkatesh looks unnecessary and forced.

Those who have seen the Malayalam version, will not enjoy the movie much. Some scenes and locations look similar to the original and could have been changed to suit the nativity.

Technical Aspects:-

Firstly, I would like to mention about the story, which is quite unique for a Telugu film. The way a family subject is interlaced with a thrilling mystery is quite entertaining. Music of the film is quite ok, and so is the background score.

Camerawork is pretty good, and showcases the film in good light. Editing is quite good, and adds a lot of depth to the film. Dialogues are good, and so are the lyrics. Screenplay of the film is quite brilliant, and the way the suspense is revealed is also good. Major credit should go to the director Sri Priya, who handles the subject quite cleverly.

Verdict:-

On the whole, Drishyam is one film which works big time in all departments. Right from the striking performances of Venkatesh and Nadia, to the thrilling suspense elements, Drushyam has everything for everyone. A must watch for the entire family.

source:123telugu

8th Vijay Awards Photos 2014